Robert Farren: Artist and Social Commentator

It was a sad irony to discover in the Museum of Cambridge the beautiful book of etchings by Robert Farren, Cambridge and Its Neighbourhood, published in 1881, just as Farren’s house of the same year, Mayfield, 110 Hills Road, was reduced to a hole in the ground during the massive demolition works at the junction of Station and Hills Road, in August 2024.

Robert Farren was a well known Victorian artist based in Cambridge who created paintings and etchings of landscapes, classical literary themes and scientific scenes. A remarkable picture from 1850 is ‘Life in the Jurassic Sea’ in the Sedgwick Museum; another is ‘Degree Day’,1863, held by Trinity Hall.

Life in the Jurassic Seas c.1850

In 1881 Robert was 49, his occupation that of ‘fine art paintings.’ With him in Hills Road lived his wife Annie, widower father William and twelve children. Five of these children have occupations such as ‘fine arts’ and ‘photographer’ suggesting a strong creative streak running through the family.

His 1881 publication, ‘Cambridge and Its Neighbourhood’, was published with a preface by John Willis Clarke, fellow of Trinity and Superintendent of the Cambridge University Museum of Zoology from 1866 to 1892. Farren’s dedication is to Professor and Mrs Humphry; George Humphry was the distinguished surgeon who was professor of human anatomy from 1866 to 1883.

There are twenty-five numbered plates but many other charming incidental illustrations, not all of them the scenes that might be expected in a book of classic views of Cambridge. Clarke points out that Farren starts his series of pictures with the oldest part of the city, the ‘Burg’ or ‘Borough’ which of course is just where our Museum is situated. The commentary continues in the form of a tour through the centre of the modern city and then out along the Trumpington Road to other local villages.

Earlier censuses locate Robert Farren in a variety of interesting places. In 1851, 14 year old Robert is already describing himself as an artist, possibly involving heraldry. His address is rather vague, ‘behind the Town Hall’ where his father is a publican. His 1912 obituary described him in his younger days as ‘a handsome figure, tall and well-built. He was a skilful fencer and attained some note as a geologist.’

In 1861 he is curator of the Geological and Mineralogical Museum (now Gonville and Caius library) where he is also living with his wife and seven children. He was assistant to Prof. Adam Sedgwick. His father is next door at ‘Kings Old Gateway’ working as a plumber. Robert published engravings of local scenery and went into partnership with his brother William to found a photography business in 1869. He left this business a year later but in the meantime his ‘Degree Day’ painting was published as a photo.

The Farren family by 1871 had moved to Brunswick Place, off Maids Causeway. At the time the census was taken Robert was away in London visiting Thomas Edwards, a portmanteau maker, but his wife Anne had her hands rather full with twelve children and a single servant to help. Robert exhibited at the Royal Academy from 1872 to 1889.

In 1891 the whole family were in Scarborough, possibly on holiday and by 1901 they were at 61a St Andrew’s Street, Cambridge.

In 1911 they were living at 29 Station Road not far away. Robert is now a widower, aged 79, an oil and water colour painter. His daughters Mary, 55, Anne, 53, Jessie, 52, and son Alexander are listed at this address and described as painters.

An obituary in 1912 (Saffron Walden Weekly News 20th Dec) describes his work in several media, watercolour, oils and etching. His etchings of cathedral cities, the Fens, and Cambridge Greek plays were very well known. Robert and his wife were buried at Old Chesterton churchyard.

Farren: An important witness on social inequalities in 19th century Cambridge

by Dr N Henry

Farren’s book of etchings include several pastoral scenes showing farmers at work or churches surrounded by flocks of sheep and herds of cows reflecting the 19th century nostalgia for pre-industrial  countryside life.

Ditton Church

The same nostalgia is mirrored in his commentaries on the new architecture emerging during that time. Old buildings are pulled down and a new “modern ugliness’ is emerging (Farren’s words). “Blocks of red bricks” are replacing the old timber framed buildings which he predicts will soon be pulled down.

Blind man begging outside Little St Mary’s

Interestingly, Farren is also keen to picture social inequality in 19th century Cambridge. He draws beggars in front of churches – the Round Church and Little Saint Mary’s. The depiction of an older blind man asking for money outside Little Saint Mary’s is especially poignant. These two etchings contrast with that of “The Bank” in Trinity Street where one can see a smartly dressed bank manager standing proudly on the door step as a poorer looking woman and boy walk past.

The Bank, Trinity Street

In this book of etchings Farren is not interested in what he calls “the City of Palaces” but aims to portray the old authentic town with its run down housing where the true people of Cambridge lived, a far remote world from that of the colleges with their sumptuous feasts and elegant spires.

Further information:

The E-book of ‘Cambridge and Its Neighbourhood’ can be found within the entry on Capturing Cambridge for 110 Hills Road.

Robert Farren: Artist and Social Commentator

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