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Sketchbook 47 Introduction Introduction to SSB 47 (4-27 September 1857) by Philip Cottrell NB. All page references are to SSB 47 and catalogue numbers refer to items from the Art Treasures Exhibition’s Gallery of Ancient Masters unless otherwise specified. Scharf’s new duties as Secretary of the National Portrait Gallery did not begin to regularly occupy him until mid-October 1857, leaving him with enough time to re-establish himself in Manchester for weeks-on-end in order to make daily sketching visits to the Art Treasures Palace (he still had his entry season ticket after all, even if he had had to pay for it himself).1 During the period covered by SSB 47, Friday 4 to Sunday 27 September, Scharf was almost continually in Manchester, returning to London only briefly between Monday 7 and Wednesday 9 September). On Monday 14 September, Scharf’s aunt recorded in her diary that she had received “a note from George to say he was constantly at the [Art Treasures] Palace hard at work”.2 Before the Exhibition’s closure on 17 October, it is understandable that Scharf wished to fully benefit from his efforts in bringing about the most comprehensive temporary gathering of old masters ever assembled from private and public collections. On the grounds of professional and personal interest, he was keen to make more sketches and notes on some of the hundreds of paintings at Old Trafford and to do this with more care and diligence than had hitherto been possible during his countrywide survey of the collections of which they were a part. He had already begun this process in SSB 46, but in the last three sketchbooks covered by the database, SSB 47-49, he was now able to focus more intensively on the contents of the Exhibition in situ. Here also was a chance to scrutinise works from those collections he had not been able to personally review on his tour around the country during the previous year. For example, Yorkshire and the North East had not featured on Scharf’s itinerary, so important works from the collection of George William Frederick Howard, 7th Earl of Carlisle (1802-1864), at Castle Howard were 1 Scharf confirmed this in a letter to the Rev Francis Leicester of 3 March 1857 - MCL M6/2/6/2/2. On the commencement of Scharf’s regular duties at the National Portrait Gallery in October see Heath, 2018, pp. 1-2. 2 NPG7/3/7/4/1/6. 1 among those which are accorded special attention in SSB 47.3 In addition, Scharf now had the time to carefully browse other sections of the vast exhibition which had been outside his jurisdiction. 6.i. Scharf’s sketching tour of the Art Treasures Palace As if to emphasise how Scharf now returned to Manchester as a visitor rather than a curator of the Art Treasures, he chose not (or was not able) to return to his old lodgings at Windsor Terrace under the attentive eye of Mrs Bushell. Instead, after a few days at the Spread Eagle Hotel, he found himself a new landlady, Mrs Lydia Smith, for a fortnight at an unspecified address.4 After returning from a night spent at Lancaster on 23 September (see below), Scharf moved into Scott’s Temperance Hotel in Manchester and remained there until after the completion of SSB 47 on Sunday 27 September. Nevertheless, Scharf’s daily experience of the Art Treasures Exhibition was hardly that of an ordinary visitor. For example, he was able to gain access to the exhibition building outside opening hours, including Sundays when it was closed to the public. As his activities continued beyond September, he was even allowed entry on Wednesday 7 October when the exhibition closed out of respect for a ‘National Day of Humiliation’ commemorative of that summer’s Indian Mutiny (for more on how Scharf arranged access to the Art Treasures Palace see the introduction to SSB 48, and also below).5 As previously mentioned, the only respite from his task during the course of SSB 47, was a brief two-day return trip to London, and he also stayed overnight in Lancaster between Tuesday 22 and Wednesday 23 September in order to deliver a public lecture.6 But 3 Five items – see pp. 9 recto, 16 recto, 24 recto, 40 recto, 42 recto, 48-54 recto & 84. 4 According to a list of accounts in his smaller Letts’s Diary for Friday 18 September - NPG7/3/1/13. 5 Apparently the Executive Committee had also long-since relaxed the rules on sketching and taking notes on works displayed – in a lengthy review of the exhibition as part of a lecture Scharf gave to the Historical Society of Lancashire and Cheshire in April the following year, Scharf noted that on the exhibition’s opening, the Committee had enforced “Stringent rules…against making even the slightest notes or shorthand sketches in pencil from any of the pictures” - Scharf, 1857-158, p. 317. 6 Scharf compiled some preliminary notes for this lecture in a general 1857 notebook preserved in the Heinz Archive at NPG7/3/3/3 (Private Research), and his appointment is also confirmed in his smaller Letts’s Diary - NPG7/3/1/13. From Scharf’s notes, the lecture’s content seems to have anticipated the lengthy review of the Manchester Exhibition he gave to the Historical Society of Lancashire and Cheshire in Liverpool on 15 April 1858. 2 there are sketches in SSB 47 which were made in the Art Treasures Palace on both the latter days (see pp. 49 verso-56 recto) and this attests to Scharf’s determination to frequent the exhibition as much as possible. In the evenings, Scharf relaxed with visits to the theatre and numerous trips to opera performances at the Free Trade Hall (destined to become home to the Hallé Orchestra which had been formed for the purposes of the Art Treasures Exhibition).7 As time progresses it becomes clear that Scharf wanted to make a careful and extensive record of various parts of the exhibition’s hang, and not just his own area of jurisdiction, the Gallery of Ancient Masters. With his new appointment at the National Portrait Gallery in mind, he could presumably justify the time and energy spent sketching at Manchester by also taking careful note of items from the British Portrait Gallery (he had very little interest, however, in paintings from the Modern Masters section, except portraits). With a total of sixteen-thousand works of art of all kinds on display, Scharf was keen to browse other areas of the exhibition too, particularly portrait miniatures, coins and medals. The latter would feature strongly in SSB 48, while diagrams of the hangs of the Ancient Masters and British Portrait Galleries would dominate SSB 49. In contrast, SSB 47 fully indulges Scharf’s interest in European painting. At first glance, therefore, the composition of SSB 47 seems to be fairly straightforward: its content was compiled within the confines of the Art Treasures Palace, and it is devoted almost exclusively to studies of paintings, the majority from the Gallery of Ancient Masters. Of the ninety or so pictures sketched and studied, the Italian School dominates – around forty items. Dutch and Flemish paintings account for about fifteen pictures of interest, although in the case of Van Dyck and other Flemish artists these also intersect with paintings classed as British Portraits, of which there are around sixteen. Spanish paintings - an area of expertise in which Scharf was not particularly strong (see below) - account for about fifteen, and there are sketches of five pictures of the French School. But these are mostly Italianate in nature, incorporating works by Claude, and Poussin. 7 Visits are recorded in his smaller Letts’s Diary for Wednesday 16, Thursday 17 and Saturday 19 September- NPG7/3/1/13. 3 Everything else about SSB 47 is, however, somewhat haphazardly organised. Scharf began the book by working backwards from the end, but with some sketches orientated as if working forwards so they are now presented upside down. Those drawings at the rear of the sketchbook are also therefore some of the earliest, and may be dated to 5-13 September (pp. 70-85). However, a note appended to a careful study of a Spanish painting of A Knight of Santiago and his Lady given to Ribalta at the book’s last opening suggests that it was begun on 4 September (p. 86, although nothing else in SSB 47 is recorded for that day) but finished on 13 September. On 6 September Scharf also began compiling material from the book’s beginning working forwards, and this sequence eventually accounted for the bulk of its contents. He now proceeded in a roughly chronological order until 27 September (pp. 1 recto-68 recto), and one of two openings left blank in the sketchbook at pages 68 verso–69 recto handily marks the juncture at which he meets himself coming, as it were.8 As if all this was not confusing enough, Scharf’s pagination of the sketchbook is also erratic: he establishes a recto/ verso system from the start of the book but then abandons it again for pages 58-59, and for the concluding pages 70-86. From a careful study of SSB 47, one sometimes finds Scharf dwelling in a particular spot of the vast exhibition building for perhaps an hour or two, or even longer - there are studies of works grouped by their location, school, date, and ownership. But generally, it is hard to establish a particular pattern to his movements, and he seems to have fully enjoyed the freedom now afforded to him to wander at will, making very detailed studies of whatever seems to have caught his eye at a given moment – not a luxury often accorded to him during his last breakneck year.
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