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The Indian Cashmere Shawl and Social Status in British Art, 1760–1870

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The Indian Cashmere Shawl and Social Status in British Art, 1760–1870 The Indian Cashmere Shawl and Social Status in British Art, 1760–1870 Jennifer Ann van Schoor VOLUME 1: TEXT Submitted for the degree of Doctor of Philosophy Birkbeck College, University of London Department of History of Art March 2019 THE INDIAN CASHMERE SHAWL AND SOCIAL STATUS IN BRITISH ART, 1760–1870 DECLARATION I hereby declare that the work submitted is my own and that appropriate credit has been given where reference has been made to the work of others. Jennifer Ann van Schoor 14/02/2019 Copyright The copyright of this thesis rests with the author, who asserts her right to be known as such according to the Copyright Designs and Patents Act 1988. No dealing with the thesis contrary to the copyright or moral rights of the author is permitted. 2 THE INDIAN CASHMERE SHAWL AND SOCIAL STATUS IN BRITISH ART, 1760–1870 ACKNOWLEDGEMENTS I would first and foremost like to thank the Arts and Humanities Research Council (AHRC) for funding this Doctoral Award, without which it would not have been possible. Thank you to Birkbeck College for funding part of my research travel, and especially to the Department of History of Art for providing a supportive environment. I owe a huge debt of gratitude to my supervisor Prof Lynda Nead for her patience, guidance and expertise, for encouraging me to pursue a doctorate in this subject, and for inspiring me with her own academic work. I would like to thank my advisor Prof Kate Retford for her invaluable comments on eighteenth-century visual culture, and also for her kindness and support throughout my time at Birkbeck. My gratitude is also extended to staff at the following institutions: Costume and Textile Study Centre, Norwich Museum Services; Harewood House, especially Anna Robinson and Tara Hamilton Stubber; Houghton Library, Harvard; John Rylands Library, Manchester; Norfolk 3 THE INDIAN CASHMERE SHAWL AND SOCIAL STATUS IN BRITISH ART, 1760–1870 Records Office; Paisley Museum, especially Dan Coughlan; Royal Academy Archive, especially Mark Pomeroy; Royal Collection Trust, especially Carly Collier, Claudia Acott Williams, Hannah Litvack and Kathryn Jones; West Yorkshire Archive Services, especially Carl Kenneally. A special note of thinks to Helen Hoyte for showing me her personal collection of Norwich shawls and sharing her research notes and her passion for shawls with me. I particularly want to thank my friend and fellow doctoral traveller Vazken Davidian for his unlimited enthusiasm for life and art, for keeping me sane and making me laugh throughout this process. Thank you to Neil Wenborn for taking the time to proof the text and for encouraging me to get over the final hurdles. Any errors that remain are entirely mine. This thesis is dedicated to two very special people: my dear friend Lauren Wilson, who has provided me with incredible support, as well as much appreciated comments on the text, and to my wonderful husband Heath, who offered the right amount of love, support, patience, space and tea to ‘just get it done’! 4 THE INDIAN CASHMERE SHAWL AND SOCIAL STATUS IN BRITISH ART, 1760–1870 ABSTRACT This thesis explores visual representations of social status in British art between 1760 and 1870 to analyse the significance of Indian Cashmere shawls, and the British-made shawls they inspired, as objects associated with the notion of respectability. The appropriation and domestication of this Indian garment by the British, and how it intersected with multiple formations of respectability over the late eighteenth and nineteenth century while also enduring as a fashion item, are shown to have provided women with a symbol through which to negotiate and shape their own social standing within a fluid social hierarchy. The semiotic economy of the shawl and its expressive material form provided artists with a visual language to engage with representations of contemporary social change or status display. Uniquely, this thesis offers an art historical study of the shawl in British culture which is both temporally expansive and socially broad, in order to understand eighteenth- and nineteenth-century perceptions of a garment that became integrated into diverse visual representations of 5 THE INDIAN CASHMERE SHAWL AND SOCIAL STATUS IN BRITISH ART, 1760–1870 respectable womanhood in Britain between 1760 and 1870. During this period, the Cashmere shawl would appear in a large number of British portraits and narrative paintings, representing a wide range of British women, from royalty and noblewomen to bourgeois wives and daughters, society hostesses, farmers’ wives and even fallen women. Through analysis of these paintings we gain a deeper understanding of the complex and nuanced ways women negotiated social mobility, status and identity and how artists used this object’s association with respectability to participate in an increasingly complex discourse on the effects of Britain’s industrial progress and global expansion; what impact industrial innovation had on the meaning of status; how conflict in India found expression in the ways women presented themselves; and how artists responded to the negative effects of social change through representations of women. 6 THE INDIAN CASHMERE SHAWL AND SOCIAL STATUS IN BRITISH ART, 1760–1870 CONTENTS VOLUME I : TEXT LIST OF ILLUSTRATIONS 8 ABBREVIATIONS 25 NOTES ON TERMINOLOGY 26 INTRODUCTION 32 Cashmere shawls and the visual fabric of social status PART ONE : APPROPRIATION 74 CHAPTER 1 An object of mutability: the Indian Cashmere shawl in eighteenth-century Britain 80 CHAPTER 2 From Attitudes to à la mode 152 CHAPTER 3 Symbolic pluralism: divergent strategies in mid-Victorian self-fashioning 218 PART TWO : DOMESTICATION 293 CHAPTER 4 Manufacturing respectability for Queen and country 298 CHAPTER 5 The ‘sham’ Cashmere and authenticity 353 CHAPTER 6 The unravelling threads of respectability 409 CONCLUSION The Cashmere shawl: woven into a century of art and society 459 GLOSSARY 474 BIBLIOGRAPHY 477 VOLUME II : ILLUSTRATIONS 525 7 THE INDIAN CASHMERE SHAWL AND SOCIAL STATUS IN BRITISH ART, 1760–1870 LIST OF ILLUSTRATIONS NOTES ON TERNIMOLOGY FIGURE i: A selection of Indian Cashmere shawls TAPI COLLECTION, SURAT, INDIA Shawl fragment, c.1680–90 (detail) Place of origin: Kashmir, India Woven cashmere, 269 x 421 mm Shawl, c.1720 (detail) Place of origin: Kashmir, India Woven cashmere, 3105 x 1306 mm Shawl fragment, c.1730–50 (detail) Place of origin: Kashmir, India Woven cashmere, 250 x 250 mm Shawl, c.1810–15 (detail) Place of origin: Kashmir, India Woven cashmere, 3200 x 1330 mm Shawl, c.1845 (detail) Place of origin: Kashmir, India Woven cashmere, 3245 x 1360 mm Shawl, c.1850 (detail) Place of origin: Kashmir, India Woven cashmere, 3530 x 1450 mm INTRODUCTION FIGURE ii: Attributed to Hiranand, Da'ud Receives a Robe of Honor from Mun'im Khan, c.1604 Opaque watercolour and gold on paper, 238 x 123 mm FREER | SACKLER, WASHINGTON, D.C. FIGURE iii: English School, calligrapher As’af ’Ibadallah al-Rahim, Jahangir investing a courtier with a robe of honour watched by Sir Thomas Roe, English ambassador to the court of Jahangir at Agra from 1615–8, and others, c.1616 Opaque watercolour on paper, 231 x 145 mm BRITISH MUSEUM, LONDON CHAPTER 1 FIGURE 1.1: Joshua Reynolds, Captain John Foote, 1761–64 Oil on canvas, 1230 x 980 mm YORK MUSEUMS AND GALLERY TRUST FIGURE 1.2: Joshua Reynolds, Mrs Horton, later Viscountess Maynard [Anne ‘Nancy’ Parsons], 1769 Oil on canvas, 921 x 711 mm THE METROPOLITAN MUSEUM OF ART, NEW YORK 8 THE INDIAN CASHMERE SHAWL AND SOCIAL STATUS IN BRITISH ART, 1760–1870 FIGURE 1.3: Joshua Reynolds, Mrs Baldwin, 1782 Oil on canvas, 1370 x 1105 mm COMPTON VERNEY ART GALLERY, WARWICKSHIRE FIGURE 1.4: Richard Cosway, Mrs Eliza Draper, c.1777 Oil on canvas, size unknown PRIVATE COLLECTION FIGURE 1.5: John Raphael Smith, Mrs Elizabeth Draper, c.1774–78 Oil on canvas, 380 x 300 mm PRIVATE COLLECTION FIGURE 1.6: Jonathan Richardson the Younger, Mary Wortley Montagu, c.1726 Oil on canvas, 1072 x 1773 mm COLLECTION OF THE EARL OF HARROWBY FIGURE 1.7: John Downman, A Lady surprised to have found her name written on a Tree, 1779 Oil on panel, 457 x 362 mm PRIVATE COLLECTION FIGURE 1.8: Joshua Reynolds, Gertrude, Duchess of Bedford, 1756 Oil on canvas, 1245 x 990 mm PRIVATE COLLECTION FIGURE 1.9: Joshua Reynolds, Mrs James Fortescue, née Mary Henrietta Hunter, 1757 Oil on canvas, 815 x 815 mm FYVIE CASTLE, NATIONAL TRUST FOR SCOTLAND FIGURE 1.10: Joshua Reynolds, Elizabeth Kerr, Marchioness of Lothian, 1769 Oil on canvas, 875 x 749 mm MUSEO SOUMAYA PLAZA CARSO, MEXICO CITY FIGURE 1.11: Joshua Reynolds, Mrs Thomas Watkinson Payler, 1771 Oil on canvas, 762 x 635 mm CLOWES COLLECTION, INDIANAPOLIS MUSEUM OF ART FIGURE 1.12: Joshua Reynolds, The Hon. Mrs John [Elizabeth] Barrington, c.1758 Oil on canvas, 762 x 635 mm GAINSBOROUGH'S HOUSE, SUDBURY FIGURE 1.13: Joshua Reynolds, Mrs Jodrell, 1774–6 Oil on canvas, 775 x 641 mm DETROIT INSTITUTE OF ART FIGURE 1.14: Gown, Shawl and Sash, c.1761 Muslin, silk, embroidered from India YORK MUSEUMS AND GALLERY TRUST FIGURE 1.15: Chand-dar or Moon Shawl, c.1750 (detail) Cashmere, 1200 x 1030 mm TAPI COLLECTION, TAPI 08.115 image from Kashmir Shawls: The Tapi Collection, ed. by Steven Cohen et al. (Mumbai: The Shoestring Publisher, 2012), p.180 9 THE INDIAN CASHMERE SHAWL AND SOCIAL STATUS IN BRITISH ART, 1760–1870 FIGURE 1.16: Thomas Gainsborough, Katherine Hingeston, c.1787 Oil on canvas, 762 x 636 mm GEMÄLDEGALERIE, BERLIN FIGURE 1.17: George Willison, Muhammad Ali Khan, Nawab of Arcot, c.1770 Oil on canvas, 2362 x 1460
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