John White Abbot (1764-1851), Peamore, 1802. Watercolour and ink on paper Purchased 1947.

This exhibition introduces William Hesketh Lever (1851-1925), later the first Viscount Leverhulme, as a notable collector of British watercolours and drawings. It traces Lever's taste and his relationship with some of the most renowned art dealers of his day.

The exhibition is in three sections. Follow the links below to see the watercolours and drawings in each one.

Lever's taste was relatively traditional and this section of trhe exhibition reflects the range of his original collection. He acquired a small number of 18th century works but his purchases were dominated by 19th century artists, including the Pre-Raphaelites and the later generation of Victorians like George Pinwell and Frederick Walker.

He rarely purchased watercolours and drawings direct from the artists. This section illustrates the relationships he established with the London-based dealers Agnew's and Gooden and Fox. He continued buying artworks from these dealers until shortly before his death in 1925.

Lever's earlier purchases were made when he had less money. They were often cheaper and were of interest to him for their decorative effect. His purchase of Helen Allingham's 'Old Cottage, Pinner' in 1896 marks a more serious and systematic approach to collecting. By 1918 Lever's wealth enabled him to buy more 'big name' artists like JMW Turner. Also displayed in this section is George Apperley's 'The Death of Procris', a rare example of a picture that was sold by the Trustees after Lever's death then later re-purchased for the collection.

The Lever and James Orrock section explores Lever's relationship with the collector, art dealer, artist and former surgeon-dentist James Orrock (1829-1913). Some of the most attractive watercolours and drawings in the collection were acquired through Orrock. In fact Lever purchased separate collections from Orrock on three occasions; these included furniture and paintings as well as watercolours and drawings.

The artists included here are amongst those Orrock favoured as best representing the English school of watercolour painting. David Cox is featured as well as artists inspired by him such as Thomas Collier. One of Orrock's own works is shown in this section.

Two watercolours displayed here were purchased by Lever as genuine David Cox paintings but have since been confirmed as forgeries. This raises the possibility that Orrock was involved in forging works and that his dealings with Lever were at times less than honest.

The final section, Collecting by the gallery after Lever's death, highlights acquisitions made for the Lady Lever Art Gallery after Lever's death using the endowments he had provided. Most of these works were acquired by the Trustees in the 1940s and 50s, mainly through the Fine Art Society in London, in an effort to fill perceived gaps in the collection.

As a result of these purchases the Trustees acquired some additional significant works for the gallery. These include early 18th century watercolours such as John White Abbot's 'Peamore' and some later Victorian material including William Callow's 'Malines'. Other works like Simeon Solomon's 'Mystery of Faith' were bequeathed to the gallery.