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The Ferry House, Matlock Bath, from a painting by H H Cubley
Matlock Bath : Twentieth Century Photographs, Postcards, Engravings & Etchings
 
Ferry House, Matlock Bath, from a painting by H H Cubley
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On the Lovers' Walk
- and the Ferry, 1900


By the same artist


Pic Tor



Church and Boat House, Matlock Bath



The Heights of Abraham, from the Derwent, 1904



The Derwent, Matlock Bath - and the Ferry


Biography of artist


"Hadfield Cubley painted a very fine picture of the Ferry House, and it was always to be seen in the New Bath Hotel in what was then known as the Morning Room (on the left of the entrance). The interior of the hotel has changed quite a bit since those days[1]". Unfortunately, somebody put a knife through the canvas; the picture's whereabouts is unknown[2].

Cubley's autumnal scene of the Ferry House includes his two daughters feeding the ducks; although they aren't the artist's primary subject they somehow steal the show and this is something children still like to do. The girls are standing on the wooden landing stage on the banks of the Derwent that was used for both the ferry and for the hire of rowing boats. Interestingly, the ferry rope and the support pole on that side of the riverbank are missing from this painting. The painting was shown in the Royal Academy summer exhibition although the year is unknown[1].


A Ralph Tuck & Sons "Oilette" [Regd,] Postcard 1660. Art Publishers to their Majesties the King and Queen.
Posted at Bishops Stortford on 10 Oct 1904. The message is not about the view.
The postcard had the usual side bar for the card's title and message that was part of all postcards produced in the first decade of the twentieth century but has been omitted to present a slightly larger image.
Postcard in the collection of, provided by and © Ann Andrews.
Intended for personal use only.

References:

[1] Reminiscences of the late Mr. Frank Clay, from his private papers and notes owned by the webmistress. My late father was describing Matlock Bath shortly after the first war and this extract written about 1998.

[2] From Ken Smith