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A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details ‘At home’ in Standen: A study of the Beale family’s lived experience of their late-nineteenth century Arts and Crafts home, 1890-1914 Anne Stutchbury Submitted for the degree of Doctor of Philosophy University of Sussex 2016 1 Statement: I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another University for the award of any other degree. Signature:……………………………………… 2 Contents Abstract 3 Acknowledgements 4 List of Figures 5 List of Abbreviations 19 Introduction 20 Part One: Dwelling on family history: 1840-1890 38 1.1 The early years: Birmingham and Leamington 1.2 The London years Part Two: A ‘house in the country’ 74 2.1 Locating Standen 2.2 Collaborating with Philip Webb Part Three: The ‘artists’ 98 3.1 Inspired by nature: Margaret Beale’s garden artistry 3.2 ‘A connoisseur of things beautiful’: Margaret S. Beale Part Four: Styling Standen 127 4.1 Questioning ‘Arts and Crafts’ 4.2 Aesthetic interiors: Beauty, harmony and visions of femininity Part Five: Travelling and collecting 171 5.1 Holiday hunting for furniture 5.2 European excursions and objets d'art 5.3 Exotic visions and ‘Oriental’ objects Part Six: ‘Identifying’ the Beales 197 6.1 Treasured family possessions 6.2 Renewing and refashioning old furniture Conclusion 215 Bibliography 222 Appendices A. Figures 244 B. Beale family trees 388 C. Holly Bush Furnishing Book 391 3 Abstract This thesis is a study of the social and cultural significance of Standen from the perspective of the Beale family’s lived experience of the property from 1890 to 1914. The Beales commissioned architect Philip Webb to design Standen in 1891, they were sole owners of the property until it was bequeathed to the National Trust in the early 1970s. Although Standen is recognised by architectural historians as a fine and complete example of Art and Crafts architecture of the period and is celebrated for its William Morris wallpapers, little is known about how the family experienced the house. Drawing on Henri Lefebvre’s theory which understands a user’s space as lived and not represented, this thesis moves away from traditional architectural accounts to focus on the family’s lived experience and the role they played in the creation of Standen. It analyses family and estate archives, the property and its collection of objects and photographs to reveal that Standen’s decorative interior, as an ‘eclectic’ mix of styles blending Arts and Crafts with Aestheticism, was interwoven with social and cultural meaning. Representing original and innovative research into the history of domestic interiors and living space, this thesis aims to encourage new ways of engaging with and critically understanding the late-nineteenth century Arts and Crafts Movement. 4 Acknowledgements Firstly, I must thank the Arts and Humanities Research Council (AHRC) for making this thesis possible by funding my research project with a Collaborative Doctoral Award. I also wholeheartedly thank my supervisors Dr Meaghan Clarke and Professor Maurice Howard of the University of Sussex Department of Art History and Tessa Wild at the National Trust Regional Office for their unfailing guidance, sound advice and words of wisdom. At Standen, I thank House Manager Ben Dale and his team who have been a pleasure to work with; their encouragement and assistance has never wavered. I am hugely indebted to a number of Beale family descendants for allowing me to interview them and spend time in their homes researching private family documents, especially Gillian Edom and Dr. Jonathan Wager. Another special mention must go to Sally Roberson for her enthusiastic editing of my thesis drafts, her friendly support and not least, for producing some high quality photographic images. In this connection, I also want to thank Simon Lane, Image Librarian at the University of Sussex Art History department for producing fine quality digital images from a batch of newly discovered, Beale family, glass plate negatives; the results he achieved are outstanding. I also sincerely wish to thank Eileen Hall for sparing time to edit and proofread this thesis and for giving me such valuable advice and my dear friend Dr Paula Riddy for her wise words of encouragement. Finally and not least, I would like to express my warmest gratitude to my husband and sons who have tirelessly supported me throughout the entire project. 5 List of Figures 1 Nathaniel Lloyd, Standen, north facing entrance courtyard, (L-shaped block), September 1928. 2 Hollybush Farmhouse on Goose Green, c. 1898. 3 Horse riding on Goose Green (in front of barn). 4 Standen, Horse and groom, c.1900. 5 Standen, garden facing, south front, c.1902. 6 Maggie Beale, Standen, conservatory entrance, ‘little room’ above, c.1903, pencil sketch. 7 James Samuel Beale (1840-1912), c.1888. 8 Margaret Beale née Field (1847-1936), c.1888. 9 William John Beale (1807-1883). 10 Martha Phipson (1812-1883). 11 Westbourne, Birmingham c.1870. 12 Thomas Phillips, William Phipson (1770-1845), 1831, oil on canvas. 13 Bryntirion, c.1885. 14 Family group, Bryntirion, c.1873. 15 Maggie Beale and Aunt Polly, Bryntirion, c.1886. 16 Maggie Beale sketching, Bryntirion, [cropped detail] c. 1886. 17 River paddling, Bryntirion, c. 1884. 18 Cadar Idris from Bryntirion, c.1880s. 19 Charles Turner, after Henry Wyatt, The Rev William Field, 1839, mezzotint. 6 20 M. H. Martin, Leam June 17 1837, pencil sketch. 21 Algernon Sydney Field, c. 1880s. 22 Sarah Field, c.1880s. 23 Blackdown House SW Front, c.1880s. 24 Margaret Field at Elmsdale School, Great Malvern, c.1862-63. 25 Algernon Sydney and Sarah Field Golden Wedding, Blackdown, 1896. 26 Margaret Beale and baby Amy Beale, c. 1871. 27 Family group at wedding of Edwin Clifford Beale and Mary Elizabeth Field, November 1886, Blackdown. 28 41 Gordon Square, London, 2013. 29 Charles George Lewis, after Sir John Watson-Gordon, Edwin Wilkins Field (1804-1871), circa 1858, mezzotint. 30 The Holland Estate, based on the Ordnance Survey of 1894–6. 31 32 Holland Park, Kensington, 2013. 32 Amy Beale on her horse, Holland Park, c.1885. 33 Holland Park Mews Houses: 2013. 34 32 Holland Park: plan of Basement and Ground Floor, c.1914. 35 Rhoda and Agnes Garrett: Court Cupboard, 1875. 36 Rhoda and Agnes Garrett: ‘Initials lozenge’ (detail) Court Cupboard, 1875. 37 Agnes and Rhoda Garrett, Settee, c.1875. 38 Agnes and Rhoda Garrett, Footstool c.1875. 39 Agnes and Rhoda Garrett, Daybed, c.1875. 40 Agnes and Rhoda Garrett, Footstool, c.1875. 7 41 Agnes and Rhoda Garrett, Drawing Room Chimney Piece, 1876. 42 Agnes and Rhoda Garrett, armchair, c.1875. 43 Agnes and Rhoda Garrett, corner cabinet, c.1875. 44 Agnes and Rhoda Garrett, corner cabinet in ‘View of Drawing Room to face’ p. 62, c.1875. 45 Trellis wallpaper in ‘Dining Room Chimney-Piece’, 1876. 46 William Morris, Trellis ,1864, woodblock printed wallpaper. 47 Bedford Lemere, Lord Leighton’s Studio, Leighton House, 1895. 48 Carl Haag, The Studio, illustration from M Phipps-Jackson, ‘Cairo in London, 1883. 49 Walter Field, Hampstead Heath, c. 1875, oil on canvas. 50 Drumlanford, Barrhill, Ayrshire. 51 Chesthill, Aberfeldy, Perthshire, c.1890. 52 William Morris, Flower Garden, 1879, silk and wool damask. 53 Bedford Lemere, Interior view of the drawing room at 1 Holland Park, 1889. 54 W H Sainsbury Gilbert, Estate Plan, detail ‘Saint Hill Sale Particulars’, 1876. 55 Farm buildings at Holly Bush. 56 ‘Bryntirion’, Beale family photograph album. 57 William Field, View from Blackdown terrace, 1870, watercolour. 58 View from Upper Terrace, c.1902. 59 Standen from the east, depicting windmill pump, c. 1894. 60 Philip Webb, Block Plan detail, May 1891. 8 61 Philip Webb, Holly Bush Estate, No. 2, Plan of the Ground Floor of the Main Block, 3 June 1891. 62 Philip Webb, Block Plan 5A, 30 July 1891. 63 Chesthill, Aberfeldy, Perthshire, c.1891. 64 Philip Webb, Plan 8A detail, Holly Bush Farm House, 22 August 1891. 65 Philip Webb, Plan 9A, Ground Floor Plan, Holly Bush Farm House, 18 September 1891. 66 Philip Webb, Plan 10A, First Floor Plan, Holly Bush Farm House, 18 September 1891. 67 Philip Webb, Plan 24 and 26, Hollybush Farm Reduced Size of House, Ground and Second Floor, 5 January 1892. 68 Philip Webb, Plan 25, Hollybush Farm Reduced Size of House, First Floor, 5 January 1892. 69 Philip Webb, Holly Bush, Ground Floor Plan No. 1, April 1892. 70 Philip Webb, Holly Bush, First Floor Plan No. 2, Feb.1892. 71 William Weir, Standen Courtyard, including builders shed c.1893-94. 72 Philip Webb sketch showing possible bed positions for bedroom of Amy Beale, 23 August 1893. 73 Philip Webb, sketch for embossed copper sconces, 7 July 1894. 74 Philip Webb, Preliminary plan of stabling, September 1892. 75 Standen, c.1893. 76 Philip Webb, sketch detail from letter to Margaret Beale, 12 Jan 1894. 77 Frederick Hollyer, Margaret Beale, 1893-4. 78 Frederick Hollyer, Maggie S. Beale, 1893-4. 79 Frederick Hollyer, May Morris, c.1886. 9 80 Frederick Hollyer, Miss M Tennant (Mrs Asquith), 1890.
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