Nold Councillor D

8 ~

- '-:„THE LEEDS CATTY ART GALLER$ :, 8 TEMPLENEWSAM HOUSE, THE LIBRAIUES & ARTS (ART GALLERY & TEMPLE NEWSAM HOUSE) SUB-COMMI'I I'KE

The Lord Mayor Chairman Councillor A. Adamson Deputy Chairman Mrs. Gertrude Halbot, J.P.

Alderman L. Hammond Councillor F. E. Tetley, D.S.O. Advisory Members Councillor H. S. Vick, J.P. Councillor G. A. Stevenson Mr. Edmund Arnold Councillor D. Murphy, J.P. Councillor R. R. Thomas Mr. C. H. Boyle Councillor E. Osborn Councillor H. Bretherick Professor B. Dobree, O.B.E. Councillor F. Walker, O.B.E. Mr. L. W. K. Fearnley Mr. H. P. Peacock Councillor W. Shutt Lady Martin Mrs. J. S. Walsh Councillor K. A. Muir Mr. E. Pybus

Director Mr. E. I. Musgrave

THE LEEDS ART COLLECTIONS FUND

President The Rt. Hon. the Earl of Halifax, K.G., O.M., G.C.S.I.,G.C.I.E.

Vice-President Mr. Charles Brotherton, J.P.

Trustees Mr. Edmund Arnold Professor Bonamy Dobree, O.B.E. Major Le G. G. W. Horton-Fawkes

Committee Councillor A. Adamson Professor Bonamy Dobree, O.B.E. Mr. Edmund Arnold (Hon. Treasurer) Major Le G. G. W. Horton-Fawkes Mr. George Black Mr. E. I. Musgrave (Hon. Secretary)

Aii Communications to the Hon. Secretary at Temple Nevvsam House, Leeds ~Z utumn Number 1947 THE LEEDS ARTS CALENDAR

IN THIS ISSUE were not ignored entirely was truly encour- the EDITORIAL —OUR RECEPTION aging. But spoken word is always more spontaneous, so that it was from our friends QUARTERLY REVIEW— who offered candid criticism and from many SOME RECENT ACQUISITIONS critics on whom we have been eavesdrop- THE SPENCER EXHIBITION ping, that we learned of our multitudinous errors. Each new criticism seemed, at first, TUDOR ROOM FOR TEMPLE NEWSAM $ .. an accusation of unforgiveable offence> but THE FUND S VISIT To SWINTON PARK .. 9 when totalled and carefully considered, these amounted to little more than we might A NATIVE PAINTER. BENJAMIN WILSON) I72I-i788 Io expect in our first faltering steps...... One common comment which pleased ARTS CALENDAR I2 us, was "It looks well" or "It's well set up." This we had because we THE PERIOD DOLL AS A GUIDE TO hoped for HISTORICAL DRESS believe it our duty, above all else, to achieve the highest standard of aesthetic appearance THE HOLLINGS COLLECTION possible within our modest means. II: LEEDS PAINTED WARE 2I It may be that our anxiety over this primary aim caused us to be a little less OUR RECEPTION discriminating on the question of content. In the preparation of a new publication, For it was about this that we heard more the purpose of which is not purely com- adverse remarks. They varied considerably mercial, one is naturally concerned only "It's too short," "Too much space given with content and appearance. But it is not to details of minor interest," "Not enough easy to achieve a complete synthesis of the about the collections," "A little dull and two, for one is inclined to concentrate on academic," "Not sufficiently scholarly." the one at the expense of the other. Perhaps all are right, but our audience, we When the first issue of the Leeds Arts hope, is very varied so that we cannot hope Calendar was launched we were prepared to to please all. We have learned many lessons ignore, for the time being, the inevitable and we are grateful to our critics. We will " > " question Does it pay and to listen only try to correct our mistakes, as well as to for the criticisms on its appeal from a literary seek for the happy compromise which will and aesthetic point of view. We were not make our magazine informative without disappointed. The press gave us a gentle being either too academic or journalistic. and rather patronising pat on the head, If you think you can help us to achieve which was as much as we had hoped for our purpose either by criticism or contri- under present conditions. The fact that we bution, we will welcome your suggestions. E.I.M. U a r t. e r ly R e view SOME RECENT ACQUISITIONS

Additions to the collection during the last In a more objective style are paintings by three months include forty-one paintings, Eric Kennington, Richard Eurich, Charles drawings and water-colours presented by Ginner, Carel Weight, Claude Rodgers and H.M. Government through the War Stephen Bone, together with watercolours

Artists'dvisory Committee. This selection was and drawings by Thomas Hennell, William made from the numerous works executed by Dring, Stanley Houghton, John Worsley official war artists showing various aspects and Robert Austin. of naval, military, air force and civilian life Illustrated in this issue is the fi .ely carved from 1939 to I94). The sum total of storks pine frame by Grinling Gibbons (t646- tpzo) which has been bought the Cor- collected by this special committee, set up by poration assisted a by the Government, forms an almost com- by grant from the Victoria and Albert Museum. is plete pictorial record of the war on all fronts. It an excel- lent example of Gibbons finest work, But such a collection cannot be adequately pro- bably executed about t68o. It shows many shown in any one building so that many of the characteristic motifs which can be provincial art galleries have benefited by a seen in his carvings at Petworth, wise distribution. Belton, St. Pauls'nd those executed for Holme Our selection includes one painting and Lacey which are now at Beninborough Hall. eight gouaches by Graham Sutherland who This frame was originally at Syston Court, was one of the most successful war artists, Gloucestershire. It contains a copy of an in so far that he was able to adapt his highly earlier portrait of the first Earl of Craven> developed personal style to capturing some- the son of Sir William Craven (the Dick thing of the feeling of what he experienced Whittington of Appletreewick) and hus- as well as putting down just what he saw. band of Elizabeth, sister of Charles I and The same can be said of the Castleford born Queen of Bohemia. artist Henry Moore, who is represented by Among other acquisitions are two water- three drawings; and of Paul Nash whose of colours by Miss Muriel Metcalfe, a sensitive poetic renderings of aeroplanes we have artist who, in her best drawings, seems to three examples. Four watercolours by combine happily qualities which are reminis- Edward Bawden might also be included in cent of Blake and John. These are given by this gr'up. Mrs. Greaves and Mrs. Glover. A slightly more theatrical form of stylisa- There is also a bequest from Mr. W. tion is in apparent the works of John Piper Jackson in which is included an unusual and Eric Ravilious, each represented by two Leeds pottery bowl of painted ware. It is watercolours. The more humorous aspects a very early example of fine quality Leeds of war-time are portrayed by Edward ware. Ardizzone and Anthony Gross. We have These and other acquisitions will be one watercolour by the former and three by included in the exhibition which is to be the latter. opened on October 9th. CARVED WOOD FRAME by GRtNr,tNo GtsBoNs (t646-x72o) Bought hy the Corporation, assisted by a grant from the Victoria and Albert 1lrluseum. Uorterly Review THE SPENCER EXHIBITION

Such apprehensiveness as we may have had esting than his figure compositions, some about the public reception of the exhibition deserve more than casual attention. In of works by Stanley Spencer was largely particular I would mention the Halifax land- dispelled in the opening day. Mr. D. K. scape in which he has captured the atmos- Baxandall, Curator of the Manchester Art phere, the character and in fact the very Gallery, gave an admirable address on the spirit of the district, in a manner worthy of general approach to pictures which served an indigenous artist. Furthermore, in such as a useful introduction to an exhibition of a convincing way as to earn the highest works so varied and controversial as those praise from one who is generally recognised of Spencer. But this address was confined as a most typical, sensitive and discrimin- only to those who attended the opening ating native of that part of the West Riding. ceremony. The z6,ooo who visited the But Spencer's figure groups were the exhibition afterwards did not have the enigma, for here he resorts to what is called benefit of this valuable talk. Nevertheless, distortion, and he confines it to the human although many have been provoked to figure. Are they really distortions or does adverse, and, in a few instances, bitter com- he see human beings like that? ment, visitors generally have displayed a One test of an original creative artist is that wholesome, though puzzled, belief that they he should extend human vision, make us were in the presence of a really profound see something of which we were not pre- and accomplished artist. viously conscious. I wonder how many Those who tend to dismiss an original after seeing those Spencer paintings have artist on the grounds that he cannot draw seen just those figures in real life. Certainly or is incapable of portraying nature in a many to whom I have spoken have had this traditional way, were quickly confounded. experience, in the light of which new reali- For here is the superb draughtsman who zation Spencer's vision takes on a normality can give both character and almost uncanny and reality which we had not previously likeness in his portraits. His landscapes and suspected. flower studies too, show an unquestionable Enlightened opinion seemed to favour mastery of the combined crafts of drawing most the Christ in the wilderness series. and painting. Here Spencer is most poetic and profound, It is his personal and penetrating vision expressing a variety of emotions varying which raises new queries on the whole from the anguish of the prayingPgure to the experience of looking. His meticulously ecstacy of the contemplation offlower. This painted flower pieces and the carefully com- is truly spiritual expression and it belongs posed landscapes are accepted without not only to early twentieth century England question. In some cases with unjustified but to all peoples at all times. complacency, for though they are less inter- Udor Room FOR TEMPLE NEWSAM

This year's outstanding acquisition is the complete the setting in which these features Tudor Room from Bretton Park, given by could be embodied, and something of the the Right Hon. Viscount Allendale, which Tudor atmosphere of the house recaptured. will be open to the public after October 9th. The Bretton room has been re-erected in This generous gift ensures the permanent the large armoury which already had a stone retention in Yorkshire of a bit of West fireplace, a window arch and brick doorways Riding history and a possible link with of this earlier period. These have been pre- Henry VIII. It also adds to the collection served in the remodelling. During the at Temple Newsam an interesting feature stripping of the upper part of the walls, which is in keeping with the early architec- traces of a plaster frieze of the t6th century ture of the house. were found under the cornice mould. A Something of the glory which Temple similar frieze exists in a small room on the Newsam must have displayed in the t8th North wing. A replica has been made to fill century has already been recaptured and perpetuated in the suite of rooms on the first floor of the West and North wings. But there are many features still surviving inside the building, often under canvas walls and plaster facings, which recall a less complacent period in Temple Newsam's history, from ~W 'i< when D'Arcy built his house, I sometime after ty8o, until Ingram remodelled it in t6zz. Doorways, fireplaces, win- 4 dow arches and fragments of decorative plaster-work still survive from the Tudor period in the rooms on the second floor of the West wing. Such an acquisition as that now given by Lord Allendale was required, in order to LARGE OAK BED FROM BRETTON PARK the space from the top of the panelling to in t83t, but the author has been somewhat the ceiling. This reintroduces another casual in his survey. In the following decorative feature which was removed from extract he confuses his description of the the room in the t8th century. large bed, which is the main feature of the The so-called Henry VIII Room removed room, with that of the smaller bed. He also from Bretton, consists of oak panelling assumes, quite wrongly, that this is the bed decorated with linenfold and other con- mentioned in a will of t4o6, and that the temporary motifs; a large and heavily portrait on the livery cupboard is of Henry decorated oak bed; a smaller bed; a livery VIII. cupboard, and other pieces of oak furniture. "A very ancient bed is still preserved at The complete story of the room is not Bretton-hall; it has the arms of Dronsfield, known. At various times there have been on a pannel, between two other pannels, on alterations and additions to it. The only which are carved the head of a male figure, written evidence of its history, apart from with curled hair and a piked beard, and the brief references in early documents, appears head of a female figure with necklace, and in Hunter's Deanery of'Doncaster published the cap put far back on the head. From the

fW1 I I N~~

CARVING ON HEAD OF LARGE OAK BED style they may well be taken for two of the and furniture. Dronsfields. Above is carved in black The name "Henry VIII's Room," by letter —Thys . bed . to . remayen . for . ever. which it has always been known at Bretton, Among other carved work about this bed, apparently arises from a belief that the Merry is St. George killing the dragon; David Monarch stayed at West Bretton on one of with the head of Goliath; and Samson his northern progresses. with the jaw-bone of the ass. It is far from Quite apart from the style of the carving, being improbable that this is the very bed by which the pieces can be fairly accurately named in the will of Sir William Dronsfield, dated, there is further evidence of its origin to be an heir-loom for ever at Bretton. in the content of the decoration. On the An old livery cupboard, having the head head of the large bed, between two panels of Henry VIII, between two others, which with carved male and female heads, are the are supposed to be the earl of Southampton arms of Dronsfield and Wentworth. Again and Cardinal Pole, is a relic of the furniture in a panel of the so-called livery cupboard, of the old house." the arms of Dronsfield appear suspended This somewhat inaccurate and garbled from a helm surmounted by an eagle with description is based on certain historical the letters T W with a K underneath. This facts. Sir William Dronsfield, who lived in apparently refers to Thomas Wentworth the old hall at West Bretton, left a will dated who was a Knight Marshall in the reign of t4o6 in which he bequeathed "His best Henry VIII. The Wentworths inherited bed, with three curtains of worsted, to Bretton from the Dronsfields in t477. remain at his manor of West Bretton." On the canopy of the smaller bed is a When the present Bretton Hall was built in black letter inscription 'HYS . BED. To . t7zo by Sir William Wentworth, the room REMAYEN . FOR . EVER 'ut the canopy and which had been kept to perpetuate the its inscription are of much later date than spirit, if not the letter, of the bequest, was the back panel, which also has the arms of transferred there. The old bed must have Dronsfield on the sinister side of a shield disappeared long before. In the removal with unidentified arms on the dexter. The and re-erection, the panelling had to be portraits in lozenge-shaped panels may be adapted to fit two smaller rooms. It is pos- portraits of a Dronsfield with her husband, sible that at this time alterations were made but this is pure supposition. Similarly the to some of the furniture. There are now four heads in ribboned wreaths on the large three difierent kinds of linenfold panelling. bed may be quite imaginary portraits. The piece of furniture referred to by Hunter The three heads in high relief on the as a livery cupboard, was obviously altered livery cupboard panel are more obviously at the time to serve as a dressing table. This actual portraits. So far it has not been piece, together with the whole of the large possible to establish their identity, but Hun- bed, most of the panelling and the back ter's assumption that the centre portrait is panel of the small bed, dates from the early of the King is wrong, for it bears no resem- part of the t6th century. Some of the blance to him. carving is in the Italian manner which char- Despite the lack of historical data, Tem- acterised English Renaissance architecture ple Newsam has become considerably richer by the fine collection of Tudor carving room but has been kindly lent by Mr. H. which shows the transition from Gothic to W. J. Ferrand for a long period until it can Renaissance style, and provides a wealth ultimately be given to Temple Newsam. It of superb craftsmanship. is of the same period as the rest of the room The chimney-piece fitted to the original but may be of Flemish origin. It also was stone fireplace is not part of the Bretton formerly in "St. Ives," Bingley.

SMALL OAK BED FROM BRETTON PARK She F un d's Visit TO SWINTON PARK

The house at Swinton Park could not be was brought out for us. Of these the finest described as an architectural masterpiece. It is a large canvas of Masham Market-place was built on the site of an earlier house at showing Squire Danby on horseback re- the beginning of the t9th century, a some- cruiting volunteers for the militia. Among what pretentious, castellated mansion, typical other notable pictures to be seen were "Les of the time. But its contents are fascinating, Plaisirs de la Jeunesse " by J. Pater; a for there is a large collection of fine pictures portrait of" The Duke of Wellington " by and good examples of French and English Sir Thomas Laurence; and two" small oil furniture. These were greatly enjoyed by sketches by P." P. Rubens, The Holy those subscribers to the Leeds Art Collec- Family," and The Distribution of the Rosary." tions Fund who, on September t 3th, accepted the kind invitation of Lady It is perhaps a little distressing to learn that the Swinton to visit the house. major portion of this house is, in future, to be used as a school. But that is The pictures particularly interested the the fate of so many great houses. The only visitors for most of the fine collection of satisfaction in this case is to know that the English and Dutch paintings brought owner will be in residence, in part of the together by Sir William Danby still remains, house, and the collection will remain there. in company with more recent purchases. E.I.M. Notable among these are the three Gains- boroughs "Madame Bacelli," "Portrait of Garrick," and "an early landscape. Reynolds' Brown Boy (Portrait" of Master Thomas" Lister) and Romney's St." Cecilia," Mrs. "Roger Smith and Child and the lovely Lady Albinia Cumberland " were greatly admired. But intensely interesting to the connoisseur was the delightful group of Dutch paintings which includes excellent examples of Paul Potter, Philip de Koningk, Van Breen, David Teniers, Gerard Terburg, Van Goyen, Daniel Mytens, Arnold Maas and Frans Hals. Squire Danby was the greatest patron of the Leeds born Julius Ca".sar Ibbetson (rp~LI —i 8r7) who lived in Masham for many years. There are many of Ibbetson's paint- PORTRAIT OF A PREACHER ings at Swinton and a small group of them by FRANs HALs. Swinton Park Collection Nati ve Painter BENJAMIN WILSON I72,I-I788

Benjamin Wilson was born in Leeds in a fake etching, later published at sixpence t7>t, the fourteenth and youngest child of with the following inscription: A proof etched Major Wilson, a once prosperous wool print from this plate designed and by merchant. The family house on Mill Hill B. F'ilson was sold as a very ft'ne Rembrandt (now covered by the City Square) had been to one of the Greatest Connoisseurs for six dis- decorated by Parmentier, a travelling shillings, the t7th April, t7)o. Some French artist, with wall paintings. At an astrous financial speculation led to his three early age Wilson imitated them and, when default on the Stock Exchange and to his father's failure in business threw him on weeks imprisonment for debt, but he soon his own resources, he apprenticed himself recovered from this and other financial to another travelling Frenchman, Longue- losses. About t7~7 he rejected a proposal ville, then painting at Gisburne-in-Craven. of partnership from Hogarth who was A year later he was sent on foot to London, anxious to improve the market for his own where a brother gave him two guineas and portraits. included Gar- told him to fend for himself. Eventually he His circle of acquaintances Yorkshire found work there as a clerk. He used his rick, Benjamin Franklin and, with leisure to good eff'ect, for at the age of connections, the Earl of Rockingham, Sir twenty-five he was well known among George Savile, the Earl of Mexborough, London painters and published the first of John Smeaton, Joseph Priestley and William the his many scientific books and papers, An Mason. To these he added, about t766, Essay towards the Explication of the Phoeno- Duke of York, who made him manager of Westminster. It was mena ofElectricity. In t7)o, after two years his private theatre in Painter of portrait painting and scientific experiment through him that he became in t767 commercial in Dublin, he settled finally in London in to the Board of Ordnance, a Kneller's old house. appointment and, in time of peace, almost The memoir which Wilson left behind a sinecure. From about this time there is him, though it gives little account of him an evident fall in his output of portraits. scientific as a painter, records the main events of his Able now to devote more time to life in London. In t7~t he was elected experiment, he was involved in a series of Fellow of the Royal Society and his experi- controversies about the design of lightning ments in electricity, then a fashionable conductors, which culminated in a great hobby, helped his business as a portrait demonstration given by him in t777 in the painter. He was soon earning gt )oo a year> Pantheon, Oxford Street, before George III a very large income in present-day values. and an audience of scientists. In spite of a His success seems to have aroused the vast apparatus of wire and cylinders, his jealousy of the painter Hudson, to whom, opponents were not silenced and in t783, in " pleasant revenge " for an insult, he sold where his Memoir ends, five years before THE WILKINSON FAMILY by BENJAMtN Wtt.soN Since this article was written, another conversation picture of The Filkinsvn Family (here reproduced) has turned up in America. It is nowt the property nl the Detroit Institute oi'rt. It is a signed picture and appears to be one of his finest works. In execution it is very like Zolfany. His portrait Franklyn is now in the White House at Washington. ol'enjamin his death, he is still defending round light- of Jairus's Daughter (c.1772—?777)t pre- ning conductors against those who advo- sented by him to Leeds Infirmary and since cated pointed ones. destroyed. Of surviving conversation His work falls into three classes: history pieces only David Garrick and Miss Bellamy paintings, conversation pieces and portraits. in Romeo and Juliet (t7)3) now on the For history painting he reserved all his London market, and The Five Sisters from artistic enthusiasm but no surviving example Temple Newsam (now in Lord Halifax's has yet been traced. He records a Bel- collection) can with certainty be attributed shaggar's Feast (c. t 76m —c. t 776)t Clive to him. Of his portraits about forty remain, enthroning Meer Jaffier (c.t766), which he forming the only substantial basis on which sold to Dr. Hird of Leeds and The Raising to assess his achievement. [continued on page r4 ARTS CA]

LEEDS CITY ART GALLERY OPEN DAILY 10-30 to 6-30; WEDNESDAY 10-30 to 8-30; SUNDAYS 2-30 to 5-30

FROM OCTOBER 4 SOME PICTURES FROM THE DULWICH COLLECTION H.R.H. the Princess Royal has graciously consented to open the exhibition of paintings from the Dulwich collection on October 3rd. This exhibition will consist of about forty paintings by old masters forming the nucleus of the collection which will eventually be housed in Leeds until the Dulwich Gallery is rebuilt. It will include paintings by Canaletto, Cuyp, Van Dyck, Gainsborough, Hogarth, Nicolus Poussin, Rembrandt, Rubens, Ruisdael, Teniers and others.

NOVEMBER 8 to 30 LEEDS FINE ARTS CLUB The annual exhibition of works by members of the Leeds Fine Arts Club.

PICTURE OF THE MONTH

OCTOBER PORTRAIT OF FRANCIS I By Titian. Lent by the Right Hon. the Earl of Harewood from Harewood House.

NOVEMBER THE THREE MISS GRIFFITHS By Mare Gheeraerts. Lent by M. W. Wickham-Boynton Esq., from Burton Agnes Hall.

DECEMBER THE STRICKLAND FAMILY By A. Devis. Lent by A. Strickland, Esq. from Boynton Hall.

TEMPLE NEWSAM HOUSE OPEN DAILY, INCLUDING SUNDAYS, 11-30 to dusk

FROM OCTOBER 10 ACQUISITIONS OF THE YEAR On the 9th October the Right Hon. Viscount Allendale will open the exhibition of the year's acquisitions which will include the Tudor Room from Bretton Hall. The exhibition will also include a group of paintings and water-colours by official War Artists presented by H.M. Government through the War Artists Advisory Committee. LENDAR

SOME YORKSHIRE EXHIBITIONS

OCTOBER Huddersfield, Art Gallery Needlework and Embroidery Sept. 6 to Nov. 9

Wakefield, Art Gallery Haley Collection of Watercolours Sept. 10 to Oct. 18

Hull, Ferens Art Gallery Society of Marine Artists Sept. 13 to Oct. 11

Bradford, Art Gallery Bradford Arts Club Sept. 27 to Nov. 23

Batley, Bagshaw Museum Four Contemporary British Painters October 1 to 14

Harrogate, Art Gallery Watercolours from Hickman Bacon Collection October 4 to 26

Hull, Ferens Art Gallery Art of the Film October 4 to 26

Sheffield, Graves Gallery Sir William Nicholson October 4 to 25

Wakefield, Art Gallery Tom Whitehead October 5 to 31

Sheffield, Graves Gallery Reginald Brundrit, R.A. October 7 to 31

Sheffield, Graves Gallery Indian Paintings and Drawings Oct. 11 to Nov. 1

Bradford, Art Gallery Nature and the Camera Oct. 11 to Nov. 9

Hull, Ferens Art Gallery New English Art Club Oct. 18 to Nov. 15

Sheffield, Graves Gallery Sheffield Arts School Students Union Oct. 18 to Nov. 2

Sheffield, Graves Gallery Modern British Painters: from the Tate Oct. 25 to Nov. 15

NOVEMBER Harrogate, Art Gallery American Colonial Architecture November 1 to 23

Hull, Ferens Art Gallery Self Portraits Nov. 15 to Dec. 15 Wakefield, Art Gallery West Riding Artists Nov. 15 to Jan. 4 Huddersfield, Art Gallery Huddersfield Art Society Nov. 22 to Dec. 20 Sheffield, Graves Gallery Four Phases of Georgian Architecture Nov. 22 to Dec. 29

DECEMBER Hull, Ferens Art Gallery Cook Collection Dec. 20 to Jan. 17

Sheffield, Graves Gallery Sheffield Society of Artists Dates not fixed Breaking away from the flat inarticulate work for him and in x762 repudiated his style of Hudson, who was said to have been contract. Three years later Wilson was his master, he introduced in t7~o something enquiring in Paris, apparently without suc- new in portrait painting as London knew it. cess, for an assistant. At his death an A poem in The London llJIagagine of t7$ 2J obituarist described his professional remains fulsomely comparing him with Rembrandt, as " not numerous nor striking." seized on "the full free contrast between Insipid colour, impermanent materials, light and shade" as his chief and novel a summary handling of all but the face and characteristic. Reynolds, starting his prac- a too frequent concealment of weak drawing tice in London in t7~2, adopted, indepen- in convenient shadow, all these defects lend dently perhaps, the new " Rembrandt some force to a judgment of mediocrity. manner." As late as t7)9 a visitor to But his popularity in the t7~o's had its Reynold's studio could still describe a por- justification. Portraits by Mercier and trait there as "charming, almost as well as Hudson, typical of the preceding decade, Wilson could have done." But the rivalry hang in the Gallery at Temple Newsam. was not to last for long. Realising perhaps Compared with them, his Simon, First Earl that he had met his match, Wilson seems to Harcourt (t7~3), in the hands of Messrs. have lost interest in his art and to have Spink and here reproduced, with its realistic attempted to meet the deficiency by a freer contrast of light and shade; the Temple use of assistants. But Zoffany, whom he Newsam Richard wilson (t7)9) with its engaged about t76o, can have done little noble simplicity of composition, and the recently acquired Earl of ChesterfteldJ reveal the originality of his contribution to English portraiture. JOHN HULTON

SIMON FIRS I EARL HARCOURT by BENJAMIN WILSON he Period Doll as a GUIDE TO HISTORICAL DRESS

Looking at the collection of period dolls the costume worn, but also the under- through the centuries at Temple Newsam clothing, and he has to possess some know- Mansion is like looking through a dimin- ledge of period textiles and textile design. ishing glass; we can see the people of the A knowledge of the various materials which various periods in miniature down to the were used in doll construction from the t 6th smallest costume accessories. to the early tgth century is invaluable to Children in former times were not inter- the collector, as various types of bodies and ested in dolls unless they bore a resemblance heads were used at different periods. During to the people they saw around them, and the t9th century a number of dolls were for this reason the period doll of the z7tlt dressed in costumes of the time of Louis and t 8th centuries is invaluable to the XIV and XV for decorative purposes in student of historical dress design and as a France, some of these have found their way means of showing to children the clress of people who lived in past ages. About twenty-five years ago I felt that much could be done with a really represen- tative collection of period dolls shown in conjunction witlt the collection of period costumes and accessories dating from the x6th to the t8th century which I +as then gathering together as a means of providing a guide to historical study for the use of children, as I felt sure that if children could see what the people of the past really look like, it would make their history lesson far more interesting. Unfortunately museums and art galleries in this country have neglected the educa- tional side of the period doll, and with the exception of the collection in the Victoria and Albert Museum, there is nothing in any of the provincial museums or art galleries which could be described as a representative collection. The expert on period dolls has to take several things into consideration when Doll given by Sarah, tst Duchess of 11farlborough to dating a period doll, not only the style of her God-daugh ter Judith Powis in the year 17I2.

I$ into museums in this country and are dated lady and gentleman. The engraving is as the >8th of century. This also applies to dated rent t. dolls which represent the lower classes such The oldest known English doll which is as a fish-wife or a porter, but there were in the collection is of the Tudor period, and dolls of this description made in the r 8th is dressed in a costume resembling that worn and early years of the t9th century, and it by the wives of Henry VIII painted by is only the expert who can differentiate Holbein and his contemporaries. The between the original period doll and the materials are of the richest quality. The later copy. gold brocade of the sleeves and petticoat is Also the glass eyes which were often used Italian in origin of about taboo. The doll is in place of a painted eye can be of eight inches in height with a turned wooden assistance in dating a period doll. The head covered with some kind of plaster, and question of underclothing is also of interest is dressed in a velvet robe. In the year t ~g8 as, generally speaking, no underclothes the doll was bequeathed in an estate by a whatsoever were worn by men or women Yorkshire lady to her grand-daughter with apart from a shift or shirt until the rgth a request that the doll should be handed century, but occasionally we find a doll of down to each succeeding ownership along the second half of the t 8th century wearing with the estate. This was faithfully carried loose-fitting drawers almost like a divided out up to r7z6 which is the last recorded skirt, this was the forerunner of the instance. It is very possible that the doll is numerous under garments worn in the tgth actually several years older than the date century and which are faithfully reproduced mentioned in the will, and is of the reign in the dolls of the period. of Henry VIII. The earliest doll in the collection at Tem- Next in date in the collection is a quaint ple Newsam is three thousand years old and little lady of the time of James II, t688. In came from Thebes. A Greek marionette the late r7th century this type of painted doll of 8.c.6oo has holes in the body and wooden doll came from Holland and was head through which strings were attached. called a "Dutch baby." The doll is shown These preceded the human actor by several in a painting of t 688 where a little girl holds centuries. it in her hand. The costume is rendered very An exceedingly rare marionette (puppet) attractive by the black and white hood of doll of the Queen Anne period in the col- the period, the gown is of red velvet. Both lection, represents an old woman wearing a painting and doll, which belonged to an old chintz gown, black silk petticoat, and a large family in Lincolnshire, have had a most red cloth cloak with hood. It is about six interesting history; they were taken to inches in height and there are holes in the America towards the end of the tpth cen- hands through which strings were attached. tury, but a descendant of the original owner It is known children played with these brought them back to England after mar- marionette dolls in the early iSth century rying an English officer after the war of as there is a very rare English engraving in American Independence. The doll is the British Museum showing a child with twenty-one inches in height. two of these marionette dolls dressed as a The earliest dolls were either of wood,

r6 baked clay, and sometimes of ivory, with in height she carries a gown of cream bro- wax or ivory heads, if of the best type. cade trimmed with silver lace, and with two Examples of German dolls have been found pairs of ruffles, one of silver lace and the of the t gth and t4th centuries of baked clay. other of linen thread. Her hose is red and The Queen Anne period has a representa- her shoes of carved wood painted yellow tive in the collection in the form of a large with pointed toes and scarlet heels. It is doll two and a half feet in height which is the face and hair which have such a strong remarkable in having a coiff'ure comprised human appeal. The pensive look on the of human hair in which each hair is set lovely wax face no doubt made it a beloved separately into the wax head. The arms and plaything for the small Princess. The hair hands are beautifully modelled in wax and is of grey human hair covered by a silver the legs are of the same material. Here is all laced cap; grey human hair was the most the finery of a court lady. Gold and silver expensive in the ~8th century for wigs as it thread adorn the silk gown, and ruffles of did not need pomatum or powder. finest Flemish lace cascade over the lovely In the t 8th century there were three kinds arms, the shoes are of green ribbed silk with of childrens'olls, the doll dressed by a red heels. In the year i7xz the famous Sarah, first Duchess of Marlborough, gave this doll to her god-daughter, Judith Powis. By the time of Queen Anne, the fashion doll had been in vogue for goo years, but it was not until this reign that the first fashion commercial doll made its appearance, and two of these little ladies of fashion are in the collection. They were introduced by a Spitalfields silk manufacturer and their rib- bon caps and striped silk jackets and circular hooped petticoats must have caused a flutter in many hearts. They are ten inches in height and date from about t 7 t o. Their bodies and heads are of wood, the latter is waxed and painted and they have human hair. One has a long curl reaching to the shoulder. George II had both sons and daughters, and his youngest daughter Princess Louise had a favourite doll which she cherished long atter childhood, but eventually gave to her childhood friend, the Lady Mary Merry, for her daughter, before she set out to become Queen of Denmark about the Doll of the time of James II, t 688 middle of the t8th century. Twelve inches

17 fashionable London dressmaker called a able attire worn by ladies in London at the fashion doll, like the dolls of Princess period the doll was dressed. The beautiful Louise, Judith Powis, and the doll now to wax face and modelled wax arms complete be described. The second type of doll was a picture of court elegance difficult to sur- dressed in the home of the child owner, as pass. The doll is just over two feet in for instance the James II doll and other dolls height and pinned to a hooped-petticoat is in the collection. The third type is the cot- the original label which reads: "A present tage or country doll, which is represented in from London to Mary Stoddon, thirteen the collection by an old woman in the cos- years old in rp)4," a wonderful birthday tume of the early tgth century carrying a present when George II was on the throne. pewter jug, and a carved wooden doll in The largest doll in the collection is three the form of a clergyman over zoo years old. feet in height and was known as a theatrical But all are faithful copies of the people of doll. It is dressed to represent Queen the period. Elizabeth and is of the second half of the Nearly 2oo years ago a girl called Mary t8th century; exquisitely dressed in the Stoddon received from London a fashion richest materials which are embellished with doll wearing the very latest fashions in caps, decorations and needlework, it was the a wonderful creation of silk, muslin> and invention of a fashionable French dress- wire. The gown, petticoat, shoes, and maker in London who in the year tp68 ruffles, are all copied from the most fashion- started a new fashion for bored London

Queen Anne Doll Oldest kno>un English Doll Queen Anne Doll date about toto date tyqs date about toto

t8 women of fashion which she called a "thea- six. They are typical examples of the trical doll." They were intended purely for fashionable lady of about t8oo—t8o). decorative purposes on chairs, and on beds, A very rare gentleman doll is dressed as and were an addition to the parrot or cock- a man of fashion of about t79o, and was atoo, monkey, and gorgeously dressed owned by a small boy. The doll is about negro page-boy with which the fine lady of eight inches in height, and is dressed in a the period loved to surround herself. These figured velvet coat, brocade waistcoat, dolls are excessively rare, in fact, only three figured velvet breeches, and top boots. The others are known, and the dressmaker who hair has a long queue tightly bound round made them retired to Paris in t779 with a with silk ribbon, quite a fashionable style of very large fortune. head-dress of the period. Other dolls in the collection are a pair of There are one or two dolls of a later date unique minuet dolls dressed in r 8th century than about t 8oo which, owing to their costumes, but in this case bristles replace unusual interest, have been included in the the feet, and they revolve or glide about collection. A large mannequin doll of the when vibrations are produced; they are Russian Imperial Court of t861 complete each four inches in height and have silk with a set of gowns and hats for different faces, the features being worked in needle- occasions such as riding, walking, etc., is work. They date from the second half of the only one known to be in existence, and the t8th century. was given by an aunt of the Czar Alexander The opening years of the t9th century II to a Leeds friend when on a visit to are represented in the collection by two very Russia. interesting wooden dolls dressed in long These dolls provide a defightful little gowns with high waists and slippers. One pageant of fashion, and the collection it is is about four inches in height and the other hoped will be added to from time to time. K. W. SANDERSON

LEEDS ART COLLECTIONS FUND and Society of the Friends of Temple Newsam House

The Fund, to which the minimum subscription is Kl annually, exists to provide extra finance to enable works of art of all types to be acquired, further to enrich the Collections owned by the Leeds Corporation at the City Art Gallery and Temple Newsam House. Subscriptions, which are urgently needed, may be in three forms —1 By simple annual payment; 2 By Banker's Order; 3 By Covenant for seven years, whereby the Fund may reclaim Income Tax. Enquiries and all details may be sought from the Hon. Treasurer (Leeds Art Collections Fund) Edmund Arnold, 12 Butterley Street, Leeds 10; or from the Hon. Sec- retary, Temple Newsam House, Leeds.

19 he Holli ngs Collection II: LEEDS PAINTED WARE

The rich creamy glaze of the Leeds ware extremely varied, as the pieces in the Hol- provided a tempting surface for decoration lings collection well show, ranging as they in colour. As the dinner and dessert services do from the most startling and bizarre derived their originality and charm from the coffee and tea pots to the delightful little delicate openwork patterns, the smaller cream jugs and sucriers with their unsophis- ware, tea and coffee services, jugs and mugs, ticated bunches and festoons of bright found its appropriate decoration in floral flowers, and from pots with the most formal and other designs in bright enamel colours decoration of floral sprays to those with applied over the glaze. In the households geometric patterns strangely misapplied. of the well-to-do, Oriental china and the Generally speaking, between t78o and t 8 to new English china, with decoration after the painting was often really good. the Chinese fashion, was largely used. The The mugs are perhaps the most charac- pottery factories, like that of Leeds, which teristic of the painted pieces; no doubt made good earthenware, naturally followed because here the craftsman had no preten- the prevailing taste and produced coloured tious standards to imitate, but was dealing ware decorated in supposedly Oriental style, with a product which was personal and local at first in underglaze blue and later in enamel and on which his fancy could freely spread. colours. A strange hybrid decoration some- The mugs, like the jugs, were often decor- times resulted from the marriage of pseudo ated to order with names, dates and verses, Chinese subjects with cruder and more and it is this, combined with the spon- vigorous native designs, but where the taneity of decoration, which makes them the latter triumphs the product is often spon- most appealing, because the most human of taneous and beautiful. the creamware products, to the modern eye. What is Between thought to be an Oriental pattern t 8oo and t 8t ~ the fashion for usually consisted of groups of Chinese poetic inscriptions was most prevalent and figures in a background of fantastic land- the Hollings collection includes such charm- scape. This no doubt appeared charming ing expressions of the sentiments of the to the original owners, but it only amuses time" as the following:— us. Equally incongruous now are the pieces Virtue alone is happiness below and all of creamware which were obviously decor- our knowledge is ourselves to know." ated abroad, usually in red and black. The "Look to the Lord and He will be a tender subjects, which are religious or patriotic, Father unto thee." are very crudely depicted. Those of this or the inscription on the white bodied jug type in the Hollings collection were painted with the very undistinguished bunches and in Holland. sprays of flowers:— Apart from these hybrids, the quality of "Grace Silson. Remember time will come the decoration on coloured Leeds ware is when you must give an account to

Goa'0 how you on earth do live t8oz. made throughout the pottery's existence, That great pains were taken to carry out that the decoration is small and stiff, in the customers'ishes regarding the decoration earlier pieces very often taking the form of of the pottery we know from the letters festoons of roses. One loving-cup of special from the files of Messrs. Hartley Green R value because it is both dated and marked, Co., which are quoted in The Historical has tiny sprays of blue, green and red, a Notices of the Old Leeds Pottery by J. R. R border of blue dots and the inscription F. Kidson, t 89z. The leisurely correspond- "Jeremiah Sc Hannah Clough r8oz" in a ence between one customer and the firm, simple cartouche. Another, decorated with over the decoration of a piece, sounds formal sprays, has the inscription:— strange to modern ears. "Cuplove and friena'ship. Peace and good On the inscribed pieces, the inscription neighbourhood. Lola@. we never see an takes precedence over the decoration; even ould friend wi th a new face." on the larger loving-cups, where the floral A favourite inscription, with its co- sprays and the blue dot or line borders are related decoration, on mugs and jugs alike, particularly modest. It is noticeable in the is "Speed the Plough." The decoration white-bodied, or pearl ware, which was always consists of an almost identical

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GROUP OF LEEDS POTTERY FIGURES arrangement of spade, fork, rake, plough, ness which is irresistible. The decoration is harrow, scythe and sheaf of corn, a design composed of parallel perpendicular stripes which is quaint rather than aesthetically in red, blue and black, "supported" by pleasing. An early mug which is of interest straight and wavy lines, dots, half-circles, and seems to be rare, is one dated 1779 and rosettes and all manner of things, and the decorated in underglaze blue with a semi- whole enhanced by a flower knob with oriental scene of trees, flowers and birds as floral attachments in bright light blue and a background to a huntsman with his dogs. yellow and the inevitable double twist This has the double loop handle and flower handle with gay flower attachments in green, attachments which are a feature of the blue and yellow. The spout is moulded and cr earn ware. fluted. Of the teaware and the coffeeware, little The coffee-pots are not so elegant in form but tea and coffee pots remain, the coffee as some of the tea-pots, though the decora- cups and tea cups being equally scarce now. tions often consist of bold, spontaneous In the Hollings collection is an extraordinary sprays of brightly-coloured flowers. variety of tea-pots, some decorated with The group of figures from the Leeds transfer patterns, some decorated in under- factory in the Hollings collection is probably glaze blue and the majority in overglaze unique. Nearly all are marked and all are colours. The shapes, though always cylin- considered authentic. They are probably, drical or globular, are greatly varied in size like the Staffordshire figures, copied from and proportion and, whereas some are continental prototypes. In quality many of pleasing, others are of surprising ugliness, them bear comparison with the more famous an ugliness which is not always mitigated Staffordshire models. Some are uncoloured by the decoration. They have the charac- pearl ware but the majority are coloured, and teristic twisted handle and flower knob and though the colouring is occasionally crude, the spout is usually curved. The cups which in some cases it is admirably restrained and completed the sets appear to have been delicate. The little girl with the basket of generally without handles, small and with flowers coloured with particular charm, has deep saucers. the sweetness of porcelain and the same little One tea-pot I think deserves special girl appears again in cool green and red mention, though no doubt everyone would and blue. A musician, a harvester, a have a particular preference. This, though shepherd and a lady with doves appear in unbeautiful in shape and hideous in pattern, several different colours and in the pearl yet achieves an effect of impudent cheerful- body. K. M. ARMISTEAD

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