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Peter Lindfield, 'The Countess of Pomfret's Gothic Revival Furniture'

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Peter Lindfield, 'The Countess of Pomfret's Gothic Revival Furniture' Peter Lindfield, ‘The Countess of Pomfret’s Gothic Revival furniture’, The Georgian Group Journal, Vol. XXII, 2014, pp. 77–94 TEXT © THE AUTHORS 2014 THE COUNTESS OF POMFRET’S GOTHIC REVIVAL FURNITURE PETER LINDFIELD Henrietta Louisa Fermor ( – ), Countess of Pomfret, was particularly interested in medieval architecture and commissioned the only Gothic Revival town house in mid eighteenth-century London. The house, No. Arlington Street, otherwise styled Pomfret Castle, has recently been the subject of two articles in The Georgian Group Journal by Sarah Freeman ( ) and Will Hawkes ( ). While these studies present the known evidence regarding the architects involved at Arlington Street, the Countess’s Gothic Revival furniture has received less attention. This article examines the Countess’s furniture and suggests that most of it predates the construction and furnishing of Arlington Street. It concludes by questioning how far the Countess’s ‘Gothic passion’ fits within recent scholarship interpreting the mid eighteenth-century Gothic Revival as a male homosocial taste centred around Horace Walpole. ‘I am always glad to hear of any remains of the old English grandeur; and am both amazed and provoked Fig. : Thomas Bardwell (painter) and William Hallett when I hear of people destroying those magnificent (possibly frame maker), ‘Thomas Fermor, structures (made to last for ages) in order to erect 1st Earl of Pomfret and Henrietta Louisa, Countess some trifling edifice [...] whereas to repair an abbey of Pomfret’, c. (© Ashmolean Museum, Oxford ). or castle in the same way as it was first built is a worthy monument both of the owner’s piety to his ancestors, and care of his posterity.’ Abbeys and Castles of England (‒ ), an early and important survey of Britain’s medieval enrietta Louisa Fermor ( née Jeffreys), Countess architecture. Her husband, Thomas Fermor, first Hof Pomfret, was a notable supporter of Earl of Pomfret ( ‒ ), also subscribed to the medieval architecture, as indicated in her letter from first eighteenth-century pattern book concerned with July quoted above. She personally Gothic Revival architecture: Batty and Thomas subscribed to Samuel and Nathaniel Bucks’ Langley’s Ancient Architecture: Restored and Perspective Views of the Ruins of the Most Noted Improved (London, ‒ ). THE GEORGIAN GROUP JOURNAL VOLUME XXII THE COUNTESS OF POMFRET ’ S GOTHIC REVIVAL FURNITURE Fig. : William Hallett Sr (attrib.), Fig. : Anon., One of a Suite of Windsor Chair The Pomfret Cabinet, c. ‒ (shown with original Commemorating the Marriage of John Percival, painted decoration and heraldry). 2nd Earl of Egmont, to Catherine Compton, . (Image courtesy of Lucy Wood ) (© Victoria and Albert Museum, London ) The most substantial and obvious expression of st Earl of Pomfret and Henrietta Louisa, Countess the Lady Pomfret’s ‘Gothic passion’ was the erection of Pomfret’, c. , now at the Ashmolean Museum, of Pomfret Castle, designed initially from by Sir Oxford (Fig. ). Roger Newdigate ( ‒ ) and Sanderson Miller Despite these long-standing associations, the (‒ ), and taken over by Richard Biggs (– ) Pomfret cabinet and portrait frame appear to predate in . Although the house’s architecture has been work on Pomfret Castle, and are here placed within subject to sustained scholarly attention since the the context of the Countess’s broader commissioning s, the Countess’s Gothic Revival furniture is less of Gothic Revival objects. As such, they help us celebrated. Just three pieces of such furniture are interpret her passion for Gothic Revival objects currently known, and each has traditionally been before the creation and completion of Pomfret Castle. linked with Pomfret Castle. They are the Pomfret They respond to broader developments in Gothic cabinet, offered at auction in , a library writing Revival furniture, and therefore help locate the table, now with Leeds Museums and Galleries at Countess’s patronage within eighteenth-century Temple Newsam House, Yorkshire, and the frame design. for Thomas Bardwell’s painting, ‘Thomas Fermor, THE GEORGIAN GROUP JOURNAL VOLUME XXII THE COUNTESS OF POMFRET ’ S GOTHIC REVIVAL FURNITURE MINIATURE ARCHITECTURE : of such decoration is demonstrated by a surviving set THE POMFRET CABINET of Windsor chairs, presumably from Enmore Castle, The Pomfret cabinet is one of the most spectacular Somerset (Fig. ), commemorating the marriage examples of s Gothic Revival furniture in terms of John Perceval, second Earl of Egmont ( ‒ ), to of form, heraldry and contrasting polychrome Catherine Compton ( ‒ ). Comparing the (Fig. ). Sotheby’s appropriately described it in the Pomfret cabinet with the Egmont chair illustrates the Easton Neston sale catalogue ( ) as an ‘eccentric former’s exceptional nature and decoration. But and fascinating cabinet designed in the extreme whereas armorial bearings applied to chairs were Gothick taste of the early s’. Decades earlier, typically modest, the Pomfret cabinet’s polychrome Simon Houfe determined that it was a ‘cupboard, or is not. Indeed, the paint emphasises the cabinet’s cabinet with two towers, castellations, niches, ogee Gothic form and detail through a limited palette of arches and the whole antiquarian repertoire typically alternating colours. This scheme ultimately transformed into Disneyland’. It is indeed a most places the cabinet at the forefront of the long remarkable cabinet, being a particularly early and tradition of painted Gothic Revival furniture in brazen example of painted eighteenth-century eighteenth-century Britain. Noteworthy examples, Gothic Revival furniture. which similarly emphasise the Pomfret cabinet’s Modern painted furniture was not unknown in bold decoration, include the blue and white Georgian Britain; hall chairs featuring painted ‘antiquarian Gothic’ triangular chairs purchased by heraldry emerged in the s, and the proliferation Horace Walpole in (Fig. ), the furniture at Fig. : Two Welch Chairs in the Star Chamber. Folio Copy . (Courtesy of the Lewis Walpole Library, Farmington, Connecticut ) THE GEORGIAN GROUP JOURNAL VOLUME XXII THE COUNTESS OF POMFRET ’ S GOTHIC REVIVAL FURNITURE Fig. : William Kent (possibly designer), Celebrant’s Fig. : James Wyatt (designer), Painted Library Bookcase Throne, Shobdon Church, Herefordshire, c. from Lee Priory, Kent, . (© Victoria and Albert (Author’s photograph ) Museum, London ) Shobdon Church, Herefordshire, of c. (Fig. ), sources, however, indicate that these similarities are and the library bookcases from Thomas Barrett’s coincidental, that the house did not influence the house, Lee Priory, Kent, of c. (Fig. ). cabinet’s design, and that it was not made for The Pomfret cabinet was conceived, and Pomfret Castle. constructed as, a piece of miniature architecture. The cabinet’s date of production is particularly This is emphasised by the visual similarities important for this point. No extant bill is known, but connecting the cabinet and Pomfret Castle’s Sotheby’s suggest the cabinet was produced five courtyard façade, as recorded in an anonymous years after the Countess ‘went to Mr Wright the drawing from October (Fig. ). Both the Banker’s, then to Mr Hallet the Cabinet-Maker’s house and cabinet feature flanking octagonal towers, [ April ]’. Its original heraldic and lettered the impression of a central gable, and the bold decoration, seen in Fig. but later covered by layers insertion of quatrefoils. The latter especially of paint and revised heraldry (Fig. ), was discovered resonates with the pencilled-in additions to the right- after the cabinet’s sale in , and only makes sense hand tower on Biggs’ ‘Sketch of a Gothic Building before the death of the Countess’s husband in . February ’ (Fig. ). The parallels are so strong As observed in the report on Export of Objects of that commentators have generally assumed the Cultural Interest (‒ ), the lettered quatrefoils Countess commissioned the cabinet for Pomfret featuring H and P, presumably signifying Henrietta Castle. Further analysis of the cabinet and archival and Pomfret, correlate with the Earl’s arms, Fermor, THE GEORGIAN GROUP JOURNAL VOLUME XXII THE COUNTESS OF POMFRET ’ S GOTHIC REVIVAL FURNITURE on the left shield, and the Countess’s arms, Jeffreys, on the right. These coats of arms, consequently, match her quarterings ( ) illustrated by Houfe in . Upon the death of the first Earl in , the Fermor arms passed to Henrietta’s son, George, (‒ ) who became the second Earl of Pomfret. As pointed out in the Export of Objects of Cultural Interest report, the widowed Countess is unlikely to have used the Fermor arms in this undifferentiated form after this point. The cabinet, therefore, should probably be dated between the Countess’s visiting William Hallett Sr ( c. ‒ ) in and the first Earl’s death . If this is correct, then the cabinet predates Pomfret Castle by eight or nine Fig. : Richard Biggs, Elevation of Pomfret Castle’s Courtyard Façade, . Drawer Set : . (Image Courtesy of the Sir John Soane’s Museum, London ) years, and was most likely produced for Easton Neston, the Earl of Pomfret’s country seat, as part of a group of highly-decorated Gothic Revival objects commissioned by the Countess to reflect her interest in medieval design. Other survivors from this ‘Gothic collection’ include the ornate frame for Thomas Bardwell’s Fig. : Anon., Pomfret Castle, Arlington Street, Built by portrait of the Countess and her husband, the first Lady Pomfret, Ao. , . Gough Maps f. v. Earl, c. (Fig. ). Scholars
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