The more than 30 paintings by Edward James painted between 1861 and 1877, now on exhibition in the Bermuda National Gallery, provide a fascinating insight into life in 19th century Bermuda - one of the most colourful chapters in the Island's history.

They also represent a first in bringing together for public display paintings from the collections of the Bermuda National Trust, the Bermuda Historical Society and the St. George's Society, all of which are stored at the Bermuda Archives, as well as others loaned by private collectors.

Several years in the planning, 'Man of Mystery, The Artwork of Edward James' was curated by Mrs. Nan Godet, and has as its lead sponsor the Bank of Bermuda Foundation, with further financial assistance from the Ministry of the Environment and Government Services, the Bermuda Arts Council, and BNG chairman, David White.

James, a surveyor for the Crown, was also a prolific watercolourist whose work was experimental yet highly commercial and noted for its vibrant yet soft use of colour.

Just why James has been dubbed 'a man of mystery' relates to uncertainty as to who he really was. A passenger on the vessel Devonshire, which was en route from London to New York but diverted here in distress in 1861, he was believed to have left England under a cloud of suspicion and with an alias. Once here, James elected to stay. Reputedly a naval architect, he was commissioned as Surveyor General of Lands in 1862, a poorly paid position which he would lose three years later, apparently on the recommendation of Governor Hanley for breaching Civil Service rules by writing uncomplimentary letters to the daily paper. Meanwhile, James was befriended by US Consul Charles Maxwell, whose headquarters were in St. George's. His support, and the fact that James painted so many coastal and harbour scenes, particularly those featuring blockade runners, caused some to suggest that he was really a spy.

Whatever James' true identity and mission, as an artist he made no secret of the fact that he was keen to sell his work from the moment he set foot on dry land here in November, 1861. One month later he place his first advertisement in The Bermuda Royal Gazette, offering paintings and sketches completed whilst sailing on the ill-fated Devonshire. Some of these are included in the current exhibition.

During his years here, James captured a wide range of subjects and documented many historic news events. At a time when many of his contemporaries focussed on landscapes, portraits and technical studies, he concentrated on recording various facets of community life, ranging from the purely social to the spectacular, as well as marine activity, scenic points of interest, town festivals and more. He also produced informational posters.

"He was probably the first to do landscapes which were not military in character," Mrs. Godet says. "People liked looking at his work because it was so detailed."

Indeed, it is because of this detail that today's viewer can gain valuable insight into an exciting pastiche of Bermudiana - everything from the dramatic blazing of cotton bales at Penno's Wharf; a burning hulk, presumably at Dockyard, to the majesty of nature in forms as diverse as an underground cave and a ghostly cedar tree. The near-virgin landscape in a view of Gibbs Hill lighthouse, and the quiet serenity of a water view near Crow Lane are sharp reminders of man's rapacious use of land in the interim.

The momentousness of the occasion when the Causeway was opened in 1871 is palpable, and is one of many subjects which the artist produced in numbers. In fact, within this exhibition there are also other paintings which show a similar habit, albeit in various formats, and apparently in collaboration with other artists.

Among the latter was James Athill Frith, the son of slaves from St. George's, and a successful photographer who had studios in Bermuda, Cuba and Jamaica. Frith proclaimed himself "the originator of moonlight photography", and one of his black and white photographs is an image of a Causeway painting by James, indicating that the two knew each other and captured some of the same subjects.

The 30 paintings in the current exhibition are but a sampling of James' prolific output; many more repose within the Bermuda Archives and in private collections. However, what is on show, both in the entrance foyer and in the Oondatje Wing, is not only a feast for the eye, but compelling in its ability to inform and educate. Informative panels add to the visual lessons.

James painted with a meticulous hand, a lovely sense of composition, and even some humour. The bearded man with the yellow coat, stick and straw hat who appears in some scenes is reputed to be the artist himself. Viewers will have fun looking for him. The artist's apparent fondness for goats is also evident in many of the paintings.

That James also experimented with various techniques to add mood and meaning to his paintings enhances the viewing experience. He used dark washes, for example, to portray the brooding effect of storm-struck disasters at sea and the interior of a cave; as well as varying shades of grey, whites and ochre to effectively convey the atmosphere of night scenes.

James was apparently quite a character in the local community. In addition to his art, he published announcements for social and cultural events, advertised private and group art lessons, quarrelled bitterly with the Governor and no doubt many others. From written records by his contemporaries, he apparently had a chronic drinking problem which contributed to his death in 1877. Nearly 140 years later, however, the legacy of his talent remains as rich and unblemished as ever.

'Man of Mystery, The Artwork of Edward James' continues through January 12, 2002. Gallery hours are 10 a.m. to 4 p.m. Monday to Saturday. Special educational material has been prepared by National Gallery's Mrs. Louisa Flannery and Dr. Nicola O'Leary of the Bermuda National Trust for distribution to P5 and P6 art and history teachers. Special tours for school groups are also available by advance booking. To arrange these, and for further information ( 295-9428 or fax 295-2055.