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.
That Russian contract was not all the Dowlais Company anticipated, and from a very small cause. The drawing and specification of the rail were precise and minute, but in the drawing of the section and its figured dimensions there was a slight difference (it was really 1-10th of an inch), and this being pointed out to Mr Thomas Evans, he only berated the draughtsman for so doing.
Some thousand or more tons were made and delivered on the banks of the Neva, when lo and behold, the section was found to be incorrect. Workmen were sent from Dowlais to Russia to remedy matters, and Thomas Evans himself had one, if not two, journeys to St Petersburg. It was one of these journeys that that caused his illness and death. He is buried in the Vaynor Churchyard, and at his funeral the tears chased each other down Sir John’s cheek. This is fact, for my own eyes witnessed it.
Such a host of memories crowd on me that I scarce know where to begin. Having mentioned the Evanses, they will be first; yes, dear reader, even before Mr G T Clark, for the influence of the Evans family drove Mr Clark from Dowlais at one time.
John Evans, c 1856, William Jones, Courtesy of Cyfarthfa Castle Museum & Art Gallery
Strange, but true, that the whirligig of time should bring back a nephew of these Evanses, as not only a director, but one of the very influential ones. It is none other than Mr E Windsor Richards. Mr John Evans was, I think, the oldest, and was afflicted with gout, and being at all times hot-tempered, he was not in the best of moods while an attack of gout was on. He was of fine physique, and woe betide anyone who gave him cause for punishment.
It is said, and I believe the truth, that being upset with some intelligence from the works while confined with an attack, that he smashed, yes literally smashed, with his stick a lot of articles on his own sideboard. His position was that of blast-furnace manager. Mrs Evans was, I believe, a Miss Henry. They had two daughters, one became Mrs Simons, the other Mrs Dyke. Leaving Dowlais, Mr John Evans resided near Cardiff and is, I think, buried in Sully Churchyard.
Mr Thomas Evans’ department was, more especially, the forges and mills, but neither brother was exclusively engaged with his own part. Thomas seemed to be the upper of the trio; he was (probably from having been brought into the mingling with others) more suave. John was brusque, but had a good human heart under his ruggedness. There was one other peculiarity that others noticed. If Sir John had Thomas about him in the works, extensions or improvements were expected, but reduction of wages and or other cropping going on if John was the companion.
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.
