Mystery of Dornoch poem from the trenches By Caroline McMorran Published: 11:15, 24 January 2021
Get the Northern Times sent to your inbox every week and swipe through an exact replica of the day s newspaper
Pre-lockdown, Lynne Mahoney was contacted by Sanna Cameron, who recently moved to the town.
The newspaper clipping was tucked in the back of this William Daniell print.
Ms Cameron showed Ms Mahoney a gift she had been given of a print of the town by landscape and marine artist William Daniell (1767-1837).
But it was not so much the print that was of interest, but what had been found in the back of it.
National Gallery, London
Much has been written about John Constable’s success at the Paris Salon of 1824, but his participation in the next Salon of 1827–8 has received far less attention. This relative neglect is perhaps not so surprising, given that the single painting he exhibited,
The Cornfield 1826 (fig.1), did not repeat his earlier triumph. The same Salon at which Constable met with a critical setback, however, also marked the debut of Paul Huet, the artist usually regarded as his closest French follower. But if critics and artists seem out of step in their attitudes to the English artist in the later 1820s, the real flowering of Huet’s engagement with Constable has often been overlooked, since it came more than a quarter of a century later.