Details of Sculptor

Surname

Gatley

Alternative Surname

First Name

Alfred

Initial of Surname

G

Year of Birth/Baptism

1816

Flourished

Year of Death

1863

Biographical Details

Gatley received considerable critical acclaim for his work but nonetheless struggled to make a living as a sculptor. His father, William, owned and worked two stone-quarries in the Kerridge Hills near Macclesfield. His mother Betty (or possibly Hannah, née Henshaw) died when Gatley was only 7. He was given space in his father’s yard and taught how to use a stonemason’s tools from an early age. At 17 he produced a finely carved bust in Kerridge stone of the poet John Milton, proudly signed and dated ‘Alfred Gatley, A.D. 1833’ (23). In the same year he carved a pair of Kerridge stone statuettes, copies of James Thom’s celebrated figures, Tam O’Shanter and Souter Johnnie (13, 14). Sir Francis Chantrey is said to have admired the skilful execution of these early works, particularly given the basic tools and materials then available to Gatley.
His talent was recognised and encouraged by a local clergyman, James Sumner of Pott Shrigley. Sumner arranged for Gatley to be sent to London to receive formal training and an introduction was arranged to Edward Hodges Baily. Baily was apparently impressed by Gatley’s ability but only offered him a salary of 10/- a week since he had no experience of working with marble. Gatley diligently applied himself to his studies: he drew and modelled in Baily’s workshop in the evenings, studied books on anatomy and the antique and gained permission to draw at the British Museum. Within 2 years he was accepted at the Royal Academy Schools where he obtained silver medals in the antique and life academy in 1841, 1842, and 1844. His bust of Hebe (24) was his first work to attract public notice: this was selected by one of the prize-winners of the Art Union of London. Gatley was paid £20 and the bust was cast in bronze by the firm of J A Hatfield. Editions were distributed to lottery winners. Gatley was the first sculptor to benefit from the Union’s patronage; his bust was was included on the frontispiece to the London Art Union Prize Annual in 1845 together with figures by more established sculptors. In 1843 Gatley moved to the studio of Musgrave Lewthwaite Watson and in 1847 he established himself as an independent sculptor. He continued to receive much-needed encouragement from his friends in Cheshire; a subscription was raised for a bust of the Bishop of Chester, John Sumner (36). Other important commissions for busts include one of General Espartero, ex-regent of Spain (33) and another of the theologian Richard Hooker (43).
Having worked in London for some years with only limited success Gatley moved to Rome in 1852, where he hoped his talent would receive greater encouragement. He took a studio near the Porta Pinciana and became a friend of John Gibson RA, with whom he shared an admiration for Greek art. He produced his first full-size classical figures at this time, Echo and Night (17, 18). Echo was one of Gatley’s favourite subjects and at least 3 versions in marble are known. Another important work from this period is A Greek hero leading a bull to sacrifice (19). Gatley was also recognised for his animal studies, particularly his lions and tigers (20-22), which earned him the title ‘the Landseer of sculpture’ (Athenaeum, 1863, 748). In 1851 he was consulted by Samuel Christie-Miller MP on the decoration for a mausoleum to commemorate the bibliophile William Henry Miller (12). W H Miller had left his fortune and estates at Craigentinny and Britwell to his cousin, Samuel Christie (subsequently Christie-Miller) on the stipulation that a sizeable mausoleum should be erected to his memory. Gatley suggested the subject of Pharaoh and his army in the Red Sea and, to his delight, he was given the commission, with another for a companion relief, Song of Moses and Miriam. These two epic scenes were inspired by ancient Greek and Egyptian relief sculpture and share dynamic compositions, angularity of style and deep, incisive cutting. For a period Gatley’s prospects looked good, his reputation grew and he moved to larger studios behind the Piazza del Popolo. In 1862 his Pharaoh relief was given a place at the International Exhibition in London. It was widely admired: The Queen magazine described it as ‘among the noblest productions of modern art’ (July 1863) while the Art Journal declared that ‘there is not a sculptor in Europe who would not consider it an honour to have been its author’ (1863, 181). Gatley also submitted Echo and Night along with some animal studies. Although his work was well received, nothing was sold and no new pieces were commissioned. Bitterly disappointed, Gatley returned to Rome where he continued to work on the Miriam relief. He was however plagued by financial worries and deeply concerned about his future prospects to such an extent that he considered emigrating to Australia to make a fresh start. In June 1863 he caught a severe chill, which developed into acute dysentery and on 28 June 1863 he died.
Gatley was buried in the Protestant Cemetery in Rome. The inscription over his grave described him as: ‘great in his works, a loyal citizen, beloved by many and respected by all. He had a kindness of heart, and a hatred of all that was false. He lived a Christian’s life, and died at the age of 47’. Gatley never married. He was described as deeply religious, honourable and conscientious but also shy, sensitive and prone to melancholy. He was apparently ‘pale and careworn’ in appearance, but possessed a ‘fine face’ and ‘luminous eyes’ through which his ‘intellectual and imaginative power shone’ (Sumner 1885, 731). In its obituary, the Art Journal attempted to account for Gatley’s lack of commercial success: ‘The style he chose admitted of no facile compromise of the classical with the pictorial. It descended not to seek an easily-purchased popularity by softly-blended forms, after the manner of the romantic. The school to which he belonged was stern and strict. The English public failed to comprehend the largeness of his manner.’ (AJ, 1863, 322).
Caroline Jordan
Literary References: Palgrave 1862, 145, 269; Athenaeum, 25 July 1863 (obit); Sumner 1885, 722-36; Alfred Gatley: Kerridge boy who became famous sculptor, Bollington Festival Prog, 1964; Reaney 1968, 34-5; Avery and Marsh, 1985, 328-37; Wells 1999, passim
Archival References: Gatley corr transcribing copies of letters sent by him to friends & family, started in Rome 1853 and including account of visit to Florence, priv coll; Gatley/Atkinson; Gatley/ Cope; Gatley/ Rathbone
Portraits of the Sculptor: J Adams-Acton, exhib RA 1860; another, Marcianno da Tuna, Roma, 1862 (private coll)