DOCSLIB.ORG

The Portmanteau Papers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Portmanteau Papers University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2016 The Portmanteau Papers Bryan, Dawn Margaret Bryan, D. M. (2016). The Portmanteau Papers (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/28277 http://hdl.handle.net/11023/2859 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY The Portmanteau Papers by Dawn Margaret Bryan A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN ENGLISH CALGARY, ALBERTA FEBRUARY, 2016 © Dawn Margaret Bryan 2016 Abstract The Portmanteau Papers is a creative exploration, in novel form, of the social environments, narrative structures, and language that attend the so-called rise of the novel of the eighteenth century. This long-form fiction begins with the prints of William Hogarth, which it investigates as a visual analogue to the narrative patterns employed by period authors. By rereading and recreating selected elements of narrative implicit in Hogarth’s prints, the text of The Portmanteau Papers animates the tensions between modern and period prose forms. In doing so, the novel considers scholarship’s understanding of the on-going relationship between the contemporary novel and its eighteenth-century antecedents. Ultimately, the work argues for a theory of genre that includes the implications of artistic practice in addition to more usual formal or historical-cultural definitions. The story of The Portmanteau Papers explores the varied social and material contexts of eighteenth-century print culture, animating the range of contributions made by printers, booksellers, visual artists, authors, and readers. The Portmanteau Papers also creatively represents the contributions of women authors, especially novelist Sarah Scott, to the development of the novel, extending significant research done in this area over the last thirty years. ii Acknowledgements The greater the debt of gratitude, the more incommensurate grows the language of thanks. In my case, I hardly know how to begin, but begin I must. Thanks to my supervisor Professor Aritha van Herk for her tireless encouragement and for her equally tireless red pen. Professor van Herk has managed me so delicately I hardly know I’ve been managed. Thanks also my committee, Professors David Oakleaf and Suzette Mayr. Without Dr. Oakleaf’s generous encouragement and assistance throughout my degree, I would never have come to love the eighteenth century as I do. Professor Mayr has likewise provided wonderful support whenever it was needed. Thanks to all. I am also grateful to the Social Sciences and Humanities Research Council of Canada (SSHRC), to the University of Calgary Faculty of Graduate Studies, and to the Department of English for their generous financial and moral support, without which I could not have undertaken this research. My family has put up with me in every kind of internal weather. They are kind to me when the writing goes well and are even kinder when it does not. My parents, Lawrence and Eleanor Bryan, know when to take me to lunch and show the perfect amount of interest. Greg and Anne, Christine, John and Jane, Tim and Corey, Jim and Julia likewise never flag in their encouragement. My amazing children, Aphra and Joel, inspire me with their own scholarship and hard work—I am very proud of them. The equally amazing Richard is my best friend and companion in everything, including our shared life of the mind. He is the best part of me. Thank you again, Richard—again and again and again. iii Dedication To Richard, Joel, and Aphra Sutherland for their patience and love. ❧❦☙❦❧❦☙ To Timothy Brian Sutherland for all I’ve been honoured to share with you. iv Table of Contents Abstract ……………………………………………………………………………........ ii Acknowledgements …………………………….…………………………...……….... iii Dedication …………………………………………………………………………....... iv Table of Contents ……………………………………………………….………....... v-vi List of Plates ……………………………………………………………………...…... vii Epigraph …………………………………………………………..…………………... viii Chapter One: Pugg’s Preface …………………………………………………………... 1 Chapter Two: A Printed Transcript Containing the Testimony of Two Laundresses ... 19 Chapter Three: Letters between Mrs. Betty and Her Sister …………………….…….. 45 Chapter Four: The Continued Correspondence of Mrs. Betty ………….……….…….. 74 Chapter Five: Two Tales Bundled Together Like Aprons Ready for the Wash-pot ….. 98 Chapter Six: Mrs. Betty’s Final Letter …………………………..….………………... 119 Chapter Seven: The History of Folia: Or, Virtue in Leaf – Part I ………………..…... 150 Chapter Eight: The History of Folia: Or, Virtue in Leaf – Part II ………..…….….… 176 Chapter Nine: Sarah Scott – The House at Batheaston ……………….……….…,.…. 206 Chapter Ten: Sarah Scott – Conditions Worsen ………..………………..……….….... 242 Chapter Eleven: Cass Quire, Orphan and Sometime Printer’s Boy ……………..….... 283 Chapter Twelve: The Nature of the Scheme Cass Enters into with Mr. Gotobed, .….... 297 Chapter Thirteen: The Sequel to Cass’s Projection with Mr. Gotobed …………......... 334 Chapter Fourteen: Gotobed Spends his Earnings …………………………...……....... 366 Chapter Fifteen: Sarah Scott – The Sun Rises on London’s Western Suburbs ……..... 387 v Table of Contents (continued) Chapter Sixteen: The History of Folia: Or, Virtue in Leaf – Part III …………..…... 414 Chapter Seventeen: The History of Folia: Or, Virtue in Leaf – Part IV ………….... 434 Chapter Eighteen: The History of Folia: Or, Virtue in Leaf – Part V …….………..... 460 Chapter Nineteen: Sarah Scott – Sarah Dines with Elizabeth Alone ……………..….. 475 Chapter Twenty: In Which We Do Not Finis …..…………………………...………... 490 Exegesis: Or, An Afterword in the Shape of a Dead Pug ……………….……………. 501 Bibliography ………………………………………….………………...…………..….. 507 vi List of Plates Plate 1 – William Hogarth, detail from The Bruiser ………………………...…..….... viii Plate 2 – William Hogarth, The Harlot’s Progress, plate I ………………………….... 18 Plate 3 – William Hogarth, Marriage A-la Mode, plate II ………………..….…..….. 147 Plate 4 – William Hogarth, The Rake’s Progress, plate III ………………...….…...... 234 Plate 5 – William Hogarth, The Idle ‘Prentice, Betrayed ………………...….…......... 301 Plate 6 – William Hogarth, The Bathos (also called The Tail Piece or Finis) …...….... 479 vii Epigraph I now offer to the public a short essay, accompanied by two explanatory [paw] prints, in which I shall endeavour to shew what the principles are in nature, by which we are directed to call the forms of some bodies beautiful, others ugly; some graceful, and other the reverse; by considering more minutely than has hitherto been done, the nature of those lines, and their different combinations, which serve to raise in the mind the ideas of all the variety of forms imaginable. William Hogarth, The Analysis of Beauty 17 Plate 1 – William Hogarth, detail from The Bruiser Photograph © Dawn Bryan viii Chapter One: Pugg’s Preface1 1 Pugg’s note: As every dog knows, the prefaces of eighteenth century long-form fiction comprise a satisfactory terrain for duelling over the definition of the genre of the novel. Skirmishes over “novels” and “histories” cut deep, building up, in time, a tough cicatrix of scar tissue—the waxy body of English literary criticism. Years pass, and knuckles and stones give way to pistols and swords. Tales of past injury inculcate a wild and warlike disposition in each new generation of critic. Recent scholars of the of the English novel (e.g. Ballaster “Contexts;” Hammond and Regan) trace the movement from formalist explanations of the novel as an ahistorical, ideal set of generic conventions (e.g. Frye) to historicist explanations that view the novel as a historical progression toward an ideal set of generic conventions (e.g. Watt; McKeon’s Origins of the English Novel). Even more recently, historicist teleologies of the novel give way to the description of situated and provisional conventions that variously construct “the novel.” These cultural practices and objects comprise, not a singular “rise” of the novel, but rather the continuing invention of the very notion of “the novel” (e.g. Ballaster “Contexts;” Hammond and Regan; McKeon’s Domesticity). In this view, the “novel” is less a generic category than a discursive one. This dog breaks no new ground when noticing how each of these accounts assumes a safe terrain of values from which scholars can best consider the ostensive problem of the rise of novel. These values—normative “realism” for Frye and Watt; Marxism for McKeon; Feminism for Ballaster—determine the larger grounds of critical exploration in each case—scholarly authority and canon formation for Watt and Frye, economic critique for McKeon, gender bias for Ballaster. These values do not constitute anything as one-dimensional as the “real agendas” of these representative scholarly positions. However, each answer to the question of generic form provides a key to the larger social discourse in which both question and answer embed themselves. To one such as I, a pugnacious reader, the specifics of this scholarly history matter precisely because they indicate
Load more

Recommended publications
  • Commentary on Economics, the State of the Anglican Clergy, and Mental Illness
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER’S HONORS COLLEGE DEPARTMENTS OF ENGLISH AND HISTORY PAMELA IN CONTEXT: COMMENTARY ON ECONOMICS, THE STATE OF THE ANGLICAN CLERGY, AND MENTAL ILLNESS JAMES ETHAN DAVIDSON SPRING, 2020 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in English and history with interdisciplinary honors in English and history Reviewed and approved* by the following: Carla J. Mulford Professor of English Thesis Supervisor Cathleen D. Cahill Associate Professor of History Honors Adviser Christopher Reed Distinguished Professor of English and Visual Studies Affiliate Faculty in Women’s, Gender and Sexuality Studies Honors Adviser * Electronic approvals are on file. i ABSTRACT Samuel Richardson’s novel, Pamela, offers insight on several of the most important topics and events of eighteenth-century English culture and history. A contextual analysis of the novel reveals that it provides commentary on the economic devastation that followed the collapse of the so-called South Sea Bubble, the state of the Anglican church throughout Richardson’s lifetime, and growing British anxiety about suicide and depression. By framing his novel as an instrument of pedagogy, Richardson invites readers to a fictional entertainment that also converses with the readership about life’s contingencies and difficulties. ii TABLE OF CONTENTS LIST OF FIGURES ....................................................................................................................... iii ACKNOWLEDGEMENTS ..........................................................................................................
    [Show full text]
  • The Criminal Trial Before the Lawyers John H
    The I University of Chicago Law Review VOLUME 45 NUMBER 2 WINTER 1978 The Criminal Trial before the Lawyers John H. Langbeint The common law criminal trial is dominated by the lawyers for prosecution and defense. In the prototypical case of serious crime (felony), counsel take the active role in shaping the litigation and proving the facts for a passive trier. Continental observers, accus- tomed to a nonadversarial trial in which the court itself has an active role in adducing evidence to inform its own judgment, regard our lawyerized criminal trial as a striking Anglo-American peculiar- ity. We seldom appreciate that this lawyerized criminal trial looks as striking from the perspective of our own legal history as from that of comparative law. It developed relatively late in a context other- wise ancient. Whereas much of our trial procedure has medieval antecedents, prosecution and defense counsel cannot be called regu- lar until the second half of the eighteenth century. In our historical literature the relative newness of our adversary t Professor of Law, The University of Chicago. This article results from a period of research in 1977 that was made possible by a Human- ities Research Fellowship from the National Endowment for the Humanities, and by the grant of research funds from the University of Chicago Law School. I wish to record my gratitude to the Endowment and to Dean Norval Morris and the Law School for their support. I also wish to express my thanks to the Warden and Fellows of All Souls College, Oxford, for permitting me to work as a Visiting Fellow of the College.
    [Show full text]
  • Henry Fielding's Whores.Pdf
    ! ! ! ! ! ! ! ! ! HENRY FIELDING’S! WHORES ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! HENRY FIELDING’S! WHORES ! ! By KALIN SMITH,! B.A. (Hons.) ! ! ! ! ! ! ! ! ! ! ! ! ! A Thesis! Submitted to the School! of Graduate Studies in Partial Fulfilment of the Requirements! for the Degree Master !of Arts ! ! ! McMaster !University © Copyright by Kalin Smith, September 2015 MASTER OF ARTS (2015) McMaster University !(English) Hamilton, Ontario !TITLE: Henry Fielding’s Whores !AUTHOR: Kalin Smith, B.A. Hons. (University of Toronto) !SUPERVISOR: Dr. Peter Walmsley !NUMBER OF PAGES: viii, 107 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !ii ! Abstract! The mercenary whore is a recurring character-type in Henry Fielding’s plays and early fictions. This thesis examines Fielding’s representations of the sex-worker in relation to popular eighteenth-century discourses surrounding prostitution reform and the so-called ‘woman question’. Fielding routinely confronted, and at times affronted his audience’s sensibilities toward sexuality, and London’s infamous sex-trade was a particularly contentious issue among the moralists, politicians, and religious zealots of his day. As a writer of stage comedy and satirical fiction, Fielding attempted to laugh his audience into a reformed sensibility toward whoredom. He complicates common perceptions of the whore as a diseased, licentious, and irredeemable social other by exposing the folly, fallibility, and ultimate humanity of the modern sex-worker. By investigating three of Fielding’s stage comedies—The Covent-Garden Tragedy (1732), The Modern Husband (1734), and Miss Lucy in Town (1742)—and two of his early prose satires—Shamela (1741) and Joseph Andrews (1742)—in relation to broader sociocultural concerns and anxieties surrounding prostitution in eighteenth-century Britain, this thesis locates Fielding’s early humanitarian efforts to engender a reformed paradigm of charitable !sympathy for fallen women later championed in his work as a justice and magistrate.
    [Show full text]
  • Former Fellows Biographical Index Part
    Former Fellows of The Royal Society of Edinburgh 1783 – 2002 Biographical Index Part One ISBN 0 902 198 84 X Published July 2006 © The Royal Society of Edinburgh 22-26 George Street, Edinburgh, EH2 2PQ BIOGRAPHICAL INDEX OF FORMER FELLOWS OF THE ROYAL SOCIETY OF EDINBURGH 1783 – 2002 PART I A-J C D Waterston and A Macmillan Shearer This is a print-out of the biographical index of over 4000 former Fellows of the Royal Society of Edinburgh as held on the Society’s computer system in October 2005. It lists former Fellows from the foundation of the Society in 1783 to October 2002. Most are deceased Fellows up to and including the list given in the RSE Directory 2003 (Session 2002-3) but some former Fellows who left the Society by resignation or were removed from the roll are still living. HISTORY OF THE PROJECT Information on the Fellowship has been kept by the Society in many ways – unpublished sources include Council and Committee Minutes, Card Indices, and correspondence; published sources such as Transactions, Proceedings, Year Books, Billets, Candidates Lists, etc. All have been examined by the compilers, who have found the Minutes, particularly Committee Minutes, to be of variable quality, and it is to be regretted that the Society’s holdings of published billets and candidates lists are incomplete. The late Professor Neil Campbell prepared from these sources a loose-leaf list of some 1500 Ordinary Fellows elected during the Society’s first hundred years. He listed name and forenames, title where applicable and national honours, profession or discipline, position held, some information on membership of the other societies, dates of birth, election to the Society and death or resignation from the Society and reference to a printed biography.
    [Show full text]
  • Constructions of Masculinity in the Dramatic Works of John Gay
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2009 A Disordered Domesticity: Constructions of Masculinity in the Dramatic Works of John Gay Jeremy Brandon Wear University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the English Language and Literature Commons Recommended Citation Wear, Jeremy Brandon, "A Disordered Domesticity: Constructions of Masculinity in the Dramatic Works of John Gay. " Master's Thesis, University of Tennessee, 2009. https://trace.tennessee.edu/utk_gradthes/66 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Jeremy Brandon Wear entitled "A Disordered Domesticity: Constructions of Masculinity in the Dramatic Works of John Gay." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Arts, with a major in English. Misty Anderson, Major Professor We have read this thesis and recommend its acceptance: Jenn Fishman, John Zomchick Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a thesis written by Jeremy Brandon Wear entitled “A Disordered Domesticity: Constructions of Masculinity in the Dramatic Works of John Gay.” I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in English.
    [Show full text]
  • TWELVE SCOTS TRIALS by the Same Author
    HMMIMMMMMMIIIIMIII ^'NIVERSITY OF I SAN DIEGO / TWELVE SCOTS TRIALS By the same Author. DR. PRITCHARD. DEACON BRODIB. CAPTAIN PORTEOUS. OSCAR SLATER. MRS. M'LACHLAN. In preparation. MARY BLANDY. The House of Major "Weir. From an unpublished water-colour sl-cteh by Mrs. J. Steicart Smith. TWELVE SCOTS TRIALS BY WILLIAM ROUGHEAD WRITER TO THE SIGNET EDINBURGH AND LONDON WILLIAM GREEN & SONS 1913 TO H. B. lEVING IX APPRECIATION IN FRIENDSHIP PEEFACE These adventures in criminal biography, begun at the suggestion of the late Mr. Andrew Lang, with his kind encouragement w^ere completed shortly before his death. Mr. Lang read them in manuscript. He was good enough to approve them, and had promised to write an Introduction when they came to be published. Thus, by his sudden passing, which has left literature so much the poorer, the • reader is deprived of what would have been the most attractive feature of the book. Dickens has noted the exclusive nature of a true professional relish, as shown in the enthusiasm of Mr. Dennis ; and while, personally, I find the people of our causes celebres more "con- vincing " than those of many popular and prolific writers, it is quite possible that the reader may not share my taste. I know the disadvantages under which the subjects of these studies labour in competition with their rivals of the circulating library. The fact that they were real men and women, who sinned and suffered in their day, and whose stories are unfor- tunately true, is alone enough to alienate the sympathy of a fiction-loving public.
    [Show full text]
  • Mid Nineteenth-Century Scottish Rape Law and Proceedings
    “Forcibly and Against Her Will”: Mid Nineteenth-Century Scottish Rape Law and Proceedings A Thesis Submitted To the Graduate School Valdosta State University in partial fulfillment of requirements for the degree of MASTER OF ARTS in History in the Department of History of the College of Arts and Sciences July 2016 Victoria Grady B.A., Valdosta State University, 2013 © Copyright 2016 Victoria Grady All Rights Reserved ABSTRACT Scottish historians have remained largely silent on rape, particularly in the nineteenth century. This study uses criminal precognitions, indictments, and court records found in the AD6, AD14, JC4, and JC26 series of documents in the National Archives of Scotland to analyze rape in nineteenth-century Scotland for the first time. Throughout this period, Scottish rape law remained unchanged. The law defined rape as carnal knowledge of a woman by force and against her will and prescribed death as the punishment for this crime. Even though the law remained the same, only two men hanged for rape in years ranging from 1830-1860. Prosecution rates for rape remained high in the middle of the century, but conviction rates remained low as juries were reluctant to convict men of rape and instead convicted men of lesser charges to avoid the harsh penalty of death. The sources examined also reveal that most victims were under the age of 12 and their attackers were between the ages of 20-29. The law defined the rape of young girls as particularly heinous, yet no man hanged for raping them. The law also offered protection to prostitutes, yet these women are absent from legal records.
    [Show full text]
  • The Harlot's Progress
    Furman University Furman University Scholar Exchange Special Collections and Archives Research and Libraries Creative Fellowships 2018 The aH rlot's Progress: a series of misfortunes, based on the work of William Hogarth and his character, Moll Hackabout Olivia Corso Furman University Recommended Citation Corso, Olivia, "The aH rlot's Progress: a series of misfortunes, based on the work of William Hogarth and his character, Moll Hackabout" (2018). Special Collections and Archives Research and Creative Fellowships. 1. https://scholarexchange.furman.edu/lib-fellowship/1 This Other is made available online by Libraries, part of the Furman University Scholar Exchange (FUSE). It has been accepted for inclusion in Special Collections and Archives Research and Creative Fellowships by an authorized FUSE administrator. For terms of use, please refer to the FUSE Institutional Repository Guidelines. For more information, please contact [email protected]. The Harlot’s Progress A series of misfortunes, based on the work of William Hogarth and his character, Moll Hackabout Olivia Corso Furman University Special Collections and Archives Fellowship 2 This project was birthed from an accident, when, searching for 17th century engravings of Diana and Minerva, I found the “The Harlot’s Progress” nestled at the bottom of a box in the Special Collections and Archives. A series of six etchings, “The Harlot’s Progress” is a single story – the tale of a young girl, Moll Hackabout, gone to London and the hardships that follow her there. The artist, William Hogarth, was an 18th century English painter, a satirist, influenced by French style engravings. Hogarth drew extensively from reality – some of the characters his series are candidly based on real people, and the narrative pulled from infamous tales of harlots, bawds, and rakes.
    [Show full text]
  • Hogarth His Life and Society
    • The 18th century was the great age for satire and caricature. • Hogarth • Gillray, Rowlandson, Cruikshank 1 2 Leonardo da Vinci (1452-1519), grotesque faces, c. 1492 Annibale Carracci (1560-1609), grotesque heads, 1590 Annibale Carracci, The Bean Eater, 1580-90, 57 × 68 cm, Galleria Colonna, Rome • Leonardo da Vinci (1452-1519) drew some of the earliest examples of caricature (exaggeration of the physical features of a face or body) but they do not have a satirical intent. These faces by Leonardo are exploring the limits of human physiognomy. • The Italian artist Annibale Carracci (1560-1609) was know for and was one of the first artists in Italy to explore the appearance of everyday life. Here are some heads he sketched and a well-known painting called The Bean Eater. He is in the middle of a simple meal of beans, bread, and pig's feet. He is not shown as a caricature or as a comical or lewd figure but as a working man with clean clothes. The ‘snapshot’ effect is entirely unprecedented in Western art and he shows dirt under the fingernails before Caravaggio. Food suitable for peasants was considered to be dark and to grow close to the ground. Aristocrats would only least light coloured food that grew a long way from the ground. It is assumed that this painting was not commissioned but was painted as an exercise. The painting owes much to similar genre painting in Flanders and Holland but in Italy it was unprecedented for its naturalism and careful, objective study from life. • The Carracci were a Bolognese family that helped introduce the Baroque.
    [Show full text]
  • English, Irish and Scottish Schools: I Named Sitters
    Neil Jeffares, Dictionary of pastellists before 1800 Online edition Lit.: Ingamells 2004, p. 10 repr. [cf. G. Chase; J.85.1024 Mrs William APPLEBY, née Margaret English, Irish and Scottish H. Spicer] Φ Midgley, dau. of Rev. Robert Midgley, niece of widow of Capt. Laurence Gilby, wife of Rev. Schools William Appleby, 28x22 ov. (Stansted Mountfitchet, Sworders, 2014, Lot 315 repr., Named sitters circle of Russell, est. £400–600) ϕ J.85.1001 Lady ABDY, née Theodosia Bramstone (1696–1732) in a white dress, gold mantle, pstl, 28x23 ov., c.1703 (PC 2016; London, Rosebery’s, 21.III.2018, Lot 102 repr., attr. Henrietta Johnson, est. £3–4000; London, Roseberys, 18.VII.2018, Lot 30 repr., est. £2– 3000) [cf. Johnston suggested 2016] ϕν Photos courtesy National Portrait Gallery, London J.85.1013 v. J.399.15 J.85.1016 Duchess of ANCASTER, née Mary Panton (a.1735–1793), pstl (Grimsthorpe Castle) J.85.1017 Duchess of ANCASTER, née Mary J.85.1026 ?Duchess of Hamilton and ARGYLL, née Panton, pstl (Grimsthorpe Castle) Elizabeth Gunning (1733–1790), half-length, in J.85.10175 Captain Ferdinand ANLEY (1763–1799), a white dress and blue shawl, pstl, 75x58.5, in of the Royal Militia of the Island of Jersey, pstl, elaborately carved frame (Marjorie, Lady 24x20 ov., 1787 (Stansted Mountfitchet, Russell; London, Christie’s, 6.VI.1972, Lot 109 Sworders, 22–23.IX.2020, Lot 562 repr., est. n.r., 400 gns; Agnew’s) th J.85.1002 Mrs Abington [Mrs James ABINGTON, £300–500) ϕ J.85.1027 [?George William, 6 ] Duke of ARGYLL née Frances Barton (1737–1815), actress], pstl [(1768–1839)], pstl, 20x16 (Tetsworth, Swan, 74x62 (Jeffery Whitehead; London, Christie’s, 17.IX.2015, Lot 480 repr., est.
    [Show full text]
  • The Wakes Were a Norman Family That Held Land in Guernsey C
    List of Parliamentary Families 527 WAKE Origins: The Wakes were a Norman family that held land in Guernsey c. 1100 and in Lincolnshire by the 12th c. Acquired estates in Northamptonshire by marriage 1138. Summoned to Parliament as a baron by writ (Lord Wake) 1295-99. The second Lord Wake summoned as a baron 1317-48. First MP 1300 for Northamptonshire. Four further MPs 1407-1624, three kts of the shire. 1. Sir William Wake 8 Bt – Bedford 1774-84 Seats: Courteenhall, Northamptonshire (built later 16th c., remod. 17th c., inher. by mar. to Jones heiress 1672, rebuilt 1791-95, still own); The Abbey House, Waltham, Essex (built c. 1590, acq. by Jones family 1676 and inher. by Wakes from them 1688, main seat until late 18th c., largely abandoned after 1739, ruinous by 1770) Estates: Bateman 3141 (E) 5810. Owned 62,500 acres in Scotland in 1970. The Scottish estate was sold. Still owned 2,000 acres in Northamptonshire in 2001. Title: Baronet 1621- Notes: The 3rd Wake Bt married the Drury heiress and succeeded to estates in Suffolk 1712-44. The Drurys quite probably accompanied the Conqueror to England. (Roskell, Clark, and Rawcliffe, The House of Commons, II, 803) The Drurys produced eleven MPs 1391-1625, seven kts of the shire. (See Gordon, The Wakes of Courteenhall) 2 Lord Wake and two others in ODNB. WAKELY (Wackley, Wakeley) IRELAND Origins: Tudor soldier had a patent of lands in Meath 1547. First {MP 1559}. One additional {MP 1585}. Sheriff 1570. 1. John Wakeley – {Kilbeggan 1692-93} Seat: Ballyburley, King’s County (acq.
    [Show full text]
  • <Ian ^American in J^Gndon, 1735-1736
    <iAn ^American in J^gndon, 1735-1736 I HE following diary of Robert Hunter Morris—except for the nr;last few pages1—recounts the activities from April 17, 1735 JL to January 4, 1736 of himself and his father, Lewis Morris, Senior, while the latter was engaged in England as the agent of a group of New Yorkers. By 1735 Lewis Morris, Senior, had behind him almost half a century of political activity. In his earlier years, he had been engaged exclusively in New Jersey politics and in 1702 had gone to England to promote the transfer of the New Jersey gov- ernment to the Crown. But in 1710 he had been forced to flee the province because of a dispute over his claim to the presidency of the council, and after the arrival of Governor Robert Hunter he spent most of his time and energies in New York politics. He became the leader of the assembly and premier for Hunter and was rewarded in 1715 with the chief justiceship of the supreme court of New York. After 1724, Morris gradually lost his power, first losing his majority in the assembly, then his own seat as representative, and finally, upon the substitution of John Montgomerie for William Burnet as gover- nor, his influence with the chief executive. His last bit of power he lost in 1733, when, after an altercation with Governor William Cosby, the governor thrust him from the bench. As a result, the doughty veteran fought Cosby in New York and then in England until the governor's death in 1736.
    [Show full text]