It’s the first day of my two-week research visit to the Lewis Walpole Library, and I’ve just finished looking through the anonymous volume Rarities from Strawberry Hill, made sometime around the 1890s. The volume (essentially a scrapbook) once brought together letters from Walpole’s voluminous correspondence, printed portraits, clippings, playbills, bookplates (including the above example, Anne Damer’s, based on a design by her close friend Agnes Berry) a lock of hair, and even two miniature portraits, who are conspicuous in their absence from the volume, leaving two holes where they were once fitted (pictured below). Along with a number of other objects from the book – including various letters and the aforementioned lock of hair – the miniatures have been removed and preserved elsewhere: in the case of miniatures, these are now on display at Strawberry Hill itself, where they now tell a different narrative in a different setting.
This dialogue of absence and presence, and how these states intersect with how we construct the history of the eighteenth century, reminded me of an earlier post I made here, regarding Strawberry Hill itself. When visiting the house last Summer, I bemoaned the absence of any kind of narrative regarding Walpole’s queerness, despite the prevalence of this within scholarship on Walpole and his friendships. I hope that the chapter I’m researching here (on Anne Damer’s inheritance of Strawberry Hill and queer heirlooming) at the Lewis Walpole Library can meaningfully contribute to these conversations, revealing some of those things that are sorely absent from the scholarship on Walpole.