Hidden Self-Portrait by English artist Norman Cornish found at the Bowes Museum

The exhibition will also now feature a newly discovered self-portrait by Norman Cornish. This new painting was uncovered during conservation work to Cornish’s painting Bar Scene.  The Bowes Museum’s Conservator Jon Old, described its discovery as ‘magical’. Although it shows Cornish in his younger days it is not yet known where this never-before-seen painting fits in the wider chronology of the artist’s works, but it has now become the 29^th known self-portrait by Cornish and will be proudly displayed facing the other self-portraits in the exhibition.

The newly discovered and never-before-seen Cornish self-portrait, found during conservation work at The Bowes Museum, will now form part of the museum’s major Kith and Kinship: Normal Cornish and LS Lowry exhibition.

In addition to this exciting new discovery, a powerful range of other artworks will showcase the traditional and familiar industrial scenes often associated with the area. However, the exhibition also gives a unique insight into a wider, and different, story of the north: the everyday warmth, connection and community – often borne out of the adversity and challenges of harsh industrialisation – that was present in everyday life. It foregrounds the sparks of joy and light where people found a deeper connection with others, from large gatherings to more intimate moments gossiping on street corners. It is this interplay between work and community, and finding beautiful stolen moments in daily life, which gives the exhibition its title ‘Kith and Kinship’.

Vicky Sturrs, Director of Programmes and Collections at The Bowes Museum said: ‘Both Cornish and Lowry were extraordinary storytellers of their time – recording and depicting the lives of the people in their communities as well as the north east’s familiar landscapes in scenes that we can all relate to. Many of the works in this exhibition have an incredibly visceral feel – you can almost feel the warmth of the home, smell the chip van and hear the laughter.

‘Visitors will be greeted by self-portraits from each artist – including the newly discovered Cornish self-portrait – alongside a pencil drawing of the majestic Stone Gallery in Newcastle upon Tyne, where the two artists exhibited together for over 15 years. This really sets the scene for ‘Kith and Kinship’, showing the long relationship they shared. Cornish and Lowry had a beautiful way of capturing everyday scenes associated with the north, but our exhibition will also showcase a different side of the region that is perhaps unexpected, which we hope visitors will really enjoy.’

The exhibition takes visitors on a journey from ‘meeting’ both artists to seeing their perceptions of the different environments they encountered. These, and the experiences shared by their friends, family and the wider community within those places, are beautifully documented throughout. The artworks span different themes, from community and working life to the role of women.

The community coming together in everyday scenes, whether outside of work or the home, is perhaps best seen in Cornish’s The Gossipsand Four Shoppers (where women are seen huddled in small groups chatting and exchanging stories), and in Lowry’s Teenagers and Family Group where his familiar stick figures are gathered. The exhibition also shows gatherings on a larger scale, from Cornish’s Big Meeting 1947 depicting one of the biggest days in the north east calendar when all the mining villages met, to Lowry’s The Procession 1927 whereby a crowd gathers at Swinton Market, Pendlebury, with Manchester’s industrious mills belching smoke in the background.

Women – often described as ‘heroines of the coalfield’ – are celebrated throughout the exhibition. The roles they played within the community, at home and in the wider landscape are portrayed, often showing their comradery, sense of community and strength. A highlight is Cornish’s intimate painting of his wife Sarah Peeling a Potato, which really embodies the love, gratitude, and admiration he had for her. She is drawn in a prayer-like posture, bringing an almost spiritual aspect to the painting.

Visitors can also see a different style from Lowry with more figurative sketches and paintings of his loved ones. These include portraits of his mother and father, and Study of a Girl in Peasant Dress 1917, which are quite unlike his more familiar matchstick style figures.

Kith and Kinship also explores the more familiar working lives of Cornish and Lowry’s subjects. Paintings such as Cornish’s Miners on a Pit Road and Lowry’s The Mill Gates perfectly portray the north’s industrial roots and the harsh working conditions endured by so many. In contrast, there are also a range of artworks showcasing the light relief that was also experienced. Lowry’s Lancashire Fair and A Cricket Match evoke feelings of joy and happy memories from weekends and holidays, and Cornish’s The Busy Bar 1976 contrasts the appalling conditions of working underground by highlighting the convivial nature of a warm pub, where workmates are seen sharing a pint after work.

Hannah Fox, Executive Director of The Bowes Museum said: ‘Cornish and Lowry capture life and its nuances in a way that everyone can understand and connect with. Making art accessible is hugely important, and we hope that by displaying over 50 works showing all walks of life, different landscapes and celebrating the ordinary and the extraordinary, will not only capture the imagination of our visitors but also show how everyone can get involved with art and creativity. We will also have a dedicated space within the exhibition for visitors to share what kith and kinship means to them, which will give a fascinating insight into the wider community.

‘Local artists and makers have also brought their own perspectives to the exhibition by creating an engaging accompanying booklet which will be available in autumn and will sit alongside some of the works on display. Alongside the exhibition interpretation, this booklet will show how the universal themes that Cornish and Lowry capture will not just resonate with those from the north, but with a much wider audience too. This connection with the local community is fundamental as The Bowes Museum continues to grow and become a hub for all artists and makers in the region and beyond,’

Norman Cornish (1919 – 2014) was born, raised and worked as a miner in Spennymoor, County Durham, before becoming a professional artist. L. S. Lowry (1887 – 1976) was born in the north west, but frequently took breaks from his work as a rent collector to visit Berwick-upon-Tweed and Sunderland to paint, noting that the north east was what he had “…always been looking for”.

Cllr Amanda Hopgood, Leader of Durham County Council, said: ‘We are delighted that whilst undergoing conservation work the painting ‘Bar Scene’, which we have loaned to The Bowes Museum, has revealed this remarkable new self-portrait. It makes a fantastic addition to the wonderful body of work that Norman Cornish is known for. We’re very much looking forward to it being enjoyed by the public, and to continuing our work with the Museum and other partners as we cement our place as ‘The Culture County’. In doing so, we seek to build on two momentous years in which visitor spend has climbed to record levels in excess of £1billion.’

Main Image:  Norman Cornish, L-R: Self Portrait with Spectacles; Sarah Peeling a Potato; Big Meeting 1947; Miners on a Pit Road; and The Gossips (all © Norman Cornish Ltd)