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Home , Cavendish family, Duke of Devonshire, Rowland Lockey

Real people revealed in portraits and objects 21 March to 4 October 2020 Your Companion Guide to our exhibition

1 North Drive Have you ever looked at a WELCOME TO CHATSWORTH Angela Conner saw her friend portrait, curious to discover Elisabeth Frink as ‘a Roman more about the person staring Generations of the Cavendish warrior, not fierce, but strong’ back at you? Or glanced at an family have lived at Chatsworth for and aimed to capture that object and wondered what it almost 500 years. All that you see quality in this portrait. meant to someone, or why they is the result of layers and layers of kept it? individual choices made throughout In her work, Frink explored the the centuries. Though their lives strengths and weaknesses of Stories both unexpected and might feel a million miles from yours human nature – sorrow and fascinating will be shared in we’re hoping you will look at all the salvation; pain and compassion; this year’s exhibition through people you encounter along the terror and tolerance. Frink said way and find stories that mean pairings of people and things in something to you. that the Tribute Heads were the house, all of which have a about ‘peace and freedom of link to Chatsworth in some way. Portraits, even from centuries ago, spirit: people who have been are the selfies and family photos through the horrors and got Look at the faces in the of our time and we can all relate through to the other side.’ paintings and sculptures to that. – people whose lives were captured at a moment in time. Our knowledgeable team of guides Appearances can be deceptive, are here to share so much more Dame Elisabeth Frink and we’ll shed light on things than we could include in this guide 1 (1930–1993) not apparent at first glance - so do please ask questions, dwell the human, the intimate and the for longer, and make your own commonplace. connections between people Tribute I and things. Sculptor Angela Conner How a person is represented made this portrait bust in an artwork can tell us about of Dame Elisabeth Frink. their personality, fashion or She took Frink’s strength even the politics of the time. and used it to tell us about Sometimes a portrait reveals her. Compare it to Frink’s as much about the artist as it Use this companion guide and sculpture Tribute I, which does about the person in the the corresponding numbered is not a portrait of a real portrait. The way a portrait keyholes to follow the exhibition. person, but a tribute to is displayed – and what it is Below each image we have human suffering. displayed alongside – can named the person or people reveal new meaning. in them, and the dates of their lives when we know them. More information is on pages 21 and 22, including details of materials, all of the artists, and the generous lenders to the exhibition: Burghley House Elisabeth Preservation Trust, C.W. Sellors, Frink in Dellasposa Gallery and The her studio Portland Collection. 2 3 Grotto Grotto ‘I’m actually most interested In this group of portraits and ‘I find my way through the in looking beneath culture to objects, things are not what roots of colour, especially the nature underneath. What is they seem. The two busts were trinity of blue, red and yellow, it about the human brain that made by sculptor Charles Skin Deep is one big colour test. can welcome some and reject Cordier in the 19th century. others? It’s fascinating, and Cordier observed the features When I open the kiln I am has roots in biological evolution of African models and used travelling the globe and and quests for safety and European ideals of expression see friends from Ecuador, belonging.’ and poise. The male figure was Ethiopia, Colombia, Japan, Natasha Daintry an artists’ model called Seid Korea, China, Spain, Italy, Enkess, while the female ‘Venus’ England, Ireland, Denmark, is most probably a combination Saïd Abdallah Greece, India and Sri Lanka, of several women. Cordier’s (Seid Enkess) the difference between us is a process, and the fact the (mid 1800s) gentle smattering of blue, red sculptures were commissioned for and yellow.’ the ethnographic gallery at the The ‘Venus Natasha Daintry Natural History Museum in Paris, Africaine’ means that the story behind these figures is much more complex than it first appears.

In contrast to Cordier’s generalised approach, Natasha Daintry considers the perception of race in a highly personal way. Nearby, her artwork is a colourful Skin Deep arrangement of small ceramic 2 by Natasha Daintry pots. This contemporary piece, called Skin Deep, is about the relationship between the artist and her son. Her son, adopted from Ethiopia, is black whilst she is a white European woman. Daintry made this work to explore the colour of their skin and their family closeness.

‘A superb Sudanese appeared in my studio. Within a fortnight I made this bust.’ Charles Cordier 4 5 Chapel Corridor Chapel Corridor The was already over 100 years old when the Duke dropped and broke it. The captivating image of Rachel de Ruvigny was first painted by Anthony van Dyck, and later copied by master-miniaturist Jean Petitot. Rachel was a beautiful, witty and popular member of the Royal Court, depicted here as an otherworldly figure. Billowing drapery surrounds her as she touches a fragile and bubble-like orb. Look closely and you will see that the portrait of Rachel bears scars from the repairs made by the miniaturist Henry Bone. Despite William, 5th Duke of its damage, this precious object Thomas Cavendish Traverse board 3 Devonshire has been treasured by successive 4 (1560–1592) (1748–1811) generations.

Rachel de Ruvigny (1603–1640) Thomas Cavendish was an and places he encountered. explorer from a distant branch How should we remember him Rich colours and textures of the , and he now, with hindsight? We can enliven these portraits - faces certainly has an air of derring- praise Cavendish’s achievements of people who lived hundreds do about him in this portrait. as a circumnavigator, but we of years ago. Despite coming However, there are stories can balance that view with the from a powerful political behind his tales of adventure violence of his actions and the family, the 5th Duke was that bring into question how we human cost of his voyages. not an ambitious politician. remember such figures from Actually, he is often defined the past. The curious navigational tool by his marriages to Georgiana alongside is something that would Spencer and, later, Elizabeth Cavendish set out to circle the have been familiar to sailors like Foster. globe, following Sir Francis Drake. Cavendish. A compass or stars He pursued wealth, with the aim indicated the direction they The 5th Duke was a of identifying and exploiting new were travelling, and they could connoisseur of art, and many territories for their resources. measure speed by throwing of the objects at Chatsworth Quickly becoming a skilled overboard a marked rope tied to would have been part of his navigator and expedition leader, a heavy object. They could record daily life, including this portrait under his command he brought both these measurements on the miniature. death and destruction to people traverse board. 6 7 Oak Room Chapel Imagine Henry running this 5 wooden rosary through his hands Edmund Marsden as a source of comfort and Worked at Chatsworth reassurance, at a time of great in early 1800s personal angst as he took the decision to separate the country from the Catholic Church. We all have our own way of finding Cask end peace at difficult moments in our lives … with some 500 years between us and Henry VIII, this remains true as ever. Surveying the scene from under the balcony you will find a large drawing of Henry VIII. Obsessed with providing a male heir as he grew older, in the portrait his own father stands over his left This is Chatsworth’s cellarman, shoulder. The original portrait Edmund Marsden. He was used to be at Chatsworth, before usher and brewer in the being gifted to the National Servants’ Hall at Chatsworth Portrait Gallery in the 1950s. in the 1830s. We still have the horn cups and the drinking trolley that you can see in the King Henry VIII painting. The little barrel would 6 (1491–1547) have contained ‘small beer’, a weak beer that was served to all staff during meals, and included as part of their pay. Rosary The trolley dispensing beer Contrast the simplicity of the The oldest object in the would have run on wheels up portrait with the splendour exhibition is King Henry VIII’s and down the long servants’ of carving on this large oak rosary, dating from the 1500s table. beer barrel end. Featuring the and each boxwood sphere Cavendish family coat of arms, is carved to tell a story in Behind the naive of painting Edmund would have handled it miniature. Rarely displayed lies a heartwarming story of daily as part of his job working in at Chatsworth, take this community. There are few the cellar. opportunity to get up close paintings of the workforce at to what is the most intimate Chatsworth, and this one was In the spirit of Edmund, do take a and personal of keepsakes, made when Edmund’s colleagues seat, and raise a cup to friends, once belonging to the Tudor had a ‘whip round’ for his family and colleagues who came monarch at a time of division in retirement. before us. church and country. 8 9 Great Stairs Landing Great Chamber Married to the 3rd Earl of Devonshire, upon her death, and in an unusual move for the time, she left the entire contents of her apartments to her daughter, Anne, who married the Earl of Exeter. Everything went with Anne to Burghley House. All was catalogued on a schedule dated 1690; and we’re not just talking about chairs and tables, but curtains, a marble hearth, pictures and jewels. From top left to Elizabeth Cecil bottom right: 8 (1619–1689) Successive layers of choices made over the centuries made Angela Conner Chatsworth what you see today. (Born 1935) Lady Elizabeth Cecil lived at As in our own homes, people Chatsworth in the 1600s. The have moved in and out of the Andrew, 11th Duke house was not as we know it house, knocked down walls, of Devonshire today, but instead a brick and opened up doorways, added (1920–2004) terracotta Tudor building, and extensions, removed fireplaces somewhere within it were her Sir John Betjeman and repaired the roof ... just on a apartments and a door with larger scale than we’re used to. (1906–1984) this intricate lock. Sir Tom Stoppard We have brought the lock back (Born 1937) to Chatsworth and reunited it 7 with Elizabeth, who we invite Detail of door lock you to imagine walking through (1894–1986) Loan from Burghley this door in what is a memory, a House Preservation trace of her life here. Trust Heading up the stairs out of the Painted Hall... meet Angela, Andrew, John, Tom and Harold. One is an artist, one a duke, one a writer, one a playwright and one a Prime Minister. Try All five portraits are by Angela and get into their line of sight, Conner. You could Google each to make eye contact. The person and decide if you think the people in this group are here artist has captured their physical ‘in conversation’ with each likeness. Or you might think that’s other... and with you as you’re less important than capturing the standing here. ‘essence’ of the person? 10 11 State Music Room State Bedchamber We can ponder what the 2nd Duke The pearls were all natural, might have wanted us to think harvested by pearl divers in South when we see him painted this way. East Asia. Assembling a necklace Unlike many other male portraits like this in the 1500s was a lifetime’s on the walls of Chatsworth, he sits work and shows Bess’s immense with open arms, inviting us into wealth – our replica is made of his world of collecting, knowledge cultured pearls that are much and scholarship. easier to find. The 2nd Duke would have walked Step up to the glass case to see these rooms, and this casket and yourself ‘wearing’ this newly- contents are a snapshot of him, made necklace of 1,000 pearls, at that time. Look further into the and share your self-portraits at room to see a group of ceramic #ChatsworthLifeStories works by Pippin Drysdale, an Australian artist whose work has On her death, been collected by the current split the four strings of pearls Duke and Duchess. Again, a between her female relatives, snapshot in time, illustrating their dismantling and distributing a William, 2nd Duke own passion for collecting and Elizabeth Talbot treasured keepsake. 9 of Devonshire proving the point that everything 10 (1527–1608) (1672–1729) was contemporary once. Even Loan from The that casket before you, that Portland Collection dates from 1710.

Necklace of Louis XIV casket 1,000 pearls and stand Loan from C.W. Sellors Meet William, the 2nd Duke of Elizabeth Talbot, better known Devonshire. An avid collector as Bess of Hardwick, the of carved gems, he amassed a founder of Chatsworth, built significant collection of these the first Tudor mansion house miniature carvings... mini on this site. From this painting sculptures really. she’s staring back at you with... is it defiance? authority? He kept his treasures in this pride? Perhaps all three? Most casket and he sits proudly striking, alongside her flaming beside them in this painting. All red hair and starched ruff, is the drawers would have been the four string pearl necklace crammed with gems and those that we estimate contains collectors amongst you, whatever 1,000 pearls – a symbol no your passion, might identify with doubt chosen by Bess for the that sense of pride visible in the portrait, to convey her status portrait. and wealth at that time. 12 13 South Sketch Gallery West Sketch Gallery To the left is Georgiana, Duchess Lucian Freud of Devonshire, who was a political (1922–2011) campaigner 200 years ago. Married to the 5th Duke (who The tubes of oil paint bear the you met earlier, in the Chapel imprints of Freud’s fingers. That Corridor), Georgiana’s active imprint is mirrored in the way role in politics earned her much that Angela Conner has pressed opposition and criticism. her fingers and thumbs hard into the clay to create the texture A selection of things that you can see all over the surface were important or familiar to of this portrait bust. As Freud Georgiana are in the central painted, Conner sculpted. cabinet, giving some clue to the 12 complexities of her character. We have reproduced a small Have you ever gone to stay detail of the mural here, for you with friends or family, left to see Freud’s technique up close, something behind, saying and further down the corridor is you’ll return to collect but it’s a grouping of oil paintings by the remained there for years? artist. Georgiana, Duchess These painter’s materials are 11 of Devonshire just that. (1757–1806) Artist Lucian Freud, a friend Courage Calls to of the 11th Duke and Deborah, Courage Everywhere Duchess of Devonshire, was by Alicia Paz staying here in the 1950s whilst Loan from Dellasposa painting a mural of cyclamen Gallery (Freud’s favourite flower) on the ‘Courage calls to courage bathroom wall. He made a start, everywhere, and its voice but left the work unfinished. cannot be denied.’ Some time later this box was Millicent Garrett Fawcett discovered here, a time capsule of Freud’s paints, oils and pots These words, from the leader of that he was using to create what the National Union of Women’s is called Cyclamen Mural. Suffrage Societies, inspired Detail of the of this painting in blue, Cyclamen Mural white and gold by Alicia Paz. Take a closer look and you will spot the faces of politically active women including Angela Davis and Golda Meir, with their speech bubbles, calling Lucian Freud’s paints out to be heard. and materials 14 15 North Sketch Gallery Guest Rooms Lobby Covering the walls on both Contrast this with the tiny sides, The North Sketch portrait miniatures on display in Sequence is the name given to the glass cases. Miniatures were this enormous artwork, made designed to be held close – in of 659 handmade ceramic pockets or attached to necklaces. panels by the artist Jacob It meant that you could keep the van der Beugel. The pattern likeness of a loved one very close shows DNA sequences of the and very private. Equivalent to Duke, Duchess, their son and having a photo of a loved one in daughter-in-law the Earl and your wallet, or on your phone. Countess of Burlington. We invited artist Tarka Kings to make new works to add to The North Sketch our collection of miniatures. Sequence She has made portraits of the by Jacob van der current Duke and Duchess, and 13 Beugel represented many things they Mary, Duchess of have added to the collection 14 Devonshire and garden. The pieces are also (1895–1988) jewellery. It is a contemporary version of the historic miniatures that have inspired it. Mary Cecil married Edward Renowned for her humility, Cavendish, who went on to these tactile hardstones and become the 10th Duke of magnifying glass were what she Devonshire. Mary was kept close to hand, at all times, Mistress of the Robes to on her writing desk. The box Queen Elizabeth II in the 1950s contains things collected and and 1960s and she truly lived a kept safe by her. This is another Portrait miniatures life of public service, allied with form of portraiture through Golden Window from The Devonshire by Tarka Kings Collections experiencing human tragedy objects. What do they say about and heartache. Edward and her, and how does it compare Mary had five children but their to what you have at home? eldest son William (‘Billy’) died Few of us have writing desks in World War II. but perhaps on the table in the hallway, or in the kitchen, there is a drawer full of essentials.

Objects from Mary, Duchess of Devonshire’s desk 16 17 Library Great Dining Room ‘a puckish The family tomb, thistledown with including these the energy of a statues and busts, hurricane’ was designed for Vogue All Saints Church Derby, now , but dismantled in 1876, at which point they were brought to Chatsworth. We have placed the Christian Bruce (1595–1675) with portrait sculpture 16 her sons William (1617–1684), of each below their Charles (1620–1643), and painted selves, and daughter Anne (1611–1638) reunited them with their father and other sibling, who Stand face on to this died in childhood magnificent family portrait and ‘.. the heavy doors before this portrait there’s no doubt that Christian was painted. They opened and there Bruce, the matriarch in black, stood this tiny girl.’ might have imagined asserts her authority. Recently their tomb lasting for Mary, Duchess of widowed after the death of Devonshire eternity, but here, at Adele Astaire her husband the 2nd Earl of least, we can take a 15 (1896-1981) Devonshire, in 1628 it was by no moment to observe on her wedding day means certain that the estate the family reunited in with her husband Lord and children would remain with a place, still home to Charles Cavendish her. their family fourteen Adele Astaire married into the The moving image in the Library Set on preserving the family generations later. Cavendish family in the 1930s. brings a fleeting memory of that and its assets, this painting was William Cavendish We’ve all heard stories about moment, a trace of Adele into the commissioned by Christian to meeting the in-laws but can you space in which she made such an (later 3rd Earl of Devonshire) reinforce that sense of strength (1617–1684) imagine Adele, dancing partner impression. and unity, magnified by the sheer of brother Fred and recently scale of this painting by Mytens. arrived from America, meeting If our resident piano player is the 9th Duke and Evelyn, Duchess here today, close your eyes and Notice their positions in the of Devonshire for the first time? take in the sounds of 1920s piano painting – Christian is strong and That first encounter took place music, the songs to which Adele central. On the left, William is here, in the Library. Adele, for and Fred would have danced already standing like the Earl he reasons unknown, entered the together. Or use your phone to was to become. Christian has a room by turning a cartwheel and search Adele and Fred Astaire protective hand on the shoulder landing at their feet by way of music online, listen quietly by of Charles and Anne stands, introduction. yourself and enjoy the moment. independent. 18 19 Sculpture Gallery A woman sits and looks intently Pauline is looking intently, and is Exhibition Traverse board Harold Macmillan object listing Maker and date unknown (1894–1986) at a miniature portrait in her herself a portrait with an object. Wood, bone, metal, twine Angela Conner (born 1935) hand. We can imagine her comparing 1 Bronze the miniature in her hand to Dame Elisabeth Frink 5 1972 (1930–1993) Edmund Marsden Her name is Pauline Borghese, the portrait ahead of her. The Angela Conner (died 1862) 8 the sister of Napoleon Bonaparte. 6th Duke designed the entire (born 1935) W Baker (active 1835) Elizabeth Cecil, Countess Napoleon had been defeated in a Sculpture Gallery to create the 1993 1835 of Devonshire (1619–1689) Bronze Oil on canvas Theodore Russell (1614–1689) war with the English several years best conditions for looking at 1640-1689 earlier, and it was fashionable to his collection in this space, a Tribute I Cask end Oil on panel collect objects relating to him. space that is full of portraits and Dame Elisabeth Frink Samuel Watson (1930–1993) (1662–1715) Door Lock objects. 1975 1702 William Partridge Bronze Oak 1665 Napoleon Bonaparte We hope you’re encouraged to Silver, steel (1769–1821) 2 6 come back and keep looking Saïd Abdallah King Henry VIII 9 for the stories that lie behind Charles-Henri-Joseph (1491–1547) William Cavendish, 2nd portraits, and wonder at the Cordier (1827–1905) Reproduction 1848 (1672–1729) objects that were part of their Bronze (1497–1543) Charles Jervas (1675–1739) lives. 1536–1537 Around 1710 The ‘Venus Africaine’ Ink and watercolour Oil on canvas Charles-Henri-Joseph Cordier (1827–1905) Rosary Louis XIV contre-partie 1850–1851 Adam Dircksz (active 1500 marquetry casket and Bronze –1530) stand Early 1500s André-Charles Boulle (1642 Skin Deep Boxwood, string, metal –1732) Natasha Daintry 1725–1729 (born 1966) Wood, brass, gilt bronze, 2013–2019 7 tortoiseshell, gilding Porcelain Angela Conner (born 1935) 10 3 Self Portrait Elizabeth Talbot, William Cavendish, 5th 1978 Countess of Shrewsbury, 17 Duke of Devonshire Bronze known as ‘Bess of (1748–1811) Hardwick’ Anton von Maron (1733– Andrew Cavendish, (1527-1608) 1808) 11th Duke of Devonshire Rowland Lockey 1768–1769 (1920–2004) (around 1565–1616) Oil on canvas Angela Conner (born 1935) 1592 Bronze Oil on canvas Rachel de Ruvigny, 1973 Countess of Southampton Necklace of 1,000 pearls (1603–1640) Sir John Betjeman C.W. Sellors Jean Petitot (1607–1691) (1906–1984) 2020 1643 Angela Conner (born 1935) Enamel on copper 1973 11 Bronze Georgiana, Duchess of 4 Devonshire (1757–1806) Thomas Cavendish Sir Tom Stoppard Thomas Gainsborough (1560–1592) (born 1937) (1727–1788) British School Angela Conner (born 1935) 1785–1787 Around 1610 2003 Oil on canvas Pauline Borghese Oil on panel Bronze (1780–1825) 20 21 Courage Calls to Courage 14 William Cavendish, Co-curators, Sash Giles, Curator Photo copyright and credits Everywhere 3rd Earl of Devonshire Mary Cecil, Duchess of of Decorative Arts and Dr Pages 3, 10 and 15 Alicia Paz (born 1967) Devonshire when a young (1617–1684) Portrait bust of Elisabeth Frink 2019 woman Alexandra Hodby, Curator of Portrait bust of 11th Duke of Devonshire Mixed media and oil on linen Colonel Charles Portrait bust of Angela Conner (1895–1988) Exhibitions and Engagement, Portrait bust of Sir Tom Stoppard Florence Kate Upton Cavendish would like to thank all of the Portrait bust of Harold Macmillan Georgiana, Duchess of (1873 –1922) (1620–1643) second son of Portrait bust of Sir John Betjeman Devonshire assemblage the 2nd Earl of Devonshire artists, lenders, supporters and Portrait bust of Lucian Freud Around 1913 © Angela Conner Minerals, gaming box, Oil on canvas funders of the exhibition. porcelain plaque, William Cavendish, 2nd Page 3 hardstones, archaeological Mary Gascoigne-Cecil, Earl of Devonshire Tribute I material (1590–1628) © The Elisabeth Frink Estate and Archive. Duchess of Devonshire All Rights Reserved, DACS 2019. (1895–1988) when Photograph of Dame Elisabeth Frink 12 Marchioness of Hartington Anne Cavendish © The Lewinski Archive at Chatsworth/Bridgeman Images Lucian Freud (1611-1638) Sir James Jebusa Shannon Page 4 (1922–2011) (1862–1923) Skin Deep Angela Conner (born 1935) 1917–18 The Hon © Natasha Daintry 1974 Oil on canvas (died before 1628, in Bronze childhood) Page 9 Portrait of Henry VIII Portrait of a Woman © National Portrait Gallery, Paints & materials used (Mary Cecil, Dowager All Jasper Latham Rosary by Lucian Freud at Duchess of Devonshire) (around 1636-1693) © Ian Lefebvre, Art Gallery of Ontario Chatsworth (1895–1988) Around 1675-1676 Page 11 Oil paint, spirit, metal, glass, Lucian Freud (1922–2011) Marble Silver door lock plastic 1969 © The Burghley House Collection 17 Oil on canvas Page 13 Cyclamen Mural Napoleon Bonaparte Portrait of Elizabeth Talbot, Countess of Shrewsbury, Reproduction Mary, Duchess of (1769-1821) known as ‘Bess of Hardwick’, 1592 Lucian Freud (1922–2011) Antonio Canova (oil on canvas) Devonshire assemblage Rowland Lockey (circa 1565-1616) 1959 Hardstone carvings (1757-1822) © The Portland Collection, Harley Gallery, Welbeck Mural Amethyst, quartz, jade Early 1800s Estate, Marble Bridgeman Images Necklace of 1,000 Pearls Magnifying glass © C.W. Sellors 13 Glass, shagreen, silver Pauline Borghese The North Sketch (1780-1825) Page 14 Sequence Thomas Campbell Courage Calls to Courage Everywhere 15 © Alicia Paz Jacob van der Beugel Animation (1790-1858) © Dellasposa Gallery (born 1978) Transmitta 1830-1840 2014 2020 Marble Page 15 Ceramic, glass Cyclamen Bathroom, 1959 (mural), by Lucian Freud (1922-2011) 16 © The Lucian Freud Archive Golden Window Christian Bruce, Countess Reproduced by permission of Chatsworth Settlement Boxes by Tarka Kings (born Trustees Bridgeman Images of Devonshire (1595–1675) 1961) with her sons William, 3rd Page 16 Jewellery designed by Tarka Earl of Devonshire (1617– North Sketch Sequence Kings (in collaboration with 1684) Charles (1620–1643) © Jacob van der Beugel Louisa Guinness) and made Golden Window and her daughter Anne © Tarka Kings by Smith & Harris (1611–1638) © Reproduced by permission of Matthew Hollow 2020 Daniel Mytens Gold, silver, precious and (around 1590 to 1647) All rights reserved. No part of this publication may be Page 17 semi-precious stones, paper reprinted or reproduced in any form or by any electronic, Portrait of a Woman, 1969 (oil on canvas), Around 1629 mechanical, or other means, now known or hereafter by Lucian Freud (1922-2011) Oil on canvas invented, including photocopying and recording, or in © The Lucian Freud Archive A selection of portrait any information retrieval systems, without prior written Reproduced by permission of Chatsworth Settlement miniatures from The permission from the copyright holders. Trustees Sculptures and busts: Bridgeman Images Devonshire Collections Christian Bruce, Countess Every reasonable attempt has been made to locate the of Devonshire (1595-1675) owners of copyrights in the book and to ensure the credit All other images © The Devonshire Collections, All objects are from The information supplied is accurately listed. Any errors or Chatsworth. Reproduced by permission of Chatsworth omissions are unintentional and should be notified to the Settlement Trustees. Devonshire Collections publishers, who will arrange for corrections to appear in unless otherwise noted. any reprints. 22 23 #ChatsworthLifeStories x @ChatsworthArt

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