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Group Portraits and the Construction of Identity Within Early Modern Families

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Group Portraits and the Construction of Identity Within Early Modern Families FACING THE FAMILY : GROUP PORTRAITS AND THE CONSTRUCTION OF IDENTITY WITHIN EARLY MODERN FAMILIES by ROSEMARY ISABEL KEEP A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Centre for Reformation and Early Modern Studies School of History and Cultures College of Arts and Law University of Birmingham August 30th 2017 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis draws together material and archival sources to investigate the long-overlooked portraits of English provincial gentry families commissioned between c.1550 and c.1680. Specifically, its focus is on portraits of family groups where more than one generation, connected through blood or kinship, is depicted in the same composition. The thesis identifies these as a coherent genre for the first time and examines the ways in which the gentry used such paintings to establish familial legacy and heritage for future generations. This thesis explains how these portraits respond to, and reflect, family memory and narratives, social networks, local histories, religious observance and artistic developments. They are important because the family, as the basic unit of society, was essential for the formation and transmission of belief and identity, and the place where children were socialised. The portraits simultaneously reflect broad social trends while also containing personal messages about the lives and relationships of individual families which were specific to their own particular place and time. The thesis argues for the significance of visual artworks and especially this genre of painting, in the construction of gentry status and self-fashioning over this key period of social change. i DEDICATION For my grandchildren Sophie, Emily, Arthur and Skye ii ACKNOWLEDGEMENTS I would like to thank the following people and institutions for their generous support: The Arts and Humanities Research Council without whose valuable assistance this thesis would not have been possible. Dr Paula Bartley Mr Richard Bertocci Mr. Robin Boyes Mrs Charlotte Brudenell Lisa Cole, Tate Records Barbara Crowther Robin Francis, Director Heinz Archive Wendy Hart Rachel Lambert Jones, Collections Officer, Wolverhampton Art Gallery and Museum Dr Judy Lloyd Lindsey McCormick, Keeper of Art at The Harris Museum and Art Gallery Mairi MacDonald Mr Ray Morris, churchwarden St Mary’s Church, Burford, Shropshire John Nolan The Paul Mellon Centre, Yale Martin Robson Riley, Senior Enquiries Assistant National Library of Wales Drs Kathy and James Stredder The staff at the Tolson Museum, Kirklees, Huddersfield The Weiss Gallery The Lord Wilton The Wroxton Abbey Librarian This thesis was copy edited for conventions of language, spelling and grammar by Hugh C.J.M. Keep The staff, colleagues and friends in the Shakespeare Institute and The Centre for Reformation and Early Modern Studies, probably the best places for conversations about art, history and Shakespeare in the country. iii Particular thanks go to all the staff at the Shakespeare Institute Library, especially Kate Welch, Karin Brown and Anne Phillips for their time, patience and expert knowledge. Finally, special thanks to friends and family for their encouragement and interest and in particular to my long-suffering husband Hugh who has supported me in every way throughout the project. Above all, for giving me the confidence to undertake this thesis and for their extraordinary patience, skill and expert advice I would like to thank my supervisors Dr Tara Hamling and Professor Richard Cust who have been exemplary in every way iv TABLE OF CONTENTS LIST OF ILLUSTRATIONS Viii INTRODUCTION 1 a. Definitions: the gentry, group portraits and collective identity 2 b. Scope of the thesis 8 c. Historiography 9 d. Limitations and challenges 14 e. Structure 15 CHAPTER ONE : PATRONS, PROCESSES AND PLACES 18 a. Material and stylistic considerations c.1550-c.1600 19 b. Material and stylistic considerations c.1600-c.1635 23 c. Material and stylistic considerations c.1635-c.1680 27 d. The Uses of Portraits 29 i. Displaying wealth 29 ii. Gifts and copies 30 iii. Heirlooms 33 e. Patronage and the Gentry 34 i. The Bachymbyd Letters 35 ii. The Utkinton Inventory 40 f. Hierarchies of Hanging 45 i. Halls 46 ii. Galleries 48 iii. Parlours, withdrawing rooms and great chambers 49 iv. Private rooms and bedchambers 51 g. Chapter One conclusion 52 CHAPTER TWO : THE FAMILY UNIT : ‘NUCLEAR’ FAMILIES 53 Introduction 53 a. Patriarchy 54 b. Wives/mothers 60 c. Husbands/fathers 67 v d. Children 69 Case Study 1 : The Family of Sir Thomas Lucy 74 Case Study 2 : The Burdett Family 93 a. Chapter Two conclusion 102 CHAPTER THREE : BEYOND THE NUCLEAR FAMILY 103 Step families 103 a. Grandparents 106 Case Study 1 : Sir Edward Pytts and his Grandson Edward 112 Case study 2 : The Bagot portraits 120 i. Lady Mary Bagot and her Granddaughter Mary 124 ii. Mrs Salesbury with her Grandchildren Edward and Elizabeth Bagot 128 b. Chapter Three conclusion 140 CHAPTER FOUR : REPRESENTING STATUS 141 Introduction 141 a. Heraldry 146 Case Study 1 : The Kaye family portrait 155 Case Study 2 : The Cornewall portrait 158 b. Naturalism and civility 164 c. Chapter Four conclusion 173 CHAPTER FIVE : PORTRAITS AND PIETY 174 Introduction 174 Case Study 1 : A catholic family: The Towneley portraits i. John and Mary Towneley and their Family 183 ii. Richard Towneley and his Family 193 Case Study 2 :A Presbyterian family: The Chorley Family 200 i. Cleanliness and godliness 209 Case Study 3 : A ‘mixed marriage’ The Markham portrait 212 i. Elizabeth Rice and Mary Markham 213 Chapter Five conclusion 221 vi CHAPTER SIX : DEATH AND MEMORIALISATION 223 Introduction 223 Case Study 1 : Sir Thomas Aston at the Deathbed of his Wife 229 Case Study 2 : The Saltonstall Family 250 Case Study 3 : The Deaths of Children: The Streatfeild Family 269 a. Chapter Six conclusion 278 THESIS CONCLUSION 279 BIBLIOGRAPHY 287 a. Primary Sources 287 b. Early printed sources 290 c. Sale catalogues 293 d. Secondary sources 294 e. Web sources 318 vii LIST OF ILLUSTRATIONS Page INTRODUCTION Figure 0:1 Unknown artist, Sir Percyvall Hart and sons, 1575, oil on panel, Lullingstone Castle, Kent 7 Figure 0:2 English School, The Tasburgh Group, Lettice Cressy, Lady Tasburgh of Bodney Norfolk and her Children, c. 1612, oil on panel, location unknown 8 CHAPTER ONE : PATRONS, PROCESSES AND PLACES Figure 1:1 English School, Lady Anne Aldersley and her Children, 1550-75, oil on panel, location unknown 20 Figure 1:2 c. English School, Group Portrait of a Family, traditionally identified as the Bartholomews of Burford, Oxfordshire, c. 1600, oil on panel, unknown location 22 Figure 1:3 Unknown artist, Unknown Lady with Two Children, 1624, oil on panel, Yale Centre for British Art, Paul Mellon Collection USA 25 Figure 1:4 Cornelius Johnson, The Capel Family, 1640, oil on canvas, NPG, London 26 Figure 1:5 Petrus Troueil, Sir Francis Ottley and Family, 1636, oil on canvas, Shrewsbury Museum and Art Gallery 27 Figure 1:6 Nicholas Maes, The family of the Sykes of Westella, 1664, oil on canvas, location unknown 28 Figure 1:7 John Michael Wright, The Family of Sir Robert Vyner, 1673, oil on canvas, NPG, London 29 Figure 1:8 English School, Alice Barnham and her Sons Martin and Steven, 1557, oil on panel, Berger Collection, Denver, USA 43 Figure 1:9 Unknown artist, Sir Henry Unton, 1596, oil on panel, NPG, London 44 Figure 1:10 British Artist, Triptych portrait of the St John Family, 1615, St Mary’s Church, Lydiard Tregoze 45 CHAPTER TWO : THE FAMILY UNIT : ‘NUCLEAR’ FAMILIES Figure 2:1 Remigius van Leemput, after Hans Holbein the Younger, Henry VII, Elizabeth of York, Henry VIII and Jane Seymour, 1667, oil on canvas, Hampton Court Palace, Royal Collection Trust, RCIN 404750 55 Figure 2:2 A woodcut of a family, from The Tenor of the Whole Psalms in Four parts, 1563, 56 Figure 2:3 English School, Lady Elizabeth Pope, with her eldest son Thomas and daughter Anne, 1625-6, oil on canvas, private collection 58 Figure 2:4 English School, The Holme Family, 1628, oil on panel with carved decoration, Victoria and Albert Museum, London 60 viii Figure 2:5 Unknown English artist, The Hesketh Genealogy, c. 1594, British Library 62 Figure 2:6 Richard Brathwaite, cover of The English Gentleman and the English Gentlewoman, 1641 62 Figure 2:7 English School, Alice Barnham and Her Sons Martin and Steven, 1557, oil on panel, Berger Collection, Denver, USA 63 Figure 2:8 Paul van Somer, Frances, Lady Willoughby with her son Lord Francis, oil on canvas, present location unknown 64 Figure 2:9 English School, Double portrait of Mary, Lady Bowes, Aged 24, and her Eldest son Thomas, 1630, oil on panel, private collection 65 Figure 2:10 Anthony van Dyck, Sir Kenelm Digby and Lady Digby with their Two Sons, 1632, oil on canvas, private collection. 67 Figure 2:11 Unknown artist, Sir Walter Raleigh and his Son, oil on canvas, 1602, NPG, London 69 Figure 2:12 Unknown Artist, Sir Hervey Bagot and his third son Hervey, 1627, oil on canvas, Blithfield Hall, Staffordshire 69 Figure 2:13 Hans Holbein the Younger, Thomas Godsalve of Norwich and his son, John, 1528, oil on canvas, Gemaeldergalerie Alte Meister, Dresden, Germany 70 Figure 2:14 English School, Two Gentlemen in Armour, perhaps Sir Thomas Monson Bt.
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