My final ‘favourite collage’ that I’m going to share for my IASH twitter takeover are these windows, located in the Library at Plas Newydd, North Wales. Home to the so-called ‘Ladies of Llangollen’, Eleanor Bulter and Sarah Ponsonby, from around 1788 until 1831, Plas Newydd was (and still is) adorned with a rich collection of objects, many of them given to the women by their close friends, and subsequently integrated into the very fabric of their home.
This process of acquisition and integration is exemplified by the construction of the stained-glass windows of the house’s library. Employing glass variously found at Valle Crucis, a nearby ruined abbey; purchased from the Birmingham glass maker and painter, Francis Eginton; and donated by the women’s friends; the windows form an intoxicating bricolage of brightly coloured and fragmented glass, encompassing representations of biblical scenes, heraldry, foliate designs, abstract patterns, and block colour.
This included a casement of glass from their friend Mr Owen, who had recently removed the stained glass of his home, Brogyntyn Hall. While this gift has an obvious antiquarian significance, its relocation into the space of Plas Newydd built on this genealogical function to reinforce the relationship between donor and recipient. Made from numerous gifted fragments, the house’s stained glass windows function as a tribute to the thriving gift culture in which Butler and Ponsonby and their friends were implicated. At the same time, by combining these with a diverse array of collected, found and acquired, pieces of glass, they also demonstrate the connectedness between the women, their acquaintances, and their locale.
I talk more about gift culture of Plas Newydd in my book, Home Ties: Materiality, Sociability, and Emotion in British Domestic Space, 1750-1840, which is currently under review at Bloomsbury (and hopefully I’ll be able to post an update about this very soon!!). I’ve so enjoyed being able to share some of the key collages for my postdoctoral research project with you on the IASH twitter page this week, so I think I’ll make this a regular series on the blog as the project develops.
Thanks to a 2016-17 Travel Grant from the Lewis Walpole Library (taken in April 2017) I was able to conduct crucial primary research for two monograph projects: the first, which develops research from my PhD thesis to think about the social and emotional life of the home in the late eighteenth and nineteenth centuries, and the second, my postdoctoral project, which is provisionally titled Collage before Modernism: Art, Intimacy and Identity in Britain and North America, 1700-1900. The book will be the first study to focus on the complex relationship between emotion, identity, and the production of collage during this period, and will explore how the asking how its creation reflected and constructed the interests, intimacies, and identities of its makers.
Specifically, a Lewis Walpole Library Travel Grant enabled me to conduct research for chapters for each project, which variously examine the reception and production of Strawberry Hill in scrapbooks and extra-illustrated texts made within the circle of Horace Walpole, Anne Seymour Damer, and Mary and Agnes Berry; and the familial production of commonplace books and albums in the eighteenth and nineteenth-centuries. For the first of these chapters, I consulted the notebooks, scrapbooks, and correspondence of Anne Seymour Damer, Mary Berry, Agnes Berry, and Horace Walpole, as well as a number of extra-illustrated volumes of Walpole’s A Description of the Villa of Horace Walpole. Examining these manuscript volumes and published texts not only allowed me to unpack and trace the various relationships between this social group, but also to think about how these relationships were constructed and reflected in these collaged objects. I was also able to consult a range of supporting literature, such as the ‘Astley Collection of Strawberry Hill Pieces’, and the ‘Rarities from Strawberry Hill’, which allowed me to place these volumes within a broader context of literary and material production coming from, or centring on, Strawberry Hill. Visiting the library also gave me the chance to examine the famous Beauclerk Cabinet (1783-4), a fascinating piece of furniture, which, like the extra-illustrated copies of the Description, demonstrates how the very fabric of Strawberry Hill was shaped by collaborative and creative endeavour.
For the second of the chapters, I examined the library’s collections of albums and commonplace books, focusing on those that were familially produced, or which particularly pertained to the expression of emotion. The latter included LWL MSS Vol. 18, a manuscript collection of poems, elegies, verses on the subjects of solitude, death, and the nature of humanity, whose carefully selected inclusions will allow me to consider how commonplace books’ excerpted texts reflect and construct contemporaries’ emotional lives during this period. I also looked at the Library’s recent acquisition, LWL MSS Vol. 223, a boxed series of sixty-five manuscript notecards that functions like a commonplace book, bearing several hands and thereby attesting to the communal nature of its production.
I also spent time looking at the Library’s broader collection of commonplace books and albums. which allowed me to conduct important comparative research. Some of these were particularly revealing for thinking through some of the technologies of commonplacing during this period, especially in terms of how contemporaries themselves conceived of these practices. For example, Sir Henry Edward Bunbury’s commonplace book, ‘Omnium gatherum’, comprising original verse, extracts, costume, epigrams, bon mots, traits (LWL MSS File 81), features a highly reflexive, hand-drawn title page, depicting the collector of the volume’s inclusions standing over a pile of rocks labelled with words that evoke the manuscript’s contents.
Spending time looking at these manuscripts in person was invaluable to my research, as it allowed me to explore issues of materiality, and to think about how these objects were constructed, viewed, and handled at the time that they were made. Going forward, I’ll spend time reviewing and reflecting upon the photographs and notes taken at the Library, researching the manuscripts’ various inclusions further and thinking about the volumes in relation to research conducted at other institutions, such as Yale Center for British Art. I’m hugely excited to utilise my findings as I finish my first book and continue the research into my second, and would like to thank the Lewis Walpole Library for making this research possible.
Inspired by a number of reflective end-of-year blog posts (including this and this) I thought I’d map out my aims and activities for 2017. If you’d like to gain a sense of what I achieved in 2016, you can check out my series on being a year post-phd here, here, and here.
Yale Center for British Art
As always seems to be the case, 2017 is shaping up to be a very busy year.
In January, I’m primarily working on editing my PhD thesis for publication: firstly, I’m editing the sample chapters of my book that will be submitted for review, and secondly, I’m revising an article on needlework and visual culture, which is currently at revise and resubmit stage with a peer-reviewed journal. As a broader research aim, I also want to develop a sustainable daily writing habit during this month.
January is also the month in which I return to teaching, and this term I’m teaching four courses, one of which is completely new to me. I’m excited (and slightly apprehensive) about the challenges of a heavier teaching load, and interested to find ways of balancing my time between teaching and research commitments. Indeed, while teaching and marking dominate the months of January, February and March, I’m also planning on revising another article, this time on the interior decoration of A la Ronde, during this time. In February, I’m working on hosting a public event on Queer Material Heritage to tie in with this year’s LGBT History Month theme.
In April, I’ll be finishing off some marking, but more excitingly I’m off to Yale University’s Lewis Walpole Library for a two week-research trip. I’ll be researching an exciting mixture of things for both my monograph project, as well as my postdoctoral project on collage in the eighteenth and nineteenth centuries. Directly following on from this, I’m spending the month of May as a Visiting Scholar at Yale Center for British Art, during which time I’ll also conduct research for the collage project, this time on composite albums, botanical paper collages, and a number of mourning objects.
In June I’ll be travelling to Umeå, Sweden for the International Society for Cultural History 2017 Conference, which this year is on ‘Senses, Emotions and the Affective Turn: Recent Perspectives and New Challenges in Cultural History’. My presentation, ‘Lost Objects & Loss Objects: Intersections of Absence and Presence in Eighteenth-Century Material Culture’, will hopefully provide the perfect opportunity to tease out some of the key issues for the Introduction of my book.
In July, I’m off to another conference, this time in London. At Sibylline Leaves: Chaos and Compilation in the Romantic Period, I’ll be presenting my recent work on Romantic commonplace books, which has functioned as a sort of pilot study for my collage project.
Finally, in August, I’m spending a month as a research fellow at the Winterthur Museum, Garden, and Library. Other than providing a gorgeous setting for research, I’ll be using the Wintherthur’s library and museum collections to conduct research on a form of paper collage known as ‘scrapbook houses’. I’ll definitely be posting about all my research trips so stay tuned!
I’ll also be running Edinburgh’s Eighteenth-Century Research Seminars again this year (with the first session on Jan 25th) and Katie Faulkner and I are hoping to develop a project from #WaysofSheing, which will look at the contribution of female art historians across history – watch this space.
From September onwards, things are a little more hazy, although I’m a hundred per cent sure that I’ll be working on publications as much as possible, having kept various articles and the book ticking over during the first 8 months of the year. So 2017, let’s do this.
My object of the week is this c.1760 Worcester dish, which features the company’s Valentine pattern (Brian Haughton Gallery). Featuring symbols of love, the emotional qualities of the object resonate with the work I’m currently doing on my monograph project, which examines the social and emotional functions of domestic space and its associated material culture.
This week, I was also intrigued to read the article ‘Renowned Feminist Art Historian Amelia Jones Believes that the Discipline of Art History Should be Restructured to Embrace New Narratives and Diverse Voices‘. Whilst it’s true that Jones’s argument is nothing new (indeed, it has been advocated by Pollock, Parker, and Krauss among others), I find it heartening to see these views discussed on the public platform of the Huffington Post.
I’m also currently obsessed with the New York Public Library’s Emoji Bot – tweet an emoji to the bot, and it will reply with an object/image from the Library’s collections.
— NYPL Emoji Bot (@NYPLEmoji) August 19, 2016
Other things that caught my eye this week included:
The programme for the Women’s History Scotland Annual Conference (coming up this Friday).
This Atlas Obscura article How Flower-Obsessed Victorians Encoded Messages in Bouquets.
This interview with the curator of the The Henry Moore Institute’s latest exhibition, William Hamo Thornycroft: ‘Charity And Justice’.
Thomas Dixon’s blog post What is anger? 1. Martha Nussbaum, discusses the definition of anger provided by Nussbaum’s latest book Anger and Forgiveness.
The Things That Make Us podcast, a podcast about people and the objects that have shaped them.
The programme for the Critical Love Studies Research Workshop at the University of Hull’s Love Research Network.
Linda Walsh’s new book, A Guide to Eighteenth-Century Art. I’m interested to see how (and if) Walsh integrates the concerns advocated by Jones (above) in her account of eighteenth-century art.