The University of Brighton has available online its publication, Profiles of the Past: Silhouette, Fashion and Image, 1760-1960.
- Annebella Pollen: Peering into the Shadows: Researching Silhouettes.
- Bridget Millmore: ‘To turn sideways’ – an Examination of the Depiction of Hair and Head Dresses in late eighteen century Women’s Silhouettes.
- Johanna Lance: Cutting an Elegant Figure: the Fashionable Male Silhouette, c1790-1820.
- E-J Scott and Lou Taylor: The Impact of Neoclassicism on Silhouette Art in the late eighteenth century.
- Suzanne Rowland: Fashion, Ageing and Identity in Regency Silhouettes, 1810-20.
- Pallavi Patke: The Silhouette as Portrait and Conservation Piece, late 1830-1840s.
- Gabriella Mihok: Shadow, Dress and Identity, 1890-1914
- Jaclyn Pyper: The Material Culture of Nostalgia: Hubert Leslie, Baron Scotford and Twentieth Century Silhouette Portraiture.
- Annebella Pollen: Silhouettes into the twenty-first century.
Click on the “cover” to obtain download options.
The website itself, discussing 250 years of British Portrait Silhouette history, is also worth exploring. See this page on Silhouette Methods and Materials. Costume enthusiasts and Regency Reenactors will welcome the generous Gallery of silhouettes.
The website also brought me (again) to The Regency Town House website. The link provides information on touring the house, which opens again in April 2017. “The House at 13 Brunswick Square, Hove [UK], is a Regency town house built in the 1820’s as part of Charles Busby’s Brunswick Estate. We are creating an archive and museum focused on the history of Brighton & Hove between the 1780’s and 1840’s.”
I found them both while looking for MORE information about the Smith & Gosling silhouettes done by Auguste Edouart (they may have been among those that Edouart lost in a shipwreck! oh, wouldn’t you know…); see my past post entitled The Shades of Pemberley.
The Vaults are OPENING!
For some time I have been reading about the Georgian Papers Programme. I cannot say I am one to read timelines, and hadn’t realized until author and researcher Charlotte Frost sent me a link: The end of January 2017 produced the first glimpses of this five-year project, which unearths documents from the Royal Archives and the Royal Library at Windsor.
FABULOUSLY, the entire project will be free-of-charge and available Worldwide!
According to the recent press release, by the year 2020 350,000 documents from the Georgian period will be available to researchers, scholars and the general public alike – an estimate is that only 15% of the holdings has ever been published.
It is well worth the effort to find the BBC TV program George III – The Genius of the Mad King, which I found to be a fascinating peep into the early days of this “opening of the archives”. From researchers finding a lock of hair, to a look at Frogmore – the retreat of Queen Charlotte and her daughters, to the cries of Princess Amelia (above) through her letters.
Authorized by Her Majesty Queen Elizabeth II, public access is through the cooperation of the Royal Collection Trust, King’s College London, the Omohundro Institute of Early American History & Culture, William & Mary, as well as other key U.S. institutions such as the Library of Congress, Mount Vernon and the Sons of the American Revolution.
- Read Smithson Magazine’s article on seeing the American Revolution through the Eyes of George III
The documents NOW online are a treat to someone like me, with an eye for the Queen and the royal princesses: The Queen’s diaries have shown me, written in her own hand, that the Queen saw “Miss Meen the Paintress” on the 27 October 1789. This was a fertile period for Margaret Meen – and for her pupils, the four Smith Sisters of Erle Stoke Park, Wiltshire.
- Search for Botanical Paintings @ The Vyne, Kew, and also the Lyndley Library, Royal Horticultural Society
I’ve also read a letter from Queen Charlotte to her husband in which the Walsinghams were mentioned – these are relations of Charlotte Gosling (née the Hon. Charlotte de Grey, a daughter of Lord Walsingham; step-mother to my diarist, Mary Gosling). I’ve recently come across a small group of letters, some of which were written from “Old Windsor”, by Charlotte Gosling’s mother. It’s always exciting to find another side of the same conversation!
The digital items also include documents relating to Lady Charlotte Finch and the children of the royal nursery. I’m sure there are many Jane Austen fans who will LOVE to walk through the Georgian Menu Books. They run to 24 volumes! And include menus from Carlton House, Windsor, St. James, and the Brighton Pavilion. _I_ may even have mention of a few of those parties, in diaries and letters, by those who attended (a thrilling thought).
- Fascinating research projects covering aspects of Georgian life and history; viz: music (Handel), medicine, and the Royal Navy
In short, there is MUCH to explore – and many more items to come!
“With Her Majesty’s full authority, the project is part of Royal Collection Trust’s objective to increase public access to and understanding of primary source material held in the collection.”
Natasha Duquette, as one of the editors (along with Elisabeth Lenckos) of Jane Austen and the Arts: Elegance, Propriety and Harmony, has recent uploaded some reviews of the book. One, by Audrey Bilger in the journal Women’s Studies, mentions my contribution, the chapter entitled, “‘A Reputation for Accomplishment’: Marianne Dashwood and Emma Woodhouse as Artistic Performers”.
“Kelly M. McDonald examines Marianne Dashwood and Emma Woodhouse in terms of their skill as artistic performers and sees the primary lessons that each heroine needs to learn as being linked to their initial stance as artists: Marianne, who is ‘consumed with interior passions,’ must cultivate restraint; Emma ‘[c]onsumed with exterior experiences’ must develop deeper insight.”
This is a chapter that I have not revisited in the recent past, yet, given my 2016 topic for the JASNA Annual General Meeting that celebrated the 200th anniversary of the novel EMMA, the ‘art’ of Emma is definitely an ongoing preoccupation of mine. (My paper was entitled, “Sketching Box Hill with Emma”, also given to the Vermont JASNA chapter in December 2016.) I found, in revisiting the paper AFTER transcribing more Smith & Gosling family letters in October and November, that I had a few new points to make on the subject.
But to get back to Audrey Bilger’s review of Jane Austen and the Arts…
Being an academic press (Lehigh University Press), Jane Austen and the Arts is currently selling for $30 (used; paperback) and up on Amazon. Bilger’s comments on the book as a whole, include:
- “The editors perceive the arts in the broadest possible way, … encompassing painting, music, dance, and theater, … also judgment, taste, morality and ultimately reading and writing as aesthetically charged activities.”
- “An excellent preface by Vivasvan Soni, ‘Jane Austen’s Critique of Aesthetic Judgment,’ explains the meaning of the book’s subtitle.”
- “most of the contributions are theoretically nuanced, especially with regard to the history of aesthetics.”
- “the book’s focus on the arts illuminates aspects of Austen’s work in fresh ways…. Readers familiar with the Austen canon will appreciate the book’s numerous close readings and textual analysis.”
Another review Natasha posted is by Marina Cano, for The Modern Language Review. Cano recognizes the volume as “a highly interdisciplinary and polyphonic study”. Cano is especially enthusiastic about Jeﬀrey Nigro’s “The Sister Artist: Cassandra Austen’s Portraits of Jane Austen in Art-Historical Context”: “he argues, here Cassandra was experimenting with the artistic conventions of her time”.
Cano concludes, “Jane Austen and the Arts is a valuable collection in its exploration of Austen’s involvement in the aesthetic concerns of her time and in its examination of little-studied materials.”
Looking today at books.google I see Jane Austen and the Arts listed as being in 204 libraries worldwide; maybe one of these is nearby, allowing you, too, to dip your toe. Would love to hear from readers on any and all aspects of the book (ie, you don’t even have to comment on my chapter!).
It’s a bit of a mystery, because I KNOW I have looked at the letters of Jane and Thomas Carlyle online – but the server seems to be having problems (and it’s been days). They used to be available free; maybe that is changing; I don’t know.
But you can access TWEETS of the Carlyles – and interesting reading they make too; for instance, Thomas Carlyle:
“My existence is marked by almost nothing, but that silent stream of thoughts and whims and fantasies”
Or recently from Jane Welsh Carlyle:
“For me, I am purposely living without purpose”
I was at a New Hampshire second-hand bookstore that I love (Old Number Six Book Depot, in Henniker); one *find* was a “new” book of Jane’s letters – but I have one or two volumes already, and without having the book with me I couldn’t know whether indeed the letters would have been “new” to me or not. Jane Welsh Carlyle is a favorite! Which is why I would have loved to have also cited their site with access to their letters – and put it on the list of Online Diaries and Online Letters that I’ve begun (yes, a work in progress at the moment) on the Regency Reads blog. More coming, as I go through notes – though WHY did I only think of books, and never the terrific finds online??? Some great sites – and great “thoughts” waiting to be discovered.
Not having picked up a paint brush in YEARS, I was looking the other day specifically for artists who paint BOTANICALS; that I found one artist’s blog who showed in words and pictures some thought-provoking work was a bonus I had to share with Two Teen Readers.
This particular post is most INTERESTING, because it tells the consequences to one business (a maker of vellum) when the UK government considered going from vellum to paper. Artist Shevaun Doherty lays out her own thoughts on “what might have been”, which gives the post a personal perspective, too:
But it is Doherty’s sharing her art’s triumphs and challenges that I found especially interesting to read about. And seeing botanicals “under construction,” and how the artist must build up a picture is just a thrill to see (for a picture IS worth a thousand words). For instance, this post from March 2015 called the “War of the Roses“. Or this piece on “Challenges! Painting the Laburnum,” which provided much-needed insight into the work-a-day process of painting botanicals.
Two Teens has a large handful of botanical artists in their company, including the artist Margaret Meen – about whom I’ve written. She taught Queen Charlotte and the royal princesses, but also Aunt Emma Smith and my diarist Emma Smith (aka Emma Austen). I hope in the coming months to see a bit more of their work. Or, at least hear about it. My JASNA AGM presentation touches upon Botanicals – for Mr. Elton mentions flowers that Emma Woodhouse had painted. Thanks to Shevaun’s blog, it’s nice to see the art is alive and well.
This was the scene Last Sunday, at the Victoria Palace Theatre, London:
As you can see, the refurbishment – HAMILTON is to open in October of 2017 – is underway, yet also under-wraps. This (below) was the street scene in the past:
This past summer, stories ran about the refurbishment, including this article in The Guardian, which claims a £30 million price tag.
I must admit, having been in New Jersey (near the site of the Hamilton/Burr duel), and taking in the lyrics so in praise of New York City (“in the greatest city in the world”), it feels as if a little will be lost in translation. NOT that I think fans won’t be queuing for MILES to get tickets.
For once, the BRITISH look forward to something AMERICAN coming to them after being a ‘hit’ in the States (the shoe is usually on the other foot).
On Wednesday the 2nd of March, 1791, James Boswell set down in his diary news of his evening’s entertainment:
“… I dined today at Mr. Gregg’s in the City,… In the evening Miss Gregg played both on the harpsichord and harp and sung admirable well. But I felt none of the fondness for her which made me once rave [fn: This is the sole reference to Boswell’s earlier fondness for Miss Gregg.], and it seemed awkward to me. I stole away in time to be at the Essex Head Club, and not be obliged to act also at supper.”
Miss Gregg – the future Caroline Carr (Mrs. Ralph Carr of Stannington) – was a friend to Miss Augusta Smith (aka “Mamma”) and her sisters, staying at Erle Stoke Park (in Wiltshire), before her marriage.
In the near future, Caroline Carr would become the sister-in-law of Maria Gosling, my diarist Mary’s “Aunt Gregg“. Caroline Gregg and Ralph Carr married in 1793, while Maria Gosling and Henry Gregg married in 1794. Mr. Carr was brother to Harriet Cheney (née Carr), whose watercolor portraits were auctioned at Christie’s in 2005. Harriet painted this little portrait of Lady Compton (née Margaret Douglas Maclean Clephane), which was among those sold:
The little girl is Lady Marianne Compton, her eldest daughter.
I’ve an interest in the Gregg-Gosling-Smith-Carr connection, for there are several letters that tell about the ladies of this generation, interacting with each other. The Boswell sighting has long been known, but was just a little vignette. A moment, all its own.
After last evening, I can add a little “history” to the young Caroline Gregg. She shows up in the book The History of the Family of Carr of Dunston Hill, Co. Durham (1893), the first volume of three in an exhaustive family history. What a FIND!
The young couple lived at 7 Charlotte Street, Bloomsbury; they moved in 1800 to No. 18 Bloomsbury Street (in a house that remained in family possession until 1871). Vacations were spent with the in-laws at Dunston Hill, “travelling in two post-chaises, servants riding. The great cost of travelling at that time is shewn by the fact that the journey each way cost over £50.” (A not-insignificant sum, when some households lived on 350 pounds – or less – a year.)
The country estate the Carrs called home, from circa 1806, was Barrow Point Hill, in Pinner.
The book’s author offers this summation of Caroline (Gregg) Carr:
“This gentle and talented lady was especially distinguished as a musician, both in singing and as a pianist and harpist. She had had the advantage of the best masters, and her fame as an amateur pianist was such that the great Haydn paid a visit to her father’s house in London to hear her play. She was the composer of several musical pieces, one March being written at the express request of the Marquis of Northampton [ie, Emma Smith’s uncle], for the use of his regiment, and has since been highly approved by more than one military band.” Caroline also had an interest in the works of Handel, possessing in score (over several volumes) “all his works”.
Caroline had been born in 1770, and was therefore about 21 years old when her singing and playing entertained James Boswell. How young she might have been when first attracting his eye can be guessed at from mentions of her brother Francis Gregg in 1788, and more especially time spent at “Mrs. Gregg’s” (either Caroline’s sister-in-law, or mother) in 1790.
She died in 1823, aged only 53. She was buried at Pinner Church.
What the book does not touch upon is the strife Caroline and Ralph endured from their respective families, especially Mr. Gregg. Letters in the Northumberland Archives speak of the “cruel treatment meted out to himself [Ralph Carr] and Caroline by her father”. Ralph Carr seems to have had as variable a temper as Mr. Gregg, for Eliza Gosling (Maria Gregg’s sister-in-law) writes of him keeping his wife away from “her own relations … even her Mother.”
As far as Boswell is concerned, however, Mrs. Carr doesn’t yet exist – only Miss Gregg, at her piano or harp, existed to cause him unease.
From the book comes this “charming” signature – oh! for the letters…
Another Charlotte Frost Find – author Catherine Curzon’s new book Life in the Georgian Court plays a featured role in a September 2016 “Jane Austen” evening of music at Brighton’s Royal Pavilion. “Soloists” include Adrian Lukis (Mr. Wickham, Pride and Prejudice) and Caroline Langrishe, who will perform “dialogues”, and harpist Camilla Pay and soprano Rosie Lomas. Catherine will perform introductions, as well as sign copies of her book during the interval.
Read more Catherine Curzon at her blog A Covent Garden Gilflirt’s Guide to Life while awaiting her book!
- To find out more about booking tickets
- To read What Did Jane Austen Think of BRIGHTON
- To see video clips from the Royal Pavilion
- To discover GREAT UK doings & history @ Charlotte Frost’s Twitter
Charlotte Frost’s Twitter account is always informative, with news, books, English history (and that’s just for starters) – but this sounded EXTRA-EXCITING:
An August 5th press release announcing “an online destination to discover video content created by and about the world’s leading museums,” called Sothey’s Museum Network. “The Treasures of Chatsworth,” which is now in production, will be a 13-part series, featured on the network in the fall.
To read the entire article, click on the photo.
Alas, the projected bio is to be a children’s picture book: “Eliza: The Story of Elizabeth Schuyler Hamilton”, by Margaret McNamara (Schwartz & Wade, fall 2017).
Great for youthful readers (for whom, I guess, the “clean” Broadway cast album has been produced – since the play has become a hit with school teachers), but what about the rest of us?! _I_ cannot be the only reader interested in hearing more about “The Schuyler Sisters”: Angelica, Eliza – and Peggy.
Their history is particularly relevant to those of us in the north-east U.S., so close to the action of Albany, New York, where Philip J. Schuyler (a “Revolutionary War general, U.S. Senator, and business entrepreneur”) lived in a lovely mansion that still exists — and can be visited.
Described on the website as, “The Georgian structure, reflecting Schuyler’s English tastes – was built on a bluff overlooking the Hudson River,” the house is open from May through October. Cost (in 2016 dollars) is a very reasonable $5.00 ($4 Seniors & Students; free for children under 12) [for groups, see their rate sheet]
- NB: Combined tickets can be had for Crailo, the Van Rensselaer mansion, across the river.
Of course the main topic targeted is the life of Philip and Catharine (Van Rensselaer) Schuyler. ALTHOUGH there is a *special* tour offered this year (on selected days), “When Alexander Hamilton called Albany Home”. Surely, among the moments recounted will be Alexander’s marriage to Elizabeth – which took place here in 1780. [NOTE: THIS focus-tour is by reservation only]
Maybe next year the Schuyler mansion will highlight Eliza Schuyler instead of Alexander Hamilton. One news story, about Phillipa Soo, highlights one reason I find Hamilton such a compelling listen:
“As Eliza, she’s got a trip through the ringer as the shy middle child of the wealthy, covetable Schuyler sisters; by falling for Hamilton in the first place, her fate is already sealed for a whole spectrum of heartbreak, including infidelity and, of course, death. She emerged as a key reason for the show’s emotional resonance, most especially delivered in her final-scene solo, in which she recounts Eliza’s accomplishments after her husband’s death, redeeming a somewhat lost historical figure through tears. It was the most notable part of Hamilton, for me—that Lin-Manuel Miranda would end the show by righting the essential erasure of a woman who was key to the creation of America”
— Julianne Escobado Shepherd
History finally has its eyes on you, Eliza! The lyrics to “Who Lives, Who Dies, Who Tells Your Story” is an astonishing move for a play about Alexander Hamilton, bringing Elizabeth Hamilton fully into the spotlight. It would be nice to page through 800-pages of Ron Chernow’s Hamilton biography in order to pluck out of it Eliza’s story – but here’s hoping some one takes the baton from Margaret McNamara and delves deeper into the lives of the Hamilton women. As Shepherd quotes Soo saying upon first working on Hamilton, “‘Oh, I don’t really know that much about Alexander Hamilton, and who is this Eliza person that I’ve never heard about?’”
“History waiting to be unlocked,” is Soo’s understated summation of her involvement in the play. “I think it just reminds us that women have such a huge place in history but their voices weren’t necessarily as loud.”
Anyone following Hamilton will know that three leads ended their performances last night (July 9th). The New York Theater website has a concise history for the trio on the occasion of the “original cast” breaking up, including a link to Facebook footage of the “final curtain call” – which already has well over a MILLION views.
Soo moves on to another new musical – based on the de-light-ful French film, Amelie!! (If you’ve never watched the movie, run to get a copy; you’ll be ready to book a flight to Paris soon afterwards…)
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Two personal notes: _I_ just love how a history-slash-biography BOOK can make a name (and money) for its author a decade after its publication. Writers dream of film and/or TV – few would dream of their work being the basis for a stage musical. Still, Hamilton shows what FRESH ideas can do for any industry.
Also, I have my father to thank for a LOT of my interest in Hamilton. Last summer (June, 2015) I dragged him down to New York City. A three-month, temporary job had just ended and I had LONGED to visit two archives, which, indeed, have given me SO MUCH Smith & Gosling material.
Everything fell so perfectly into place – I got a seat in the archive for the entire week; and found a place to live, a new Air B&B listing in Weehawken, New Jersey – just a bus ride through the Lincoln Tunnel, which offered parking (for we drove down from Vermont).
Although not affecting me (except when walking from/to the subway stop), the rain was so bad that parts of nearby New Jersey sustained flood damage. Yet, the rain kept my father – who wasn’t inclined to visit Manhattan on his own – close to “home”.
It was he who discovered, just around the corner, near THIS FABULOUS view of Manhattan, this historic marker:
July 11, 1804
The most famous duel in American History took place on this date at the dueling grounds in Weehawken, between political rivals, General Alexander Hamilton and sitting Vice-President of the United States, Colonel Aaron Burr. Hamilton fell mortally wounded, and died the next day in New York City.
Tragically, Hamilton’s son Philip had also met his death here in a duel in 1801.
Dedicated on July 11, 2004, the 200th Anniversary of the Duel.
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Just for fun:
- “original” Got Milk? commercial, featuring a HAMILTON scholar
- Leslie Odom, Jr’s Got Milk? parody, featuring BURR, of course