A conversation with Arthur Devis

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. 

 

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…

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Sir Charles Isham: “A Gulliver amongst the Lilliputians”

Although this post is about Sir Charles Isham, it’s also about garden gnomes.  If you didn’t smile at the thought of  a whole blogpost about twee garden ornaments in dubious taste, you probably grimaced or shuddered at the prospect because gnomes do seem to have the ability to cause strong and divisive reactions.     Indidentally why is it gnomes and not elves, sprites, pixies, boggarts, goblins, or leprechauns who live by the side of garden ponds, or lurk in our shrubberies?

There are plenty of  books and websites about gnomes – which of course are now quite  big business – but generally they are not really interested in their history and make little reference back to any documentary or material evidence. That’s a great pity as the real story of their introduction to Britain  is fascinating.  So,  if you haven’t worked out the connection yet between the little men in red hats and Sir Charles read on and  find out more about the origin of the gnome in our gardens…

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Come into the garden Maud…

I was looking for a lighthearted piece to counter some of my more recent serious ones, and shortly afterwards happened to be passing the house where Marie Lloyd, the music hall star, used to live. One of her set pieces was the sentimental song “Come into the garden Maud” and I thought it might be fun to research that a bit more and find out why Maud was being invited, and indeed if she ever did end up at the garden gate?

Come into the garden, Maud,
      For the black bat, night, has flown,
Come into the garden, Maud,
      I am here at the gate alone;
And the woodbine spices are wafted abroad,
      And the musk of the rose is blown.
The author...not their usual look. Any idea who?

The author…but not their usual look. Any idea who?

Whatever was I thinking? Light-hearted is the last word you would use to describe the background to Maud. It’s not about wannabee  illicit cuddles in the shrubbery as one might imagine from the better known song extracts, but a story based around insanity, sexual frustration, hallucinations, premature death and even murder amongst other joyful themes. Read on if you want to be depressed by the real story behind the song, although there are also some more cheerful comments about the author’s garden.

from an 1877 edition anon

from an 1877 edition of Maud, anon artist

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Marion Cran

I often start these posts with a comments such as ‘here’s someone else you won’t have heard of”,  although there’s often a good reason for the subject’s lack of fame … but today’s subject is someone who really has been unjustly neglected.

Marion Cran was the first woman gardening broadcaster as well as a highly successful and popular garden writer.  You can judge how well she was  renowned at the time by her inclusion, along with the still ‘famous’ Beverley Nicholls,  in a comic rhyme by Reginald Arkell in 1934.

Beverley Nicholls and Marion Cran

Hadn’t been born when the world began

That is the reason I must confess

Why the Garden of Eden was not a success

md12604509946Marion 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.

She created two interesting gardens, one of which is still basically intact and being restored  in keeping with her ‘spirit’. Yet her success there wasn’t matched by a similar success elsewhere. She often had financial problems and her private life was something of a mess with 3 husbands and a child out of wedlock – hardly a proper state of affairs for a respectable vicar’s daughter in the early 20thc.

Coggers at Benenden, phoo by Louise and Colin, 2014,https://www.flickr.com/photos/c-l-english/17164777389

Coggers at Benenden, photo by Louise and Colin, 2014,                             https://www.flickr.com/photos/c-l-english/17164777389

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The Hanging Gardens of Stoke Edith

screenshotThe 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.

George London, the great landscape designer and royal gardener, is known to advised at Stoke Edith in 1692 so it  is likely that pleasure grounds there were  laid out around  then, in a similar formal style  to that depicted these amazing embroideries.

screenshotIt 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].
screenshot

Whatever the truth read on to discover more about Stoke Edith and what the hangings tell us about garden design of the period… Continue reading

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