A prize-winning student at the Royal Academy of Arts, influenced by Sir Joshua Reynolds,[1] he achieved eminence in his native area, the North East of England.

[6] The young William Bell grew up during a period when Newcastle's cultural and intellectual life was flowering.

On 30 January 1769, aged 34, he was one of the first six students admitted to the Royal Academy Schools,[9] where promising young artists could work in London under the direction of master painters.

[10] His picture did not win, but he tried again in 1771 and was awarded a gold medal, which was presented to him by Sir Joshua Reynolds, the president of the Academy.

The Newcastle Courant of Saturday 4 January 1772 reported his success thus: “We hear from London that Mr William Bell, son of Mr William Bell, Bookbinder of this town, has had the honour of receiving his Majesty's premium of a gold medal, value 20l, at the Royal Academy, for the best composition and painted historical picture; the subject Venus intreating Vulcan to forge the armour of Aeneas.” No student of the Royal Academy, having won one of its medals, was permitted to enter the same competition again.

While he was studying in London, Bell spent periods in his home area, painting for Sir John Delaval.

Later, in 1774, Bell painted portraits of Sir John and his daughter Elizabeth, thus completing a full family set.

In 1775, the Royal Academy showed a pair of pictures, depicting Seaton Delaval Hall from the north and the south, and the following year the Free Society of Artists exhibited Susanna and the Two Elders.

For the next eighteen years until his death, Bell based himself permanently in the North East of England and specialised in intimate portraits, limiting his work to local commissions.

He added to the array of family portraits at Doddington Hall, employing prestigious painters such as Joshua Reynolds.

[23] Then, at the end of the 1760s, he turned his attention to Seaton Delaval Hall and employed William Bell to help him realise his plans.

John Delaval was sufficiently impressed with Bell's work to offer him an annual income of £50 (about £9000 in today's money) and a cottage to live in.

[4] Bell thus effectively became Delaval's staff artist,[24] painting on a grand scale and acting as drawing master for his children.

[25] A significant further benefit for Bell was that, when he was studying and painting in London, he was able to live at Grosvenor House, the Delavals’ metropolitan residence.

[14] This patronage, coupled with Bell's studentship at the Royal Academy, led to a somewhat itinerant existence for several years, lodging as necessary in London but returning regularly to his own cottage, 300 miles away in Northumberland.

His options for further advancement were to take up an offer from Sir Joshua Reynolds to become one of his regular assistant artists painting draperies,[4] to aim for independence, or to rely on continuing patronage.

In July 1775, Delaval's only son, Jack, died suddenly at the age of 19, and thus ended the squire's hope of passing on his estates to an heir.

Then, by the end of the year, a long-running family dispute over property left Sir John angry with a brother who lived in London.

During the exhibition season of 1776, Bell lodged “At Mr. Thickbroom, Organ Builder, New Round Court, Strand”,[14] and thereafter he made no further effort to pursue a career in London.

In late 1778, Bell oversaw the preparation of two engravings for William Hutchinson's book, A View of Northumberland.

This illustrated guide to stately homes included a eulogistic description of "the seat of Sir John Delaval", accompanied by two views of the Hall, based on the oil paintings that Bell had exhibited in London in 1775.

[31] When William Bell arrived in Newcastle, he chose to work at the same address,[32] and probably used Joseph as his supplier of paints.

William Bell's premises were in an attractive part of town, which housed a host of skilled tradesmen, vendors and professionals.

The copies are mentioned in a letter written to Delaval at his London address by his manager in the North East: "Last Wednesday the bottle sloop Good Intent sailed, and has on board 14 pairs of young pigeons in 2 cages, and two small whole-length pictures that Mr. Bell was painting when your lordship was down; the other of Mrs. Jadis[34] which he had into Newcastle to copy is not done that I hear of, as he was to let me know when it was finished, to be sent with the others.

The medal he had won in 1771 became a renowned trophy in Newcastle, as indicated by the detailed eye-witness description of it given in 1789 by John Brand, a local historian.

On one side was the head of King George III, on the other a representation of Minerva directing a youth to the Temple of Fame, accompanied by the motto “Haud facilem esse viam volvit.” Under that was the awarding body: “R.

Monochrome reproduction held by National Gallery of Art, Washington, and Courtauld Institute, London.

Time discovering Truth, with two other figures of Envy and Detraction* Entered for Royal Academy's first competition, 1769.

Francis Peacock, Masonic Grand Master* Painted for the new St. John's Lodge in Newcastle upon Tyne, which opened in 1777.

Full-colour reproduction from sale catalogue on file at Heinz Archive of National Portrait Gallery, London.