The caped collector Kerrianne Stone

Albums of prints are among the and the Percys. Jane Seymour, and in 1751 took highlights of the Baillieu Library Henry VIII’s third wife, who died her surname, in 1766 being made the Print Collection, so I was aware that providing Henry’s only male heir, first for his the library’s nine albums of prints was her ancestral aunt. The Percy services to the crown.7 by the Sadeler dynasty of engravers name, which traces its lineage back Together the duke and duchess of once belonged to the first duchess of to the Norman Conquest, is known Northumberland enlisted the great Northumberland.1 But the magnitude rather for its connection to the 18th-century neoclassical architect of the duchess’s persona and her notorious Gunpowder Plot of 1605. , who spent many importance as a collector were only Thomas Percy was one of the chief years transforming their ancestral made real to me when I took up the conspirators, along with Guy Fawkes, houses into contemporary feats of Harold Wright and Sarah & William in the attempt to blow up the British high art and taste. Northumberland Holmes Scholarship last year, to study parliament. The plot is rumoured House accommodated the duchess’s prints at the British Museum. to have been hatched at the family ‘Musaeum’, an expansive collection The story of Elizabeth Seymour estate, , the location of of pictures, objects and specimens, Percy Northumberland (1716–1776) the ninth ’s which she spent her life assembling.8 is astonishing: enjoying an illustrious armoury.6 Thus the first duchess of This grand house near Trafalgar pedigree, in the sphere of collectors Northumberland was a woman with Square was demolished in 1874 and museums she was a champion of both nobility and gunpowder in her to make way for Northumberland the Enlightenment. It is only in the blood: characteristics that carried Avenue, although a glimmer of its last few decades that her significance over into her taste and determination former splendour can still be seen as a diarist, collector and patron as a collector. at the Victoria and Albert Museum, have attracted due attention.2 In this Because her brother had died of where the sparkling red and green article I provide a brief overview of smallpox during his Grand Tour foil-backed glass-panel fireplace my encounter with her in in 1740, when Elizabeth Seymour surround, designed by Robert and indicate why her history and Percy’s father died in 1750 she Adam, is displayed,9 alongside an collecting are of such interest.3 inherited the family title (becoming architectural model of the drawing In her mezzotint portrait by Baroness Percy) and its wealth room.10 Syon House featured an Richard Houston, after a painting and estates: the London mansion 18th-century-style print room by Joshua Reynolds (see opposite),4 , Syon decorated with 100 prints, complete Elizabeth wears a family ermine House in Brentford (Middlesex), and with printed decorative borders. It and velvet cape and is holding the Castle, the family seat in was from this house that the albums coronet that signifies her position as Northumberland. In 1744 she had now in the Baillieu Library were sold countess of Northumberland.5 Her married Sir Hugh Smithson in 1951 (the albums were originally name encapsulates the two great (c. 1712–1786), a baronet and stored at Northumberland House), aristocratic families from which politician, who through his wife and so it is this residence that is of she was descended: the Seymours succeeded to the earldom of chief interest here (see p. 34).

32 University of Melbourne Collections, issue 18, June 2016 Kerrianne Stone, ‘The caped collector’ 33 Previous page: Richard Houston (engraver), after Joshua Reynolds, Elizabeth countess of Northumberland, Baroness Percy, Lucy, Poynings, Fitzpain, Bryan, and Latimer, c. 1759, mezzotint, 49.8 × 34.6 cm. 2015.0038, purchased 2015, Baillieu Library Print Collection, University of Melbourne.

Left: The front approach to Syon House. Photograph by Kerrianne Stone.

Syon House is built upon the Jacques-Louis Macie, 1764–1829), between 1741 and 1745. Griffiths remains of a medieval Bridgettine a mineralogist, who is remembered also traced the whereabouts of many abbey, which once housed an today as the founder—through of the duchess’s print albums, which important library of more than 1,400 his substantial bequest—of the had found their way into the British books and manuscripts. The abbey Smithsonian Institution in America. Museum, various institutions in New fell in Henry VIII’s dissolution of the By branding the Smithson name York, and of course to Melbourne.16 monasteries; the new Tudor courtyard on what is now a world-recognised The contents of all nine Melbourne house was the home of Edward scientific institution he was attempting volumes were listed and published Seymour, protector of Henry’s young to attain the acknowledgement as part of a Master of Arts thesis by heir. Even today, scholarship seems denied him by the family titles and Ruth M. Edquist, a project that took to resonate through the floorboards, his illegitimacy.13 Although James a dedicated 14 years to complete.17 while overhead Robert Adam’s Smithson’s portrait does not hang in As part of a re-binding project in the resplendent coffered ceilings and the former print room at Syon House, mid-1990s, which at that time was Francesco Zuccarelli’s lunettes glow his story is told as part of it and his thought to be an efficient means of with grandeur. The prints were taken legacy has consequently become preserving the prints, the Baillieu down in the 19th century as part intertwined with that of the Percys, Library sent all except two of the of the third duke’s renovations, and whose history was composed of many Harleian albums to conservator the print room now houses family burls and knots. It is fascinating that and bookbinder Robin Tait for re- portraits.11 What immediately strikes the albums in the Baillieu Library have binding. The five Harleian bindings today’s visitor are incongruities among connections to, and tell stories about, that were removed were stored in the the portraits of British blue-bloods, some of the Western world’s greatest Baillieu (opposite, above).18 such as the depiction of Mohawk collectors, collections and institutions. While in London I attended the chief Joseph Brant Thayendanegea Seven of the nine albums in the annual Panizzi Lectures at the British (1742–1807). This is explained by Baillieu Library were first identified Library, which in 2015 were given by the involvement of Elizabeth and by their bindings as coming from the Professor David McKitterick (retired Hugh’s eldest son, Lord Hugh Percy library of Robert Harley, first earl of librarian and vice-master of Trinity (1742–1817), in the American War Oxford (1661–1724), and his son, by College, Cambridge). One aspect of of Independence, where he fought at Antony Griffiths, then keeper of prints the ‘invention’ of rare books discussed Boston and New York. He befriended at the British Museum.14 Harley’s by Professor McKitterick was how Brant, who became one of many was one of the greatest libraries of printed sale catalogues influenced the visitors to Syon House.12 Thus the the 18th century, the manuscript perception and construction of book family’s rhizomes and interests had collection becoming a foundation ‘rarity’. The second lecture, which begun to extend into the New World. stone of the British Library (then part focused on the sale of the earl of Elizabeth’s husband had three of the British Museum),15 but the Oxford’s library (the Harleian sales), illegitimate children, including one book collection was dispersed on the included reference to volume 5 of the son: James Lewis Smithson (born open market in a series of auctions enormous auction catalogue, which

34 University of Melbourne Collections, issue 18, June 2016 Harleian binding removed in 1994–95 from volume 7 of Sadeler’s works: Aegidius & Justo (gift of the Society of Collectors 1962, Rare Books, Baillieu Library, University of Melbourne.

contained a listing of the prints. auctioned through Sotheby’s in 1951; albums reveal information about There, at Lot 90, is what appears to its fate is unknown but most likely 18th-century collecting methods. be the entry for the Baillieu’s seven it was broken up and the prints sold Enlightenment collections were Harleian albums: individually.20 based on a philosophy of collecting And what of the Baillieu’s other encyclopaedically across disciplines, Aegidius, Ralph, John, and two albums, not listed in the Harleian bringing together scientific and Justus Sadeler’s Works complete, sales catalogue—those containing artistic works that enabled specialist containing nine hundred and the prints after Maarten de Vos? research to be disseminated for five very curious Prints, bound The titling of the albums hints at the benefit of the world. This in 8 vol. in Calves Leather, gilt the changing fashions and tastes of same philosophy underpinned the on the Leaves. To enumerate the print scholars and connoisseurs over foundation in 1753 of the British Masters whose works the Sadelers the years: the Harleian albums are Museum.23 Indeed, Elizabeth’s have engraved after, wou’d be titled on the spine Sadeler’s works and husband was appointed to the unnecessary; it being well known, subtitled with the engraver’s name, museum’s inaugural board of trustees that there is hardly a capital whereas the two Northumberland and the pair were influenced by Picture, either of the Italian or albums are titled on the spines the objects and Enlightenment Flemish Schools which they have Sadeler’s works and subtitled with methodologies of this landmark omitted.19 the master’s name.21 These latter two institution.24 albums have very different bindings The first duchess of This auction took place in 1745; (inexpensive blue paste boards) from Northumberland was not only it is possible that the duchess’s the other seven and follow an unusual securing rare works of art, such as London agent bought the Sadeler method of attaching the prints to the the seven albums from the Harleian volumes. Their subsequent journey— page. It was this curious method of library; she was also adding to the through dealers’ hands before fixing the prints into the album by field through her singular approach, arriving at the university in 1962 a margin tab that first led Antony which encompassed her assembling thanks to the vision of Professor Griffiths to investigate further and practice and her artistic preferences, Joseph Burke, who organised their conclude that this was most likely of which the two paste board purchase from the famed London the duchess’s own invention.22 Both Sadeler/Maarten de Vos albums are print dealership Colnaghi’s by the the mounting of the prints and their examples. Like many aristocrats of Society of Collectors—is better relationship with each other as they the 18th century, the duchess went known. The missing Harleian album, are laid out according to themes on a Grand Tour to expand her the sixth, which contained the works devised by the duchess tell us much education through the benefits of of Aegidius Sadeler the younger, about a woman boldly entering travel. While fewer women than men was the most highly prized and was what was then a largely masculine went on a tour, most grand tourists, separated from the group after the discipline. Viewed together, the including Elizabeth’s husband, Syon House print collection was Harleian and Northumberland concentrated their energies on the

Kerrianne Stone, ‘The caped collector’ 35 36 University of Melbourne Collections, issue 18, June 2016 John Raphael Smith, published by Carrington Bowles, 1774, Spectators at a print-shop in St. Paul’s Church Yard, mezzotint, 35.3 × 25.2 cm. 2010,7081.379, Trustees of the British Museum.

Classical world, especially in Italy. of extreme fashions in clothes and career in opposition to Robert Elizabeth, by contrast, favoured hairstyles. The ‘macaroni mezzotints’ Walpole, so a sarcastic relationship the Low Countries (Belgium, the are among 47 prints remaining in an with his son may have been a Netherlands and parts of France), album compiled by the duchess and natural consequence. Nevertheless, acquiring a large proportion of her acquired by the British Museum in the duchess and Horace Walpole collections there.25 2010. The prints include Spectators had much in common as collectors. Few could fail to admire at a print-shop in St. Paul’s Church Walpole’s famous novel The castle Elizabeth’s determination in Yard (1774, see opposite), depicting of Otranto (1764) was inspired by resigning from her role as lady of extravagantly dressed men and his villa, Strawberry Hill House, the bedchamber to Queen Charlotte women viewing satirical prints of located—like Syon House—in and touring (independently of her aristocrats (possibly also macaronis) Middlesex, and fashioned by husband, and with a great entourage) at Carrington Bowles’ Print Shop Walpole into a fantastical, miniature through the Low Countries several (which published this print, as well Gothic castle, its interior a dazzling times during the 1760s and 1770s, as versions of the duchess’s portrait). jewel box, replete with artistic visiting collections and buying The inference is that aristocratic treasures. Unlike their Renaissance works of art.26 She overcame health collectors such as the duchess collector predecessors, the duchess problems, travelling dangers and had, through their over-zealous and Walpole were not merely inconveniences, many of which she connoisseurship of all things, also assembling a cabinet of wonders, but recorded in her diaries (extracts from made themselves into caricatures. rather creating an entire wonderland which were posthumously published The Northumberlands appeared incorporating house, grounds and as Diaries of a duchess).27 Yet her in both satirical prints and lofty, all the elements within. At Syon personality, as recounted by her painted portraits; the album in the House, for example, a visitor may contemporaries, was a combination British Museum demonstrates the explore the remains of the ancient of ostentation and vulgarity.28 She duchess’s interest in fashion and abbey, graceful Adam architecture, was not modest about her pedigree perhaps also her broad collecting, house furnishings, conservatory, or wealth, she meddled in politics, which encompassed great works of art enchanting Duke’s Wood with its and mixed with the highest and the such as the Dutch and Flemish old North American plantings and, by lowest in society, buying prints from masters, and popular contemporary extension, nearby Kew Gardens, even the most poverty-stricken of prints that directly mocked her and which frames the house at the end street criers. her class. of its ‘Syon Vista’. Around this time, those who, One contemporary who Boasting three such audacious like the duke and duchess, had commented on the duchess, often in estates of curiosity to his one, the been on a Grand Tour and acquired a critical way, was Horace Walpole duchess had bested Horace Walpole. a taste for Italian culture were (1717–1797), son of prime minister The reason why her story and dubbed ‘macaronis’, as were those Sir Robert Walpole. The first duke of collection fell into obscurity while who followed the associated wave Northumberland began his political Walpole’s remained well known

Kerrianne Stone, ‘The caped collector’ 37 Charles Grignion (engraver) after Edward Francis Burney, frontispiece to A catalogue of the Portland Museum, lately the property of the duchess dowager of Portland, deceased, which will be sold by auction by Mr. Skinner and Co. on Monday the 24th of April, 1786 … [London], 1786. Rare Books, Baillieu Library, University of Melbourne.

would seem to lie with the print A copy of the sale catalogue is held The duchess of Portland, for medium itself. Elizabeth Seymour in the Rare Books Collection of example, has been scorned as a Percy Northumberland did not the Baillieu Library (see opposite). ‘bowerbird’ collector, as if she were publish any books or a handsome Walpole inscribed his copy on a hoarder of baubles.32 However, catalogue of her collection. By way the frontispiece, a record of his the albums held by the Baillieu of contrast, Strawberry Hill House endorsement lacking from Elizabeth Library reflect a refinement in their had its own printing press, which Seymour Percy and her collection. appreciation of artists of the Low Walpole harnessed to produce This picture was reproduced with Countries, and an unusual aspect of finely printed books and even a the description of the collection by the Grand Tour. They are a record guidebook and catalogue for visitors: him, and gave birth to yet more rare of Elizabeth Seymour Percy’s status Description of Strawberry Hill printed collector items.29 and importance in the 18th century (1784). Further, by publishing his The first duchess of and show that she was both a great book Some anecdotes of painting in Northumberland made detailed and an enlightened collector. England (1762), Walpole became listings of her collections, suggesting acclaimed as an authority on British that she was aware of the power Kerrianne Stone is curator of prints at the Baillieu Library, University of Melbourne. She art history and biography, while the of a printed catalogue (which the was awarded the Harold Wright and Sarah duchess was then, and generally still Harleian, Walpole and Portland & William Holmes scholarship, studying the is, considered merely an amateur examples demonstrate) and intended Prints and Drawings Collection at the British Museum in 2015. collector. Although Strawberry Hill to publish one herself.30 These eight and Syon were private homes (Syon hand-written volumes, the second is still a private home), they were volume listing the prints, are held at 1 Catalogued by the University of Melbourne as available to the public to enjoy for . Volume 9 lists the Sadeler’s works [picture], [1576–1628]: vol. 1 their enlightenment, as if embarking books in Elizabeth’s private library, John part 1; vol. 2 John part 2; vol. 3 Raphael; vol. 4 Aegidius part 2; vol. 5 Raphael; vol. 7 on a miniaturised version of the a collection also retained at Aegidius & Justo; vol. 8 Mark & George; Grand Tour. Alnwick. The print albums now vol. 1A Sadelers/de Vos; vol. 2A Sadelers/ Elizabeth Seymour Percy’s in the Baillieu do not carry any of de Vos. Gift of the Society of Collectors 1962, most analogous contemporary her printed bookplates,31 and they Rare Books, Baillieu Library, University of Melbourne. collector was Margaret Bentinck were stored in their own cabinet, 2 The duchess has been the subject of recent (1715–1785), duchess of Portland suggesting perhaps that the duchess scholarship, in particular by Dr Adriano and granddaughter of Robert saw prints and books as two separate Aymonino; see his forthcoming book to be Harley. Following Margaret’s death, categories. published by Yale University Press: Patronage, collecting and society in Georgian Britain: her astonishing Portland Museum Eighteenth-century collections The grand design of the 1st duke and duchess collection, which encompassed like that of the first duchess of of Northumberland. significant natural history specimens, Northumberland are often criticised 3 In 2016 Louise Box is writing a PhD on the duchess’s albums, while Angelo Lo Conte is decorative arts, and zoological and in current times for their haphazard undertaking a funded research project on the botanic gardens, was auctioned. structure and lack of specialisation. Sadeler prints.

38 University of Melbourne Collections, issue 18, June 2016 Kerrianne Stone, ‘The caped collector’ 39 4 The Baillieu Library’s copy of the print 14 I thank Antony Griffiths for providing the Fitzwilliam Museum at Cambridge carries the collector’s stamp of Walter helpful information and for generously University, who when compiling his albums Francis Scott, fifth reading through this article. was influenced by the views expressed in the (1806–1884), a mezzotint collector. I thank 15 Sir Hans Sloane’s collection, Robert Harley’s catalogues of Adam Bartsch, which helped Callum Reid for identifying the collector’s manuscripts and Sir Robert Bruce Cotton’s lay the foundation for print art history. stamp (Lugt 402). The original Reynolds library are the three foundation collections of 22 Griffiths, ‘Elizabeth, duchess of portrait is on display in Syon House. the British Museum, which later expanded to Northumberland’, p. 143. 5 Elizabeth was known by several names form the Natural History Museum and the 23 See Kim Sloan (ed.), Enlightenment: and titles during her climb through British Library. Discovering the world in the eighteenth society, including Lady Smithson, Lady 16 See Antony Griffiths, ‘Elizabeth, duchess century, London: British Museum Press, Betty, countess of Northumberland, of Northumberland, and her albums of 2003. Baroness Percy and, finally, duchess of prints’, in Dear print fan: A festschrift for 24 Aymonino, ‘The Musaeum of the first Northumberland. Marjorie B. Cohn, Cambridge, Mass.: duchess of Northumberland’, p. 105. 6 Colin Shrimpton, F. Woodcock and Harvard University Art Museums, 2001, 25 Anne French, Art treasures in the North: Richard Pailthorpe, Syon Park: The London pp. 139–45. Northern families on the Grand Tour, home of the duke of Northumberland, 17 See Ruth M. Edquist, Sadeler catalogue, Norwich: Unicorn Press, 2009, pp. 65–71. [England], 2003, pp. 14–15. University of Melbourne Library, 1990, 26 Anne French, Art treasures in the North, p. 69. 7 Harriet Blodgett, ‘Percy, Elizabeth, duchess and Ruth M. Edquist, The Sadeler family 27 See Elizabeth Seymour Percy and James of Northumberland and suo jure Baroness engravings: A critical and historical Greig, The diaries of a duchess. Extracts Percy (1716–1776)’, in Oxford dictionary of introduction to the engravings by members of from the diaries of the first duchess of national biography, Oxford University Press, the Sadeler family in the Print Collection of Northumberland (1716–1776), London: 2004–15. the Baillieu Library, MA thesis, University of Hodder and Stoughton, 1926. 8 See Adriano Aymonino, ‘The Musaeum Melbourne, 1980. 28 Horace Walpole, quoted in Blodgett, ‘Percy, of the first duchess of Northumberland 18 Geoffrey Down, ‘The University of Elizabeth, duchess of Northumberland’. (1716–1776) at Northumberland House Melbourne Libraries Print Room annual 29 See for example Horace Walpole (with an in London’, in Susan Bracken, Andrea M. report’, unpublished document, 1994. introduction by W.S. Lewis), The duchess of Gáldy and Adriana Turpin (eds), Women 19 Catalogus bibliothecæ Harleianæ: or, a catalogue Portland’s museum, New York: The Grolier patrons and collectors, Newcastle upon Tyne: of the remaining part of the library of the late Club, 1936. Rare Books, Baillieu Library, Cambridge Scholars, 2012, pp. 101–20. earl of Oxford. Vol. V. … Which will begin to be University of Melbourne. 9 Robert Adam (designer), Glass drawing sold … at T. Osborne’s … on the twenty second 30 Aymonino, ‘The Musaeum of the first room, 1773–74. W.3:1 to 66–1955, Victoria day of April, 1745, and continue selling till the duchess of Northumberland’, p. 109. and Albert Museum, London. first of July, London: for Thomas Osborne, 31 I thank Christopher Hunwick, archivist at 10 Lucy Askew (designer and maker), Model 1743, p. 10. Alnwick Castle, for supplying images of two of Northumberland House drawing room, 20 Geoffrey Down, ‘The Sadeler engravings’, bookplates varying after her title altered to 2001. E.3837–2004, Victoria and Albert University of Melbourne Library Journal, ‘duchess’, and the present location of her Museum, London. vol. 1, no. 3, Autumn/Winter 1994, p. 7. library. 11 Shrimpton, Woodcock and Pailthorpe, 21 Of chief interest to collectors and scholars 32 Beth Fowkes Tobin, ‘The duchess’s shells: Syon Park, p. 50. were the creators of the original paintings Natural history collecting, gender, and 12 Shrimpton, Woodcock and Pailthorpe, or other works; recognition and opinions scientific practice’, in Maureen Daly Goggin Syon Park, p. 50. of reproductive engravers wavered over the and Beth Fowkes Tobin (eds), Material 13 H.S. Torrens, ‘James Lewis Smithson’, centuries. An interesting comparison are the women, 1750–1950: Consuming desires in Oxford dictionary of national biography, 198 print albums, including three Sadeler and collecting practices, Burlington, VT: Oxford University Press, 2004–15. albums, of Lord Fitzwilliam, founder of Ashgate, 2009, p. 249.

40 University of Melbourne Collections, issue 18, June 2016