
portrait of Sarah Lascelles, Mrs Christopher Lethieullier,(c) National Trust, Uppark; Supplied by The Public Catalogue Foundation
In the early 18thc a style of portraiture developed, known as the conversation piece, which often depicted the sitter or sitters outside in a garden or parkland setting.
The greatest exponent of this style was Arthur Devis, who painted the rising gentry and professional classes of Georgian England at ease in and around their own homes and estates.

Self portrait by Arthur Devis, circa 1742-1744, NPG http://www.npg.org.uk/collections/search/portrait/mw08137/Arthur-Devis?LinkID=mp05956&search=sas&sText=devis&role=sit&rNo=0
Given that we are used to using paintings of gardens and landscapes as good evidence for the appearance of a site when the picture was undertaken, can these conversation piece portraits be trusted to give us a truthful idea of the 18thc garden?
Read on to find out more about Devis, and the reliability [or maybe not!] of his work as useful evidence…






Marion travelled widely writing about gardens abroad as well as Britain in 15 gardening books, and also produced a couple of novels, and assorted other books.
The British galleries in the Victoria & Albert Museum hold many treasures but probably none more interesting to lovers and historians of gardens than two large early 18thc wall hangings from Stoke Edith in Herefordshire. They show elaborate formal garden scenes in the Anglo-Dutch style of late 17th century.
It is tempting to think that the hangings depict the actual gardens that London designed for Paul Foley, who was Speaker of the House of Commons, and if one believes family tradition that they were made by the women of Foley’s family that would be more than a possibility. Unfortunately this view, which used to be shared by Historic England, has been disputed more recently by experts at the V&A who believe that the sheer scale of the hangings, and the consistently high quality of the workmanship suggest that this was unlikely to have been an amateur affair. They argue instead that the hangings were bought from a professional workshop and probably represent a pastiche of contemporary fashionable garden features rather than Stoke Edith itself. There is certainly evidence of the purchase of other hangings for the house [Country Life, 9 Aug 1956].
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