Grinling Gibbons at Trinity College Chapel, Oxford

November 3, 2018 at 8:42 am (history, places, portraits and paintings, travel) (, , , )

In the summer of 1814, Mary Gosling (one of my Two Teens) visited her two eldest brothers at Oxford University. On her last full day of touring the various buildings and quads, Mary and family visited Trinity College Chapel.

A fabulous online article from 2016, in the periodical OXFORD TODAY, covers the recent restoration of the chapel. Entitled, “Simply Divine: Trinity College Chapel is Restored to its Former Glory,” it showcases the Chapel’s artwork – including the very carvings by Grinling Gibbons which Mary wrote about seeing in her journal!

For me (and you, dear Reader) the thrill of SEEING and hearing about the Chapel is the next best thing to being there. According to the story by Olivia Gordon, the Chapel’s “dynamic integration of architecture, sculpture and painting is unrivalled among England’s surviving ecclesiastical interiors.” Studying the nineteenth century, with its sometimes harsh “upgrades,” it is heartwarming to read that the interior of the Chapel is now  “brought back to glory with a sympathetic restoration“. The “glory” originated in 1694.

Trinity College Oxford Chapel

I also found, in reading this article, that perhaps Mary got it RIGHT when she wrote about the Chapel being “finely finished in CEDAR by Mr Gibbons.” I have long presumed this to have been a misidentification on her part, knowing that Gibbons (and the craftsmen, like Tilman Riemenschneider, whose work is seen on the Continent) worked with LIMEWOOD. However, four pieces, by Gibbons, of the Evangelists, ARE indeed in “Bermudan Cedar, a wood which is no longer available.” Restoration of the Evangelists actually came via old furniture made of the same antique wood!

Another interesting point made refers to the “hands-on” approach taken by the Chapel’s Chaplain, the Rev. Canon Dr. Emma Percy. She even scaled scaffolding, obtaining an up-close view of a ceiling piece, undergoing restoration.

I must admit, reading about the wife/widow of the founder (Sir Thomas Pope) and how she attended service brings to mind how the Salzburg Prince-Archbishops got from the Residenz to the Cathedral (it’s a “secret” you learn about when on a guided tour of the Residenz).

Re-dedication occurred at Easter-time, 23 April 2016; the embedded video (less than 4 minutes) will give you a taste of the gigantic task behind the year-long (April to April 2015-2016) project. It also pinpoints several of the different types of artwork that required refurbishment. More videos and further information about the renovation process and practices are found on the Chapel website. This page, commemorating the Conservation Awards, includes a link to a fabulous 20-page booklet (PDF) on the fully-restored Chapel. (Also accessed via their Renovation page).

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Lord Compton’s Sicily

June 9, 2018 at 1:40 pm (books, europe, history, portraits and paintings, travel) (, , , )

An additional link to the same exhibition and book is available on YouTube, in which the “pages” are flipped in a 10-minute-plus video. The book is Viaggio in Sicilia: Il taccuino di Spencer Compton. My original blog post from 2014 discusses a bit more the actual sketchbook and the art exhibition.

viaggio3

I recently found a link in which each drawing can be examined, for those wishing to spend a bit more time with Lord Compton, on his tour of Sicily. Click the photo, and you will be brought to the site for the Fondazioni Sicilia.

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Marianne’s Square Piano

May 24, 2018 at 3:00 pm (books, entertainment, history, jane austen, portraits and paintings, World of Two Teens) (, , , )

Back in 2010, I wrote on film adaptations of Sense and Sensibility, specifically asking (and noting) how various films treated Marianne Dashwood’s pianoforte. It has always bothered me that I scoffed at the idea of the piano being moved from Norland Park (the Dashwood estate now in the hands of their half-brother) to Barton Cottage by water. How could something so delicate (in my mind) be subjected to (perhaps!) a watery grave?

A new-to-me book, Mr. Langshaw’s Square Piano, by Madeline Goold, brings home just how ingeniously-constructed these early pianos were. She purchased at auction an 1807 Broadwood “box” piano. This probably was the type of pianoforte the Goslings sisters first learned to play. I’ve mentioned elsewhere that this Beechey portrait (below), identified as the Coventry Sisters, is VERY like the description of the Beechey portrait (still “missing”) of Elizabeth and Mary Gosling.

(You should also read the post, “Elations and Disappointments“…)

Early Music

(the periodical “Early Music” on JSTOR)

The piano, though, is what we want to pay attention to in this portrait. And that brings me back to Goold’s pianoforte. When she first found it – in “complete” condition (unlike one that was a hollow shell, latterly used for chickens!) – its legs were laying beside the keyboard’s “box. I certainly NEVER thought, when contemplating the removal of Marianne Dashwood’s piano, about disassembling it to the point of removing its legs, packing it in a deal box (a “box” within a box, if you will), thereby making it not only portable, but highly stable. Can’t tip over if it isn’t standing upon its legs, can it?

Goold’s book (which isn’t new – published in 2009) highlights the fascinating history of her auction purchase, and how she put together that history. I, too, have wished for a bit more of the backstory (even as an appendix) concerning the two-year restoration her Broadwood No. 10651 incurred. Goold’s story of the almost-accidental discovery of the pianoforte, in the early chapters, really spoke to me; so many of us would have loved to have made a similar discovery.

(I, alas, do not play…)

In March, 2017, I attended an Austen symposium at SUNY Plattsburgh, a Bicentenary Celebration of Art, Music, Austen. This was a wonderful gathering. Small and intimate, presenters made up a good deal of the audience. A FABULOUS mini-concert by mezzo Meagan Martin (with pianist Douglas Sumi) which presented her commissioned piece, “Marianne Dashwood: Songs of Love and Misery”. The weekend ended with an optional tour through Plattsburgh’s Kent-Delord House – and there, against the wall in one room, was their box (or square) piano. Alas! the vagaries of too many winters & summers had been quite unkind to it. Our docent pronounced it unplayable. Which was not to be the case with Goold’s auction find!

A sad fate for so many; a happy fate for too few – such as the Broadwood No. 10651.

The book includes information on the Broadwood business (the glimpse into their sales books is highly interesting), as well as the titular “Mr. Langshaw,” a piano teacher in the north of England who helped supply pianos to his students.

* * *

UPDATE: The blog Prinny’s Taylor posted in 2011 the “Adventures of a Pianoforte” which discusses (with pictures!) a restored 1809 Broadwood GRAND piano affiliated with author Charles Bazalgette’s ancestor, Louis Bazalgette. A fascinating use of the old ledgers of the Broadwood business. The Bazalgettes were especially active in having their piano moved and tuned. I must admit that I never _thought_ about WHO was tuning the pianos in the Smith and Gosling family. They make mention only a couple of times; but I’ve never thought about following such a lead – and wouldn’t have without Charles’ post.

 

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Morgan Library: Gainsborough

May 11, 2018 at 10:32 pm (entertainment, history, portraits and paintings) (, , )

Gainsborough_Morgan

In my email today was notice that The Morgan Library in New York City has opened their exhibit: Thomas Gainsborough: Experiments in Drawing, which runs until August 19, 2018.

(click the photo for more information from The Morgan about their exhibition)

More than twenty works “reveal the artist’s technical innovations, his mastery of materials, and his development of a new and original mode of drawing.”

Also planned are Lunchtime Lectures, such as this one coming up on May 16th:

GAINSBOROUGH EXPERIMENTS: CORK, BROCCOLI, MILK, AND DRAWING THE LANDSCAPE

This lecture is a ticketed event ($15, but free for Morgan Library Members and student with valid ID); available online. For times and access information, see their website.

The Gainsborough exhibit has an exhibition catalogue, too! An 84-page paperback, for $20.

 

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Putting a Face to a Name

May 2, 2018 at 2:13 pm (diaries, estates, people, portraits and paintings, research) (, , , )

It’s been a long time since I’ve been able to *share* a *find* with Two Teens in the Time of Austen readers! With the amount of material I’ve unearthed over the past ten years, although bits and pieces turn up, a lot of my time lately is taken up with processing what I have. Photography of archival material means that I’ve a backlog of items awaiting transcription.

So a wonderful surprise to find a photograph of someone who plays a small role in the Smith & Gosling history.

Emma’s brother Sir Charles Joshua Smith had two wives. My second diarist (the other being Emma herself) is Mary Gosling, the second Lady Smith. Charles’ first wife (she died in childbirth) was Belinda Colebrooke. She and her younger sister Harriet Colebrooke were the focus of an intense Chancery battle – at one point it even came to blows, at gun-point, on the windswept heath as the sisters approached London in a carriage overtaken by their mother and two hired thugs.

Such actions gave the family pain and heartache, and (of course) made the papers – which is how the likes of historians can learn about so much that took place two hundred years ago.

It is rather a surprised, despite the wealth of the Colebrooke girls, that they were so accepted by “Society”. The crux of the Chancery case concerned which “side of the blanket” they were born on. Thus the odd ages that some materials list for the girls (rounded down to make them younger, and indisputably born after their parents’ marriage). The court case actually pitted family against family (as was so often the case – see for instance Jarndyce v Jarndyce in Dickens’ Bleak House): Belinda’s paternal uncles were on two different sides. Their father, George Colebrooke – son of Sir George and Lady Colebrooke (the half sister of the Smith’s maternal grandmother) – had died months before his father (both in 1809). The baronetcy went to a younger brother, therefore. Legitimate heirs, though, could inherit Mr. George Colebrooke’s fortune; and their mother could claim her share while her children were under-age.

The case went on, in one form or another, for decades. (Even after Charles’ death, in 1830.)

Harriet Colebrooke died in January 1822, after a lengthy illness (heart disease; perhaps consumption). She hadn’t even reached her twentieth birthday. Belinda was inconsolable; their uncle, Henry Colebrooke – who had been overseas, wasn’t even aware of Harriet’s death. He first heard when he landed back in Britain.

A few sentences in a few letters fleshes out Harriet’s life. At one point, she seems to have been attracted to Charles Smith! He seems to have been uninterested. Perhaps he already held out hopes for attracting Belinda – though in the period before her sister’s death, Belinda was already engaged, to a young man of whom the family did not approve. There was more fodder for the courts!

WSumner

William Holme Sumner

It seems, however, that Harriet did have a young man wanting to marry her. A “deeply hidden” sentence in a letter made me take a look at ALL the occurrences (noted in Emma’s meticulously-kept early diaries) of visits by a certain young man named William Sumner.

A Most Frustrating Letter! The important passage, written in light red ink, is crossed against a dark black ink. AND: the paper bleeds through from the other side, giving three handwritings to choose between: strokes of black ink, the shadow of the backside, and the scrawl in red.

IF I read the passage correctly, the sticking point may have been the young man himself: Charles intimates that the “W. Sumner” needed “to make up his mind.” This in a letter, written during Charles’ grand tour, in 1820. William would have been about 22-years-old; Harriet only 16 or 17. Whether Harriet’s illness or the Sumner-heel-dragging intervened, the marriage never took place.

The Sumners – who had purchased (c1770) the estate HATCHLANDS from the widowed Frances Boscawen – were known to Emma’s family. The father, George Sumner, a Member of Parliament, turns up in Smith family letters, and even earlier in diaries of Mrs. Smith and her sister Mrs. Chute. So it was with a bit of _pleasure_ to realize the connection that was developing between the Colebrooke-Sumner children. As more items come to light, I hope to uncover more of their story.

But it’s the photograph of William Sumner (above) that I wanted to mention in this blog post.  Being photography, William would be at least forty years older than the young man who pursued Harriet Colebrooke during the waning years of the Regency.

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Zoffany’s Daughter

February 27, 2018 at 8:37 am (books, people, portraits and paintings) (, , )

A reader of my Ladies of Llangollen blog brought to my attention a new book published in Australia and the UK: Zoffany’s Daughter: Love and Treachery on a Small Island, by Prof. Stephen Foster. She described it as, “quite unusual, as it combines History, Fact, and Fiction.”

zoffanys-daughter

The book’s website gives an enticing introduction: “2nd July 1825: Cecilia Zoffany, daughter of a famous artist, flees to the island of Guernsey with her two young daughters, one of them disguised as a boy. Alone and distressed, the beautiful stranger seeks the help of locals in a desperate attempt to retain the custody of her children. Her estranged husband, a London clergyman, follows close behind.

Cecilia Horne is the second daughter of famed artist, Johan Zoffany. Born in 1780, she married the Rev. Thomas Horne on 27 June 1799; Zoffany painted a portrait of his father (another Rev. Thomas Horne). After eight children, the couple separated in 1821. Of course, at the time, British law gave custody of children to the father.

  • read a review, at ANZ LitLovers LitBlog
  • the book’s Amazon.uk page
  • The Ladies Monthly Museum magazine, features news of the trial of “Mrs. Cecilia Zoffany, wife of Mr. Horne”
  • Investigate the “Rice Portrait,” possibly illustrating the young Jane Austen, which was once believed to have been painted by Zoffany

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A Stitch in Time

February 24, 2018 at 2:28 pm (entertainment, fashion, history, portraits and paintings) (, , )

Several months ago I watched the only episode of A Stitch in Time a certain website had available. Last night I watched FOUR more. A fascinating series of half-hour investigation into clothing from the past.

The fashion-forward hostess, Amber Butchart, a fashion historian, has fashioned a series of garment “tales” from historical portraits. With the able assistance of the very knowledgeable Ninya Mikaila, an historical costumier, the garments take shape. So viewers learn not only about the lives of each portrait’s personage, we also learn about things like today’s wool industry; historical dyes; the precious remains of bygone fabrics from London’s Foundling Hospital, and, of course, everything under the sun about sewing historical fashion.

Six episodes have aired on BBC4 in January and February 2018, focusing on:

  • Charles II
  • the Arnolfini wedding portrait by Jan van Eyck
  • Broughton Castle’s anonymous leather-clad 18th Century “Hedge Cutter”
  • Dido Belle, brought up in the household of Lord Mansfield (Jane Austen fans note!)
  • The Black Prince
  • Marie Antoinette, specifically Vigée Le Brun‘s Marie Antoinette en chemise

Find Butchart’s website here.

Butchart and Robe a la Chemise

And more about the series (and viewer reactions) in this blog post (click the photo).

For those in or visiting England, there is a Stitch in Time Exhibition at HAM HOUSE of the six costumes from the series! Runs until 6 April 2018, open from 12 to 4 PM.

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Portrait: Which Mrs. Gosling?

December 2, 2017 at 12:33 pm (people, portraits and paintings, research) (, , )

Last year I was contacted by someone with a portrait purporting to be “Mrs. Gosling” painted (in oils) by Margaret Carpenter. The idea was that it could be a portrait of my diarist, Mary Gosling. But, as she was “born” a Gosling, I discounted that idea straightaway.

That left the possibility that she represented a spouse. The probability of “Mrs. Gosling” being SOMEHOW related hung on the idea that she had come to South Africa through Houghton family connections: Elizabeth Houghton (born 1739 or 1743; died June 1811) was William Gosling’s mother, wife of Robert Gosling and sister-in-law of Sir Francis Gosling.

Mrs Gosling_Carpenter

As you can see from the auction “ad” from 2006, the auction house placed the painter “in the circle of” Margaret Carpenter. There is no denying, however, that Mrs. Carpenter painted many members of the Smith & Gosling family – including Emma Austen, James Edward Austen, even Augusta Wilder and Spencer Smith.

I have never seen the “indistinct signature and date” that is supposed to be in the right lower corner. But I have seen the labels on the rear – which, of course, may not be contemporary with the painting.

One label queries a date – 1835? 1855? When I asked Hope Greenberg of the University of Vermont (and a fellow member of JASNA Vermont), she put the dress of the sitter to around 1840. The Gosling ladies would have been on the cusp of fashion; never a decade behind.

LOOK at all the bits and pieces that are up in the air: painter; sitter; date of the painting. Plus it made its way from England to South Africa. On the plus side that it was connected (at least anecdotally) to the Houghton family.

Also on the plus side, that it seems to have an “exhibition” (?) label, designating the painter as at an address truly associated with Margaret Carpenter (also known as Mrs. William Carpenter):

Mrs W:m Carpenter
3, Nottingham Gate
York Gate, Regent’s Park

Exhibition catalogues or Mrs. Carpenter’s own catalogue of sitters (a copy at London’s National Portrait Gallery exists) could help; at present, I have no access.

The sitter is on the younger side – so the Hon. Mrs. Gosling (née the Hon. Charlotte de Grey), William’s widow who died in October 1839, should be discounted.

So the next place to turn is the dress of the woman – who is very fashionably dressed, indeed! The hairstyle, and the jewelry, are also of interest.

It’s the long chain, VERY prominent, that made me wonder: Is it Georgina Vere Gosling? She was Mary’s sister-in-law, the only sister-in-law of the family; only Robert Gosling, the second son, ever married – William Ellis Gosling died young, unmarried; Bennett Gosling and half brother Thomas George Gosling lived longer lives, but never married either.

There is a photograph from 1865 of Georgina Vere Gosling, which I’ve seen elsewhere than online, in which she is wearing just such a chain, though it is not quite so “displayed” around the body, as on the portrait.

But Georgina (born Georgina Sullivan) was born in 1804 – and that is where another label comes into play: it seemingly claims the sitter to have been born in 1810. For the label which (in another hand) claims:

Signed Right/Hand lower/Corner.
By/Margaret/Carpenter/1835? 1855?

— each two line written on either “end” — states, in a large, beautiful, and prominent hand, the obvious intent of the label:

Mrs. Gosling
1810 —  

If we go with the birth date of 1810, that leaves out several wives of the Gosling cousins, for instance Richard Gosling married Maria Elizabeth Gregg in 1820; his wife would not have been a 10-year-old.

But the date does pose an interesting possibility: Born in 1809 was the youngest Gosling sibling, Charlotte Gosling. As Cassandra Austen once wrote that she was taking “brevet rank” — indicating that she now chose to be addressed as “Mrs. Austen” in the place of “Miss Austen,” due to her age, it’s possible that this “Mrs. Gosling” was in fact an unmarried woman, who thought herself past the age of being a “Miss”.

If she was exhibited, her title was merely “Portrait of a Lady” (again, according to the rear label). That the family did lend their private portraits to public exhibitions, at the behest of an artist, IS borne out by one letter (from 1830), in which Mary writes: “I can only sanction its being exhibited on one condition, that Mrs Carpenter should put it into another frame, as I am sure it would get knocked about, and that my Sister would not like it to be exposed to the risk.

To anyone with further thoughts or information, the comment box awaits!

 

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Portraits: Captain & Mrs Hawker

November 16, 2017 at 12:05 pm (history, jane austen, people, portraits and paintings) (, , , , )

It was with GREAT surprise that I came across miniature portraits of Captain Edward Hawker and his wife (perhaps at the time, fiancée?) Joanna Naomi Poore.

Why do the young Hawkers concern us at Two Teens in the Time of Austen? Mainly, because Edward Hawker was the uncle of Fanny Smith’s husband, the Rev. Richard Seymour (son of Sir Michael Seymour and Jane Hawker.)

Therefore, Edward was also the uncle of Spencer Smith’s wife Frances Seymour; Maria Smith’s husband the Rev. Sir John Hobart Culme-Seymour; and Arthur Currie’s second wife Dora Seymour (the widowed Mrs. Chester).

In addition to Jane Hawker, another sister of Edward’s was Dorothea Hawker – who married Dr. William Knighton — another frequent name on this website, thanks to Charlotte Frost’s biography, Sir William Knighton: The Strange Career of a Regency Physician, the text of which she is offering “free” on her website Sir William Knighton.

Edward Hawker

Captain Edward Hawker has a fascinating naval history, including time spent in Bermuda, where he knew Captain Charles AustenJane Austen‘s youngest brother.

As you can see from the “detail” of the miniature, Edward is pictured in his naval uniform. No doubt one reason why the pair sold for £1700 (after an estimate – for the two – of £100 to £150).

What excites me is that his wife’s portrait is still paired with his!

Joanna Poore

Isn’t Joanna Poore a little treasure! If you click on her image, you will be taken to a site that deals with past auctions (The Saleroom), but you can also find information on them from Dominic Winter, the auction house, by clicking the next link.

The sale took place March 2, 2017; the Hawkers were Lot 231.

They now join the other “Family Portraits” that you can peruse – From Emma and Mary, down to aunts, uncles, sons, daughters, & siblings.

As readers know: I’d love to hear from anyone with further images — or family letters and diaries!!

 

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Jane Austen BookBenches

October 23, 2017 at 12:05 pm (entertainment, jane austen, portraits and paintings, travel) (, , , )

Sitting with Jane” was a summertime (17 June-30 August) installation of artist-produced benches that created a 24-stop Jane Austen trail. Last month (15 September 2017) the benches were sold at auction, raising funds for The Ark Cancer Centre Charity.

WHERE will the Jane Austen Trail benches turn up next?!?

I wish I had found this project earlier! The “Trail” looks so fun…

If you’re an ‘app’-person, there’s an app for it: available (or was available…) on iTunes and Google Play. The rest of us can “follow” on an old-fashioned MAP.

Sitting with Jane logo

For those of us now having to let our eyes do the walking online, there ARE illustrations of the benches.

Dancing with Jane

This bench, entitled DANCING WITH JANE, by Michelle Heron, was situated outside the Milestones Museum in Basingstoke.

As you see, the benches were “open books” in design, and the artists got to embellish them any way they wished. Michelle Heron was “inspired by regency dancing and the balls that Jane and characters in her novels attended, with a backdrop of a manuscript from her last fully completed novel, Persuasion.”

JANE AND HER FORGOTTEN PEERS, by Amy Goodman, was situated near Winchester Cathedral – where _I_ have enjoyed several “dining with Jane Austen” meals (though not on the Jane Austen bench, of course). Caroline Fairbairne painted TWO benches, one located in Chawton (entitled CHAWTON WOODWALK); while the other graced the area of Steventon Church (DO YOU DANCE, MR. DARCY?).

Oakley Hall (home of the Bramstons in Jane Austen’s time) gave people the opportunity of WAITING FOR MR. DARCY (by Traci Moss). But I must admit to rather liking the refreshing joke behind Mik Richardson‘s ARE YOU SITTING COMFORTABLY? at Worting House.

Are you sitting comfortablyPlease don’t sit on my book!

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