In December 1894 Miss Ellen Georgiana Tanner FRGS (1847–1937) set off from Victoria Station for Marseilles, took a merchant steamer through the Red Sea, Gulf of Aden, and Persian Gulf to Mesopotamia, and up the River Tigris to Baghdad. Tanner was accompanying Emma Mockler, wife of the British Resident at Baghdad, who was returning to the city: ‘as we came in sight of Baghdad it looked like a fairy city with the palm-fringed river, orange gardens, the houses on the water side like Venice, and all her mosques and minarets gleaming in the yellow evening sunlight.’1 It was during this journey that Tanner decided to visit Persia after an acquaintance ‘spoke of its scenery, its ruins and its climate with an enthusiasm that fired my already stimulated imagination and fixed a floating fantasy not to stop short in Mesopotamia’ (i, 2). Tanner headed for the port of Bandar Bushehr at the foot of the caravan route to central Persia, and began a remarkably intrepid journey across the region on horseback, visiting the bazaars of Shiraz, Isfahan, and Kerman along the way. The journey marked her emergence as a collector: years later, she would donate her unusual collections of Persian art to several UK museums. Ellen Tanner was the elder daughter of a wealthy attorney-at-law, William Tanner. The family lived at Frenchay House, just outside Bristol. Tanner’s mother had died when she was a child and she spent much of her adult life caring for her father. On his death in 1887, she and her sister each inherited the sum of £18,000, while their two brothers received the family’s shipping and business interests. By then in her late forties, she travelled widely throughout Europe and to Egypt, Turkey, and India, before making her first visit to the Middle East. Tanner is one of a group of ‘intrepid emigrants, formidable travellers and driven philanthropists’ subverting the ‘breathless inadequacy model of bourgeois femininity’ queried by Amanda
{"title":"Ellen Tanner’s Persia: A Museum Legacy Rediscovered","authors":"C. Jones","doi":"10.16995/ntn.3345","DOIUrl":"https://doi.org/10.16995/ntn.3345","url":null,"abstract":"In December 1894 Miss Ellen Georgiana Tanner FRGS (1847–1937) set off from Victoria Station for Marseilles, took a merchant steamer through the Red Sea, Gulf of Aden, and Persian Gulf to Mesopotamia, and up the River Tigris to Baghdad. Tanner was accompanying Emma Mockler, wife of the British Resident at Baghdad, who was returning to the city: ‘as we came in sight of Baghdad it looked like a fairy city with the palm-fringed river, orange gardens, the houses on the water side like Venice, and all her mosques and minarets gleaming in the yellow evening sunlight.’1 It was during this journey that Tanner decided to visit Persia after an acquaintance ‘spoke of its scenery, its ruins and its climate with an enthusiasm that fired my already stimulated imagination and fixed a floating fantasy not to stop short in Mesopotamia’ (i, 2). Tanner headed for the port of Bandar Bushehr at the foot of the caravan route to central Persia, and began a remarkably intrepid journey across the region on horseback, visiting the bazaars of Shiraz, Isfahan, and Kerman along the way. The journey marked her emergence as a collector: years later, she would donate her unusual collections of Persian art to several UK museums. Ellen Tanner was the elder daughter of a wealthy attorney-at-law, William Tanner. The family lived at Frenchay House, just outside Bristol. Tanner’s mother had died when she was a child and she spent much of her adult life caring for her father. On his death in 1887, she and her sister each inherited the sum of £18,000, while their two brothers received the family’s shipping and business interests. By then in her late forties, she travelled widely throughout Europe and to Egypt, Turkey, and India, before making her first visit to the Middle East. Tanner is one of a group of ‘intrepid emigrants, formidable travellers and driven philanthropists’ subverting the ‘breathless inadequacy model of bourgeois femininity’ queried by Amanda","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"391 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79895455","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"French Taste in Victorian England: The Collection of Yolande Lyne-Stephens","authors":"Laure-Aline Griffith-Jones","doi":"10.16995/ntn.3350","DOIUrl":"https://doi.org/10.16995/ntn.3350","url":null,"abstract":"","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86448405","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"More than Mere Ornaments: Female Visitors to Sir Richard Wallace’s Art Collection","authors":"Helen C. Jones","doi":"10.16995/ntn.3012","DOIUrl":"https://doi.org/10.16995/ntn.3012","url":null,"abstract":"","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90913638","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Unmasking an Enigma: Who Was Lady Wallace and What Did She Achieve?","authors":"Suzanne Higgott","doi":"10.16995/ntn.3006","DOIUrl":"https://doi.org/10.16995/ntn.3006","url":null,"abstract":"","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"39 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77254895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Woman of No Importance?: Elizabeth Workman’s Collection of Impressionist and Post-Impressionist Art in Context","authors":"F. Fowle","doi":"10.16995/ntn.3001","DOIUrl":"https://doi.org/10.16995/ntn.3001","url":null,"abstract":"","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"48 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84807044","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The poor reputation of nineteenth-century stained glass during much of the twentieth century has hindered our appreciation of its extraordinary variety and various strands of development. Critics of the commercialism of Victorian stained glass studios, and their imitation of medieval visual styles, have often set the stained glass of William Morris and his circle apart from the many thousands of other windows of the period in general surveys of the medium and in the popular imagination. Since the late 1970s there has been a slow growth of new studies reassessing the importance of a wider range of nineteenth-century stained glass, but much remains unexplored and the survival of more and more of these windows is increasingly at risk. A better appreciation of nineteenth-century stained glass reveals that Georgian traditions of glass painting were not entirely extinguished by the Gothic Revival, elements of which were adopted in hybrid works that are not clearly one or the other. Studios working with different designers were able to produce work in contrasting styles, and their adaptability and originality in accommodating the tastes of architects and patrons is instructive for our understanding of the business and aesthetics of church decoration in the nineteenth century.
{"title":"Art or Articles of Trade: Appreciating Variety in Nineteenth-Century Ecclesiastical Stained Glass","authors":"M. Crampin","doi":"10.16995/ntn.2906","DOIUrl":"https://doi.org/10.16995/ntn.2906","url":null,"abstract":"The poor reputation of nineteenth-century stained glass during much of the twentieth century has hindered our appreciation of its extraordinary variety and various strands of development. Critics of the commercialism of Victorian stained glass studios, and their imitation of medieval visual styles, have often set the stained glass of William Morris and his circle apart from the many thousands of other windows of the period in general surveys of the medium and in the popular imagination. Since the late 1970s there has been a slow growth of new studies reassessing the importance of a wider range of nineteenth-century stained glass, but much remains unexplored and the survival of more and more of these windows is increasingly at risk. A better appreciation of nineteenth-century stained glass reveals that Georgian traditions of glass painting were not entirely extinguished by the Gothic Revival, elements of which were adopted in hybrid works that are not clearly one or the other. Studios working with different designers were able to produce work in contrasting styles, and their adaptability and originality in accommodating the tastes of architects and patrons is instructive for our understanding of the business and aesthetics of church decoration in the nineteenth century.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"179 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74947464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A review of the ‘Pre-Raphaelite Sisters’ exhibition at the National Portrait Gallery, London, 17 October 2019–26 January 2020.
回顾2019年10月17日至2020年1月26日在伦敦国家肖像画廊举行的“拉斐尔前派姐妹”展览。
{"title":"Review of ‘Pre-Raphaelite Sisters’ at the National Portrait Gallery, London","authors":"A. Yeates","doi":"10.16995/NTN.2946","DOIUrl":"https://doi.org/10.16995/NTN.2946","url":null,"abstract":"A review of the ‘Pre-Raphaelite Sisters’ exhibition at the National Portrait Gallery, London, 17 October 2019–26 January 2020.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"96 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89101971","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In May 2019 an international cooperative of researchers, performers, and artists staged Vernon Lee’s (Violet Paget, 1856–1935) pacifist drama The Ballet of the Nations: A Present-Day Morality (1915) at her Villa Il Palmerino, Florence. The site-specific performance was adapted from Lee’s text by director Angeliki Papoulia and producer Federica Parretti, with a focus on the text’s resonances with the current resurgence of the nationalist far-right movements and anti-immigrant manifestos. This article considers the genesis of this production, the research informing its adaptation, and the subsequent performance of the piece.
{"title":"A Present-Day Morality for the Present Day","authors":"Sally Blackburn-Daniels","doi":"10.16995/ntn.2931","DOIUrl":"https://doi.org/10.16995/ntn.2931","url":null,"abstract":"In May 2019 an international cooperative of researchers, performers, and artists staged Vernon Lee’s (Violet Paget, 1856–1935) pacifist drama The Ballet of the Nations: A Present-Day Morality (1915) at her Villa Il Palmerino, Florence. The site-specific performance was adapted from Lee’s text by director Angeliki Papoulia and producer Federica Parretti, with a focus on the text’s resonances with the current resurgence of the nationalist far-right movements and anti-immigrant manifestos. This article considers the genesis of this production, the research informing its adaptation, and the subsequent performance of the piece.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"104 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87613794","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article traces the history of a number of stained glass windows designed for the world’s leading museum of art and design, the South Kensington Museum, which opened in 1857. During the expansion of the museum in the 1860s and 1870s under the directorship of Henry Cole, several large-scale windows celebrating the union of science and art formed part of an ambitious interior decorative scheme that reflected the museum’s collection, its unique history, and evolving role as a national institution for the promotion of artistic and technical education. Although most of these windows were later removed, and some have been lost, the rediscovery of some windows in the Victoria and Albert Museum’s store, and the reinstatement of others, provides an opportunity to consider the original scheme, its context, and significance. Drawing on themes of religious and moral instruction, as well as knowledge and learning, combining allegorical and figurative scenes with ornamental motifs, institutional devices, and royal mottos, the iconography of the windows demonstrates a peculiarly British approach to stained glass design for secular public contexts. Interpreting these windows reveals how the decoration of public museums and galleries articulated institutional aims and helped to define and shape nineteenth-century visual culture.
{"title":"The Union of Science and Art: Stained Glass Windows for the South Kensington Museum","authors":"Jasmine Allen","doi":"10.16995/ntn.2899","DOIUrl":"https://doi.org/10.16995/ntn.2899","url":null,"abstract":"This article traces the history of a number of stained glass windows designed for the world’s leading museum of art and design, the South Kensington Museum, which opened in 1857. During the expansion of the museum in the 1860s and 1870s under the directorship of Henry Cole, several large-scale windows celebrating the union of science and art formed part of an ambitious interior decorative scheme that reflected the museum’s collection, its unique history, and evolving role as a national institution for the promotion of artistic and technical education. Although most of these windows were later removed, and some have been lost, the rediscovery of some windows in the Victoria and Albert Museum’s store, and the reinstatement of others, provides an opportunity to consider the original scheme, its context, and significance. Drawing on themes of religious and moral instruction, as well as knowledge and learning, combining allegorical and figurative scenes with ornamental motifs, institutional devices, and royal mottos, the iconography of the windows demonstrates a peculiarly British approach to stained glass design for secular public contexts. Interpreting these windows reveals how the decoration of public museums and galleries articulated institutional aims and helped to define and shape nineteenth-century visual culture.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"32 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81764650","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay will focus on T. W. Camm’s window in the south aisle of Great Malvern Priory, which celebrates Queen Victoria’s Golden Jubilee in 1887. This window exemplifies the complex ways in which stained glass interacted with a number of different influences in the 1880s and shows that our capacity to understand it necessitates exploring how it interacted with other media. This essay is an attempt to broaden the debate about Victorian art and empire to ‘reinsert empire as a fundamental category for the analysis of British art’, it also underlines that site-specific artworks are not available for inclusion in revisionist exhibitions and so are liable to be excluded from that debate. The stained glass window at the centre of this essay is a fascinating example of an artwork that absorbed a range of influences from late Victorian Britain: it concentrates on a very specific moment (Queen Victoria’s Golden Jubilee) but embeds this event within established historical narratives and stylistic tropes, generating a strong sense of continuity through allusions to religious imagery and medievalism. The window is simultaneously ancient and modern: a medium associated with the middle ages sited within a great medieval church, but an image mediated through a recent technology (photography) and saturated with the imagery of the British Empire. An industrial mentality is implicit in the window’s hierarchy of production while both industrial superiority and imperial power are depicted as evidence of divine providence, a position implied through the selection of biblical quotations. If industrial and imperial power were both examples of God’s plan, a providential perspective might provide the logic for this visual celebration of just such an alliance.
{"title":"Remediation, Medievalism, and Empire in T. W. Camm’s ‘Jubilee of the Nations’ Window at Great Malvern Priory","authors":"J. Cheshire","doi":"10.16995/ntn.2903","DOIUrl":"https://doi.org/10.16995/ntn.2903","url":null,"abstract":"This essay will focus on T. W. Camm’s window in the south aisle of Great Malvern Priory, which celebrates Queen Victoria’s Golden Jubilee in 1887. This window exemplifies the complex ways in which stained glass interacted with a number of different influences in the 1880s and shows that our capacity to understand it necessitates exploring how it interacted with other media. This essay is an attempt to broaden the debate about Victorian art and empire to ‘reinsert empire as a fundamental category for the analysis of British art’, it also underlines that site-specific artworks are not available for inclusion in revisionist exhibitions and so are liable to be excluded from that debate. \u0000The stained glass window at the centre of this essay is a fascinating example of an artwork that absorbed a range of influences from late Victorian Britain: it concentrates on a very specific moment (Queen Victoria’s Golden Jubilee) but embeds this event within established historical narratives and stylistic tropes, generating a strong sense of continuity through allusions to religious imagery and medievalism. The window is simultaneously ancient and modern: a medium associated with the middle ages sited within a great medieval church, but an image mediated through a recent technology (photography) and saturated with the imagery of the British Empire. An industrial mentality is implicit in the window’s hierarchy of production while both industrial superiority and imperial power are depicted as evidence of divine providence, a position implied through the selection of biblical quotations. If industrial and imperial power were both examples of God’s plan, a providential perspective might provide the logic for this visual celebration of just such an alliance.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89613312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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