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Edward LUTTRELL Neil Jeffares, Dictionary of pastellists before 1800 Online edition LUTTRELL, Edward Braunton parish registers; a brother Francis died under Luttrell’s supervision, including among the ?London c.1650 – Braunton, Devon 6.III.1737 in 1657). Records of admission to New Inn were recipes for pastels a statement which refers to his The life of the English pastellist and mezzotint lost many years ago; the recently discovered copy practice: “these cryoons formerly was made up engraver Edward Luttrell (Lutterell, Lutterel etc.) minute book runs only from 1675, and contains with 3 parts plaister of paris, & now for his has been the subject of much speculation from no mention of Luttrell. cryoons to work upon Copper: he makes but the early mentions in Vertue of “Mr Edward Vertue also tells us that, having “no instructor one part of plaister of paris”. Luttrell bred to the law of New Inn London”. or regular teaching”, while “drawing by practice In her will (proved 1.X.1745), Narcissus’s Buckeridge (1706) plausibly suggested that he for his Pleasure at length [Luttrell] persued it & widow Mary bequeathed to Owen Wynne’s was a scholar of Ashfield (q.v.)– left the Practice of the Law.” Starting with “the grandson “my late husband’s picture in Crions”. manner of drawing in Crayons”, but “having a This may very well have been by Luttrell, who From him the present Mr Luttrell had his Introduction, who has improv’d that Invention mechanical head”, he turned to mezzotint was well acquainted with his cousin: an [crayon painting], and multiplied the Variety of engraving. Buckridge’s suggestion that he was autograph letter (Bodleian MS. Eng. c. 7903, fol. Colours to effect any thing; and also found out a taught pastel by Ashfield is supported by 4) of 7.II.1681 written by him from Oxford method, unknown before, to draw with those Chalks favourable mentions of him in the Epitome. This describes the difficulties of finding or Crayons on Copper-Plates, either by the Life or tract however promotes the merits of lengthy, accommodation in “Our Citty” for Narcissus Historically. formal training (at least three years of drawing (then in London, “over against the Red Cross in Pilkington (1824), who is also the source of before turning to painting in any of its forms), High Holborne”, opposite the Three cups tavern, Luttrell’s (plausible) date of birth, erroneously suggesting (but by no means implying) that the near where the pastellist’s father had died) a thought that the artist was born and spent a great author himself had benefitted from such month before the sitting of the so-called third part of his life in Dublin, no doubt believing that discipline; the preface includes an irascible attack exclusion parliament. It is unclear for how long he belonged to the Irish family from on foreigners and amateurs who “aim to be Luttrell lived in Oxford, but his stay was long Luttrellstown; he calls him Henry Lutterell. Later Painters before they be Draftsmen”. enough to have drawn John Barefoot, letter- research into his prints noted that his first name Luttrell’s earliest signed pastel was dated doctor to the university of Oxford, ad vivum in began with E., but the major breakthrough 1674; the next, 1677. From around 1680 Luttrell 1681, and to have Michael Burghers engrave it required the emergence in 1965 of Luttrell’s combined both skills by using pastels on locally. An Edward Luttrell was listed as a rate- 1683 manuscript Epitome of painting, containing prepared copper plates, a technique which payer in Henrietta Street, Covent Garden in breife directions for drawing, painting, limning and Buckeridge said he invented although Vertue 1682, and the pastellist must have been in cryoons (now at the Yale Center for British Art; believed was derived indirectly from the Dutch London in .IV.1682 when he drew two Javanese exhibited New Haven 2007, no. 133): its engraver Abraham Blooteling. In the Epitome, ambassadors at the Duke’s Theatre, but he may dedication implied that the artist was related to Luttrell recognises that the technique for have returned to Oxford by 1683 when he wrote the Luttrell family of Saunton, or Santon, Court, preparing the plates derived from Prince Rupert the Epitome, as he refers to “this Towne” rather in the parish of Braunton, Devon. Based on Sir (Ruprecht von der Pfalz), as improved by than city which seems unlikely to refer to Henry Maxwell Lyte’s well-researched genealogy Wallerant Vaillant (qq.v.). Both Bloteling and London. of this Luttrell family (some of it derived from Luttrell engraved Greenhill’s 1673 portrait of the The pastellist was probably the “Edward the materials accumulated by the historian and 1st Earl of Shaftesbury (although the date Lutterell, gentleman” who married a Jane Smith diarist Narcissus Luttrell, 1657–1732), Patrick appears on the print, it probably refers to the at St James’s, Clerkenwell in .II.1675; a daughter Noon (in New Haven 1979) proposed to identify original portrait, the plate being made later). Jane was born in Red Lyon Street and baptised the pastellist as Edward Luttrell, son of another Several prints were published with the mezzotint 28.X.1688 at St Andrew’s Holborn in 1688.Soon Edward (1616–1668), a younger son in the engraver and pastellist John Smith (q.v.), and after Edward must have remarried; the family and uncle of Narcissus (so that the Luttrell also worked with Isaac Beckett. pastellist’s wife, from as early as 1695 to after his pastellist was Narcissus’s first cousin). (There has Luttrell seems to have been well connected in death, was Mary (the marriage is undocumented, been some confusion as to the exact genealogy: the wider art world. At some stage before 1690 but a monument in the church at Braughton to Maxwell Lyte’s 1881 pedigree indicated that he introduced Sir Godfrey Copley to the artist her grandson, one Robert Hales, implies that Edward, the putative pastellist, was the son of Henry Cook (qq.v.) who decorated his house in Mary, née Bland, had been married, to a William Arthur Luttrell, born 1638, which does not seem Yorkshire. In 1694 John Evelyn recorded a Hales, in 1679, before her union with Luttrell). plausible for the father of an artist who was Luttrell portrait of his relatives; but the closer Edward and Mary’s daughter Charlotte was working by 1674; this was revised in the 1909 acquaintance which has been inferred from the christened to in the Savoy Chapel in 1695, and a monograph.) While this has some surprising inscribed presentation copy of Evelyn’s 1656 son, Edward Jr, must have been born near this implications, the circumstantial evidence has Lucretius to “Edward Luttrell” (Harvard; v. date. since been reinforced, notably by the signature Geoffrey Keynes, John Evelyn: a study in bibliophily, The Epitome reveals Luttrell to have had a on the Braunton oath roll and by the 1934, p. 58; New Haven 2007) should be treated lively mind and a practical approach to his art. chronology, although no contemporary with caution, as the date suggests it is more like Whatever his training, he wrote as an document has yet been discovered explicitly to refer to a homonym: the pastellist’s father or a experienced practitioner. He demonstrates a identifying this Edward as the pastellist. more distant cousin, Edward (1600–1664) of familiarity with drawing, oil painting, miniature The Devon family appears to be unrelated to Spaxton (both he and his son, another Edward, and glass painting, as well as the mezzotint the Irish Luttrells. The pastellist’s grandfather died far too early to be the pastellist; he appeared method for which he has most widely been had four children, the heir being a colonel in the in litigation before Keeper Coventry in 1638, and noticed, but his sections on pastel are also of parliamentary army. His two younger brothers may connected with the relative Vertue mentions great interest. He discusses rubbing with the both went to Gray’s Inn, the pastellist’s father in connection with Luttrell’s copy of a portrait of finger, noting that pastels look strongest without being admitted in 1632. “Edward Lutterell Gent the judge). rubbing, but “neatest with it”, and recommends of Rose Alley, High Holbourn” was buried The manuscript of the 1683 Epitome was cleaning up the blured lines with a crayon point, 1.IV.1668, supporting the idea that he had dedicated to his “most Ingenuous Kinswoman and not using the technique after the initial remained in London practising the law – Maddam Dorothy Luttrell”, and the first page of stages. Black and red chalk should never be used consistent with Vertue’s statement about the the manuscript, inscribed “Dorothy Luttrell/Her as they cannot be erased. He describes several pastellist’s background – but he seems not to Book/1683” indicates that it was her property. different techniques before praising that have been particularly successful: his widow This was Narcissus’s sister Dorothy (1658– introduced by Ashfield. Dorothy renounced his estate. All the 1724), who married Owen Wynne in 1688. While Although it appears not to reproduce any circumstances indicate that his son Edward (the the main part of the Epitome was written by previous text verbatim, the Epitome draws from a pastellist) was born around 1650, presumably in Edward Luttrell, supplementary entries (some 18 number of previous sources, perhaps most London (the birth does not appear in the pages) were added by Dorothy, presumably notably from the anonymous compendium The www.pastellists.com – all rights reserved 1 Updated 28 July 2021 Dictionary of pastellists before 1800 excellency of the pen and pencil, London, printed for pastels on technical grounds hazardous, and Bibliography Richard Jones and Dorman Newman in 1668 confusions no doubt persist.
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