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Contextualising the Art Collections of Longford Castle During the Long Eighteenth Century

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Contextualising the Art Collections of Longford Castle During the Long Eighteenth Century ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Acquisition, patronage and display : contextualising the art collections of Longford Castle during the long eighteenth century https://eprints.bbk.ac.uk/id/eprint/40230/ Version: Full Version Citation: Smith, Amelia Lucy Rose (2017) Acquisition, patronage and display : contextualising the art collections of Longford Castle during the long eighteenth century. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email 1 Acquisition, Patronage and Display: Contextualising the Art Collections of Longford Castle during the Long Eighteenth Century Volume 1: Text Amelia Lucy Rose Smith Thesis submitted for the degree of PhD History of Art Birkbeck, University of London 2 The work presented in this thesis is the candidate’s own. Amelia Smith 3 Abstract This thesis is a study of the formation of the collections at Longford Castle during the period c.1730 to c.1830 by the Bouverie family (later Earls of Radnor). It draws upon previously untapped archival material relating to this understudied but nationally significant collection of art, to provide a contribution to current scholarship on country houses and the history of collecting. The thesis considers issues of acquisition, patronage and display, and looks across a range of art forms, including painting, sculpture, decorative arts and furnishings, exploring the degree to which this family’s artistic tastes can be understood as conventional or distinctive for the time. By contextualising these acquisitions and commissions in terms of their setting, it is shown that although Longford Castle, an unusually shaped Elizabethan building, was appropriated and adapted for the display of art in line with eighteenth-century ideals, its owners also valued and retained aspects of its distinctive character. In addition, the thesis shows that Longford functioned both as a private home and as a public space where visitors experienced the collections. An introduction to the Bouverie family is provided, so as to further contextualise their tastes, exploring their Huguenot and mercantile heritage, and ennoblements, artistic networks, and interests during the long eighteenth century. The thesis argues that these interests were characterised by both an independent spirit and a desire to conform to contemporary trends and to articulate a sense of Englishness. The thesis takes a broad methodological approach, combining studies of architecture, interiors, gardens, furnishings, fine art and social history. It explores the castle and its contents through both archival research and object-based study, providing the first comprehensive study of Longford and its art collections. 4 Table of Contents Volume 1: Text Acknowledgements p. 6 Notes to the Reader p. 8 Introduction p. 9 Chapter 1: The Family p. 25 Part One: Setting Chapter 2: Longford Castle p. 50 Chapter 3: Interiors and Furnishings p. 83 Part Two: Art Collecting Chapter 4: Acquisitions p. 107 Chapter 5: Patronage p. 142 Part Three: Experience Chapter 6: Display p. 174 Chapter 7: Visiting p. 202 Conclusion p. 236 Bibliography p. 251 Appendix A: Timeline of Key Biographical Events p. 344 Appendix B: Family Tree p. 349 5 Appendix C: Art-Related Expenditure transcribed from p. 350 Longford Castle Account Books 1723-1828 Volume 2: Illustrations List of Illustrations p. 2 Illustrations p. 16 6 Acknowledgements I would like to thank the Arts and Humanities Research Council for funding this Collaborative Doctoral Award. I would also like to thank the Earl and Countess of Radnor for facilitating the research by allowing me access to their home and art collection, for responding to my queries, and for sharing their photographs of the collection. I would like to thank my supervisors, Kate Retford and Susanna Avery-Quash, for their expert advice and support throughout the process of researching and writing this thesis. Thanks are also due to Sir Nicholas Penny and Lynda Nead for their feedback on my work during the upgrade process. I would like to thank archivists and staff at the various locations where I have undertaken research over the past three years, especially Claire Skinner, Steven Hobbs and the late Robert Pearson at the Wiltshire and Swindon History Centre, and Peter Durrant at the Berkshire Record Office. Thanks also to those who have assisted me at the British Library; the British Museum Prints and Drawing Room; Cambridge University Library; the Heinz Archive at the National Portrait Gallery; the Fitzwilliam Museum Reference Library; the National Archives; the National Gallery Research Centre; the Paul Mellon Centre for Studies in British Art; the Royal Academy Archive; the Research Library and Archive at Sir John Soane’s Museum; the Royal Society of Arts Archive; Senate House Library; the Prints and Drawings Room, Blythe House Reading Room and the National Art Library at the Victoria and Albert Museum; and the Witt Library at the Courtauld Institute of Art. Many individuals have provided advice and insights, and I would like to thank them for their time, especially Jocelyn Anderson, Philip Attwood, David Allan, Susan Bennett, Susannah Brooke, Michael Burden, Oliver Cox, Robin Darwall-Smith, John Goodall, Peter Humfrey, Adrian James, John Kitching, Catherine Loisel, Harriet O’Neill, Alexandra Ormerod, Philippa Martin, Tessa Murdoch, Peter Schade, Charles Sebag-Montefiore and Richard Stephens. 7 I would like to thank staff at the CDP Consortium, the National Gallery and the School of Arts, Birkbeck, for the assistance and training opportunities they have provided. Thanks also to my cohort of fellow PhD students in the History of Art Department at Birkbeck for their encouragement. Finally, I would like to thank my family for their love and support, especially Emma and Dave Smith, Richard Phillips and Andrew Routh. This thesis is dedicated to Marianne Routh, who loved houses, and loved the Georgians. 8 Notes to the Reader This thesis studies three collectors at Longford Castle: Jacob Bouverie, 1st Viscount Folkestone (1694-1761); William Bouverie, 1st Earl of Radnor (1724-1776); and Jacob Pleydell-Bouverie, 2nd Earl of Radnor (1749-1828). They will be referred to throughout as, respectively, the 1st Viscount Folkestone, and the 1st and 2nd Earls of Radnor, and thereafter as the 1st Viscount and 1st and 2nd Earls. Although the collectors were known at different times by different titles, this strategy is to avoid the complications of identification that might otherwise arise considering the repetition of the Christian name ‘Jacob’: the eldest sons of the family are alternately named William and Jacob, a tradition which appears to have begun at the start of the eighteenth century. Moreover, although the family are commonly referred to as the ‘Radnors’ today, this thesis will refer to them as the ‘Bouveries’, because, during the period in question, this surname was a common denominator within the family’s changing appellation. Their surname began the eighteenth century as ‘Des Bouverie’, before becoming Anglicised in 1736 to ‘Bouverie’, and then double-barrelled to ‘Pleydell-Bouverie’ in 1748 upon a marriage. The Radnor title was only in effect for half of the period under scrutiny. When quoting from primary sources, eighteenth-century orthography has been retained. Modern dates have been applied. When a work of art has been reattributed in modern times, the new attribution, derived from Christie, Manson & Woods Ltd., Inventory of Selected Chattels: The Earl of Radnor, Longford Castle, 3 volumes, 27th October 2010, Vols. I-III, has been footnoted. The titles currently given to works of art may differ from those quoted from primary sources. All works of art are currently at Longford Castle, unless otherwise stated. 9 Introduction This thesis will explore acquisition, patronage and display at Longford Castle, Wiltshire, during the long eighteenth century. Longford, an Elizabethan country house built to an unusual triangular design, was purchased in 1717 by Sir Edward des Bouverie (1688-1736), a merchant trader descended from a Huguenot refugee who had fled to England in the late sixteenth century. During the course of the eighteenth and early nineteenth centuries, his successors built up an art collection of national significance at Longford, but both castle and collection are relatively little known amongst the pantheon of British country houses. The Bouverie family’s social position, public roles, attitudes to their country seat and other properties, and artistic tastes will be investigated in this thesis. It will explore the mechanisms by which the family acquired works of art, and the ways in which the collections were displayed and experienced at Longford. The century c.1730 to c.1830 will be the focus of this thesis, as it was the most productive period for art collecting at Longford. This timeframe covers the tenures of Jacob Bouverie, 1st Viscount Folkestone (1694-1761); William Bouverie, 1st Earl of Radnor (1724-1776); and Jacob Pleydell-Bouverie, 2nd Earl of Radnor (1749-1828).1 This thesis will draw upon hitherto unexplored primary material from the family archive to situate Longford and its art collection within the corpus of country house scholarship from which it has previously largely been missing. The present Earl of Radnor recently donated this
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