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The Peacock Room: a Re-Examination

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Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2013 Thomas Jeckyll, James McNeill Whistler, and the Harmony in Blue and Gold: The Peacock Room: A Re-Examination Cynthia Fischer Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/3301 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Thomas Jeckyll, James McNeill Whistler, and the Harmony in Blue and Gold: The Peacock Room: A Re-Examination A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University. by Cynthia Kaye Fischer Master of Art, American University, 2005 Bachelor of Art, Duquesne University, 2003 Director: Charles Brownell, Professor, Department of Art History Virginia Commonwealth University Richmond, Virginia October 4, 2013 ii Acknowledgement This dissertation could not have been written without the unflagging support of my advisor Charles Brownell and my husband Ryan Fischer. I could not have found two more encouraging and supportive men. In particular I would like to acknowledge the numerous sacrifices Ryan made on a regular basis which allowed me to devote so much attention to my studies. I would also like to thank my parents, Stanley and Kathleen Jaworski, and my father-in-law, Rick Fischer, for their unwaivering support throughout my three and a half years at Virginia Commonwealth University. And lastly, I am grateful to the choir of the Episcopal Church of the Redeemer, Bethesda, Maryland, for their constant encouragement and friendship over many years. iii Table of Contents List of Figures…………………………………………………………………………………….iv Abstract ……………………………………………………………………………………….....xv Introduction………………………………………………………………………………………..1 Chapter 1: The Tale of a Dining Room, Two Patrons, and Two Designers……………………..12 Chapter 2: Thomas Jeckyll’s Sunflowers: Out of the Shadows……………………………. ……29 Chapter 3: Thomas Jeckyll and the Porcelain Room Tradition: A Decisive Break………...……41 Chapter 4: An Introduction to Decor in the Dining Room………………………………… ……66 Chapter 5: The Principle of Decor in the Peacock Room………………………………….. ……99 Conclusion………………………………………………………………………………...........154 Bibliography……………………………………………………………………………………157 Appendix A: Decor Quotations from Architectural Books: The “Do’s”………………………193 Appendix B: Decor Quotations from Architectural Books: The “Don’ts”……………………..220 Appendix C: Peacocks in Secular Interiors…………………………………………………….230 Appendix D: Decorous Designs by E.W. Godwin………………………………………..........239 iv List of Figures Figure Intro-1. Thomas Jeckyll and James McNeill Whistler, Harmony in Blue and Gold: The Peacock Room , 1876/77, Freer Gallery of Art Figure Intro-2. Thomas Jeckyll, Sunflower Andirons, 1876, Freer Gallery of Art Figure Intro-3. Thomas Jeckyll and James McNeill Whistler, Walnut Shelving by Jeckyll (gilded by Whistler) in the Harmony in Blue and Gold: The Peacock Room , 1876/77, Freer Gallery of Art Figure Intro-5. Thomas Jeckyll and James McNeill Whistler, Harmony in Blue and Gold: The Peacock Room , Detail of shelving brackets, 1876/77, Freer Gallery of Art Figure Intro-6. Mosaic Pavement, House of the Drinking Contest, Roman, Antioch, third century A.D., Princeton University Art Museum, gift of the Committee for the Excavation of Antioch to Princeton University Figure Intro-7. Raphael and Workshop, Feast of the Gods , 1518/19, Villa Farnesina, Rome, Alinari Figure Intro-8. Robert Adam, Dining Room, Osterley Park House, ca. 1766, Isleworth, England, National Trust Figure Intro-9. Peter R. Nelson, the Peacock Room as it may have appeared, April 1876, published in Linda Merrill, The Peacock Room: A Cultural Biography (1998) Figure 1-1. James McNeill Whistler, Symphony in White, No. 1: The White Girl , 1862, National Gallery of Art, Harris Whittemore Collection, 1943.6.2 Figure 1-2. James McNeill Whistler, Girl with Cherry Blossom (surviving fragment of The Three Girls ), ca. 1876, Private Collection; on extended loan to the Courtauld Institute of Art, University of London Figure 1-3. James McNeill Whistler, The Princess from the Land of Porcelain (La Princesse du pays de la porcelaine), 1863-1865, Freer Gallery of Art, F1903.91a-b Figure 1-4. James McNeill Whistler, Arrangement in Black: Portrait of F.R. Leyland , 1870/3, Freer Gallery of Art, F1905.100a-b Figure 1-5. James McNeill Whistler, Symphony in Flesh Colour and Pink: Portrait of Mrs Frances Leyland , 1871-1874, The Frick Collection, 1916.1.133 Figure 1-6. Speke Hall, Liverpool, 1867, photographed by M.W.H. Wilson, Liverpool Record Office and Local Studies Division Figure 1-7. No. 49 Princes Gate (corner house at far left), Knightsbridge, London, ca. 1868- 1869, photograph taken of Exhibition Road front, 1968, London Metropolitan Archives Figure 1-8. Thomas Jeckyll, Norwich Gates, 1859/62, Photographed in 2002 at Dersingham Avenue, Sandringham, Norfolk, James Austin Figure 1-9. Thomas Jeckyll, Stovefront with central fan, ca. 1878, Private Collection Figure 1-10. Thomas Jeckyll, Pavilion, 1876, Photographed at the Philadelphia Centennial Exposition, 1876, Norfolk Museums and Archaeology Service: Bridewell Museum, NWHCM 1959: 118.35:B v Figure 1-11. Thomas Jeckyll, Addition to No. 1 Holland Park, London, 1870, photographed in 1893 by H. Bedfo rd Lemere, National Monuments Record; Royal Commission on the Historical Monuments of England, London. Figure 1-12. Thomas Jeckyll and James McNeill Whistler, Entrance Hall at No. 49 Princes Gate, 1875/76, photographed by Henry Dixon and Son, ca. 1890, Private Collection Figure 1-13. The dining room at Whistler’s house at No. 2 Lindsey Row, London, 1867/78, Library of Congress, Washington, DC, Prints and Photographs Division, Pennell Whistler Collection Figure 1-14. James McNeill Whistler, Harmony in Grey and Green: Miss Cicely Alexander , 1872-74, Tate Britain, N04622 Figure 1-15. James McNeill Whistler, One of the Six Projects , ca. 1868, Freer Gallery of Art, F1903.177a-b Figure 1-16. James McNeill Whistler, Design for Wall Decoration for Aubrey House, 1873/74, Hunterian Art Gallery, University of Glasgow Figure 1-17. James McNeill Whistler, Entrance hall panel for No. 49 Princes Gate, 1876, Freer Gallery of Art, 04.472 Figure 1-18. Peter R. Nelson, the Peacock Room as it may have appeared, October 1876, published in Linda Merrill, The Peacock Room: A Cultural Biography (1998) Figure 1-19. James McNeill Whistler, Window Shutters in the Peacock Room, 1876/77, Freer Gallery of Art Figure 1-20. James McNeill Whistler, Peacock mural in the Peacock Room, 1876/77, Freer Gallery of Art Figure 1-21. James McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket , 1875, Detroit Institute of Arts, 46.309 Figure 1-22. James McNeill Whistler, The Gold Scab: Eruption in Frilthy Lucre, 1879, De Young Museum, 1977.11 Figure 1-23. E.W. Godwin, The White House (lost), 1877/78, drawing: Victoria and Albert Museum, E.544-1963 Figure 1-24. ca. 1890 photograph of the Peacock Room by Henry Dixon and Son, London, Private Collection, Great Britain Figure 1-25. Richard Norman Shaw, Design for Ceiling of Drawing Room for 49 Princes Gate, 1879, Royal Academy of Arts, London, on loan from the Royal Institute of British Architects Figure 1-26. Richard Norman Shaw, 1892 photograph of enfilade through drawing rooms looking west, 49 Princes Gate, Photograph: Bedford Lemere, National Monuments Record Figure 1-27. Richard Norman Shaw, Morning Room (Tapestry Room) looking south-east, 49 Princes Gate, photograph 1892, Photograph: Bedford Lemere, National Monuments Record Figure 1-28. James McNeill Whistler, Portrait of Charles Lang Freer , 1902/3, Freer Gallery of Art, F1903.301a-b Figure 1-29. Wilson Eyre, Freer House at 71 East Ferry Avenue, Detroit, photographed in 1890, Charles Lang Freer Papers, Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery, today the house is owned by Wayne State University Figure 1-30. Footprint showing various additions made to Freer’s home on Ferry Avenue during his lifetime, 1999, Brunk Architectural Archive, Detroit, Michigan Figure 1-31. The Peacock Room as it appeared in Detroit in 1908 with the pottery collection of Charles Lang Freer (recreated exactly by the Freer Gallery of Art, 2012) vi Figure 1-32. Charles A. Platt, Plan of first floor, Freer Gallery of Art, Washington, DC, ca. 1915, Avery Architectural Library, Columbia University, Charles A. Platt Collection Figure 1-33. Charles A. Platt, Freer Gallery of Art, 1913-1923, Photographed in 1923, Platt Office Papers, Kenneth Clark Photographs Figure 2-1. Thomas Jeckyll, Sunflower Andirons, 1876, Freer Gallery of Art Figure 2-2. Thomas Jeckyll, Pavilion, 1876, Photographed at the Philadelphia Centennial Exposition, 1876, Norfolk Museums and Archaeology Service: Bridewell Museum, NWHCM 1959: 118.35:B Figure 2-3. John Miller, Helianthus annus , from Illustratio Systematis Sexualis Linnaei , 1777, Royal Botanic Gardens, Kew Figure 2-4. Gherado Cibo, Heliotropo Magiore , 1565, British Library, London Figure 2-5. Anthony Van Dyck, Sir Kenelm Digby , ca. 1635-1639, England, Private Collection Figure 2-6. Anthony Van Dyck, Self-Portrait with a Sunflower , ca. 1635-1636, Private Collection Figure 2-7. William Morris, Autumn , ca. 1873, Stained glass, Bridgeman Art Library, Cragside House, Northumberland Figure 2-8a-c. Three images from Jeremias Drexilius, The Heliotropium , 1863 ed., Glasgow University Library, Department of Special Collections Figure 2-9. Elihu Vedder, The Soul of the Sunflower , 1868, The Love Collection Figure 2-10. Elihu Vedder, Sun-God fireback, 1886, Spencer Museum of Art, The University of Kansas, 1981 (81.105) Figure 3-1. Daniel Marot, “New Mantelpieces in Dutch Style,” in Werken van D. Marot , Suite 11, pl. 2, engraving by Marot, ca. 1702, Cooper-Hewitt Museum, 1921.6.352(61). Figure 3-2a.
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  • Review of Vermeer and the Art of Painting, by Arthur K. Wheelock, Jr

    Review of Vermeer and the Art of Painting, by Arthur K. Wheelock, Jr

    Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 1997 Review of Vermeer and the Art of Painting, by Arthur K. Wheelock, Jr. Christiane Hertel Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/hart_pubs Part of the History of Art, Architecture, and Archaeology Commons Custom Citation Hertel, Christiane. Review of Vermeer and the Art of Painting, by Arthur K. Wheelock, Jr. Renaissance Quarterly 50 (1997): 329-331, doi: 10.2307/3039381. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/hart_pubs/2 For more information, please contact [email protected]. REVIEWS 329 Arthur K. Wheelock, Jr. Vermeer of paintlayers, x-rays, collaged infrared and the Art of Painting. New Ha- reflectograms,and lab reports - to ven and London: Yale University guide the readerthrough this process. Press, 1995. 143 pls. + x + 201 pp. The pedagogicand rhetorical power of $45. Wheelock's account lies in the eye- This book about Vermeer'stech- openingskill with which he makesthis nique of paintingdiffers from the au- processcome alivefor the reader.The thor'searlier work on the artistby tak- way he accomplishesthis has every- ing a new perspectiveboth on Vermeer thingto do with his convictionthat by as painterand on the readeras viewer. understandingVermeer's artistic prac- Wheelockinvestigates Vermeer's paint- tice we also come to know the artist. ing techniquesin orderto understand As the agentof this practiceVermeer is his artisticpractice and, ultimately, his alsothe grammaticalsubject of most of artisticmind.