Keeping up with the Joneses: A Family of Merthyr Artists – part 2

by Christopher Parry

Predictably, with the immediate family gone from the town many of the younger children ended up with distant relatives outside of Merthyr Tydfil.

Leonardo ended up as a Grocers Assistant at Holywell, in his father’s native Flintshire. He would then marry and become a Grocer in Birkenhead.

Francis Lawrence Jones all but disappears from the records. A letter held at Cyfarthfa Castle hints that he left for London and painted ‘for the great theatres in London.’ There is a correction on the letter however, indicating that an earlier sentence, referring to Angelo, was actually referring to Francis instead. This sentence states that Angelo went ‘to an uncle in Australia who was an engineer’. This narrative does not match up with other information on Angelo, so it is possible the author of the letter was referring to Francis. A 16-year-old Francis Lawrence Jones, from Merthyr Tydfil, did become part of the Royal Navy and sailed to Australia, eventually settling in New Zealand. While it is not certain, it is possible Francis left for naval service and never returned around 1880. Little is concrete with this family member though. Little is concrete about Rosa and Ernest too, as they all but disappear from records. Which leave the two eldest, Angelo and Raphael.

Raphael followed his father, and became an artist. He displayed work in shop windows throughout the town and became a well-regarded artist in his own right, creating and displaying work frequently around Merthyr Tydfil. An oil painting on display in a High Street shop window gained high praise in 1895, with newspapers stating it ‘reflects great credit on the young and talented artist.’ By 1900, Raphael would go for broke of sorts; he would leave Merthyr Tydfil and head to London to become a painter. He would spend the rest of his life in the Hackney are of London, creating illustrations for various magazines until his death in 1938. The museum at Cyfarthfa Castle holds a fantastic watercolour by Raphael called ‘Mountains and Lake’, painted in 1929. After suffering from ill health Isaac Wilkinson, a former curator at Cyfarthfa Castle, based at the National Museum of Wales, sold some paintings by Raphael to raise funds on his behalf. Cyfarthfa Castle purchased two watercolours in March 1937, one of them being ‘Mountains and Lake.’

William Angelo Jones clearly took a keen interest in his father’s work also. At the Merthyr Drill Hall Eisteddfod in 1875, he won first prize for free hand drawing. He attended the ‘Penydarren Art Classes, Merthyr Tydfil, from their inception, and studied under Mr J Bush, then under Mr G F Harris, artist and portrait painter, and assisted G F Harris for three winters.’ William Angelo would eventually leave Merthyr Tydfil to study art formally in Birmingham where he would also take up an art teacher position. It is unclear exactly when he left Merthyr Tydfil for Birmingham, as he possibly studied there from 1893, but was certainly living between there and Merthyr until at least the early 1900s, as several pieces of art were created by him of the area and in the town in that period. He would donate 12 pen and ink sketches to Cyfarthfa Castle in December 1937, the same year his brother’s artwork was purchased by the museum. These were all sketches intended to be printed as Christmas Cards. The images are full of floral patterns, art deco deigns, Santa Claus, trumpeting angels, turkeys and Christmas puddings, everything associated with the festive period.

Christmas Card – c 1896-97, William Jones, Courtesy of Cyfarthfa Castle Museum & Art Gallery
Christmas Card – c 1903 William Jones, Courtesy of Cyfarthfa Castle Museum & Art Gallery.
Christmas Card – c. unknown, William Jones, Courtesy of Cyfarthfa Castle Museum & Art Gallery

More amazing is how he worked local landscapes into the cards, giving us stunning images of Heolgerrig and other localities around Merthyr Tydfil. These images were created ‘under most difficult adverse circumstances…’ No doubt William Angelo was struggling financially and like many artists before special occasions were an opportunity to raise funds.

On the Graig, Merthyr – c 1901 William Jones, Courtesy of Cyfarthfa Castle Museum & Art Gallery.
Moody’s Pond, Merthyr – c 1901 William Jones, Courtesy of Cyfarthfa Castle Museum & Art Gallery.

When the artist Penry Williams was struggling, he would regularly rely on Valentine’s Day to make ends meet, when he would create cards for sale. Struggling circumstances were what possibly pushed William Angelo to move on from Merthyr Tydfil fully and it is likely he died in Birmingham in 1938.

We often focus on the large-scale industrialists when looking into Merthyr’s past and overlook the many trades and professions the iron industry attracted to the town. Several painters opened studios in the town over the years, without whom, in an era where photography was in its infancy, we would have no visual record of the people and places that make up Merthyr Tydfil.

Keeping up with the Joneses: A Family of Merthyr Artists – part 1

by Christopher Parry

William Edward Jones made himself unique among the portrait painters that have settled in Merthyr Tydfil, because not only was he exceptionally talented, but he also was father to six children, several of which were named after famous renaissance artists, who became artists themselves.

William Edward Jones was born in Newmarket, Flintshire, in 1825. He was the son of James Jones, an Ironmonger, but it is unclear the path William took to become an artist instead of an Ironmonger. What is clear is he was ‘a “born” painter, gifted with an intuitive apprehension of the principles of his art, as well as great capacity for applying them…’ Though it is unknown if he had any formal training as an artist, by the age of 24, he had moved to Wrexham and was working as a portrait artist. He then went to Liverpool and eventually to London. While in London he displayed artwork at the Royal Academy and became a well-regarded portrait painter, but competition there was fierce. A chance meeting with two men that were bound for Merthyr Tydfil made William realise that maybe he could go to this iron metropolis and make a name for himself.

In 1853, he arrived in Merthyr Tydfil and it was not long before he established a portrait painting business on Glebeland Street, Merthyr Tydfil. 18, Glebeland Street would be his residence and studio for the rest of his life.

One of his first notable commissions seems to be of Lord Aberdare, Henry Austin Bruce, in 1853, and from there steady commissions would continue.

Henry Austin Bruce, c 1853, William Jones, Peoples Collection Wales, LLGC

By 1856, William had accepted what would be his most impressive portrait yet, a portrait of John Evans, the Dowlais Works Manager. Evans was retiring and those who admired him at Dowlais decided to commission a portrait. The portrait was unveiled at a Temperance Choir concert in the Dowlais Schools in May 1856. The portrait of Evans is one of only two known portraits painted by William that are still in Merthyr Tydfil. It hangs on the walls of Cyfarthfa Castle and is a huge canvas with astounding details, such as a painting of Dowlais Works on the wall in the background, along with engineering documents strewn across the table in front of John Evans. The portrait is one of two created by William in 1856, the other is a portrait of John Evans brother, Thomas Evans.

John Evans, c 1856, William Jones, Courtesy of Cyfarthfa Castle Museum & Art Gallery

The portrait of Thomas, who was an agent and manager at Dowlais also, was commissioned by those in Dowlais who were saddened by his passing in 1846. This was a problematic commission for William, as he had never seen Thomas and no reference to what he looked like existed. Those who knew Thomas gave William descriptions and the rest was down to the artist’s skill to create a perfect likeness. When the painting was complete ‘no one having formerly known Mr. Evans, can mistake who the painting is intended to represent’. The painting was unveiled in August 1856, and was transferred to the possession of the local council by the early 1900s. The portrait of John fell into the ownership of the council too, eventually being one of two paintings that hung in the council chambers until 1910, the other being a portrait of Henry Richard by William Gillies Gair. The portrait of Thomas Evans is heavily damaged but remains in Merthyr Tydfil.

William would go on to create a painting titled ‘The Last Bard’, which won him awards at the National Eisteddfod in 1859. In 1863, he was commissioned to paint the Mayor of Neath, Evan Evans, which was praised for its ‘fineness of execution and accurate delineation of feature…’ William would even produce pencil drawings, most notably he would capture the chaos of the moment disaster struck in 1874, when runaway carriages collided with a train and destroyed part of Merthyr’s Central Station.

Scene of the terrible accident at the Vale of Neath Station – c 1874, William Jones, Courtesy of Cyfarthfa Castle Museum & Art Gallery.

William was a Freemason and was commissioned frequently to paint other members, which meant he was solidly painting throughout the late 1850s, right until the late 1870s. There is currently no overall known number of how many portraits William created when he was living in Merthyr Tydfil. Many portraits had been commissioned for people outside of the town, for widowers of Freemasons, industrialists that moved on from the town and so on. In the aftermath of William’s death in 1877, there was an auction of work from his studio and one advertisement stated that there were over one hundred pieces for sale.

Merthyr Telegraph – 2 November 1877

The paintings have undoubtedly gone everywhere across Britain and further afield, so they are now incredibly difficult to trace. Dr Fred Holly, in an article appearing in Merthyr Historian: Volume 6 has made the best attempt to collect information on the artwork that survives, but even that list is miniscule compared to the actual art William created in his heyday.

On July 2, 1858, William married Elizabeth Wilkins, daughter of William Wilkins, who lived on Morlais Street, in the Glebeland. William Wilkins was a Hotel Keeper, who managed the Temperance Hotel, which was also in the Glebeland at Merthyr Tydfil. William and Elizabeth would have six children in all. The eldest, William Angelo, named after the famous renaissance artist. Then James Raphael, named after another Italian artist. Francis Lawrence followed, named after Thomas Lawrence, the English portrait painter. The only daughter then followed, Rosa, named after the French artist Rosa Bonheur. Then Leonardo Devinci (spelt with an E not A) Jones; another nod to beloved Italian artists. Finally, Ernest probably named after the French artist Ernest Meissonier.

The 1870s, when many of them were coming of age, must have been a devastating time for the children as Elizabeth died in 1870. Her father William Wilkins moved into 18, Glebeland Street to help William, but he then passed away in 1873. William then, while putting the finishing touches on a portrait, died in 1877.

To be continued……

The Crown Inn

by Carolyn Jacob

James Roberts, a freeholder and a dissenter opened the Crown Inn as one of his many business activities. In his book, ‘The Labyrinth of Flames’, Chris Evans writes that in the early 1790s the ironmasters hoped to install a landlord of their own choosing at the Crown Inn “as a competitor to Peggy Jenkins, the doughty if slapdash matriarch who ran the Star Inn. Each Company pledged £70 to their nominee, but little more was heard of the proposal thereafter.”

 The Crown Inn is situated at number 28 on the Lower High Street, in the old ‘Village’ area of Merthyr Tydfil and dates from 1785, although there have been later alterations to the inn. It is a grade II listed building. The Crown Inn was built on the site of an earlier thatched property and was fully licensed to let post horses in the nineteenth century. The building has a simple 2 storey Georgian front with some interesting old features and is a fine example of a late 18th century coaching inn. The Crown is contemporary with the time of Anthony Bacon, the first ironmaster. Following the building of the Cyfarthfa Ironworks visitors started to come to Merthyr Tydfil and the Crown provided essential refreshment and accommodation.

Before 1800 the first post-office was at the Crown Inn. An old woman brought letters from Brecon and these were put on a round table ready to be collected. Despite having undergone many changes, the building still retains many original features, such as the iron gates and carriage arch to the right hand side of the building leading to a cobbled courtyard where coaches from Cardigan were berthed.

The Merthyr Express of 28 July 1866 tells a tale of a traveller in the year 1806. He put up at the best hotel then, the Crown. He well remembered being taken by a friend to see the Castle Hotel, which was then in course of building.

One sunny afternoon, towards the close of the eighteenth century, two suspicions-looking travellers rode down through Twvnyrodyn, then the direct-road from Cardiff, passed the Court House and entered the village. They dismounted and entered the Crown Hotel. ‘In the queer old hostelry, then the principle inn, or at least equal rival to the Star’. The travellers were no other than the press gang, as Merthyr men would soon know to their cost. Coming at such a time the rumour about them spread quickly, terrified children hid them and one young fellow found a refuge in a large chimney at the Blast Furnace public-house. Never had such an alarm been caused before. A veritable panic seemed to have seized everybody, and the most ludicrous actions ensued to avoid these men. While all this commotion was going on in the little village the two travellers sat in the parlour quite at their ease and enjoyed the Crown’s best ale.

The Crown was a popular public house in nineteenth century Merthyr Tydfil and on Saturdays it was not unusual for a crowd of men to come out of the Crown or Star and for 2 of them to strip to the waist in order to have a public fight. Before the Glamorgan Constabulary was established there was only a village constable and he wisely kept well out of these occasions.

In the first half of the nineteenth century the market was outside the Crown Inn. The shops were crowded with customers and the fairs and markets were held in the open streets extending from the churchyard wall upwards, temporary stalls were erected along a poorly constructed pavement and the public highway itself was invaded by hand-barrows, baskets and panniers. These stalls sold clothes, boots, shoes, jewellery, gingerbread, sweets, Welsh flannels and so on. The butchering trade had its own area and small market in a side street.

In 1835 Pigot’s directory gives John Richards as the Inn Keeper of the Crown Inn and on the 1841 census Margaret Richards was the landlady living in the Crown with her daughters, Mary and Jane. In 1852 Slater’s directory lists Howell Davies as landlord.

In the mid nineteenth century the Crown was the most popular location for Friendly Societies to meet. Amongst those that met there were The Social Society, The Society of Gentleman, Tradesman and Mechanics, The Cambrian Friendly Society, The Star Brotherly Society and the Faithful Youths’ Society, according to the Merthyr Telegraph, Registered Friendly Societies, 26 September 1857.

A directory from 1889 shows John Davies to be the landlord here. The 1901 register of electors reveals that David Francis Williams lived in the Crown Inn. A trade directory of 1923 shows that D. Williams was still the Crown’s landlord at this time.

Steam pies

Do you remember the steam pie? That working man’s (and woman’s) favourite is now banned but many an Italian cafe used to prepare them in the 1950s and onwards.
Where in Merthyr and district were the best places for a steam pie?  Did your family business ever steam and serve them?
Is it time to recall a bit of everyday South Wales heritage now lost?
Happy to hear from you at editormerthyrhistorian@gmail.com

Memories of Old Merthyr

We continue our serialisation of the memories of Merthyr in the 1830’s by an un-named correspondent to the Merthyr Express, courtesy of Michael Donovan.

But I have wandered somewhat, so to return – having given Cyfarthfa its innings, and let us begin with the personnel of Plymouth, or rather, of Plymouth, Pentrebach and Dyffryn.

Part of the derelict Plymouth ironworks in the 1900s. Courtesy of the Alan George Archive

The upper part formed a portion of the taking of Mr Bacon, and the ‘Furnace Isaf’ was leased from him by the father of Messrs Hill. Upon his death the firm became Richard, John and Anthony Hill. Richard, the eldest son, was a fine specimen of the old English gentleman. John was not so robust, but keen, fond of horses, betting and of gaiety. Anthony, studious, precise and particular. He lived to become the sole proprietor after years of hard work and earnest attention.

As characteristic of Richard Hill, he, as well as his brothers, were Tories, and on the return of a member for Cardiff had a chairing. He was known as ‘Honest Dick from the Mountain’. Richard Hill  died at Court yr Alla, and rests in the churchyard near there (Michaelston-le-Pit, I believe). John in Bath, and Anthony lonesome at Pontyrhun. They had a sister who died a spinster at Clifton in 1847 or so. It is a matter of regret that the trustees of Mr A. Hill’s will did not see their way to let the works pass into the hands of one of the relatives, but that is forestalling events.

References to ‘Mushet on Iron’ will show that the blast furnaces at the Dyffryn and the blowing engine there were of note. The engine was a departure from the ordinary proportion which was between the steam and blast cylinders, and, as far as can be recalled, the blast cylinder was the largest (120 inches diameter) and the furnace boshes were also the largest, but the greatest achievement of Mr A. Hill was the utilisation of cinders. This he patented, and heavy litigation followed. He won the first action, and being defeated at a subsequent time, would not go on again, as he was strongly advised to do. This soured his feelings, and he always entertained a bitterness of feeling with respect to it, for he verily believed perjury had been used.

There was another matter in the making of iron he was virtually the pioneer of, viz, the use of oxides of iron in the blast furnace. The manager of the furnace was a Mr Edward Thomas, the great-uncle to Mr Wm. Thomas of Oakfield, Aberdare. When Mr Hill was quite clear that pig iron could be commercially made from hematite, he endeavoured to come to an arrangement with the Earl of Lonsdale for him to find the necessary coal and Mr Hill the ore, so as to make iron at Whitehaven. Should any of your readers be in that locality and find the original engine-house yet in existence, they will find a goat’s head with ample horns cut on the keystone of the arch in the walls. This was as a compliment to Mr Thomas.

Shortly after Mr Thomas went to America , and erected works there. He returned toward the end of the thirties, and after spending a few months at the Ivor Works, I think led a quiet life. Upon leaving Dowlais, Sir John Guest desired him to return after a while, although he promised to think over it ‘after the cuckoo had come’, he never returned there.

To be continued at a later date.