Swinnertons in the Arts
Swinnertons in the Arts
Swinnertons have achieved recognition in a number of artistic fields, notably in painting but also in sculpture and in music.
Charles Swinnerton (1813-1907)
Charles Swinnerton (CS/259) is descended from the Betley Tree. He first went to the Isle of Man from Liverpool to dress stone for the building of King William’s College, the island’s only public school. While there, he met his future wife Mary, and quickly decided to stay. He became a celebrated mason, and there are many examples of his work scattered around the island’s graveyards and churches. Among his children were the Revd Charles (link to entry), the sculptor Joseph (link to entry), and the artist Frederick (link to entry), who all changed the spelling of their name to Swynnerton. Charles resolutely remained a Swinnerton, however.
Charles Swinnerton (1813-1907)
Charles was born on the 19th October 1813 in Liverpool, the fifth son (out of a total of 6 sons and 2 daughters) of Joseph Swinnerton and Hannah, nee Dodd. Joseph had been born in Betley and was the Master of the Charity School there for a time. Subsequently,however, he appears to have moved around the country a good deal as he had children born in Chester, London and Newcastle-under-Lyme before finally settling in Liverpool about 1800.
As a small boy, Charles witnessed the first steam boat to sail in the Mersey and the first railway train between Liverpool and Manchester. He learned the trade of stonemason and in his mid-teens travelled to London to work with the intention of proceeding to Rome to improve himself as a sculptor. However, this was not to be, and instead he crossed the Irish Sea to the Isle of Man where he was to work initially at dressing the stone being used in the building of King William’s College (1830-33). The crossing to Douglas took 2 weeks due to headwinds and heavy seas, a journey that today takes just a few hours!
He took lodgings in Castletown, where the College was being built, and there met Mary Callister or Collister – it has been spelt both ways — of a family who were resident in Cronk Renny, Castletown. She kept a small school near the country hamlet of St Marks. They married on the 13th August 1834 in St.Mary’s, Castletown, but subsequently moved to Douglas where he took up employment with Messrs. W.& R.Quiggin – timber, slate and general merchants. Mary is listed in the 1846 Directory of Douglas as a Staymaker. Their home at 60 Fort Street is listed in the 1847 Directory as a boarding house.
Charles’s talent was soon recognised by the general public; firstly for a Grecian Urn carved on a local tomb, and later a bust of one of his children carved in stone “direct from nature”.
By 1843 he had entered into partnership with Daniel Creer, a fellow stonecutter, with whom he purchased several building plots and erected terraced houses in the developing town. However the partnership did not last; by 1843 it had been dissolved and they had gone their separate ways. Charles moved to Fort Street where his wife advertised ‘Desirable Lodgings’. His stone yard, in which he employed 2 stonecutters and 5 labourers, was immediately opposite the house and backed directly onto the shore. Years later his eldest son Mark recalled how his father had tried to raise a pig in the yard. The pig was very fond of seaweed but never grew any bigger than a ‘good sized tom-cat’!
Charles was a man of many parts: he was the maker of the first steam engine ever made in the Isle of Man which drew crowds of country people to his house after Market on Saturdays. He took a great interest in things antiquarian, and due to his initiative several runic crosses and other historic objects were collected for the local museum.
One of his most ingenious works was a beautifully sculptured sundial enriched by Gothic ornamentation, a figure of Old Father Time and several grotesque heads: the unique feature was that it had sixteen dials each giving a different time for a different place in the world. One account says that the heads were all of different races of people, and when the shadow of the hand fell on a certain head, e.g. a Chinaman or an Egyptian, it told the time in that land. This article apparently appeared in America and was entitled Famous Sundials of the World. A Mr Joe Cannell of Cleveland showed it to Charles’s grand-daughter Florence: the article said that the sundial had been in the nunnery grounds for many years and was then taken to a boy’s school where it had been defaced. It was traced from there to a private estate in England but had since disappeared entirely. The calculations were all undertaken entirely by Charles. John, a great-great grandson of Charles, possesses a book in manuscript form entitled Problems in Dialing – As Worked Out and Figured by Charles Swinnerton, Douglas 1840. The book was bound in Sienna by the Reverend Charles Swynnerton to whom it was given by his father in 1905.
The mainstay of Charles’s business was monumental carving, which ranged from very straightforward headstones to the best examples to be found on the Island. His ecclesiastical work included gargoyles, angels, pulpits, fonts and reredos.
Charles worshipped at St.Thomas’s in Douglas, and when in 1875 they decided to erect a school he entered the open competition for the design of the building. His plan won first prize but he offered his services as architect free of charge. He also undertook some carving on the building and, at the foundation-stone laying ceremony, the vicar’s wife who performed the ceremony was presented with an engraved silver trowel which had been made and supplied by Robert Swinnerton, Charles’s 28 year old son who was a watchmaker and jeweller.
Amongst other work he carried out was the pulpit back of the altar wall in the chapel at Bishop’s Court and a reredos of Caen stone in St.Thomas’s Church, Douglas. This has since been replaced by a wooden one, but pieces of the original can be seen in the Castle Rusben Museum.
Charles took an active part in the affairs of the town of Douglas having been elected to the Town Commissioners or Council in May 1867. He topped the poll of 6 candidates with 124 votes, the last candidate gaining only 10. He retired from business in 1882 at the age of 69 and realised his life-long ambition to go to Rome where he spent 9 weeks out of his 3 months visit to Italy.
In 1890 he had a house-cum-studio built at Gansey in the south of the Island which was also used occasionally by his sons Joseph, the internationally known sculptor, and Frederick, the artist.
Charles died on the evening of St.George’s Day 1907 at the grand age of 93 years, 6 months and 4 days, having previously shown no signs of illness. He was buried in St.Peter’s Churchyard, Onchan, which is near Douglas where his wife had been laid to rest 33 years before on the 1st January 1874. He had, in fact, carved the plain headstone for this family grave himself and included his own name and the numbers 18… intending the mason to put in the last 2 numbers of the year he died. He had obviously never visualised that he would live on into the 20th century, and so, after the funeral, the whole reference to the date had to be carved out by cutting a recessed panel and a new date was then carved into it.
Charles and his wife are further commemorated in St.Matthew’s Church which is only a few yards away from their first home on the quayside at Douglas. The memorial, which was provided by their son the Reverend Charles Swynnerton, is a stained glass window depicting St.Matthew and is a very fitting memorial to a man who spent a lifetime creating memorials to others.
The Manx Quarterly reported that he was a commercial success and a ‘gentleman with a delightful manner’. According to family notes, his retirement home on the shore at Port St.Mary was very beautiful and had superb views of the sea and rocks and headlands all around, which was a definite encouragement to his artistic children. His grandchildren Godfrey and Frances said he never really got over the death of his wife Mary despite having outlived her by so long. She was described as being tall and slender but very soft and gentle. She was a very well educated person and a great reader but was a semi-invalid for years before she died. Another granddaughter, Florence, describes how she used to go to the churchyard at Onchan with her grandfather to visit her grandma’s grave; it had a high ornamental black iron fence around it which was always covered with delicate pink and mauve blossoms which were very fragrant.
(From the original article in the Manxman by Richard Kelly and additional notes by Douglas Swinnerton, another of Charles’s great grandsons).
Charles Swinnerton Heap (1847-1900)
English organist, pianist, composer and conductor.
Music in the Five Towns 1840-1914, by R. Nettel, includes many references to Charles Swinnerton Heap.
See Wikipedia article.
Frederick Swinnerton (1858-1918)
Frederick Swynnerton was a painter of some distinction, elected a fellow of the Society of Antiquaries of London and lectured on the prehistoric remains on the Isle of Man. Bought wall-paintings of the Domus Aurea while on a stay in Rome, later sold to the British Museum. One of five brothers, including the Rev. Charles Swynnerton, and the sculptor Joseph Swynnerton, who was married to the painter Annie Louise Swynnnerton, née Robinson, the first woman to be elected to the Royal Academy.
Frederick Swinnerton (1858-1918)
From the book At Tate Britain by Inigo Thomas, son of our late Patron Lord Thomas of Swynnerton, and Frederick’s great-grandson:
Frederick never knew a single career. He wrote about Neolithic Manx history, he wrote on Indian themes for the Journal of the Anthropological Institute of Great Britain, but painting was dominant. He was taught first in Rome, where he lived in the ménage kept by his older brother Joe and his wife, Annie Swynnerton, the painter, suffragette and the first woman to be elected to the Royal Academy. He went on to the Académie Julian in Paris and then set out for India, hoping to make a career for himself as a portrait painter. (He never entirely got over his time in Rome. He revisited the city years later and acquired part of a mural from Nero’s Golden House, which depicts Leda waiting for her swan. He sold the fragment to the British Museum in 1908 – the portraitist of one empire collecting and selling the art of another). He married the daughter of an Anglo-Italian fencing and soldiering family, and lived with them in Simla.
None of Frederick Swynnerton’s pictures is on display, which is no surprise since his art was uneven and much of it lost. In 1917, he went to Bombay to see his daughter Margery (past President of the Swinnerton Family Society), who had been a nurse in Iraq, where she caught pneumonia – she would become my grandmother. His idea of a get-well present was a bottle of champagne. She, like her father, was a painter, and shared his belief in the therapeutic powers of fizz. “Tea? Coffee?” she asked when I went to have breakfast with her after an overnight flight from the US. “Champagne?”
Fred died suddenly in Bombay in 1918, and was buried at the Sewri cemetery. He had been on his way from one empire to the ruins of another: he was bound for Rome.
James Guilford ‘Jimmy’ Swinnerton (1875-1974)
American desert landscape painter and cartoonist, best known for his landscape paintings of the American West. His work portrays sublime landscapes in a harmonious way, creating compositions and color relationships that are ordered and picturesque.
Jimmy Swinnerton’s work has become highly collectible, with auction prices well into five figures. He is listed in Davenport’s Art Reference and Price Guide, Hughes’s Artists in California, The Red Book of Southwest Art, Who Was Who in American Art, and Mallett’s Index of Artists. Further information can be found in the book Jimmy Swinnerton, the Artist and his Work by Harold Davidson.
James Guilford ‘Jimmy’ Swinnerton (1875-1974)
Known as ‘the Dean of Desert Artists,’ Swinnerton (JS/443) didn’t go to the desert by choice. He was a Californian, and attended the San Francisco Art Association Art School where he studied under William Keith and Emil Carlsen, along with classmate Maynard Dixon. His skills were noticed by a young William Randolph Hearst, who brought Swinnerton to New York to work for his newspaper syndicate. He penned two comic strips, Little Jimmy, and Little Tiger. But in 1903, at the age of twenty-eight, he contracted tuberculosis, and for health reasons Hearst sent him back to California, this time to the desert community of Colton.
From 1903 onward, he was a painter of the desert. At first, his renditions were not accepted. Critics expected the vast wastelands of the Sahara, but Swinnerton persisted. He explored the Southwest throughout New Mexico, Arizona (nine years before it became the 48th state), Utah, and California. His favoured subjects included the Grand Canyon and portraits of Native Americans. He even had a comic strip of Native American children called Canyon Kiddies, which was published in Good Housekeeping Magazine.
Decades after Swinnerton drew Little Jimmy and the Canyon Kiddies, these strips were made into animated cartoons. In 1936, the Little Jimmy character was a guest star in Max Fleischer’s Betty Boop, while Canyon Kiddies was animated by the great Leon Schlesinger for his Merry Melodies cartoon series, which later featured such animation greats as Bugs Bunny, Daffy Duck and Porky Pig. In 1939, however, Schlesinger decided to do an altogether more natural cartoon, based on Jimmy’s Canyon Kiddies, called Mighty Hunters.
A young director was hired called Chuck Jones, who went on to become an animation legend, not only for his work on Bugs, Daffy and Porky cartoons, but also for creating the wonderful Road Runner & Wile E. Coyote. For possibly the only time in his career, Chuck Jones and his team actually did some location filming, going out with Jimmy into the desert. Jimmy went on to paint fifty backgrounds for the cartoon, in oils rather than his usual watercolours. Jones described the trip with Jimmy as exhilarating, and it has been suggested that the memory of this trip was a big influence on him when he later came to create the Road Runner cartoons, also set in the deep desert.
See also the Wikipedia article.
There are numerous websites with artwork by Jimmy, such as these:
https://www.artnet.com/artists/james-swinnerton/
https://www.medicinemangallery.com/blogs/biographies/james-swinnerton-1875-1974-biography
https://www.mutualart.com/Artist/James-Swinnerton/DBBCD6A03E29F2DB
https://animationresources.org/comics-jimmy-swinnerton/
Books illustrated by or about Jimmy include:
Fables of the Elite by Dorothy Dix, illustrated by James A Swinnerton (R.F. Fenno & Company, 1902) (often available on eBay)
Cartoons and Sagebrush: Jimmy Swinnerton by Harold G. Davidson (often available on eBay)
Jimmy Swinnerton: The Artist and his Work by Harold G.Davidson (Hearst Books 1985)
Jimmy! The Comic Art of James Swinnerton by Peter Maresca and Michael Tisserand (Sunday Books Press, 2025)
Jimmy also features heavily in Shadows on the Mesa: Artists of the Painted Desert and Beyond by Gary Fillmore (Schiffer Publishing 2012)
Online articles about Jimmy come and go all the time – a simple online search will reveal the current ones.
Joseph Swynnerton (1848-1910)
Joseph Swynnerton (JS/91) was the son of Charles Swinnerton the stone mason, and was apprenticed to his father from the age of 13, going on to study at Edinburgh University aged 20, financed by his father. He became the foremost of the Manx sculptors, and also demonstrated his talent in painting. There is a detailed article about him in Volume 12 No.6 of the Swinnerton Family History magazine. He was married to Annie Swynnerton ARA. There is also a biography at this Isle of Man website.
Mark Swenarton, BA, MA, PhD, FRHistS, FRSA, HonFRIBA
Architectural critic and historian, and Emeritus Professor of Architecture at Liverpool University since 2015. Since then, he has remained active in design review, particularly with the Oxford Design Review Panel (2014-), and as an architectural critic and judge. In 2020 he took up the editorship of Architectural History: The journal of the Society of Architectural Historians of Great Britain, serving as editor for a three-year term, and remaining on the editorial board thereafter.
MARK SWENARTON
Mark originally trained as an architectural historian, and has practised as such for many years, focusing on twentieth-century housing. Later he also became an architectural critic and editor.
From 1977 to 1987 he taught at the Bartlett School of Architecture (University College London) where, with Adrian Forty, he set up the first Masters’ course in Architectural History in the UK. In 1989, with Ian Latham, he founded the monthly journal Architecture Today, co-editing it from 1989 – 2005. This was followed in 2000 by EcoTech. He remained publishing editor of both titles until 2005.
He was head of the architecture school at Oxford Brookes University from 2005-10, and from 2011-15 held the inaugural James Stirling Chair of Architecture.
Publications include:
- Homes fit for Heroes : The Politics & Architecture of Early State Housing in Britain (1981)
- Artisans & Architects : The Ruskin Tradition in Architectural Thought Vol.1 (with Ian Latham) (1989)
- The Politics of Making (with Igea Troiani and Helena Webster) (2007)
- Feilden Clegg Bradley: the Environmental Handbook (Editor, with Ian Latham) (2007)
- Building the New Jerusalem: Architecture, Politics and Housing 1900-1930 (2008)
- Architecture and the Welfare State (2014)
- Cook’s Camden: The Making of Modern Housing (2017)
- Housing Atlas: Europe – 20th Century (2023)
Mark has also contributed articles to many different journals and magazines over the years.