Hopefully you can read the artist’s signature: Ann Lewis facit, in this 1802 drawing. Alas! although the Los Angeles County Museum of Art (or LACMA) owns these DELIGHTFUL fashion plate paintings by Ann Frankland Lewis, they are, sadly, NOT ON DISPLAY!
So the next best thing is a cyber visit to Dames a la Mode – where the many works of Miss Lewis can be enjoyed over two pages.
Surely based on existing fashion plates, Ann Lewis’ drawings are colorful and wonderful, and have (obviously) given costumers some great ideas.
LACMA has only one image, and woefully LITTLE information on the artist, or their holdings. If anyone reading this knows more – please say! Two Nerdy History Girls has a lovely little write-up.
As a group they evidently date from 1774 to 1807. The BLUE dress (above) dates from 1803. And this ‘head’ from 1806.
Now, if only the museum would put these items on display – or in a special exhibit!
One of the most difficult things to accomplish is the identification of portraits. Too many portraits who remain unnamed. Merely, “Portrait of a Gentleman” or “Portrait of a Lady”.
Also “unnamed” – sometimes – are the small-scale artists. For instance, I have a will which gave the TANTALIZING news that family portraits existed (at least up to 1814). But who was the painter?
“all the Family Pictures painted by Mr. Fold[s…]”
For the life of me I could NOT read the last few letters of the name…
But, while researching for my upcoming article on James Boswell and the city of Chester, I came across this book – and offer it as an excellent place to look up some SMALL Artists, a DICTIONARY of exhibitors from The Society of Artists of Great Britain and The Free Society of Artists, compiled by Algernon Graves (published in 1907):
I’ll give a special prize to the first reader to email me (smithandgosling [dot] gmail [dot] com) with the ONE exhibitor of paramount interest, a Smith & Gosling relative, who appears in Graves’ line-up.
NB: the artist’s name in the will extract may be John FOLDSONE (father of Anne Mee). Foldsone was described in 1808 as “A painter of portraits in oils, small heads, of no great merit, but with sufficient likeness to procure much employment at a small price. His practice was to attend his sitters at their dwellings.” (He was not alone in this practice, actually.)
I’m curious to find out if any Two Teens readers know of ANY publication comparable to an old journal called The Connoisseur. This magazine ceased publication in 1992, but throughout much of the twentieth century it catered to an audience interested in art, portraiture, heraldry, genealogy, antiques, furniture, lace, books – and Notes & Queries from readers!
I have a copy (online) from 1915. It is absolutely FASCINATING!
- February 1915 features “Some Unpublished Lawrence Portraits”
- two unidentified portraits in a private collection, wanting to be ID’ed
- “Notes on Wincanton Delft”
- answers to earlier unidentified paintings
- and “notes” on Rowlandson drawings
I’d be interested to learn if ANYTHING even remotely similar is out there, in print or online. It must indeed have offered a unique “given-and-take” for collectors, as well as those (like me) who just have an interest — or a burning desire to uncover things currently shrouded in mystery. Like more letters, diaries, or portraits of my dear Smiths & Goslings!
Between it’s articles and its queries, The Connoisseur: a magazine for Collectors must indeed have been a “crowd-sourced” pleasure to see on the newsstand or in your mailbox.
Here’s what I’ve quickly found, and hope you derive as much pleasure perusing their pages as I have:
- volume 1: Sept-Dec 1901
- volume 10: Sept-Dec 1904
- volume 13: Sept-Dec 1905
- volume 20: Jan-June 1908
- volume 54: May-August 1919
- volume 57: May-August 1920
- a complete index 1901-1905
- more editions and my copy of 1915 and more 1915
“Things of beauty“: a 2014 blogger discusses the lure of the Connoisseur.
Yesterday, long after I posted about the *FINDS* now online at the National Trust Collections, the pleasing thought came:
“I now have seen a Flower painting that Mamma worked on and finished at Suttons in August 1803!”
Augmenting my jollity came the recollection: “I have Mamma’s diary for 1803!! she was expecting Fanny (born in October), she was worried about Eliza Gosling (whose illness took her in December)” – then BOOM! came the immediate realization: “The diary pages from end of April onward have been CUT OUT; there are no entries for August…”
How well I remember the day I began transcribing this diary. I never read ahead; the unfolding drama of the written words always encourages my tired little fingers to keep on flying away. Then, suddenly, an image where there was PRINTED material on the right-hand side. I didn’t think about it and went to the next image.
There is always printed material at the beginning and end of the journals they used. Typically, they were the series published yearly, THE DAILY JOURNAL, or, GENTLEMAN’S, MERCHANT’S, AND TRADESMAN’S COMPLETE ANNUAL ACCOMPT-BOOK.
Confused, I flipped back an image: April 1803.
I flipped forward an image.
Only then, flipping back again, did the jagged edges filling the gutter of the diary register: the REST of the year had been cut out; only the yearly summation existed.
There was no information about her pregnancy and the birth of Fanny Smith.
There was no information about the last illness of young Mary’s mother, Eliza Gosling.
It was just GONE!
“Why?” is the one word question I constantly ask when coming across “mutilation” of this sort. What was there that needed “destroying”? What was there that needed to be kept separately? Surely, easier to keep – or destroy – the entire diary. And then the question, “WHO did this?” Was it the diarist? was it a child? was it someone even further down the timeline?
I just don’t get it…
So, while I’m ecstatic to see a work Mamma completed in the (presumably) balmy summer days of August 1803 (she often recorded extremes of weather), its execution – if indeed she mentioned it – remains one of the unknowns; like her comments on the imminent arrival of little Fanny, and the hectic days of travelling back and forth to London to see and hear about the health of her beloved friend and Portland Place next-door-neighbor, Eliza Gosling.
“Why? – Who did this? – What happened to the missing pages?“
Why is it: the Best FINDS are found around midnight or 2 AM?
Last night I found that the National Trust has been BUSY photographing artwork and posting them on their National Trust Collections site. FINALLY! we can see some flower paintings of Eliza Chute, Augusta Smith (her sister), and their teacher Miss Meen (Margaret Meen).
- NB: I do not believe Miss Meen was a governess to the girls (see my online article at Academia: “Margaret Meen: A Life in Four Letters“).
Alas! isn’t there ALWAYS confusion when more than one person has similar or exactly the SAME NAME?!?
The Vyne is uncertain, for instance, who painted one “scene” picture – Eliza Chute, or the wife of William Wiggett (who later took the name Wiggett Chute in order to inherit); their daughter was also an Eliza Chute (1843-1913). Her pictures of The Vyne are simply charming.
- see all images sorted by the search term “Elizabeth Chute“
There IS one “scene” picture that they DO attribute to Eliza Chute (Mrs. William Chute), called A Roadside Halt. Emma’s “Aunt Chute” WAS known as an adept painter, and did practice by copying “old masters”, for example in the art collection of neighbor the Duke of Wellington.
But it is the Floral Paintings that I am most excited to see, for instance this undated work inscribed (pencil) “Eliz. Smith Chute” = which, without seeing it up close, could be in Eliza’s hand, or could be a later hand (not that I doubt it was painted by her, just that she may not have signed it herself).
Watercolor on Vellum
I suspect, between the fact that the Smith Sisters of Erle Stoke Park (Maria, Eliza, Augusta, and Emma [later: Lady Northampton, Aunt Chute, Mamma, and Aunt Emma]), were busy in the 1790s, around the time of Eliza’s marriage, producing various Flower Paintings while in the company of Miss Meen, and the fact that it’s ID’ed as “Smith Chute”, that it probably dates from early in this period. It’s unusual for Eliza to use both her maiden and married names.
- compare Eliza’s flower paintings at The Vyne with those at The Royal Horticultural Society (afraid you have to work for this one: use the SEARCH function and type in Elizabeth Chute or Elizabeth Smith).
- See other “artwork done by” (more links), on this blog.
Some Flowers are very in the style of Miss Meen – for instance the Asclepia Giganticus Pentandria Digynia, signed “El. S. 1785”. But others seem their own sweet style – like the Amaryllis, which has to date before September 1793 [when she married William Chute] if it is signed “El. S.”
Born in 1768, Eliza was still in her teens in 1785!
There is even one, called Log and Red Berries, worked by BOTH Eliza Chute AND Margaret Meen.
- search National Trust for Margaret Meen’s own botanicals.
Problems arise with the works of Augusta Smith — is it the daughter Augusta (whom they ID by her married name, Augusta Wilder), or is the artist Mamma?
Watercolor on Vellum
This is – judged from afar (though I am NO expert on artist identifications) – said to date from 1820-1836. The cut-off is obvious: Augusta Wilder, Emma’s eldest sister, died in the summer of 1836. The back merely says “Augusta Smith” (which of course she would NOT have been after 1829, when she married! so the dating is still erroneous.)
Other Botanicals are a much easier call, and are clearly misattributed – little Augusta was not painting florals at the age of 4 or 5, and there are works identified (for instance) as “Suttons, 1803”. Even worse: “Turnera Ulmifolio Pentandria Trigynia by Augusta Smith, Mrs Henry Wilder (1799-1836). (in ink). AS 1787.” So prodigious a child was little Augusta, that she painted TWELVE YEARS before she was even born!?! Don’t think so…
Emma, by the way, began lessons with Miss Meen in February 1815, aged 13.
- Fuschia, painted “Suttons November 1804”
- Spray of Cuphea painted “Suttons August 1803”
- see all “Augusta Smith” images at The Vyne
The images at the Royal Horticultural Society must be searched for, but all the Four Sisters of Erle Stoke Park (and their instructress, Margaret Meen) are represented. Emma Smith (“Aunt Emma”) is actually represented by an online “gallery” of work. Twenty nine images (currently) come up if you search for the term Joshua Smith — because the girls are ID’ed as his daughters! You can toggle the image display so the instructive text comes up beside each image, which is highly useful.
Doesn’t it always happen this way: late at night, searching for something else, and up pops some USEFUL item on the internet.
Last night it was locating some lovely drawings of the Surrey artist John Hassell (1767-1827). “Exploring Surreys Past” has a fine “exhibition” of his works, sorted geographically. A lot of country churches and country estates, including one (1822) of Botleys – the future home of Mary’s brother, Robert Gosling.
Botleys (in Chertsey), still exists! You can get a peek inside, via this “wedding venue” site. For me, the most evocative photo is one that includes the outside “double sweep” stairs:
I have a photograph, from the 1860s, in which all of Robert’s family is seated around the base of the stairs. Robert Gosling is center; his wife Georgina Vere Sullivan to one side – it was the first time I had ever seen a picture (never mind a photograph!) of dear Georgina. She is mentioned with frequency in Mary’s diaries. Their children and grandchildren – and even a pet or two – are ringed around and above them. I see them, even in the “empty” photograph above.
TWO years ago – and I *finally* got CONFIRMATION => in the shape of a companion photo, in an ALBUM, with an ID.
Truthfully: I just don’t know!
On the left is Frecker’s sitter, ID’ed as sitting number 10,508 taking place on 10 July 1862 – which puts her in Silvy’s Daybook 8. The National Portrait Gallery has an extensive “gallery” of the Daybooks. They, however, are not exceptionally enlightening on this young lady.
Mary Augusta Austen Leigh (right) was a younger daughter of Emma Smith and Edward Austen Leigh (see their portraits); she was born on 2 February 1838, her aunt Mary’s 38th birthday! It is a curious fact that Emma’s diaries all have pages cut out whenever she delivers a child. 1838 is no different. These pages are missing, and a small notation in pencil “2d Mary Augusta…
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Last night, searching for biographical information about the Sharpe family, as well as trying to RE-find a book on London Bankers (which I had had to interlibrary loan, once upon a time… Thanks, Internet!!), I came across this WONDERFULLY evocative Trip down (or up) the Thames.
This is what I first stumbled upon, notice of Rothbury House “now” [in 1829] occupied by “Benjamin Sharpe, a wealthy banker, and his family.” There were at least TWO Benjamin Sharpe partners at Goslings & Sharpe (not sure how much they overlapped) – father and son.
I hadn’t noticed last night that the image darkens everything EXCEPT the dwelling being considered. (VERY useful.) What _I_ noticed was the FABULOUS “painting” of the villas and woods and scenes that I could “sail” past. Like this Chiswick vista,
I strongly recommend the website and project, Panorama of the Thames. A digitized 1829 panorama from London to Richmond, you can catch a whole ride on the river (press the “restart” button on the screen), or dip in at any point you wish to see (press the “Back to River Map” button). Historians will appreciate the Georgian London tour. ALL travellers and London-fans will thoroughly enjoy the 2014 panorama in photos! Although it’s hard not to lament when one sees side-by-side Battersea Church surrounded by trees and Battersea Church overtaken by tower blocks!
There are some AMAZING items in auctions. Some past ones have unearthed miniatures, letters, even a copy of Drummond Smith’s Sicily diary. Some auction houses are helpful; others are totally dismissive. Which is a great pity. Still, the images are free! And although the original image from the auction house was rather poor, I found an alternative site – and wanted to give everyone the opportunity of seeing what I found just last night.
The original auction took place in early 2013. These are silhouettes of the SHARPE family, which included William Gosling’s banking partner, Benjamin Sharpe — taken circa 1819! He was the “Sharpe” in the banking firm of Goslings & Sharpe.
Here’s the description:
- “A collection of ten silhouettes relating to the Sharpe family of London bankers and comprising: Mrs Isabella Beetham [artist] – Oval portrait of a young woman wearing a lace bonnet, verso with Mrs Beetham’s trade label….and faintly inscribed Mrs Sharpe.”
- “another of a young boy or girl with long hair”
- “Attributed to Mrs Bull [artist] – Oval portrait of Mrs Sharpe wearing an elaborate hat, verso inscribed and dated 1788″
- “two oval portraits of gentlemen, one inscribed to verso J.R. Sharpe”
- “A group of four portraits of the children of Benjamin and Ann Sharpe, each with white highlights to their blue coloured clothing, each verso dated March 1823 and with respective script, Benjamin Sharpe aged 10 Years 4 Months born 16 November 1812, Elizabeth Isabella Sharpe aged 8 Years 3 Months born 9 December 1814, William Francis Sharpe aged 6 Years 7 Months born 31st August 1816 and John Charles Sharpe aged 4 Years 8 Months born 14 July 1818″
- “Portrait of Benjamin Sharpe, inscribed to verso Gosling and Sharp (sic), B. Sharpe 1819“
- “an oval pencil miniature of Ann Sharpe, wife of Benjamin Sharpe”
IMAGINE: people Mary and her family actually knew!! So fascinating a find!
Estimate was £1000 to £1500; results only go back as far as September 2013, so I do not know for what price they actually sold.
As promised, I’ve posted an *all new* and rather lengthy article on Hester Wheeler. By the end, you will not only be familiar with Hester’s history, you’ll also SEE her face! For a portrait has been located!
Digging deeper into the background of someone tangential to the Smiths has proved rewarding and also a bit frustrating! I’ve come to the conclusion that my two Carolines — Caroline Austen (Edward’s younger sister) and Caroline Wiggett Workman (the Chutes’ adopted niece, at The Vyne) — were “challenged” when recollecting. Until further evidence comes forth, some points about Hester Wheeler will simply remain “cloudy”.
The above abode is The Vine – not in Hampshire, but in Dundee Scotland. And yet it does have a relationship to The Vyne near Basingstoke. This home, certainly built to “honor” the Hampshire estate, once belonged to George Duncan, MP. If you read the article, you will see why he and his “Georgian” home is important to the later history of Jane Austen’s Sense and Sensibility.
I DO WISH that the Jane Austen Society Reports article by Anne Hardy was still available online. If anyone can pinpoint its later history (it showed up online because it hadn’t made the print edition), let me know. This snippet from “Women Writers Through The Ages” forum will have to give a flavor of the original, which I used as a jumping-off-point for my article, “Uncovering the Face of Hester Wheeler“.
For another (quick) look at the Duncan monument, see the video discussed in the post about the Dundee Howff. It begins at the minute mark 25.38.
[I, of course, disagree about WHY Hester is not buried under the name DUNCAN!!]
I invite anyone with further information — on Hester; the Marshalls; Eliza Chute’s diaries, Edward Austen’s interactions with George Duncan &c — to contact me (see About the Author for my email address). I’d dearly love to solve some of the “mysteries” the two Carolines have created.