Grave Restoration Ceremony: Willesden Jewish Cemetery
by Carolyn Conroy
Simeon Solomon’s restored grave was unveiled in an informal ceremony at Willesden Jewish Cemetery on the afternoon of Sunday 6 July 2014. The occasion took place on a warm and sunny day and was very well attended by supporters of the restoration project, Solomon enthusiasts, art lovers and members of the Solomon/Salaman family.
Mr Frank Vigon has for the past year been raising money to restore Solomon’s grave by giving talks about the artist and his work to various groups around the country. Frank discovered Solomon’s work some years ago when he was preparing a talk on the rarity of Jewish artists throughout history and had been dismayed at the very poor state of the artist’s grave after visiting it some time ago (see before and after images of the grave below). Frank felt that the grave should be restored, particularly given Solomon’s re-emergence over the past twenty years as an important figure in the Pre-Raphaelite, Aesthetic and Symbolist movements of the nineteenth century. Frank was also aware of the notion of honouring the dead from a Jewish perspective and believed that it was important to perform a mitzvah (a moral deed or an expression of human kindness) by restoring and repairing the grave site.
A little over a year after he began Frank had raised enough money through his talks and private donations to begin liaising with staff at the Willesden Jewish Cemetery about the proposed restoration of the grave. He was put in touch with Joss Nakoo from Stone Art Memorials who designed and carved a new slate slab to be placed over the grave. An image of one of Solomon’s more familiar designs The Sleepers and the One who Watcheth was carved into the new stone, and in addition, text was added to the stone that acknowledged Solomon as a ‘Pre-Raphaelite Artist.’ The wording on the new stone also incorporates the biblical phrase 'Until the day break and the shadows flee away' from the Song of Solomon. The Song of Solomon (or the Song of Songs) was the artist's favourite book from the bible and and its themes run consistently throughout the artist's work. The phrase 'Until the day break' was used by Solomon for many of his images such as a drawing from 1859 now in the collection of the British Museum.
It was decided that the original headstone should be cleaned and lifted back into its original place. Unfortunately much of the carved text from the original headstone had weathered away, although on close inspection the word SIMEON still remains. The new kerb stone was carved with the following text:
This grave has been restored with donations received from individuals, museums and galleries, arts and social organisations, & religious communities in admiration and appreciation of the art of Simeon Solomon.
Mr Frank Vigon has for the past year been raising money to restore Solomon’s grave by giving talks about the artist and his work to various groups around the country. Frank discovered Solomon’s work some years ago when he was preparing a talk on the rarity of Jewish artists throughout history and had been dismayed at the very poor state of the artist’s grave after visiting it some time ago (see before and after images of the grave below). Frank felt that the grave should be restored, particularly given Solomon’s re-emergence over the past twenty years as an important figure in the Pre-Raphaelite, Aesthetic and Symbolist movements of the nineteenth century. Frank was also aware of the notion of honouring the dead from a Jewish perspective and believed that it was important to perform a mitzvah (a moral deed or an expression of human kindness) by restoring and repairing the grave site.
A little over a year after he began Frank had raised enough money through his talks and private donations to begin liaising with staff at the Willesden Jewish Cemetery about the proposed restoration of the grave. He was put in touch with Joss Nakoo from Stone Art Memorials who designed and carved a new slate slab to be placed over the grave. An image of one of Solomon’s more familiar designs The Sleepers and the One who Watcheth was carved into the new stone, and in addition, text was added to the stone that acknowledged Solomon as a ‘Pre-Raphaelite Artist.’ The wording on the new stone also incorporates the biblical phrase 'Until the day break and the shadows flee away' from the Song of Solomon. The Song of Solomon (or the Song of Songs) was the artist's favourite book from the bible and and its themes run consistently throughout the artist's work. The phrase 'Until the day break' was used by Solomon for many of his images such as a drawing from 1859 now in the collection of the British Museum.
It was decided that the original headstone should be cleaned and lifted back into its original place. Unfortunately much of the carved text from the original headstone had weathered away, although on close inspection the word SIMEON still remains. The new kerb stone was carved with the following text:
This grave has been restored with donations received from individuals, museums and galleries, arts and social organisations, & religious communities in admiration and appreciation of the art of Simeon Solomon.
Solomon's grave in a dilapidated state Feb 2014
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Joss Nankoo working on the new stone
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The grave is repaired and prepared for the new stone
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The new stone and kerb stones are fixed into place
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The original headstone is cleaned and the restored grave unveiled July 2014
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The grave before unveiling
The ceremony began with an address from Mr. Peter Hamburger, a member of the Salaman family and great grandson of Myer Salaman, (Myer was Solomon's first cousin and provided him with a surety when the artist was arrested in 1873). Peter described Solomon's close association with his Salaman cousins who continued to provide the artist with clothes and money despite the hardship of his life after his 1873 arrest and spoke of the pride that the family still feel in Solomon's artistic achievements. Peter also explained how the market for Solomon's work has strengthened considerably over the past few years, and that at one time in the 1950s and 60s the artist's work could be found on market stalls for a relatively small amount of money, whereas the most recent Christie's sale of one of his drawings made over £23,000.
The grave was then unveiled by Mrs Maureen Lambourne (widow of one of the first Solomon researchers, Mr. Lionel Lambourne), Dr. Gayle Seymour ( currently Professor of Art History at the University of Arkansas and writer of the first PhD thesis on Solomon in 1985), Mrs. Pam White (nee Solomon) and myself, Dr. Carolyn Conroy. After the unveiling I spoke about the gratitude that I, and other art historians have, for the work of Lionel Lambourne who began researching Solomon's life and work in the early 1960s. Lionel produced the first published writing on Solomon during a time when the artist's work was unpopular, unfashionable and his homoerotic and Aesthetic images considered degenerate. I went on to suggest that Lionel had described Solomon as “one of the most fascinating figures of the Pre-Raphaelite Circle” and “like Oscar Wilde, Simeon put his talent into his work, and his genius into his life.” At the end of the ceremony Frank Vigon thanked everyone for attending and gave special thanks to everyone who had contributed to the fund raising efforts. Frank described how their generosity had enabled the grave of this important artist to be restored.
My friend and colleague on the SSRA, Roberto Ferrari, reminded me that Solomon would have been ‘tickled pink’ to know that he was the centre of such attention that afternoon, one hundred and nine years after he was laid to rest in Willesden Cemetery, and ultimately he would have been thrilled that he had not been forgotten.
Many thanks from the SSRA to everyone who attended the ceremony on the 6 July, to Frank Vigon for his amazing fundraising efforts, to Pam Solomon for her constant support, and heartfelt thanks to everyone who contributed to the cost of the restoration works.
Simeon Solomon Research Archive
Pictures of the ceremony.
The grave was then unveiled by Mrs Maureen Lambourne (widow of one of the first Solomon researchers, Mr. Lionel Lambourne), Dr. Gayle Seymour ( currently Professor of Art History at the University of Arkansas and writer of the first PhD thesis on Solomon in 1985), Mrs. Pam White (nee Solomon) and myself, Dr. Carolyn Conroy. After the unveiling I spoke about the gratitude that I, and other art historians have, for the work of Lionel Lambourne who began researching Solomon's life and work in the early 1960s. Lionel produced the first published writing on Solomon during a time when the artist's work was unpopular, unfashionable and his homoerotic and Aesthetic images considered degenerate. I went on to suggest that Lionel had described Solomon as “one of the most fascinating figures of the Pre-Raphaelite Circle” and “like Oscar Wilde, Simeon put his talent into his work, and his genius into his life.” At the end of the ceremony Frank Vigon thanked everyone for attending and gave special thanks to everyone who had contributed to the fund raising efforts. Frank described how their generosity had enabled the grave of this important artist to be restored.
My friend and colleague on the SSRA, Roberto Ferrari, reminded me that Solomon would have been ‘tickled pink’ to know that he was the centre of such attention that afternoon, one hundred and nine years after he was laid to rest in Willesden Cemetery, and ultimately he would have been thrilled that he had not been forgotten.
Many thanks from the SSRA to everyone who attended the ceremony on the 6 July, to Frank Vigon for his amazing fundraising efforts, to Pam Solomon for her constant support, and heartfelt thanks to everyone who contributed to the cost of the restoration works.
Simeon Solomon Research Archive
Pictures of the ceremony.
Stones and pictures left on the new grave
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The ceremony
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The ceremony
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The ceremony
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