In the fine art collection of the USGA Golf Museum is a watercolor by artist Adeline Maud (A.M.) Dobinson. The drawing is a scene from the 1926 Open Championship at Royal Lytham & St Annes Golf Club in Lancashire, England. Chosen for its aesthetic qualities, the piece depicts what would become a major moment in golf history as Bob Jones registered the first of his three Open victories.
Research does not show that Dobinson had an established relationship with golf. This drawing was likely the result of an opportunity that presented itself – a major event taking place a 20-minute walk from her residence.
By positioning herself near the 18th hole, Dobinson is able to create a casual, bustling scene with simple, painterly brushstrokes and a basic color palette. The composition is largely pale blue-gray skies. Spectators gather while others make their way on the course. She renders the lines of the tent’s white top with more precision. Flags hanging from Royal Lytham’s iconic flagpole wave in the wind. The stately clubhouse can be seen on the left in the distance. Dobinson’s unique perspective provides a fresh look at an iconic moment in the game’s history with beauty and spontaneity.
This drawing was immediately unframed upon entering the Museum’s collection in 2016. Unframing allows collections staff to ensure that any harmful materials are no longer in contact with a piece, that condition issues can be quickly identified, and that works on paper can be stored flat and away from damaging light until they are needed. Unframing is a careful, methodical process that is photographed at each step. As staff began the unframing process, a second unrelated watercolor was discovered on the back of the 1926 Open drawing. This second drawing was an intimate landscape that was arguably less successful than the 1926 Open painting. Artists often did this to conserve materials and would reuse the back of what they considered a less important piece or sketch in favor of a new one. Given the state of the framing, this drawing was probably hidden away for quite some time.
The eventual reframing of this piece using materials that will ensure its longevity will have the added challenge of conserving the hidden drawing. Although the 1926 Open drawing is our priority, the painting on its back is part of this object’s story and, ultimately, under our care. This drawing joins the approximately 1,500 pieces of fine art in the Museum’s collection that will be preserved for generations to learn from and enjoy.