Lonely Lakelander

Five years ago I had never heard of Percy Kelly (1918–93). I knew the work of some Cumbria artists, and much admired the dark and moody landscapes of Sheila Fell (1931–79), for instance, but Percy Kelly had not then registered on my radar. He was already highly regarded in the Lake District, but it was not until after his death that his work was really exhibited and promoted. He was one of those artists who believe in their own value, and want others to share their high opinion, but are not prepared to sell their work to achieve this. Time and again Kelly was offered exhibitions and sabotaged them, while potential buyers were frustrated in their attempts to purchase the paintings and drawings they admired. Only posthumously was this to change, and in the past two decades the work of Percy Kelly has become increasingly valued and widely known.

Looking through my bookshelves, I now have seven paperback and four hardback publications devoted to Kelly. The majority of these were put together, and in some cases written, by Chris Wadsworth, who used to run the Castlegate House Gallery in Cockermouth, Cumbria, the commercial gallery that has done the most to introduce Kelly to a wider audience. But Wadsworth is by no means Kelly’s only advocate, nor even the longest serving. This accolade goes to Mary Burkett, former director of the Abbot Hall Art Gallery in Kendal and doyenne of Lakeland art. In 1997 she wrote the first book on Kelly, and in fact it was Burkett who first encouraged Chris Wadsworth to exhibit Kelly’s pictures, so it may be said that the two of them are together responsible for the revival in Percy Kelly’s artistic reputation.