Paper

Student Artwork Guide

Samuel Gregson

Name Class Date

James Lonsdale, Samuel Gregson, Lancaster Town Hall. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
James Lonsdale originaluniqueart.com/en/artists/james-lonsdale/
Artist’s dates
1777 – 1839
Original size
76 x 62 cm
Held at
Lancaster Town Hall originaluniqueart.com/en/museums/lancaster-town-hall-lancaster/

In context

Samuel Gregson — James Lonsdale

How big is it?

The original measures 76 × 62 cm (height × width), drawn here beside an adult of average height.

When might this have been painted?

  1. 1770
  2. 1780
  3. 1790
  4. 1800
  5. 1810
  6. 1820
  7. 1830

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 62 at death.

Shaded: the lifetime of James Lonsdale (1777–1839) every dated painting, decade by decade

First works: up to 1810 Main working years: 1810–1825 Late works: from 1825

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/james-lonsdale-samuel-gregson-AQUCQX-en/

Colours

Measured from the image

    Main colour

    Walnut #80572a

    Catalogued palette

    • #80572A
    • #231F14
    • #B68F4D
    • #352C1E

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Walnut
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by James Lonsdale over the last twelve months — 5 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 60.9%1,400 visits
    2. 2 United States of America 17.4%400 visits
    3. 3 United Kingdom 8.7%200 visits
    4. 4 Singapore 8.7%200 visits
    5. 5 Hong Kong 4.3%100 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by James Lonsdale

    1. 1 John Ellman 16.0%400 visits
    2. 2 James Elmes (1782–1862), 1810 8.0%200 visits
    3. 3 Angelica Catalani (1780–1849), 1808 4.0%100 visits
    4. 4 Caroline Amelia Elizabeth of Brunswick, 1820 4.0%100 visits
    5. 5 Mary Dalton, Daughter of John Dalton and Mary Dalton, née Gage, 1819 4.0%100 visits
    6. 6 Abraham Rees, 1802 4.0%100 visits
    7. 7 Caroline of Brunswick (1768–1821), Consort of George IV, 1820 4.0%100 visits
    8. 8 Susan, Daughter of Thomas Townley Parker, 1809 4.0%100 visits
    9. 9 Thomas Stewart Traill (1781–1862), 1832 4.0%100 visits
    10. 10 Sir Thomas Stamford Raffles (1781–1826), 1817 4.0%100 visits
    11. 11 Self Portrait, 1810 4.0%100 visits
    12. 12 John Lewis Petit (1736–1780), Physician, Pensioner (1752), Censor of the Royal College of Physicians 4.0%100 visits
    13. 13 John Reay, Sheriff of London (1814–1815) 4.0%100 visits
    14. 14 General Isaac Gascoyne (1770–1841), 1829 4.0%100 visits
    15. 15 Charles Howard (1746–1815), 11th Duke of Norfolk, 1816 4.0%100 visits
    16. 16 John Pepys (c.1776–1866) 4.0%100 visits
    17. 17 Charles Wellbeloved (1769–1858), 1826 4.0%100 visits
    18. 18 Louisa Wildman (1800–1879) 4.0%100 visits
    19. 19 Augustus Frederick (1773–1843), Duke of Sussex 4.0%100 visits
    20. — Samuel Gregson this painting 0.0%0 visits

    Together these works take 92.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 65 works by this artist, of which 21 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Artist and museum

    Artist

    James Lonsdale

    The Genesis of a Portraitist

    Born in the historic city of Lancaster on May 16, 1777, James Lonsdale emerged from a background of intellectual stability as the son of William Lonsdale, a respected solicitor. While his lineage suggested a path toward law, the seeds of artistic passion were sown early through the nurturing encouragement of his father and the keen eye of Richard Threlfall. As an architect of Lancaster, Threlfall recognized a burgeoning brilliance in the young Lonsdale, providing him with access to the refined atmosphere of Ashton Hall. It was within these aristocratic circles that Lonsdale first encountered the elegance of high society, an experience that would later serve as the very foundation of his professional life and subject matter.

    Before ascending to the prestigious halls of formal art education, Lonsdale’s hands were practiced in the meticulous world of pattern design at Margerison and Glover’s print-works. This early immersion in draughtsmanship instilled in him a disciplined precision, a quality that would become indispensable when he transitioned from decorative arts to the profound complexities of portraiture. His journey reached a definitive turning point in October 1801, when he entered the Royal Academy Schools. Under the tutelage of the legendary George Romney, Lonsdale underwent a transformative period of refinement. Romney’s influence was more than academic; it was an infusion of soul into technique, teaching Lonsdale how to balance meticulous anatomical accuracy with a certain poetic vitality that breathed life into his sitters.

    A Legacy of Character and Command

    Lonsdale’s career was defined by a prolific output and an unwavering commitment to the depiction of the British elite. Between 1802 and 1838, he exhibited approximately 130 works at the Royal Academy, establishing himself as a mainstay of the era's artistic landscape. His talent was not merely in capturing a likeness, but in navigating the psychological terrain of his subjects. Whether painting prominent statesmen, literary giants, or members of the landed gentry, Lonsdale possessed a rare ability to convey both the social stature and the inner temperament of those who sat before him.

    His contributions to the institutional fabric of British art were equally significant. Alongside the great Sir Thomas Lawrence, Lonsdale stood as a founding member of the Society of British Artists, an endeavor that sought to provide a platform for artists outside the traditional hegemony of the Royal Academy. This spirit of innovation and professional organization marked him as a pivotal figure in the evolution of the British art market.

    The breadth of his technical ambition is perhaps best exemplified by his most monumental commissions. One of his most celebrated achievements remains the grand depiction of King John signing the Magna Carta for the Duke of Norfolk at Arundel Castle. This work, far more than a mere historical record, stands as a testament to his ability to manage complex compositions, dramatic lighting, and the weight of historical gravity. Through such works, Lonsdale bridged the gap between intimate portraiture and epic historical narrative, ensuring his place in the annals of nineteenth-century art history.

    Reflecting on his life and contributions, several key pillars of his legacy emerge:

    Technical Mastery: A seamless blend of Romney’s expressive style with a disciplined, draughtsman-like precision.

    Historical Significance: His role as a founder of the Society of British Artists helped reshape the professional landscape for UK artists.

    Psychological Depth: An ability to move beyond superficial resemblance to capture the true essence and character of his subjects.

    Versatility: The capacity to transition from delicate portraits of nobility to large-scale, dramatic historical scenes.

    Museum

    Lancaster Town Hall

    On show in Lancaster, United States of America

    A Legacy Etched in Stone: Discovering Lancaster Town Hall

    Lancaster Town Hall stands as a proud sentinel of Lancashire’s rich past, a building that doesn't merely house history but is history. More than just a municipal structure, it is a captivating museum offering an immersive journey through the region’s evolution, from its prehistoric roots to the vibrant present day. The very fabric of the Town Hall speaks volumes – a stunning embodiment of Georgian architecture characterized by elegant symmetry and classic proportions that whisper tales of a bygone era. Commissioned in 1909 to replace an aging predecessor, it was designed by Edward Mountford and Thomas Lucas, with meticulous stonework, furniture, and carvings executed by Waring & Gillow. The building’s creation wasn't simply about replacing old infrastructure; it was a statement of civic pride, funded entirely by Lord Ashton, who envisioned a space that would serve as the heart of Lancaster for generations to come. This dedication is visible in every detail, from the sculpted pediment crafted by F.W. Pomeroy to the radiant stained glass windows created by Shrigley and Hunt – each element meticulously chosen to convey a sense of grandeur and permanence.

    Architectural Marvel:

    The building’s Georgian design—a testament to refined taste and structural integrity—immediately transports visitors back to the early 20th century, showcasing masterful craftsmanship and attention to detail.

    Stained Glass Windows:

    Shrigley and Hunt's stained glass windows depict scenes of Lancaster’s history and heraldry, bathing the interior spaces in ethereal light and adding a layer of artistic beauty to the architectural grandeur.

    Echoes of Valor: The King’s Own Regimental Museum

    Within the Town Hall’s walls resides a particularly poignant collection – the King’s Own Regimental Museum. This dedicated space offers a powerful tribute to the military heritage of Lancaster, showcasing an extensive array of regimental memorabilia and uniforms that bring centuries of service to life. Visitors can trace the lineage and traditions of the King’s Own Regiment, gaining insight into their pivotal role in regional and national conflicts. The exhibits aren't simply displays of artifacts; they are windows into the lives of soldiers, offering a tangible connection to their courage, sacrifice, and unwavering dedication. It is a space that resonates with stories of bravery and resilience, reminding us of the human cost of conflict and the enduring spirit of those who served. The museum’s collection provides a unique opportunity to understand not only military strategy but also the social and cultural impact of war on the local community.

    Regimental History:

    Explore the history of Lancaster's most prominent regiment, delving into their battles, achievements, and contributions to British military tradition.

    Personal Stories:

    Examine portraits and biographical accounts that illuminate the lives of individual soldiers—their experiences, motivations, and impact on the wider community.

    Artistic Reflections: A Cultural Tapestry

    Beyond its historical and military significance, Lancaster Town Hall boasts an impressive art collection that reflects the evolving cultural landscape of the region. Historical paintings and decorative arts offer a glimpse into the artistic sensibilities of past generations, showcasing the talent and creativity that flourished within Lancashire. These artworks aren’t isolated pieces; they are interwoven with the broader narrative of Lancaster's history, providing visual commentary on social trends, political events, and everyday life. The collection is constantly evolving, offering fresh perspectives and inviting visitors to engage with art in a meaningful way. Furthermore, contemporary exhibitions regularly enliven the Town Hall’s spaces, fostering dialogue between artistic traditions and stimulating intellectual curiosity.

    Lancashire Artists:

    Admire works by local artists who captured the spirit of Lancaster throughout different eras—from Romantic landscapes to Victorian portraits.

    Contemporary Exhibitions:

    Discover innovative artistic expressions that challenge conventions and explore pressing social issues, enriching visitors’ understanding of contemporary culture.

    A Living Monument: Preserving Lancaster’s Identity

    Lancaster Town Hall isn't merely a repository of artifacts; it is a living monument to the city’s enduring spirit. Throughout its history, the building has witnessed countless significant events, serving as a backdrop for civic ceremonies, political debates, and moments of both celebration and sorrow. From hosting trials – including early stages of the infamous Dr Buck Ruxton case – to welcoming Queen Elizabeth II in 1955, the Town Hall’s walls have absorbed the echoes of Lancaster's past. Even during times of crisis, such as the COVID-19 pandemic, the building adapted and served a vital function, temporarily housing emergency court proceedings. This adaptability underscores its enduring relevance and its commitment to serving the community. What truly sets Lancaster Town Hall apart is this unique combination of architectural grandeur, diverse collections, and unwavering dedication to preserving Lancaster’s multifaceted heritage – making it an essential destination for anyone seeking to understand the heart and soul of this historic city.

    Historic Trials:

    Reflect on pivotal legal proceedings that unfolded within the Town Hall's walls—events that shaped Lancaster’s legal history and captured the anxieties of a turbulent period.

    Royal Visits:

    Recall moments of national pride as Queen Elizabeth II graced Lancaster Town Hall, symbolizing the city’s connection to British monarchy and its role in shaping the nation’s narrative.

    Where to read more

    • The artist James Lonsdale originaluniqueart.com/en/artists/james-lonsdale/
    • The museum Lancaster Town Hall originaluniqueart.com/en/museums/lancaster-town-hall-lancaster/
    • Similar works More works to compare originaluniqueart.com/en/art/similar/james-lonsdale-samuel-gregson-AQUCQX-en/

    Find this online

    QR code linking to the download page for Samuel Gregson

    originaluniqueart.com/en/art/download/james-lonsdale-samuel-gregson-AQUCQX-en/

    Cite this artwork

    MLA
    Lonsdale, James. Samuel Gregson. n.d., Lancaster Town Hall. https://originaluniqueart.com/en/art/james-lonsdale-samuel-gregson-AQUCQX-en/
    APA
    Lonsdale, James (n.d.). Samuel Gregson [Painting]. Lancaster Town Hall. https://originaluniqueart.com/en/art/james-lonsdale-samuel-gregson-AQUCQX-en/
    Chicago
    James Lonsdale. Samuel Gregson. n.d. Lancaster Town Hall. https://originaluniqueart.com/en/art/james-lonsdale-samuel-gregson-AQUCQX-en/
    Harvard
    Lonsdale, James (n.d.) Samuel Gregson. Lancaster Town Hall. Available at: https://originaluniqueart.com/en/art/james-lonsdale-samuel-gregson-AQUCQX-en/

    Look closely

    Samuel Gregson — James Lonsdale

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Look back at Dr Samuel Parr (1823), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. What might the artist have wanted you to feel?
    5. If you could ask the artist one question about this work, what would it be?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    Is "Samuel Gregson" by James Lonsdale in the public domain, and why?

    "Samuel Gregson" by James Lonsdale is in the public domain - its copyright has expired. Copyright duration runs from the artist's death, which occurred in 1839.

    How light is "Samuel Gregson" overall?

    The perceived brightness of "Samuel Gregson" by James Lonsdale is deep_shadow. It can be matched to the light of the intended space.

    What is the format of "Samuel Gregson"?

    "Samuel Gregson" by James Lonsdale has a portrait format. The format describes the proportions of the composition.