Orphan in search of its Widow

November 5, 2019 at 2:38 pm (diaries, Help Wanted, jane austen, research) (, , , , , )

When it comes to letters, I think in terms of “Widows” and “Orphans,” like the terminology for single lines at the bottom (“widow”) or top (“orphan”) on printed pages. Programs like Microsoft Word let you toggle “Widow/Orphan Control” (under paragraph) so as to force lines together, leaving neither one-line widow nor one-line orphan.

I apply the terms to sections of “torso” letters. A torso describes (as in musicology) an “unfinished” or partial piece. It probably comes from my reading of Alfred Einstein’s book on Mozart. So if I designate a letter as an “Orphan Torso” then I know it’s a letter with no beginning. Of course, that means that a “Widow Torso” is missing its ending.

There have been times when a sheet has neither its beginning nor its end; those are usually attached (by an archive) to a letter where the logic of thought just isn’t present – which tells me the “torso” is attached to an incorrect letter. I recently received images of a letter which actually had been encased in mylar with two sheets front to back! Again, the flow of the letter (or lack thereof) told its tale, although I never would have guessed that multiple sheets had been encased together.

Of course, I DO wonder, when a letter isn’t complete, where the REST of it might be….

I recently purchased a letter, purportedly an “entire” letter, but when asked, the seller said it was missing a page of text. The more I look at the letters of Miss Emma Smith (“Aunt Emma”), whether writing from home (Erlestoke Park, Wiltshire) or while at one of her sisters’ homes, the more I am convinced that this letter is missing four pages (a sheet folded in half), and mine represents the “Orphan Torso” – the fifth page’s text, and the envelope on the rear.

A GREAT LOSS not to have the entire letter. Thus this blog post.

Aunt Emma used a sheet (folded) and a half-a-sheet (torn down the middle) a couple of times, in letters at the Hampshire Record Office. I also own a letter, written by Mrs. Smith (Sarah Smith née Gilbert; Mrs. Joshua Smith), in which a second sheet was used, with a few lines on page 5; the direction written on page 6. For their recipients, it did not matter that an extra (half-) sheet was used. The cost of postage was the same.

These letters were franked — meaning, the letters did not have to be paid for by the recipient; they were mailed free of charge. The interesting thing about Aunt Emma’s letter is that it was franked, not by her father Joshua Smith, but by her brother-in-law William Chute.

Epping Essex env
a franked letter, 1799 (click image to enlarge)

The envelope is directed, in William Chute’s hand:

Basingstoke September thirty 1799

Mrs. C. Smith
            Suttons
W.free          Epping
Chute                   Essex

Sure enough, Eliza Chute‘s diary mentions her sister Emma’s visit! As well, there had been a visit by Mrs. Charles Smith and her infant daughter Augusta (born in February 1799, and named after her mother).

The remaining page begins mid-sentence:

Epping Essex ltrclick to enlarge

The text is:

[. . . so-and-so was to] have shewn us the way, but he changed his mind, and we did just as well without him; I fear when Mr. Chute comes, he will wish us to go out with the Hounds till they find the Fox, and I have not the least Inclination for it, I shall certainly try to get off —  Yesterday we had rain all the day; and the same till just now two oC.; the men got wet going to Church, dreadful weather for the Country, for the Corn must now be injured. —
Thanks for your enquiries after me, my side is quite well, and none of the party seem to make any complaints, Miss Meen leaves us on Tuesday; if she can she intends you a visit at Suttons.
Best love attend you from all here, and particularly from your

Ever Affectionate Sister
Emma Smith

A most tantalizing snippet! I am unsure who “he” might have been, or where the ladies rode. Emma and Lady Frances Compton (Lord Northampton’s sister) often rode out together. Eliza Chute’s diary is SILENT about Saturday, nor does she mention the horrible weather (unusual for her).

Emma herself had sustained an injury, having had a riding accident in Bath early in September, when an inattentive coachman’s horse bumped against Emma’s horse. Sarah Smith was quite certain that her daughter Emma’s life had been saved by Lady Frances – who diverted the coach horse so that the coach’s wheels missed running over the prostrate Emma. Emma was also lucky to have come off her horse (she would have been riding side saddle) after the horse went down; Mrs. Smith presumes that falling from the saddle onto pavement would have been disastrous.

That no one else had health issues is always good news, especially for poor Sarah Smith or Mrs. Norman.

Very interesting that Miss Meen’s plans were mentioned – Eliza Chute wrote down her arrival, but not her departure from The Vine. I wonder if she managed to get to Suttons for a visit? Miss Margaret Meen was a Botanical artist; her work can be found at The Royal Horticultural Society, London, in “company” with the sisters Maria, Eliza, Augusta, and Emma Smith – those whom I refer to as “the Smith sisters of Stoke Park” (for Augusta – Mrs. Charles Smith – had daughters of those same names!) I have written about Margaret Meen in the article entitled “Margaret Meen: A Life in Four Letters“.

{NB: “Miss Meen” appeared in the July/August 2014 issue No. 70 of Jane Austen’s Regency World magazine as “Flowering in Four Letters”. The link, above, is the original article submitted to JARW. To purchase the magazine, please go to BACK ISSUES on the JARW website}

Mr. and Mrs. Charles Smith, with baby Augusta, had arrived at The Vine (The Vyne) with Sarah and Joshua Smith, Emma and Mrs. Norman on Monday, November 23rd. The three gentlemen – Mr. Chute, Mr. Smith, Mr. C. Smith went up to London the next day “to attend Parliament.” Mamma Smith and Augusta departed for home on Thursday. Home being “Suttons” in the county of Essex.

Eliza Chute mentions the rides that Emma and Lady Frances took – but says little about what everyone was doing over the next several days. Her SATURDAY is left BLANK! Emma was obviously writing ON Sunday (she mentions the rain ceasing “just now”), and would have gone to church at Sherborne St. John, where the man who regularly “did the duty” was Jane Austen’s brother the Rev. James Austen. Emma then waited till Monday, after William Chute’s late Sunday arrival (he was less adverse to travel on the Sabbath than his wife), to have the letter franked. Part of the action of “franking” was to write the PLACE and DATE across the top.

What news might Emma have imparted to her sister?? IF YOU KNOW, because you’ve seen the beginning half of this letter, please let me know.

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Hilary Davidson’s Dress in the Age of Austen

October 30, 2019 at 8:50 pm (books, fashion, history, jane austen, jasna, research) (, , , , )

In yesterday’s mail was a very welcome copy of Hilary Davidson’s Dress in the Age of Jane Austen: Regency Fashion. Periodically, I search for new and upcoming releases of books, including about Austen, about England, about history. I remember the cover,

Davidson_Dress

Everyone will recognize “Mrs. Q.”

But had I paid it much attention? I hate to say, ‘No.’ But when it arrived in the mail (unexpectedly!) the surprise was as pleasant as the receipt. A great deal of text; photographs of actual garments, political cartoons, and period portraits. The table of contents spoke to me as one who researches young ladies of the same period, who certainly exhibited this same variety of fashion personae:

  • Self
  • Home
  • Village
  • Country
  • City
  • Nation
  • World

When I turned to the title page and saw Yale University Press my good impression was complete.

Who says that Mail only brings BILLS?!?

A full review in the near future.

In the meantime, Yale has a brief (16 seconds) YouTube film, showing the interior of the book. Elyse Martin has written a lengthy review on Historians.org called “Fashion Forward.” A brief review from Publishers Weekly. See also Hilary Davidson’s website. A nicely-lengthy preview is available on Books.Google.

Davidson has written on Jane Austen’s Pelisse and its construction and replication. It was an important re-read for me when writing about Cassandra and Jane Austen for the recent JASNA AGM in Williamsburg, Virginia. The pelisse illustrates a tall, thin woman – and my Emma, soon after her marriage to James Edward Austen, described Cassandra, whom she had recently met in person. But it wasn’t until distilling the words of Anna Lefroy (Edward’s elder half-sister) that it dawned: Anna recalled a game she played, in which she guessed “which aunt” belonged to “which bonnet.” Between Anna’s game and Emma’s description, the conclusion becomes that the same silhouette must describe Cassandra Austen as well as her sister Jane Austen.

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Marriage of Lord Compton, 1787

August 15, 2019 at 9:14 pm (history, people, research) (, )

Going all the way back to 1787, in Walker’s Hibernian Magazine (which has this fetching cover):

Walkers Hibernian

was this ANNOUNCEMENT for the marriage of Maria Smith, daughter of Joshua Smith of Earl Stoke Park (Wiltshire), with Lord Compton.

Wedding announce Maria Smith Lord Compton

It reads: “— [August] 18 By Special licence, Lord Compton, son of the Earl of Northampton, to Miss Smith, eldest daughter of Joshua Smith, Esq; of Earl Stoke Park, county Wilts.”

 

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Paper Conundrums

May 30, 2019 at 9:01 am (entertainment, history, research) (, , , , )

After reading about Karen Ievers’ Photo Album (once belonging to Lord George Hill) having some bound-in “manuscript” pages, I thought about all the paper bits I have seen.

It’s not usual for “paper” to be reused. As well as, of course, collected. Countless letters no longer exist, while their address panels were saved (often cut out). These are typically franked pieces, collected for their “signatures.” The *hard part* is when writing from the letter appears on the backside! Potentially “valuable” pieces of evidence, just gone.

Augusta Smith, Emma’s sister, was a talented artist. At least in her early years (ie, during the late 1810s), her portraits were often done on pieces of paper quite evidently cut out from programmes obtained at the Ancient Concerts. Augusta and Mamma attended the Antient Music concerts faithfully every week during the season.

(Full concert programmes have only been seen by me as bound sets, online on books.google)

Some of those pasted down squares show the portrait VERY CLOSE to the text of that evening’s performance – as if Augusta had taken her pencil from her reticle and sketched while she listened!

Others, although pasted down, you can see the heavily-imprinted text from the backside, as in the subscribers’ list below.

Here, the Goslings – mother, father and the two sisters (Elizabeth and Mary) – are found in the list of subscribers for 1823 (the above link):

goslings1823

The interesting thing about Augusta’s portraits is seeing the wealth of music offered in an evening. All the choruses, songs, glees, and concerti. These were the golden days of the Knyvetts, Miss Travis, and Miss Stephens, names which turn up in the Smiths’ diaries and correspondence with great regularity.

What I discovered recently (to my dismay) is that old letters could also be used for SILHOUETTE CUT OUTS. Turning one such cut out over, I could just detect handwrting. Old paper tends to be stiff, and obviously made a useful item to pillage when one ran out of silhouette paper. But like the franked letters above, and even the Antient Music programmes, a loss to posterity of the original.

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Spotlight on: Fanny Smith

April 21, 2019 at 1:15 pm (diaries, people, research, spotlight on) (, , )

I am reminded that Fanny Smith (after marriage in 1834, Fanny Seymour, or Mrs. Richard Seymour of Kinwarton), was among the earliest people I gathered information about. I gave a talk on her; and wrote about her early years (up to her marriage). That’s why it would be SO FASCINATING to find her own diaries!

One archive (Hertfordshire) has photographs of the Seymours; I’ve only ever seen one, very early (for photography), circa 1850s. It was taken out-of-doors (you can see a blanket kind of backdrop!), with Fanny and her three daughters – Augusta, the eldest of the family; Emma and Fanny the two youngest – and one of the sons, whom it took me the longest to identify, as Dick. I’ve never yet found the miniature Richard talks about commissioning, painted by Ross; but often figure it must have somewhat looked like this:

Ross_a Lady-closeup

I have a photograph of a “from a miniature” photograph, but whether it represents that portrait done by Ross or not, it doesn’t say. I would, however, be able to ID it as Fanny, should the actual miniature come to light!

My two Local Past articles on young Fanny Smith are available through my Academia account (another link is provided in the menu section – on the right side of the screen):

  • “Before She Became Fanny Seymour, Parson’s Wife”
  • “‘Fanny I am thankful to say continues going on very well'”

The first is about Fanny’s life up to her marriage; the second deals with the tragic days of Fanny’s confinement, following the loss of her first-born, a son named Michael John.

The articles can be read online; you will only need to log in (can do it through Facebook!) if you wish to download.

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Help Wanted: Pocket Diaries of Fanny Smith (Mrs. Richard Seymour)

April 19, 2019 at 11:48 am (diaries, Help Wanted, history, research) (, , , )

I was looking last night at the last pages of the diaries of Emma Austen’s brother-in-law, Richard Seymour. Although he died years later, his last entry was made in 1873 — and the rest of the notebook remained BLANK (though no notation on the microfilm image of HOW MANY blank pages remained).

So he didn’t “finish” the book…

Richard did record much, especially in the aftermath of the death of Emma’s sister (his wife) Fanny Smith (Mrs. Richard Seymour) in 1871.

Richard began keeping diaries before the 1830s; his earliest on microfilm is 1832, but the volume states “4” on the cover, which tells me that three early volumes were missing by the time the journals were filmed.

Richard’s original diaries were available to authors Arthur Tindal Hart and Edward Carpenter, when compiling their 1950s book The Nineteenth Century Country Parson; I have so far been unable to locate the original notebooks, and the archive had not had a viable address since the 1970s or 1980s (though had never given me the name of the last-known owner).

Wanting to read about Fanny’s last illness and death (1871), I picked a page a bit down the list. Looking for April, I came up with dates in May.

Oh My GOSH!

RICHARD noted READING journals kept by Fanny about each of their children (which I hadn’t even thought about her doing). THEN he noted reading the similar journal her MOTHER kept during Fanny’s own youth!

I had known about family “baby books” – one written for Drummond Smith was casually mentioned in the biography of James Edward Austen Leigh (written by daughter Mary Augusta Austen Leigh).

I’ve only ever seen the “baby book” of Maria Smith – the youngest sister; the future Lady Seymour (married to Richard’s brother Sir John Hobart Culme Seymour). The journal’s owner calls it “Maria’s Progress,” because it deals with her progression through life, from babyhood to adulthood, in disconnected, but consistent, entries, over a good twenty-years.

I was pretty _sure_, therefore, that there must once have existed one for ALL nine of the Smith of Suttons siblings. This slots a third one into line.

But even MORE interestingthrillingexasperating:

Richard notes reading Fanny’s JOURNALS for 1833 and 1834; and either he then makes a mistake or means what he writes, a journal for 1844.

And soon a comment about a trip to Clovelly in 1820 (confirmed by Emma’s diary). He also comments on a sketch by Fanny (you might recall her artwork at the Bodleian Library, Oxford), worked at Clovelly during this trip. Richard soon is IN Clovelly, standing on the spot he presumes she stood in, fifty-one years before, to make the said sketch.

I cannot discount that young Fanny (she would have been sixteen going on seventeen) was keeping a diary just for the trip, and included the sketch in such a book. But I would rather believe that, like Mamma, Emma, brother Charles, sister-in-law Mary, Aunt Chute, and even Aunt Emma (and evidently, too, ‘Aunt’, their father’s sister, Judith Smith of Stratford), that Fanny kept journals, possibly in the pre-printed variety called THE DAILY JOURNAL; Or, The Gentleman’s and Tradesman’s Complete Annual Accompt-Book.

beg13

In short, it was a surprise that Fanny kept journals – and yet not a surprise (because so many OTHERS in the family did the same thing). Potentially, the volumes stretch from at least 1820 (if not earlier; Fanny was born in 1803, so the 1810s are probable); and go until (maybe) the year of her death.

Of course the kicker: What has happened to Fanny Smith’s / Fanny Seymour’s JOURNALS?

I live in dread of seeing Richard say that he or the children got rid of them. But surely, his heart was so full of longings for his deceased wife, that he would see the VALUE in passing them on to his children. Daughters seem to have gotten such invaluable ephemerals. There were only three Seymour daughters. Some sons didn’t marry; some didn’t have children.

Ross_a Lady-closeup

BURIED treasure, Fanny’s missing journals 200 years later, that is for sure. (I include that written by Mrs. Augusta Smith recounting Fanny’s babyhood and girlhood, as well as those “baby books” covering the many Seymour children.)

Richard mentioned a few snippets from journals that he had read:

  • 1833 – Fanny’s grief over the death of her youngest brother, Drummond Smith (in Sicily, in November 1832; the family learned of his death a month later)
  • 1834 – Fanny’s engagement and marriage (at Mapledurham) to the Rev. Richard Seymour, just appointed to the living of Kinwarton in Warwickshire. NO DOUBT she mentioned the house fire the day before the wedding in October 1834! Her sister Emma did; it was Mary Gosling – i.e., their sister-in-law Lady Smith – who alerted everyone to the danger of the smoke she smelled in the night — and the butler who helped save the day.
  • 1844 – _IF_ Richard was reading Fanny’s diary for 1844 (and it wasn’t a mistake of his pen OR my vision while transcribing his thickly-written numbers), he would have been reliving the events around the birth of their son, Charles Joshua Seymour, who was born in June 1844 – but died in March of 1846.
  • 1820 – with mention of a trip to Clovelly, Fanny also wrote about taking tea with Mamma at Clovelly Court, and going sketching with her sisters Emma and Augusta. Mentions of the friend Belinda Colebrooke can also be guaranteed.

If any of these “hints” sound familiar – and _you_ have seen one (or more) of these diaries, please drop me a line!

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London Silk: Garthwaite & Rothstein

March 17, 2019 at 11:38 am (books, fashion, history, portraits and paintings, research) (, , , , )

I am just starting to read Zara Anishanslin’s Portrait of a Woman in Silk. This is the fascinating “entwined” story of a silk designer, a Spitalfields silk weaver, a Philadelphia woman, and the artist hired to paint her portrait.

Woman in Silk

Anishanslin makes mention of the contributions by Natalie Rothstein to the information we have about the eighteenth-century English designer of this silk’s pattern – Anna Maria Garthwaite. Rothstein is a very familiar name, for she gave us A Lady of Fashion: Barbara Johnson’s Album of Styles and Fashion.

Barbara Johnson

[click the photo below for more on the book A Lady of Fashion; and see also my post “Fashion News, Regency Style“]

It is with sadness that I read of Natalie Rothstein’s death in 2010. Her obituary, in The Guardian, makes for interesting reading – and mentions the title of her main work on Garthwaite: Silk Designs of the Eighteenth Century in the Collection of the Victoria and Albert Museum (1990). Rothstein was quite prolific, publishing much about the collection she knew best (i.e., the V & A). This lengthy obituary features an equally lengthy bibliography.

johnson3

It was finding online information (and images!) of Garthwaite’s designs that made me want to share with you. Especially, this beautifully presented Waistcoat (1747) from the Met Museum; details and overview images. A lengthy blog post on the Courtauld Institute of Art‘s website is well worth a read. All this history of the Spitalfields weaving industry might also inspire you to visit Dennis Severs’ House at 18 Folgate Street. I think I blogged about it long before my own visit, so entranced was I by the “story” of and behind the “museum”. (But I wasn’t prepared for the locked front door that had to be knocked on and answered!)

The thrill is also over the Victoria and Albert sharing images of Garthwaite’s designs. Although I didn’t look at them all, 44 pages came up [some _are_ tagged ‘unknown’ artist; most are Garthwaite’s designs] when I searched for ‘Garthwaite’!

There’s even a Pinterest page dedicated to her designs and Garthwaite has her own Wikipedia page.

Some of the less intricate designs of flowering tendrils remind me of the Botanicals painted by the women in the Smith family (two generations, including the future Emma Austen, my diarist) [see the page Artwork Done By], which I have long thought would make for beautiful fabrics. As a “companion” piece, if the Botanicals at the Royal Horticultural Society interest you, you might dip into “Further Thoughts on Four Sisters” to acquaint yourself with the four sisters of Earl Stoke Park – Emma’s mother and three aunts, who, with Miss Margaret Meen, their teacher in the technique, is represented in the RHS collection.

***

Additional reading:

A Dress of Spitalfields Silk” – lengthy essay and some splendid photographs of an actual garment

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British Postmarks (tutorial)

March 5, 2019 at 10:21 am (history, news, research) (, , , )

An interesting, because it’s so useful, “tutorial” (short: 33 slides) of early 19th century British Postmarks – and how to understand all you see when looking at a piece of “UK postal history”.

Mary Russell Mitford

It forms part of the Digital Mary Russell Mitford project — one of their project include digitizing and transcribing her letters!

As you can see from the “example” photo, the images help explain what exactly you are looking at. I couldn’t resist this image – with its identification of “delivery” and “mileage” stamps, the letter’s “franking,” its “seal,” and (especially) the “finger” of the person making the image!

Clicking on the photo above will take you to the second version (a bit longer than the first version) of THE POSTMARKS OF MITFORD’S LETTERS (by Greg Bondar, University of Pittsburgh at Greensburg).

[Once you are on their site: click the [IN] icon (lower right-hand corner), which will allow you to access the full screen mode]

You will learn to recognize:

  • a MILEAGE stamp
  • a DUTY stamp
  • a DELIVERY stamp
  • CHARGE mark(s)
  • RECEIVING HOUSE stamp (for instance, the Two Penny post)

Some explanations, too, of rimmed and double-rimmed stamps; colors of ink; and – for 1812 – a list of postal charges (based on distance and “weight” [number of pieces of paper]).

Because the site is dedicated to Mary Russell Mitford, near the end of the slides are images of seals she used; paper types used (based on impressions in the paper). For those interested in the output of Mitford, the homepage of Digital Mitford is your place to start.

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Portraits: Jane Austen & Gilbert White

February 23, 2019 at 4:49 pm (history, jane austen, people, portraits and paintings, research) (, , , )

An old (May 2017) article on Smithsonian.com by Brigit Katz assesses the “Six Portraits” that were on display during the 200th anniversary year (1817-2017) commemorating Jane Austen’s death. It asks the question, Was Austen demure, sardonic or glamorous? (based on no one portrait looking like any other in the group) while acknowledging that actually the “Six Portraits Deepen the Mystery of Jane Austen.”

NPG 3630; Jane Austen by Cassandra Austen

Without going into the good / bad points of individual portraits,* I will outline the portraits that were displayed:

(*I briefly commented on “the wedding ring” image ten years ago; it continues in heavy usage. I did touch on several portraits, though, in 2013)

  • The pencil and watercolor sketch of Jane by her sister Cassandra Austen (circa 1810) [National Portrait Gallery]
  • the hollow cut silhouette by an unknown artist from circa 1810- 15 [National Portrait Gallery], “L’aimable Jane
  • watercolor of Austen in blue dress, bonnet [rear view], also by Cassandra Austen, circa 1804
  • the 1869 James Andrews watercolor portrait [had been up for auction in 2013] and the frontispiece of her nephew’s biography, A Memoir of Jane Austen, published in 1870, based on the Andrews watercolor
  • portrait said to represent Jane Austen, in album belonging to James Stanier Clarke, librarian to the Prince Regent
  • the ‘Byrne’ portrait

No clue as to why the ‘Byrne’ but not the ‘Rice’ portrait.

The lack of portraits – though not the lack of ‘contenders’ – depicting Jane Austen echoes the story of Gilbert White of Selborne, another late-18th century Hampshire resident.

A riveting 1987 article by J.E. Chatfield actually “summarises verbal descriptions of the Selborne naturalist, the Reverend Gilbert White (1720-1793) by his contemporaries and discusses the background to each of the illustrations which have been suggested as possible likenesses of White.” After citing a group of portraits comes the notice (similar to what Jane Austen enthusiasts might typically read): “The only proven authentic likenesses of Gilbert White are two small pen and ink sketches drawn inside his copy of Alexander Pope’s translation of Homer’s Iliad now in the British Library.”

It was the growing fame of his book The Natural History of Selborne that (naturally) made “further information on [White’s] life and personality” of interest to its readers.

Under Descriptions of White: “There are relatively few recollections of him from members of his own family, in spite of the vast numbers of nephews and nieces which Gilbert White refers to in his journals.” Also mentioned, that at the time of centenary editions of the National History of Selborne (originally published in 1789) “there was no suggestion or knowledge of any portraits or sketch of White.”

Sound familiar?

It was after the sale of The Wakes (White’s home) in 1844 to Prof. Bell, “who was working on his edition of The Natural History & Antiquities of Selborne,” that a White nephew passed on recollections. The “Reverend Francis White who remembered his uncle Gilbert well, although he was only twelve years of age when White died…., provided the information on White’s physical appearance – only 5 feet 3 inches in stature, of a spare form and remarkably upright carriage.”

Nineteenth-century editions of Selborne have included “Recollections of White by older villagers.” If only such a census had been made shortly after Austen’s lifetime! It was this kind of off-hand recollection that James Edward Austen Leigh (Jane Austen’s nephew and my diarist Emma’s husband) that Edward hoped to collate from those nieces and nephews still alive. His sources, however, proved a bit problematic. And some were quite uncooperative.

An interesting comment, from circa 1880, that could so easily be applied to Jane Austen: “‘White was thought very little of till he was dead and gone, and then he was thought a great deal of.'”

I invite you to read the Chatsfield article, look at the Austen portraits as well as Gilbert White’s, and reflect on the highly valid points made.

 

 

 

 

 

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George Scharf’s National Portrait Gallery (1859)

February 10, 2019 at 8:33 am (history, london's landscape, places, research) (, , )

The drawings of No. 29 Great George Street, Westminster that I remembered seeing when writing about “Jane Austen’s London, 1815” illustrated this article by Catherine Karusseit, “Victorian Respectability and Gendered Domestic Space.”

In looking for them again, I find the originals at the British Museum. Karusseit clearly denotes two drawings as being interiors of No. 29. What caught my eye was this inviting window seat:

No 29 window seat

“29 Great George Street,” December 1869

You will be able to enlarge the BM drawings just enough to decipher the descriptions (one CLEARLY reads  “the meeting room of the Society of Antiquaries at Somerset House”). I am especially loving the staircase view, which is clearly identified ID’ed as original National Portrait Gallery, at 29 Great George Street. These are drawings by George Scharf. On the staircase drawing, he has noted WHEN (day and what hours) he sketched.

These Scharf images are an *absolute THRILL* to see, especially the staircase view, which I hadn’t seen before.

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