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'Rush Bearing' - a painting by Alexander Wilson (British, 1803-1846)

Alexander Wilson (British, 1803-1846) 'Rush Bearing'
Alexander Wilson (British, 1803-1846) 'Rush Bearing' signed and dated 'A Wilson/Pinxt 1821'


The present lot depicts the ancient folk custom of ’Rush Carting‘ taking place along the narrow street of Long Millgate in Manchester.

According to local history, the tradition is pre-Christian but was adopted into the church calendar, in rural Northern England, in the early 19th Century. In the days when church floors were earthen, rushes would be gathered and strewn on the church floor in autumn as insulation for the winter months. Rush Carts were built to carry these rushes from village to village and along the way took part in an annual festival in celebration of the church’s saint’s day.

In the area of Saddleworthshire, east of Manchester, nearly every hamlet or village built a Rush Cart to compete with their neighbours for the best and most energetic display. Men, boys and, on occasion horses, would pull up to two tonnes of rushes loaded on to each cart, secured with four rods on each corner, bent and tied at the top. The load was then topped with a small tree and an elected ’jockey‘.

The displays were accompanied by music, singing, dancing and other entertainments and would often attract the entire village onto the street, as can be seen in the illustrated lot by Alexander Wilson. It would not be unusual to see ten or twelve Rush Carts in one street.

Born in 1803 into a local family of notable talent, Alexander Wilson was a self-taught artist and songwriter well known for his paintings of successful racehorses and sportsmen such as The Finish, (1882) and The Manchester Cockpit. When he painted the present lot, his best know work of the Lancashire Rush Cart, he chose Long Millgate as the scene, the cart being represented as passing the Manchester Arms.

The picture is full of interest and many well-known residents are represented among the group. The Rev. Joshua Brookes is seen to the lower right about to strike a college boy, presumably because the latter was neglecting his duties in being there. Close by is Gentleman Cooper, a noted pedestrian of the day, the artist himself to the left, and a portly publican, Henry Slater. The Rush Cart, fronted with silver plate, is drawn by brightly decorated horses, and is accompanied by a group of Morris dancers, who are giving an exhibition of their skill in front on the inn, from the windows of which some excited individuals are shouting.

The whole scene is resplendent with local character, from the unruly mop to the right and the topers riding on top of the cart, to the disobedient farm animals, running loose among the crowd, purveying a hint of chaos amid the celebration. The vibrancy of the composition brings a sense of the occasion to every viewer making this depiction a unique caption of the heritage of the North West.

Towards the end of the 19th century, earthen floors began to be replaced by stone and the once necessary practice of spreading rushes became an outdated tradition. Rush Carts continued to visit the churches, selling the rushes to the landlords to be used as animal bedding, however in 1921 the police finally put a stop to the displays following complaints about drunkenness and one or two deaths. In 1975 The Saddleworth Morris Men revived the practice and have been building and parading Rush Carts in the Manchester area ever since.

With thanks to Andrew Loukes of the Manchester Art Gallery, Richard Hankinson of The Saddleworth Morris Men and Sem Seaborne of The Icknield Way Morris Men for their contribution to the above footnote.

Laura Turnbull

Bonhams (Est. 1793)

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