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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Bonhams: Jane Austen’s Letter 88

October 27, 2019 at 11:14 am (jane austen, news, Uncategorized) (, , , )

This is a further update to two posts:

Although I watched the auction online and was witnessing the climb and climb in price, the “at the hammer” price did NOT INCLUDE the premium paid to Bonhams. Now comes “news” (ie, not news at all) that the auction of Letter 88 of Jane Austen from the Dodge Collection “sold for a new record”: $200,075.

It is any wonder no one cared to forewarn entities like the Jane Austen House Museum, as Kathryn Sutherland advocated, in order to come to terms prior to a public auction?

NPG 3630; Jane Austen by Cassandra Austen

From The Guardian article (7 Oct 2019):

“Sutherland said that ‘because of specific domestic details within it, it would have by far the greatest resonance inside the collection held by Jane Austen’s House Museum in the cottage where Austen lived and wrote’.

Earlier this year, the museum launched a crowdfunding campaign to help it raise the £35,000 it needed to buy a snippet of a letter written by Austen in 1814. …

Sutherland said it was particularly sad that publicly funded organisations like Jane Austen’s House Museum were unable to compete with international commercial buyers, ‘because so few Austen letters are retained for public benefit in British institutions’.

Considering that Britain has in the past disallowed artifacts to leave its shores, should the Dodge Austen letter be allowed to leave the U.S.? One entity that I thought should have partaken in the Battle for Letter 88 was The Morgan Library & Museum – the owner of a substantial collection of Austen letters. How about “retained for the public benefit in American institutions”?

JA to Cass 16 Sept 1813_Bonhams4

Deborah Yaffe commented on this idea of a “home country” for Austen letters, this one in particular, in her blog post “Going, going…”

That its cost beat the auction estimate – $80,000 to $100,000 – was a no brainer even as it was affixed to the catalogue. Austen is “hot property,” a growing phenomenon ever since Darcy’s wet shirt…

Even ratty Victorian paperbacks – I’m in the midst of reading Janine Barchas’ book The Lost Books of Jane Austen (purchased after the Williamsburg AGM after her “highlight” plenary presentation “The Lost Copies Northanger Abbey” – sell for much more than the proverbial “song” when they’ve got JANE AUSTEN attached to them.

Let’s face it, Austen is priced out of the reach of most institutions. Without knowing the depth of coffers (or generous donors) some like The British Library or Oxford University or, yes, the Morgan, have recourse to, it is guesswork only.

What I want to know is, Who Bought Jane Austen?

Maybe it was singer, TV host Kelly Clarkson! The letter sold for less than the ring AND it’s already in the U.S.

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Follow the Auction – Bonhams Online

October 23, 2019 at 12:00 pm (jane austen) (, , , )

Auction for the sale “Fine Books and Manuscripts, Including the Dodge Family Autograph Collection, Natural History, Travel and Americana” begins at 1 PM Eastern (US) Time.

Bonhams has a “watch live” link!

For the Sale in general – Bonhams link.

For the special “watch live” link – Bonhams watch live link.

Bonhams catalogue for the sale can be viewed online or downloaded or ordered(see bottom of page).

Austen is Lot 5. Will she sell? For how much? and most importantly: To Whom?

JA to Cass 16 Sept 1813_Bonhams4

The amount of items is interesting, as is the Dodges’ areas of collection.

I recollect watching an auction in which a diary of an Austen (early) neighbor; the lots went by QUITE swiftly. Of course, I had JUST missed the lot I was interested in seeing (by the time I found the link and got it working). So, “start watching” early!

RESULTS (1.15 PM)

I joined the auction late – 1.08 PM; Austen was already in the spotlight!! (So I do not know the starting bid…).

Even at that moment, the bidding was standing at $90,000 – to an online bidder. According to the auctioneer, it was a Battle of TWO Online Bidders.

As mentioned, they move swiftly from lot to lot; with little chatter about each lot. Bidders can be in the room; on the phone; online; absentee.

As I watched the bids went up in increments of $10,000….

$90,000…

$100,000…

$110,000…

$120,000… [about this time we learned two bidders, both online]

$130,000…

$150,000… (I might have missed a bid here, not sure…)

Bonhams at the Hammer

$160,000… At the hammer – to paddle #5060. Of course, out-distancing its estimate ($80,000-$120,000). As was expected, by me at least.

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Jane Austen’s Letter 88 for SALE!

October 20, 2019 at 9:05 pm (history, jane austen, jasna, news, people) (, , , )

2019 must be a banner year for JANE AUSTEN letters.

Early this year came news of a snippet included in an autograph album (sold at auction in 2017); the album was on display at Chawton’s Jane Austen’s House Museum.

During the Summer, the museum successfully concluded its purchase – thanks to funding from the National Lottery AND devoted fans – of a lengthier partial letter

NOW, in October, comes word of a New York auction conducted by Bonhams of a Jane Austen letter from a private collection coming onto the market, part of the DODGE FAMILY COLLECTION of Autographs.

The Guardian has a lengthy article on the (upcoming) October 2019 auction.

JA to Cass 16 Sept 1813_Bonhams4

Of course, every time, the same trope about how Jane Austen’s sister Cassandra destroyed the correspondence crops up. I’ve just spoken about this at the recent Jane Austen Society of North America’s 2019 Annual General Meeting, which took place this year at Williamsburg, Virginia. _I_ give thanks for those letters that have come down to us, rather than lament those that probably never were saved (but that’s a topic for another post).

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Jane Austen Letter: missing lines found

July 21, 2019 at 2:15 pm (history, jane austen, news) (, , )

Usually, the active Jane Austen vine twitches non-stop. If something sells for an outrageous sum… If a known letter goes on the chopping block, help us… If Jane sneezed and this handkerchief is what she once used…

Et cetera, Et cetera, Et cetera.

So it has been with extreme puzzlement that I’ve come across so little since the announcement in February 2019 of a missing snippet from a letter penned by Jane Austen in 1813 being found in an ‘autograph’ book (the album sold for the astounding sum of £16,000 in 2017, though probably for its cumulative items rather than one piece by Austen).

NPG 3630; Jane Austen by Cassandra Austen

The Telegraph broke the news, with the headline (17 Feb 2019):

Missing six lines from Jane Austen letter discovered after 200 years, and are revealed to be about laundry.

It was inevitable that one of the other news services would then quip, “Lost letter airs Jane Austen’s dirty linen in public.”

Let’s be SERIOUS! It is an interesting and valuable *find*.

Only Deborah Yaffe picked up the ball, in March, commenting on “Life imitates Northanger Abbey.”

This Italian site, dedicated to presenting and translating Austen’s letters, actually has attached the missing lines to its letter. The letter affected by the snipped off closing (and the autograph book does NOT include the signature) is Letter 87, written to Cassandra from Henrietta Street, 15-16 Sept 1813.

This manuscript was “seen” after Chapman’s edition of the letters went to press (link to the later 2nd edition; it is letter 82); corrections were made on the page proof against the manuscript, which Le Faye consulted for her subsequent editions. It’s possible more of the letter, after a sale or two and a death or two back in the early 20th century, exists in just such a manner — further cut up and pasted down. After all, someone else got the signature.

Jane Austen 1813 snippet

Chapman correctly assumed “about six lines and signature cut away from top of fourth leaf.” These now reinstated lines finish this thought from Jane to Cassandra:

Charming weather for you & us, and the Travellers, & everybody. You will take your walk this afternoon & [4] by the time you get this, I hope George & his party will have finished their Journey, — God bless you all. — I have given M:de B. my Inventory of the Linen, & added 2 round towels to it by her desire. — She has shewn me all her Storeplaces, & will shew you & tell you all the same.–
Perhaps I may write again by Henry. —

Letter 87 is quite long, and how the snipped out section of page 4 affects page 3 hasn’t been touched on. Brabourne left out a paragraph, and it’s this paragraph (in Le Faye with no explanation; same for Chapman before her, and Brabourne before him) that reads “odd,” as if more text came before it. Rather than the ellipses used at the end (Chapman discloses the missing text; Brabourne does not), Brabourne evidently x’ed the entire paragraph instead:

This not seeing much of Henry, I have just seen him however for 3 minutes, & have read him the Extract from Mrs. F.A.’s Letter — & he says he will write to Mrs. Fra. A. about it…. [notes to letter 82, Chapman]

Le Faye puts in a period after “Henry”. But the sentence, as the start of a paragraph, still makes less sense than it should. Without the manuscript, we shall not know the original position of the (undisclosed) affected text.

That Brabourne – who transcribed the letters – had no ‘finish’ to this particular letter, indicates to me that Frank was not the only Austen to cut up letters in his possession for souvenir hunters.

Passing from Cassandra Austen to Fanny Knight (Lady Knatchbull), the only other person in a position to quench an autograph hound’s inquiry would be Fanny. If it had been Brabourne himself, he would have been smart to copy the sentences he was gifting away. Letters to the publisher Bentley indicate how quickly Brabourne thought about selling manuscripts (not just JA’s) in his possession. That he ultimately got Bentley’s go-ahead and publication happened, marking the collection up to the point at which they sold, is our luck. Some letters do ‘exist’ only in transcription.

Unlike the snippet of a sermon tipped into a copy of the Memoir, no discussion is being made to remove this piece from its pasting, to see what is on the underside. Not much discussion, either, on the autograph album as a whole, nor its “American buyer.” At the time of the original newspaper story, the album, open to the Austen page, was on display at the Jane Austen’s House Museum.

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New ‘Jane Austen’ books coming

May 31, 2019 at 10:41 am (entertainment, history, jane austen, news) (, , )

I am looking forward to seeing Helen Amy’s dual biography of Cassandra and Jane Austen, The Austen Girls (Amberley; release in June in the UK; November in US), and from time to time I actively search for ‘Austen’ in forthcoming books – to see what else I can look forward to in the further future.

TODAY I hit upon some VERY interesting forthcoming books!

This “searching” can be a bit of a crap shoot – too many Austen reprints; Austen novels reworked; Austen mysteries; Austen fantasies. My “Jane Austen” is the Chapman third edition, a nice leather-bound set [SEE them here] obtained at an eBay auction. For sentimental reasons, I’ve kept my first omnibus edition (which probably does have mistakes in the text). Most “knock offs” are just not my cup of tea. I really am interested in rigorous literary or biography texts.

The first I found is a short wait. Rory Muir, whose MONUMENTAL two-volume LIFE OF WELLINGTON is a newer purchase. Wellington turns up in my research, but I am not one to read in-depth about ‘war.’ After I found Muir’s exceptionally useful online “Commentary” for the books, I took vol. 1 out of the local university library (they did not purchase vol. 2), then bought both volumes. The commentaries are comprised of information which did NOT make the books, and are about as voluminous as the volumes themselves! Sorted by chapter (also searchable; AND downloadable in full), they are a _must_ for Wellington fans.

So it was with a bit of surprise, and true pleasure too, that his latest book turned up in my ‘Austen’ search, due to the subtitle: Gentlemen of Uncertain Fortune: How Younger Sons Made Their Way in Jane Austen’s England (Yale; release in the UK in August; in US in September).

Gentlemen of Uncertain Fortune

A quick blurb says of the plot: “A portrait of Jane Austen’s England told through the career paths of younger sons – men of good family but small fortune.” My own research encompasses “eldest sons,” “younger sons,” even “ONLY sons” (I’m especially thinking of James Edward Austen, Emma’s husband).

Even more “hmmm…” is the intriguing idea of a biography of Anne Lefroy. Jane Austen’s Inspiration: Beloved Friend Anne Lefroy by Judith Stove (Pen & Sword History) is due in September (US release date; UK – revised release date: end July).

Anne Lefroy

As it happens, I have recently been reading Helen Lefroy‘s excellent, edited volume The Letters of Mrs. Lefroy: Jane Austen’s Beloved Friend, and I’ve especially enjoyed the earliest letters that are rather diary-like in their recording of her day. (Read my review of Helen Lefroy’s book on JASNA’s website.)

I recently read a fascinating article by Janine Barchas; her latest book – due in October (Johns Hopkins University Press) – is The Lost Books of Jane  Austen.

Lost Books of Jane Austen

A unique field of study, the article serves as a preview of how research can turn a researcher into playing detective. Read the article yourself and you’ll be bitten by the bug.

I will also comment here (briefly) about the grave disservice done to the reading public by certain academic publishers when they price texts out of the range of most people’s wallets. [NB: none of the above are more costly than the average hardcover.] I mean, unless I _adore_ a book – there isn’t one I’d spend over $100 to read, no matter the subject matter – and there are a couple books that “if not for cost” would be of interest (if lucky: library; if not: used book market; if out of luck totally: no book). PLUS: I do remember an interesting subject ill-served by a horribly executed text (dry-dry-dry; and one of the campus’ professors, who taught the subject area, agreed with me…), that eighteen years ago was $$$$. Prices have only skyrocketed – and you can’t tell me that the authors get much in return (but that is a whole other blog post). “Print-on-demand,” in this scenario, IS a very worthwhile scheme; I applaud them. (Yet if Lulu can print a book on demand that retails for $40…)

During past similar searches, I found The Real Persuasion (Peter James Bowman) [I love his The Fortune Hunter: A German Prince in Regency England] and Jane Austen’s Transatlantic Sister (Sheila Johnson Kindred) [now out in paperback].

I will also mention, though it’s a resource I take too little advantage of, the New Releases page on Regency Explorer (the site set-up must have changed slightly; now: one post, newest monthly releases at the top).

 

 

 

 

 

 

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Jane Austen’s Drawing-room Wall

May 6, 2019 at 12:02 pm (history, jane austen) (, )

Looking for something TOTALLY different, I stumbled upon news (and new news at that!) of a “small chunk” of the drawing-room wall of Chawton Cottage, from the period of Jane Austen’s habitation, returning to Chawton.

JA notice

Click on the photo or the link to be taken to the website for Jane Austen’s House Museum.

cushion_austen

Like the blog writer, who recounts two tales of “collected objects” – at a Normandy cathedral work site and via a flatmate with a fondness for nicking restaurant plates, I can add a tale of my own. My found object was a piece of Hampshire flint. Likewise from a bit of a demolition (within my landlady’s back garden). Unlike Jane Austen’s chunk of drawing-room wall, which has a provenance as well as a new acrylic jacket, my little piece of flint sits on the book shelf, not far from my Jane Austen Books!

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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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Jane Austen’s London, 1815

February 7, 2019 at 2:51 pm (history, jane austen, london's landscape, research) (, , , )

During the Christmas holiday, author Charlotte Frost gave me a two-page spread from Art Quarterly that announced a FABULOUS purchase from Sotheby’s by the Museum of London. It is “an epic 20 feet wide panorama of London, painted around 1815 by the French artist Pierre Prévost (1764-1823).”

The Museum is thrilled with their purchase, partly because it shows the Houses of Parliament pre-1834 (the year the buildings burned down; to be replaced by the Houses of Parliament we see today). Partly, also, because only one other Prévost panorama is known to exist – it’s of Constantinople, and is now housed in the Louvre.

So, the Westminster Panorama is HUGE, RARE, and a piece of HISTORY! An exciting part of the story is how the UK ART FUND came together with the Museum to help fund (with the aid of some individual donors) the bid.

  • The Guardian‘s story on the purchase, “Museum snaps up panorama of lost London landscape”
  • Wikipedia has put up a photograph and background information
  • Sotheby’s catalogue of the Prévost Panorama of London

“The illusion of depth, height and distance is testament to Prévost’s ability to work on such a large scale, and this complete, circular image, joined at Westminster Abbey, is one of the finest drawings of its type to have survived.” Mary Gosling (also known as Lady Smith, once she married, in 1826) and Emma Smith (also known as Emma Austen, after her marriage in 1828; and Emma Austen Leigh after 1835) – my Two Teens in the Time of Austen – have written about viewing various “Panoramas”. So it is a thrill to see what has survived from that period. This is a watercolor, a preliminary study for the canvas that would have hung in a panoramic theater (in this case, in Paris) for viewers like Mary and Emma to experience in the round.

What caught Charlotte Frost’s eye, though, was the proximity of Great George Street – where Emma’s grandfather, Joshua Smith MP for Devizes, lived. This section of the panorama:

Westminster by Prevost

Of the street running across the picture, the left-hand side shows the opening addresses along Great George Street. Charlotte’s *hope,* for me, was that one was Smith’s address. But he was at No. 29 Great George Street – which would be a few doors further down (and therefore hidden from view).

george street

No. 29 Great George Street, in the map above, is marked XIX.

However, No. 29 obviously must NOT have differed significantly from those townhouses beside it! So to see an approximation of its exterior is a decided thrill. Some photographs exist of the interior (see Collage; also BRITISH HISTORY ONLINE). I remember coming across some drawings of No. 29 interiors, done during the years the National Portrait Gallery (NPG) existed at this address (NPG’s first ‘home’). The National Portrait Gallery opened in January 1859. I do now wonder if Emma Austen Leigh would have visited…. One of these days I’ll go through her late and later diaries, and (hopefully) find out.

The Panorama of London, a book giving an overview of the city, circa 1830, mentions the Colosseum, Regent’s Park, “one of the most extensive exhibitions in the metropolis.” Although, obviously not the same artwork as the Westminster panorama, the description of the viewing of the Colosseum panorama is worth reproducing in full:

“The building is almost circular, with a large dome, and the front towards the park is ornamented by a noble Doric portico, with a large door in the centre. On entering the edifice by this door, a staircase on the right leads to a circular saloon hung with coloured drapery. This room, which is the largest of the kind in London, occupies the whole internal space, or the basement of the building, with the exception of the staircase leading to the summit, which rises like a large column from the centre. The circular saloon is intended for the exhibition of paintings and other productions of the fine arts. The wall of the [page 306] building, above this room, represents a panoramic View of London, as seen from the galleries of St. Paul’s cathedral. The view of the picture is obtained from three galleries, approached by the staircase before mentioned – the first corresponds, in relation to the view, with the first gallery at the summit of the dome of St. Pauls; the second is like that of the upper gallery on the same edifice; and the third, from its great elevation, commands a view of the remote distance which describes the horizon in the painting. Above the last-mentioned gallery is placed the identical copper ball which for so many years occupied the summit of St. Paul’s; and above it is a fac-simile of the cross by which it was surmounted. A small flight of stairs leads from this spot to the open gallery which surrounds the top of the Colosseum, commanding a view of the Regent’s-park and subjacent country.

An amazing part comes next, in describing how may visitors ascend:

The communication with the galleries is by staircases of curious construction, built on the outer side of the central column already mentioned. This column is hollow, and within it a small circular chamber is to be caused to ascend when freighted with company, by means of machinery, with an imperceptible motion, to the first gallery. The doors of the chamber will then open, and by this novel means of being elevated, visitors may avoid the fatigue of ascending by the stairs, and then walk out into the gallery to enjoy the picture. In extent or acuracy, the panorama is one of the surprising achievements of art in this or any other country. The picture covers upwards of 40,000 square feet, or nearly an acre of canvas; the dome of the building, on which the sky is painted, is thirty feet more in diameter than the cupola of St. Paul’s; and the circumference of the horizon, from the point of view, is nearly 130 miles. The grand and distinguishing merit of this panorama is the unusual interest of picturesque effect with the most scrupulous accuracy; and, in illustration of the latter excellence, so plain are the principal streets in the view, that thousands of visitors will be able to identify their own dwellings.

To read more about the Colosseum (including entrance prices), as well as the Diorama; Burford’s Panorama, Leicester-square; the Cosmorama, Regent-street; and other entertainments, see the book The Panorama of London, amd Visitor’s Pocket Companion, by Thomas Allen (1830).

It is no wonder then, that the Museum of London “snapped up” such a treasture as this panorama of Westminter. These entertainments simply no longer exist.

An Aside:

An interesting thought occurred to me, IF the Byrne portrait could be proved as being Jane Austen the author, then JA would have walked these very streets. For one of the last items I read was that the artist was housed with a studio overlooking Westminster Abbey.

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Rice Portrait’s Saga Continues

January 24, 2019 at 11:30 am (history, jane austen, news, portraits and paintings) (, , , )

The Guardian (23 January 2019) ran a story discussing a new piece of evidence about a portrait in the Rice family. The Rices have long contended that their portrait – seen as a frontispiece in two Austen-related books – is a youthful depiction of the writer Jane Austen.

The entire history is laid out in the website THE RICE PORTRAIT OF JANE AUSTEN.

ja_rice

I was asked last year if I had *any* idea who might have written a snippet found inside an envelope entitled “History of the portrait of Jane Austen”. Readers of Two Teens in the Time of Austen will know that I deal with Emma Smith – who, in 1828 married James Edward Austen. It was their Austen Leigh children that I searched amongst for a matching handwriting sample. Most were wholly inconsistent; in fact, I told my correspondent at the time that I could more confidently say who had NOT written the history.

Running out of “contenders,” I wondered, while I typed, “Could it be a Lefroy.”

THE RICE PORTRAIT OF JANE AUSTEN came to the rescue: included was a small image of Fanny Caroline Lefroy’s handwriting (from a letter at the Hampshire Record Office), and there was the same handwriting!

The two letters are probably of an age. The snippet is undated. The letter is dated only by Month and date. A mention by F.C. Lefroy (as the letter writer signed herself) of her dashed hopes of having cousin Mary (probably Emma and Edward’s daughter Mary Augusta Austen Leigh) to stay during “the Congress” surely dates the HRO letter to October 1883. The Church Congress, which moved around the country in different years, was held in Reading in 1883 – and Fanny Caroline Lefroy’s letterhead places her at “Uppercross” in a ‘suburb’ outside of Reading.

Some of the most interesting evidence comes under the website categories DRESS and OZIAS HUMPHRY.

I must say, the misattribution of the artist in the 19th century reminds me of the persistence of George Romney as the painter of Mrs. Drummond Smith – later restored to the catalogue of Joshua Reynolds.  Indeed, it hangs in the “Reynolds Room” at Castle Ashby, the estate of the Marquess of Northampton (during Emma Austen’s lifetime, her uncle [1st Marquess] and cousin [2nd Marquess]).

***

EXTRA:

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