Helen Allingham 1848 – 1926
(née Paterson) (illustrations signed H Paterson or H Allingham)
Watercolourist and illustrator.
26 September 1848 – 28 September 1926
Education
Attended the Unitarian School for Girls, Altrincham.
1862-1866 Studied at the Birmingham School of Design.
1866-1868 Studied at the Female School of Art in London.
1868-1872 Registered at the Royal Academy Schools to study painting (from 1870 rarely attending: see Allingham [née Paterson], Helen Mary Elizabeth (1848–1926), watercolour painter | Oxford Dictionary of National Biography (oxforddnb.com)
1872 Took evening classes at the Slade where she met Kate Greenaway.
Some Key Achievements and Interests
1868 Worked as an illustrator for different children’s magazines.
From 1869 provided illustrations for London engraver Joseph Swain and took other work on commission.
Employed as one of the founding members of staff on The Graphic, a weekly periodical for which she illustrated. She resigned from this post when she married.
1874 Exhibited at the Royal Academy.
Exhibited watercolours at the Dudley Gallery.
From 1874 contributed regularly to the Illustrated London News and the Cornhill Magazine.
Commissioned to illustrate 1874 serialisation of Thomas Hardy’s Far from the Madding Crowd.
1875 Achieved associate status in the Royal Watercolour Society (A. R. W. S.).
1886 Successful sole exhibition of 62 paintings ‘Surrey Cottages’ at the Fine Art Society in New Bond Street, London. Subsequently she exhibited annually at the Fine Art Society until 1913.
1887 Exhibition ‘In the Country’ showing 82 paintings.
1890 Became first woman full member of the Royal Society of Watercolours when it opened its doors to women. From 1875-1925 exhibited regularly for the Society.
1893 Exhibited at the World’s Columbian Exposition in Chicago.
Very popular artist throughout her career in the 19th century specialising in idealised rural views and watercolours of country gardens and cottages.
Issues
Her father died when she was a teenager leaving the family in difficult financial situation.
When she attended the Royal Academy School she had to find work to pay her living expenses.
Restricted to black and white illustration until married William Allingham when, for a period, no longer needed to earn a living.
After her husband died leaving her with 3 young children, she was under financial pressure. This resulted in her increasing her output of popular watercolours.
Initially unable to become a full member of the Watercolour Society as women barred from membership.
In the 20th century failed to gain the attention she had previously caught when her work began to be considered sentimental and old fashioned.
Connection to Bloomsbury
Female School of Art and the Slade School of Art.
Female networks
Many in the art and literary world. Aunt Laura Herford, Kate Greenaway, Gertrude Jekyll.
Work – a wealth of paintings
Many watercolours feature in:
1903 Happy England compiled in collaboration with Marcus B Huish
1905 The Homes of Tennyson
1909 The Cottage Homes of England by Stewart Dick
Burgh House, Hampstead, London has a large archive and collection of Allingham’s work.
Other work is held in the Victoria and Albert Museum and the British Museum.
Further Reading