The paintings are listed together because they both depict the same mountain range and the general treatment appears similar.
WHERE SHATTERED MOUNTAINS LIE
Sometimes misnamed ‘Where Sheltered Mountains Lie,’ but ‘shattered’ is the word used in the 1934 studio sale catalogue, so believed to be correct.
- Medium: oil on canvas.
- Dimensions: different sources give different sizes, 1270 x 660 mm (0.84 m²), 1256 x 648 mm (0.81 m²) and 1245 x 635 mm (49 x 25 in, 0.79 m²), the width/height proportions being the same (less than 1:50 difference), and the average dimensions being 1257 x 648 mm (0.81 m²).
- History: 1920-1930; signed and dated 1930 according to auction aggregate sites, but relationship to The Soul’s Journey, which is dated to 1925 or earlier, makes a compositional date of the earlier 1920s possible; exhibited Royal Academy, 1930, no. 267; exhibited Aberdeen Art Gallery, 1931; auctioned Christie’s, London, 9 Feb 1934, “The artist’s studio sale; Christie’s, 9 February 1934, lot 66 “Title verso,” sold; auctioned Phillip’s, London, 6 Mar 1991, “Title / verso,” sold; auctioned 14 Jun 1991; auctioned 3 Jun 1994; auctioned 11 Aug 1994; auctioned Christie’s, London, 20 Oct 1994, “inscribed and dated ‘Mrs A.L. Swynnerton ARA Where sheltered Mountains Lie/1930,” sold.
- Location: unknown.
THE SOUL’S JOURNEY
- Medium: oil on canvas.
- Dimensions: 1613 x 1003 mm (1.62 m²), unframed.
- History: exhibited 1923, Manchester Art Gallery (visible in exhibition photo); exhibited Royal Academy, 1925 (The Guardian, London, 2 May 1925); “Exhibited at the Carnegie Institute, Pittsburgh, Pa., U.S.A. Exhibited Manchester 1932” (posthumous studio sale catalogue, typographical error for 1923?); auctioned Christie’s, 9 Feb 1934; given to Glasgow Museums by Francis Howard, 1952; also known as “The Soul’s Awakening.”
- Location: Glasgow Museums Resource Centre.
The mountains in the two paintings form a continuum, suggesting that they were painted during the same period, perhaps the early 1920s, in spite of The Soul’s Journey being signed and dated 1930. It is known that Annie would work on pictures over extended periods, meaning years could elapse between original composition and final working.
Combining the images suggests that the figure in The Soul’s Journey could originally have been more central and the canvas to have been truncated, or that Where Shattered Mountains Lie may similarly have once been a larger work.