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LEEDS ARTS CALENDAR MICROFILMEDStarting with the first issue published in 1947, theentire Leeds Arts Calendar will shortly be available onmicrofilm. Write for information or send ordersdirect to:University Microfilms, Inc., 300 N.Zeeb Road, Ann Arbor, Michigan 48106, U.S.A.

Leeds Art Collections Fund

Cover designDetail of thecoat ofarms and crest of the Gascoigne familyon aplate from the Chinese armorial porcelain dinner servicecommissioned by Sir Thomas Gascoigne c.1770. The ArmsofGASCOIGJVE ofParlington and Lotherton in Torkshirein the 18th century were 'argent on a pale sable a pike'head erect, coupled or'nth the crest 'out of a ducal coronetor a pike's head erect of the Last'. The coat is charged withan 'Escutcheon of Ulster'. (,?he Red Hand of Ulster is abadge born on the arms of all Baronets of England).

This is an appeal to all who are interested in the Arts. TheLeeds Art Collections Fund is the source of regular funds forbuying works of art for the Leeds collection. We want moresubscribing members to give one and a half guineas orupwards each year.Why not identify yourself with the Art Gallery and TempleNewsam; receive your Arts Calendar free each quarter; receiveinvitations to all functions, private views and organised visitsto places of interest, by writing for an application form to the

Hon? reasurer, E. M. Arnold Esq., Butterley Street, Leeds 10

LEEDS ARTS CALENDAR No. 64 1969 THE AMENITIES COMMITTEE

ContentsEditorial 2

The Gascoigne Family 4

Lotherton Hall 6

The Medieval Chapel at Lotherton 9

The Garden 10

Jewellery 11

Calendar 12

Paintings at Lotherton 14

Drawings, Miniatures and Prints 16

Silver at Lotherton 18

Furniture at Lotherton 20

The Gascoigne Services of ChineseArmorial Porcelain 22

STAFF

Director:Robert Rowe, c.a.E.,M.A., F.M.A.

Keeper, ?emple Aewsam House:Christopher Gilbert M A p A M A.

Assistant Keeper, ?emple JVewsam House:Anthony Wells-Cole, B.A.

Keeper, Art Gallery:Miss M. Strickland-Constable, B.A. A.M.A.

Curator, Print Room and Art Library:Julian Pritchard, B.A.

The Lord Mayor

Chairman:Alderman J. T. V. Watson, t.L.a.Alderman T.W. KirkbyAlderman A. S. Pedley, D.F.C.Alderman S. SymmondsCouncillor R. R. BealCouncillor P. N. H. ClokieCouncillor J.H. FarrellCouncillor Mrs. E. HaughtonCouncillor Mrs. D. E. JenkinsCouncillor G. R. Lax, A.R.I.C.Councillor Mrs. A. MalcolmCouncillor M. J.MeadowcroftCouncillor Mrs. S. M. C. TomlinsonCo-opted MembersW. T. Oliver, M.A.Eric Taylor, R.E. A.R.C.A.

THE LEEDS ART COLLECTIONFUND

PresidentThe Rt. Hon. the Earl of HalifaxVice-PresidentThe Rt. Hon. the Earl of Harewood?'rusteesC. S. ReddihoughGeorge Black, F.R.C.S.W. T. Oliver, M.A.

CommitteeMrs. E. ArnoldMrs. S. GilchristLady InglebyDerek Linstrum, A.R.I.B.A.Eric Taylor, R.E., A.R.C.A.Alderman J.T. V. Watson, LL.B.

Hon. TreasurerMartin Arnold, B.A.

Hon. SecretaryRobert Rowe, c.a.E.,M.A., F.M.a.

Hon. Social SecretaryMrs. J.D. Hutton-Wilson

Hon. Membership SecretaryD. Mason Jones, M.A. A.R.I.B.A.

Assistant, Print Room and Art Library:Mrs J. E. BrooksSecretary to the Director:Miss B.Thompson

Administrator:Miss D.J. EnglishAssistant Administrator:Miss E. Race

All communications to be addressed to theHon. Secretary at Temple Newsam House, LeedsSubscriptions to the Arts Calendar should be sent toThe Hon. Treasurer, c/o E.J.Arnold & Son Ltd.,Butterley Street, Leeds 108/- per annum, including postage (2 issues)Single copies from the Art Gallery and TempleNewsam House, 3/6 each

Editorial

The presentation by Sir Alvary and LadyGascoigne of Lotherton Hall, its gardenand park, its collection together with anendowment for buying works of art to addto it, must be among the most remarkablegifts ever made to any city in Britain. Agift too for which the people of Leeds arelikely to become ever more grateful as theircity inevitably expands towards it.This issue of the Calendar is devoted

entirely to Lotherton and it is hoped that itwill give some idea of the riches with whichthis family house starts its new career asan art museum. The break with its past isnot absolute, however, for Sir Alvary andLady Gascoigne will retain a flat in themain building and it is hoped that theywill enjoy seeing flourish the seeds theyhave sown.Lotherton may be enjoyed at many

levels. It stands in a small and beautifulpark surrounded by the Yorkshirecountryside less than a mile from the mainartery of England —the Al. The houseitself is bounded on two sides by a parti-cularly lovely garden of about ten acreslaid out for the most part some sixty yearsago by Mrs. L. G. D. Gascoigne when theappreciation of gardens on a domesticscale and botanical colour was perhaps atits height. It was a showplace before thelast war and it is fervently hoped that itsqualities will be preserved in perpetuityfor a wider public than it ever knew before.

All the main windows of the long, low,asymmetrical building look onto the gar-den and the view from them is one of thejoys of being inside. When Sir Alvary firstsuggested that he might give the house toLeeds it did not take long to realise howwell it would work as a museum —and oncwith a very distinct character, comple-mentary to, but quite unlike that ofTemple Newsam. The latter is a palace ina fine landscaped park, while Lotherton isa charming country house in an intimategarden. It is perhaps this difference in kindbetween the two places that makes theidea of future development so stimulating.

Very little adaptation had to be done toconvert the house from family to publicuse, it was mainly a matter of arranging aone way circuit for visitors to follow and asingle public door for entry and exit. Oneor two walls had to be pierced to enablepeople to walk round just inside thewindows, most ofwhich face south, so thatthey may look out and enjoy the garden orin at the furniture and pictures—with thelight behind them. With the same idea inmind a number ofwindow seats have beenprovided for those who want to sit incontemplation of nature or artefact. Theintention is to open the house bit by bit,the first part being all of the ground floor;we hope to be able to welcome the firstvisitors before the end of the summer whenthe new heating and security systems arecompleted. The first floor will probably beopened in two or more sections, dependingon how quickly some essential adaptationscan be made and of course how muchmoney is available when it is wanted.The short articles in this issue give an

idea of the comprehensiveness of theGascoigne collection. Because it is dealtwith by subject, however, it may not beimmediately obvious that it is really allone collection and that its strength liesin the fact that it represents a familyaccumulation made over the centuries.This point is worth stressing for the interestof one object merges into that of another;for instance the fine portrait by Batoni ofSir Thomas Gascoigne (Fig. I) shows twobusts of his family done the year before hewas painted and the snuff box in his handwas given him by Marie Antoinette. Thesepossessions, of which he was clearly soproud, are at Lotherton too. Again someof the race cups are made more interestingby the presence of portraits of the horsesthat won them and pieces of jewellery,soon to be put on exhibition, are worn bysitters in family portraits.Unfortunately there is no room in this

issue to do justice to the Far Easterncollection—an important part of the

Gascoigne gift. It will have to wait foranother time to receive its due, suffice itto say now that it will one day be shown inthe house, almost certainly along withmuch of the Chinese pottery and porcelainfrom other sources which it has proved im-possible yet to show to full advantage atTemple Newsam.This brings one to a very important

aspect of Lotherton Hall within thegeneral picture of the art galleries run byLeeds Not only is the planning of asecond country house museum a delightful

prospect in itself, but it means in the firstplace that better use can be made ofexisting material and in the second placethat our horizons will be wider whenconsidering further acquisitions. The cos-tume collection, so long available tostudents and others at Temple Newsamonly by special arrangement, can at last begiven proper public showing at Lothertonand we may now set about finding reallyfine examples of the decorative arts rightup to our own day.

I. Portrait of Sir Thomas Gaseoigne,8th Bart. by Pompeo Batoni.Painted in Rome, 1779 98 x 68 in.

The Gascoigne Family

The Gascoigne family traditionally havetheir origin in Gascony before the NormanConquest; in the 14th century they weresettled on estates at Gawthorpe andHarewood, the latter purchased by WilliamGascoigne in 1363. With his sons thefamily divided, the senior branch, that ofSir William Gascoigne, surviving atGawthorpe until 1567 when MaragaretGascoigne succeeded, there being no maleheir, and married Thomas Wentworth ofWentworth Woodhouse, carrying with herthe estates at Gawthorpe and Harewood.The junior branch descended from WilliamGascoigne's second son Nicholas, whoacquired the estate of Lasingcroft in 1392.This remained the family seat until the16th century when Richard Gascoignepurchased the estate of Barnbow whichwas in turn gradually supplanted byParlington, immediately west of Aberford,bought by Richard's father, John Gas-coigne, from Thomas Wentworth in 1546.Sir John Gascoigne, the 1st baronet,

succeeded in 1602; he was RichardGascoigne's grandson and until the deathof the 8th baronet in 1810 there was acontinuous succession. One of his firstcousins was another Richard Gascoignethe Antiquary who devoted his life tocollecting antiquarian documents andcompiling pedigrees. It is largely from hiswork, preserved in part in the ArchivesDepartment of the City Libraries, that wederive our knowledge of the families'arlyhistory. Sir John and his family hadreverted to Catholicism being listed asrecusants in 1604. Sir Thomas, 2ndbaronet, (Fig. 1) also a zealous RomanCatholic was an ardent supporter of theRoyal cause in the Civil Wars and had hislands confiscated in 1644. A critic said ofhim that he was non compos [mentis]: but hegave some indication of his ability when hesecured his own acquittal in the face of thenotorious judge Jefferies, on a trumped up

charge of treason for his part in the so-called Barnbow Plot. He afterwardsretired to Lampspringe, where his youngerbrother John was Abbot, dying there in1686.His eldest surviving son succeeded him

and founded a studentship at Lampspringebut died without an heir, whereupon theestates passed to his two nephews in turn.The elder, Thomas 4th Baronet, who issaid to have conformed to the EstablishedChurch, also died without heir, hisnephew Edward, 6th Baronet, left Englandshortly after his father's death in 1723,returning to settle at Parlington in 1726. Inthe same year he married Mary, thedaughter and heir of Sir Francis Hungateof Huddlestone Hall. She eventuallybrought with her a considerable estate; theElizabethan Hall survives to this day. SirEdward Gascoigne (Fig. 2) was a closefriend of the Ingrams at Temple Newsam.In the Archives Department there is aletter which he wrote to the 7th ViscountIrwin from France recommending Frenchtapestry work for the upholstery of thesuite of gilt furniture made for the newlycreated saloon at Temple Newsam. TheIngrams are mentioned too in the diarywhich he kept between 1722 and his death(after living for seven years in France) in1 750.He was succeeded by his two sons, the

younger Sir Thomas 8th Baronet, in 1762.Born at Cambrai in 1745 and educated inFrance, he had spent a large part of hisearly life on the Continent. He returned tosettle at Parlington in 1779, a year whichsaw him in Paris, Bordeaux, Milan,Naples and Rome, where he was paintedby Pompeo Batoni. He is depicted in theelegant pose and cultured surroundings,symbolic of his education, taste andintellectual pursuits, that were Batoni'sspeciality. Indeed it was Sir Thomas whoacquired Wheatley's Irish House of Com-

1. Double />o>trait of 7ohn tta>coigne t,.abbot ofI an>l»l>rin«et an<i Sir Thon>a< tta<coigne. 2nd Bart.En at>.<h .i<'hoot. 1 7tt> centunu '>9 ..47 >n.

2. Portrait of Sir Edooard tlaccoigne, 8th Bart.English School, 18th century, 31! '8 in.

mons and ordered the Chinese armorial tca,and dinner service. He was a Member ofParliament and the strength of hispolitical views is reflected in thc TriumphalArch built on his estate at Parlington toshew his approval of'merican Indepen-dence. The >architect was Thomas Lever-ton, who was also amongr those whosubmitted designs for a new house atParlington; John Carr of York wasanother. Sir Thomas was a keen agri-culturalist and racehorse owner; hissuccesses are commemorated in the mag-nificent series of Race Cups at Lotherton.He renounced the Roman Catholic faith ofhis predecessors and died without sur-viving heir in 1810. Under his will theestates passed to Richard Oliver, son of theHon. Silver Oliver of County Limerick:bc married Sir Thomas's stepdaughterand assuming the surname and arms ofGascoigne lived at Parlington for thirty-three years and maintained the agri-cultural interest and racing successes of SirThomas.R. O. Gascoigne's daughter Mary Isa-

1>ella and Elizabeth succcedcd him in 1843and whilst unmarried lived together atParlington. They werc noted for theirgenerosity 1>oth locally, building theAlmshouses at Abcrford in the Gothic stylein 1844, and in Ireland where they assumedresponsibility for the relief of distress ontheir Oliver estates during the potatofamine of 1846 7.When they married theydivided thc Yorkshire estates betweenthen>, Mary Isabcll>t livingr at Parlingtonw ith hcr husband Frederick Charles'I'rc»ch wlu> took thc surname Gascoigne.Eliz;d>cth married his cousin FrederickMa;<>n 'I'rcnch, 2nd Baron Ashtown, in18.'>2 and took Lotherton although theydid not live there and died without heir.S<> I.oth<rton passed in 1893 to MaryIsabella's son Colonel Frederick R. T. T.Gasn>ignc: hc succccdcd to Parlington in190 > but in the same year sold theco. tents of thc house and continued to liveat Lothcrto.> until his death in 1937. Itthen bccamc the property of his son SirAlvary Gascoigne who gave thc house andits art c<>llccti<»> to thc Citi of Leeds in1988.

Lotherton Hall

Lotherton Hall lies, rather than stands, ingently undulating countryside east ofAberford and the Great North Road, landthat had formed part of the SaxonKingdom of Elmet. The presence nearbyof the mainly 12th century chapel suggeststhat the rising ground on which the hall isbuilt was once occupied by an earlierhouse. Indeed the site was reputedly usedas a strongpoint in the reserve line made bythe Romans to support their forwarddefences against invasion from the North.The Gascoigne family is known to haveowned land at Lotherton in 1540, and thesurviving Elizabethan cottage now in-corporated in the stable buildings, with itsmullioned windows and original staircase,was probably the farm.Lotherton Hall owes its present form

mainly to the architectural philosophy ofthe twenty years after 1890, the major partof the house being built during those years.Architecture in the second half of thenineteenth century cannot be consideredwithout William Morris; though not onehimself, he had a profound influence uponarchitects (particularly Shaw and Voysey)through his friendship with Webb, throughthe firm that he founded in 1861 andthrough the lectures that he gave foralmost twenty years until his death in1896. Morris was a socialist whosepassionate belief was in the abolition ofugliness in design of all kinds, especiallydomestic, and in the reform of the societythat had created the ugliness. NormanShaw became the most influential archi-tect of the time (by the publication ofperspective drawings and plans) butLotherton seems to be closer in spirit toVoysey. The house is built round anearlier core, the extensions to the eastcompleted in 1896, those to the west, theentrance front, in 1903. The plan, aninformal grouping of formal shapes reflec-

ted by the garden outside, is very muchVoysey. All the main rooms open off thehall or the passage that is its extension (thetwo separating them from the servantsquarters) and face south, the house beingthus long and narrow. While the lowish,homely rooms and the rendered wallsoutside recall Voysey, Lotherton hascertain 'period'etails typical of thecurrent Edwardian Baroque style.The house is best viewed from the

garden (Fig. 1). The oldest part can beseen in the shallow bow and in the twowindows to the east of it. Owing to lack ofdocumentation the fabric is the only guideto the date of the early building and theevidence is ambiguous. Externally it hasbeen obscured by rough cast applied in the1890s, internally there has been somealternation of decorative features. Thedate may be about 1750 (after the death ofSir Edward Gascoigne) or it could besome seventy years later. The latter issuggested by the plan which shows amodest and symmetrical arrangement of aroom either side of the central drawingroom emphasised by the shallow bow. Ifthe Doric column and pilasters are trueGreek revival and not later insertions, theyare unlikely to date from before 1810 (whenthe style was still used mainly for largebuildings, e.g. Downing College, Cam-bridge, 1806—11). However the existenceof a series of drawings dated 1828 by theYork firm ofWatson, Pritchett k Watsonfor remodelling the house seems to implythat the core is in fact mid-Georgian.Unfortunately no 18th century map of thearea recording Lotherton has come tolight; Parlington was anyway the familyseat,,". 17th century house enlarged in the1730s by Sir Edward Gascoigne and againabout 1800.This house survived the threatof replacement in the 1770s and 80s underSir Thomas, and again under his successor

Richard Oliver Gascoigne. In 1905 how-ever the contents were sold and the fabricgradually fell into decay.

Perhaps the heir to the Parlingtonestate Colonel F. R. T. T. Gascoigne (whohad succeeded to Lotherton in 1893) hadalready decided that the larger house wastoo damply situated and dismal, for hebegan to extend the smaller house-Lotherton —to the east; this was botheasiest, because of the site, and mostnatural, in view of the character of thelandscape. Although there appears to beno documentary evidence the architectswere possibly Chorley and Gribbon „ofLeeds. They covered the walls with rough-cast and used bold dressed-stone windowsurrounds throughout. By deliberatelyavoiding symmetry they produced a southfront of considerable interest and charm.The shallow east facade centred symmetri-cally, though curiously, about a pictur-esque chimneybreast that incorporates aniche, a window and a cartouche with thedate of completion, 1896. This elevationwas modified by an extension of 1908towards the south, forming a morningroom of grand dimensions, decorated inthe late 17th century manner; the exten-sion was planned by T. Herbert Prater, atthe Aberford Estate Office.The determination of Col. F. R. T. T.

Gascoigne to use Lotherton as the familyhome is seen in a spate of building there.

This time the services of a professionalarchitect seem to have been dispensed withall the plans being drawn up by theEstate Office. The building work wasexecuted hy William Nicholson R. Son of9 South Brooke Street, Leeds. This firmwhich still exists was founded in 1830, andbuilt such distinguished buildings as thecounty courts and the Philosophical Hall inLeeds. The vacation of Parlington in 1905is reffected at Lotherton in the conversion,the following year, of some existingbuildings adjacent to the estate cottages asstables and motor houses; the main drivewas re-routed through new entrance gatesand in 1908 the lodge was built at itsnorthern end.The most important of Colonel Gas-

coigne's operations, however, were done in1903, when, in addition to a new

servants'ing,

the main body of the house wasconsiderably enlarged towards the west. Aspacious drawing room (known as ColonelGascoigne's) and an extended entrancehall replaced the original smoking roomand hall (in the process the porch added in1896 was also removed). The designs wereagain drawn at the Estate Office, and wereeccentric but well-considered. They con-formed in details of cornice, windowsurrounds, string courses, etc. to the rest ofthe house, but deliberately maintained,indeed exaggerated, its carefully con-ceived assymetry. Highly original features

1. Lotherton Hall from the south garden.

C'himrrey-lrieee rla,'erl I!r'.)Ii lor merly al Hrrclcilestoa Hall

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abound. The fenestration of the gardenfront on the first floor is abruptly andintentionally interrupted by a tall chim-ney, dead centre, bearing the date tablet1903. The staccato rhythm of the twounusually narrow hall windows next to thebow is moderated by the breadth of thesingle window above. In overall effect,however, the facade is so harmonious thatit is difficult to believe that the 1903 workwas not that of a professional architect. Itis, above all, picturesque.More so still is thc interior. The visitor

enters the hall from the west under thePorte-cochere. The staircase commands at-tention with an effect reminiscent ofPiranesi: it crosses above the halls at thechange of level, the appearance of insub-stantiality being increased by the removalin 1903 of two columns that gave it visualsupport. The flight of stairs that rushes upout of sight is 1903 too: corbel, springingfrom the middle of a lintel, makes archi-tectural nonsense. As a means of evoking ahistorical period, however, the hall is atriumph.The decoration of the hall in a 17th

century style (incorporating a chimneypiece of 1696 from Huddlestone Hall(Fig. 2) and Colonel Gascoigne's room(the drawing room) in a neo-Adam stylewas carried out by an as-yet unidentifiedfirm. The building work was againexecuted by William Nicholson 8: Son.Every effort was made to use local materialswhich included Castleford bricks, Huddle-stone lime, sand from Boston Spa, pebblesand gravel from pits at Lotherton for therough-cast —even old railway metals fromthe Estate were re-employed as lintels.Lotherton in its extended plan and

horizontal emphasis, in its picturesque andharmonious assymetry, in its direct re-lation with thc surrounding garden is verymuch a house of its time. The architectGuy Dawbcr could have been sum-marising the appeal of Lotherton when hcwrote in 1904 'In thc country a certainspaciousness of plan is one of the greatfascinations of a house, and so long as it iswell and conveniently arranged, the planmay with advantage bc spread out, as thisgives an opportunity for a display ofpicturesqueness'. A.W-C.

The Medieval Chapel at Lotherton

Although no record of its foundation hasbeen traced the little chapel at Lothertonalmost certainly dates from the late 12thcentury and served within the Manor as aChapel-of-Ease to the mother church ofSherburn-in-Elmet. The simple oblongnave and lower chancel are built of coursedrubble and the setting, in front of a groupof trees close to the hall, enhances itsvisual appeal. The chapel is not well-known and the opening of Lotherton willcertainly reveal this impressive building toa far wider public.Two Norman windows with small

openings deeply splayed on the insideremain in the north wall of the chancel andthe south side of the nave. The eastwindow has been enlarged and the othersare of post-Reformation date. The originaldoorhead is of semi-circular form dis-playing typical keeled and roll mouldings,recessed jambs and shaft capitals; there isalso a blocked priest's door in the chancelwall. The present entrance was probablymade during the 18th century when thenave was shortened by about five feet, thechancel arch remodelled and the gabledbellcote rebuilt.Before the first World War the chapel

was comprehensively renovated under thedirection of John Bilston and used forsoldier patients when the hall was aV.A.D. hospital and in 1917 provisionallydedicated in the name of St. James. Thecoat of plaster and bourgeoning ivywhich covered much of the exterior wasstripped away to permit re-pointing andwithin, the humble plank seats tenonedinto plain pew ends were removed. Duringrepairs extensive evidence ofmedieval wallpaintings emerged. Few of the ancientfurnishings now remain, the most inter-esting being an early pillar piscina, the17th century octagonal pulpit with sound-ing board and clerk's desk, a silver com-munion cup of 1628 by Robert HarringtonofYork and a paten (1719) engraved withthe arms of Alcock. Other noteworthy

features include a painted rood-screen byNinian Comper, a massive altar chestcarved with biblical scenes bought byColonel Gascoignc from a Lutheranchurch at Cuxhaven, some 17th centuryoak seat furniture (introduced quiterecently) and several memorial tablets. Animpressive carved and painted SouthGerman or North Italian reredos erectedas part of the restoration scheme was givento Temple Newsam in 1952.The medieval history of the chapel is

obscure. In 1554 when a general repairwas undertaken reference is made to 'twoobelles, one Westment... one chalice and acandlestick of iron in the custody ofWilliam Barton, gent of the chapelry ofLudderton'nd the Parliamentary Com-missioners reported in 1650 that Lothertonchapel 'hath neither minister nor main-tenance belonging to it'nd recommended'there being no considerable number ofparishioners to resort thither we think itnot fit to have the said chapel made aparish church'. The pulpit and com-munion cup indicate that it was in useduring the 17th century. In the mid-18thcentury one service a year was held on theSunday before Easter and it was equippedwith scriptural boards, a new bell (in-scribed: 'DALTON YORK FECIT1777'), and structural improvements weremade.The chapel was apparently in regular

use on Sundays during the high Victorianage for the Vicar of Sherburn received $10per annum for conducting services there,but fell into disuse for thirty-five yearsprior to the restoration despite beingtransferred to the Parish of Aberford in1908. Today an annual service is held inSeptember. A more detailed historicalaccount by G. E. Kirk together withillustrations of the chapel before renovationcan be found in the Thoresby SocietyTransactions, vol. XXVI, part 2 (1920),pp. 114—128.

c.G.G.

The GardenIt was not until the end of the last centurythat the gardens at Lotherton, as nowseen, were laid out; formerly the Hall nodoubt stood in what might have beendescribed as a typical 'Capability'rownlandscape.The gardens can be considered to be the

work—spread over many years—of thelate Mrs. L. G. D. Gascoigne, mother ofthe present Sir Alvary.In common with many gardens of

repute throughout the country, Lothertonhas not been maintained in a high state ofcultivation during the last decade, but it isstill obvious to the discerning visitor thatMrs. Gascoigne loved her garden, and wasa most knowledgeable gardener. Her manygardening friends included Miss EllenWillmott, and one can be certain that otherequally famous amateur gardeners of theday would have visited the estate and nodoubt expressed opinions on future de-velopment and planting.Many plants in the garden can also be

found in most noteworthy gardens but it isinteresting to observe that in addition tothese, there are a number which only akeen and venturesome gardener wouldhave planted. One comes upon them withgreat pleasure and surprise.What I consider must have been a

favourite part of the garden contains someinteresting plants seldom seen in ournorthern gardens. Backed by an old fluedwall, this pleasant retreat has been plantedto appeal to the plant lover. Against thewall—obviously for protection —are finespecimens of Xanthoceras sorbifolia,Drimys winteri, Buddleia colvilei, Hy-drangea sargentiana and Mahonia lomari-folia, whilst in the lawn there are mag-nolias (M. conspicua), Eucalyptus gunnii,and Davidia involucrata. In spite of theseverity of the winter of 1963 these plantssurvived and appear unscathed now.The charming formal garden designed

and constructed under Mrs. Gascoigne'sdirection prior to the first world war, is stilla source of interest containing suchinteresting plants as Phygelius capensis,Ribes speciosum, Clematis spooneri, and

Viburnum rhytidophyllum.Mrs. Gascoigne's generation were well

aware of the joys of scented plants —apoint sometimes overlooked today in ourquest for more and more colour. Thegarden has been well stocked with manysuch plants including many of the oldshrub roses, lilacs and plants possessingaromatic foliage, i.e. Eau-de-Cologne mint(Mentha spps).The fine specimen of the Chusan Palm

(Trachycarpus fortunei) with surroundingbamboos, will not fail to attract theattention of future visitors.The Rock Garden was constructed in

1912; unfortunately many of the originalplants have long since succumbed, but it ispleasing to note that many of the trees andshrubs are still in a healthy state. There areseveral good specimens ofAcer palmatumwhich will form a good foundation to thefuture development of this section of thegarden.The hard tennis court, one of the first of

its kind to be constructed, is worthy ofnote. The surface consists of a hard-facedbuilder's brick laid on edge. Although thecourt has not been used for many years andis now overgrown, it is surprising how littlethe surface has disintegrated.There are some fine examples of

wrought iron in the garden, including thegates on the upper drive which weredesigned by Joubert who for some yearsworked in this country.Many of the garden ornaments formerly

stood in the gardens at Parlington andcare has been taken to ensure that theyhave been well placed in their presentsurrounds.Space does not permit the writer to

enlarge on the delights of the garden whichwill shortly be made available to thepublic, but it is hoped sufficient has beenwritten to stimulate the interest of allgarden lovers. We now have the founda-tion of a delightful English garden whichwith careful treatment and planting will,within a few years, rank among theloveliest in the north.

L. G. KNIGHT.

10

]ewelleryThe small collection of jewellery of thefirst half of the nineteenth century ispleasing as much for its direct reflection ofthe historical taste of its period, as for thecharm of the jewels themselves.tThe earliest piece is a Maltese cross in

gold, pave-set with garnets, on a longchain of garnets. This dates from around1800 when garnets were at the beginningof their popularity. From about 1830 datetwo complete parures of the Italianjewellery made to satisfy a taste for theantique. The one illustrated is made up of34 miniature mosaic pictures, set in

Fig. 1. Parure Roman, c.1880. Goin'f diferent colours,set ceith coloured stones and uith mosaics sel in malachite.

malachite, showing the ruins of ancientRome and the Roman countryside, andbirds, butterflies and flowers (Fig. 1).Thesetting is in gold of different colours, ands=t with little coloured stones.The other is made of shell cameos set in

filigree, and came probably from Naples.The cameos are little carved copies ofclassical and neo-classical works ofart. Theone reproduced (Fig. 2) is after the famousrelief of Night, with her children Sleep andDeath of 1815 by Bertil Thorvaldsen. HisMorning is on the other earring. Thenecklace has Joseph Vien's ?he Vendor ofLoves as its centrepeice.

Shell was widely used at this time as asubstitute for the gemstones used by theancients for cameos; being quite soft,exquisitely fine carved effects could beobtained. There is also a necklace made ofcameos carved in the antique manner froma variety of stones including agate, onyx,malachite and cornelian.Finally, the early Victorian period is

represented by two demi-parures of gar-nets set in stamped gold, somewhatRococo in style, and a charming necklacewith pendant key, enamelled in black andwhite on gold which has a distinct earlyRenaissance flavour to it.

M. S-C.

too"'@~-'; ~

1. We are indebted to Mr. John Hayward for hishelp in dating the items in the collection.

0'ig.2. Detail of earring from a parure. Neapolitan

( Torre del Greco), c. 1830. Gotdfi'tigree, un'th shellcameo.

Calendar ofNotable Eventsin Leeds

TEMPLE NEWSAM HOUSE

()p«» daily, in<'luding Sui>(lay»10330 a.m. I<> (i.15 p.m. (or du»k)W( due»day, May (o Sep(nnl» I,lb.30 a.m. 1<) 0330 p.m.

.Ic<inisitions of the I'earI 111'I('ll

('xhlbition ii) tl>« it«ms ac(1<i it«d l>y gift, 1>c<1 i>«st<» pi» ch;lsc <1»1-Illg th<'(.'Ill ('»0(.'(I <11>r«11 l()(i!).

5iv '7irpolo Frescoes from the Palargo 1 orto,f icen-aI ll<'1(L<c(i('s LVCI'<'<)111111>»»loll('<I by tl>C I ()I"((iI;LI»IIV Ior tll<r» I Iil 1//()»1 ( li:('»/<L »lid w«1'<.paint«<l c.17,i7 hV (ii<>L anni Ih>ttist L Ticpol<>( I ()!)(!-177())th<. m()st ««l«1>rate<1 Ir«sc<> painter <>f

111» tin'IC I» C()11(Lb(»">(.1()1'I LV>th hl.'I s<>», GIOV>llllllI )(»n«lllc() I Icpol(> ( I I '- I g()4) . Thcv dcpl<'t.<>utsta»<ling «v<.nt» i» tli< 1>ist<>ry <if thc I'i>rti>I»I>lily I >i»gin," 11 »1111()' to I (i(i I, rill<1 ill'C 'tl>CI C)ol co>>lv OI;irtistic biit;ils() historical v;>inc. T1>cI'rcsc()cs Ii i< ( 0( «n 1«nt to 'I'«mplc N«ws >m Houseby;in anonyi»<)us l)iit«1> c<)llcct<>r wli<> is now their<)'\'('»L'I lllld h«hiis g<.'ll<.'1»(>sly;igre«d t<> «xt«nd th«0< riii<1<)f tli«1<i in I'or;I I'iirtli«r y« ir <intil l)«c«mbcrI !)(I!).

CITY ART GALLERY()p('» daily, 10.30 ll,l». '(0 ().30 p.>il.Suii<lay, 2.30 p.i». I<> 5.0 p.ili.

I'ictnres and C')'a/d)i<s f) o)n 1)ortwund."(I;>V- [ iil «.

Ed(nard jan)es o'urrealist CollectionJuly )() to August l(iAn cxli>biti<>n circiil;>!«d liy t1>«Arts ('<>iincilc<>nsistiiigr <>I thirty-!I< «Lv<>rk» liy 1(1;>grittc, I);>li,l)c ('liiric<), I rnst, I'ic;<sso and <)tl>crs.

l.eeds Coll«,«e of /Jrt 1.'.thibitionf uly

Henri Cartier-BressonAugust 3() t<> Scptembcr '>I

rctrospcc(ivc «xhibitio» <if thc art>st's Lvorll<.'1>cillatCd 1>V tl>C Alt» ( (ililicll.

Exhibitions in other Yorkshire Galleries

Bradford Durer and his Conlem/rorariesDiPloma Exhibilion (College of:lrt)Four Arlisls (V. O A.)Minerals (T.A.S.)3ohn Player (Midland Group Gallery)Bradford Schools (.4rt &" Crafl)

May 17 to June 8June 6 to June 22July 12 to September 7August 9 to September 7August 16 to September 7September 12 to October 13

Brxghouse Chinese ExPorl Porcelain ( V. O .4.)Ecole de Paris (A.C.)Hipperholme &'ightcliJfe 4rt CircleRembrandl Etchings ( V. O'4.)Modern Drawings

5:1ay 24 to July 13May 24 to June 8June 21 to July 19July 26 to August 17August 30 to September 21

Harrogate

Huddersfield

Claro SchoolsHarrogate Art School L<'xhibilionHarrogate Feslival (SPorlirrg Pictures)

Five Sludio Polters ( V. O'1.)London Porcelain ( V. O'4. )

May 3 to May 27June 7 to Junc 29August 2 to August 23

May 24 to June 28July 5 to August 16

Hull

Kexghley

Hull Photogra/rhic Society;lnnual LxhibilionHull Arl CircleConslruclions (.4.C.)Graphics from Leeds Colleg>e of:Irl (2'.A.bs'.)Third Fxhibilion of ContemPorary Hanging<u

/eeds College of Arl Gra/rhics (? .A.sh)Coslume of Torkshire (?'..4.S.)nuclear Energy (T..4.S.)Aeighley .4rt Clubgarnes Longboat, Painlin<>s O Scu//<lure

May 3 to June 1

June 7 to June 29Junc 28 to July 20July 5 to July 2 7September 6 to Septcmbcr 28

June 7 to June 29June 28 to July 27July 19 to August 17July 19 to August 10September

Rotherham

Scarborough

Sheffield (Graxres)

Sheffield (Mappxn)

Rotherlram Society o/':1rlislsRecorrli ng Vernacular: 1 rchi tee tureRotlrerharn PholograPhic SocietyBirds in vour Garrlen (T.A.S.)Sleel, Beech &" Toter Camera Club

Belgian Drau<ings O''ainlings of the 20th centuryEighlh Biennial /S<'orth Riding .4rlisls'xhib'rlionTorl shire Polleries (? ..1.S.)Leeds College of elrt Graphics (I;A.S.)English Silverware

Harold GilmanContinuum (Ainelic:lrt)Carlier-Bresson ( V. O'1.)Palladio in England ( V. O'1.)Wallpapers ( V. &" A.)

Sheffreld City Training Colle<>e'?he .4rls of /ndia ( V. &" .1.)Shield College of .4rtRuskin as Draughlsman

June 7 to July 6June 14 to July 6July 12 to August 10August 9 to September 7August 16 to September 14

June 9 to June 30July 7 to August 31July 26 to August 24September 1 to September 21September 1 to September 25

May 24 to June 22JuneJune 21 to July 13July 26 to August 17August 30 to September 21

MayMay 31 to July 20JuneAugust

Wakefield .lshley jackson O'luart WaltonSanimer Exhibition

June 7 to June 29July 19 to August 10

York Phili/r Mercier (1689—1760)john Wragg (King's Manor)ConternPorary S<rulPlure in oPen airCartier Bresson (V. O .4.)

June 21 to July 20June 21 to July 13

July 26 to August 17

A.C. = Arts Council .4.E.B.= Arts Exhibition Bureau V. OI;A.S. = Museums ?k Art Gallery Service for

A. = Victoria R. Albert MuseumYorkshire

Paintings at LothertonIt would be unfair to describe the collectionof pictures acquired with Lotherton Hall,without first remembering that some of thecream of the collection has been for someyears already at the City Art Gallery andTemple Newsam. The gems of these are ofcourse the Immaculate Conception by Adriaanvan der Werff; and the marvellous littlemoonlight scene by Aert van der Neerwhich were discussed, and the latterillustrated, in Leeds Arts Calendar No.32-3. These both belong to the Dutchschool of the later seventeenth century andto them can now be added a further groupof Dutch and Flemish paintings. Theearliest of these is the enchanting tinyCoast Scene illustrated in Fig. 1, attributedto Paul Bril (1554—1626). It shows aruined temple, recognisable as the 'Templeof Vesta't Tivoli near Rome set on therocks of a mountainous sea coast. Thebrilliant colouring and dramatic com-position betray Bril's Flemish origins, butthe small size of the painting is deceptive:it is 'seen'n a grand scale and paintedwith a freedom reminiscent more of theItalians among whom Bril spent hisworking life.Two other pictures also show Italian

influences —a quiet little scene of travellersresting outside an inn, seen against theevening sky, is by Johannes Lingelbach

Fig. 1.A sea-coast with the Temple of Vestaauributed to Paul Brit (1559—1626). Oil on copper 6 x 8 in.

(1622—74), a Dutchman who went to Italyand joined the followers of Pieter van Laer,known as Bamboccio. These paintersspecialised in scenes of the ordinary lif= ofstreet and roadside, adding to thisspecially Dutch genre a warm Mediter-ranean light which gives a certain roman-tic quality usually lacking in their North-ern counterparts. Van Laer himself re-turned to Holland in 1638 and his workhad a formative influence on the paintingof Philips Wouverman (1619—1698). Hispainting of a hunting party is remarkablefor the freshness of its painting and for theharmony of its colours. The backgroundlandscape is in cool greys and greens andagainst this, emerging from the dim halflight, a group of two men and a girl, onhorseback: a blue silk sash and the muffledcrimson of the girl's dress are set against asort of counterpoint of satin doublets andsleek-coated horses in silver and chestnut.Very different from this is Peasants dancingoutside an inn by David Teniers the Younger(1610—1690). This is a quiet countryscene in the native Northern traditionunmixed with any Italianate influence.Teniers, like Bril, was born in Antwerp,but he remained in Flanders for hisworking life and continued the genretradition of Brouwer with the addedinfluence of Holland. Peasants dancingreflects the tendency of Dutch painters ofthe 1630's and 40's to use an overall tonalscheme in which browns and greens pre-dominate and other local colours aresubdued so as to give full importance to theinterplay of light and shadow and thecreation of space and atmosphere.A similarly peaceful corner of country-

side is seen in the charmingly freshLandscape with a man watching a horsedrinking by the late 18th century painterPatrick Nasmyth. This takes us to theEnglish paintings in the collection, ofwhich easily the most remarkable is thefamous view of The Irish House of Commonsby Francis Wheatley (1747—1801), whichwill be remembered by visitors to theMellon Foundation's Exhibition of the

The Irish Ifouse of Commonsbp Francis Wheatley (1747—1801).Oil on canvas 86 x 84 in.Signed F. Whealtep px c Dublin 7 one 8 1780.

works of Francis Wheatley, shown at theCity Art Gallery in 1965 (Fig. 2). Thepicture is fully discussed in the catalogue tothat exhibition; suffice it to say here that itis a vast group portrait showing the scenewhen Henry Grattan made a speech onthe repeal of Poyning's Law, during thedebate of 19th April, 1780. The buildingin which this took place is now the Bank ofIreland.The Gascoigne collection is a family

collection and has its share of familyportraits, which serve to make the historyof the house ard family so much morealive. One of these deserves particularmention, an essay in that very Englishgenre, the conversation piece, dating fromthe later 18th century. It shows a land-scape scene with Sir Thomas Gascoigne,Sir Walter Vavasour, huntsmen and

hounds and two onlookers identified as 'thePriest and the Vicar'. It is curious that thepainter's name is unknown: the picture is apleasing one, the portraits carefully done,the painting of the group of hounds beingespecially lively.Finally what must be the grandest

picture in the collection the Portrait of'SirThomas Gaseoigne painted by PompeoBatoni ( I 708—87) in Rome in 1 779.Batoni is famous for his portraits of thePrinces and Grand Tourists of Europe.Formal and aristocaratic, his portraits alsoshow a liking for details of individualcharacter expressed in the way peopledressed and the things they surroundedthemselves with. Sir Thomas is shown hereas a connoisseur, with precious thingsfrom his own collection around him.

M s.c.

Drawings.Portrait Miniatures and PrintsThe English drawings at Lotherton areonly a handful but include work by twomen, Nicholas Pocock (1741—1821) andJohn Downman (c.1750—1824), neither ofwhom has been represented in the Leedscollection before. The Pocock is a largewatercolour of Bristol from the Southshowing the Cathedral on the left andshipping, densely masted, in the harbourto the right. A warship with a longfluttering pennant passes left, towed by arowing boat, while in the foreground a lowtide exposes a rotted hulk, stakes and otherharbour debris. The scene is set at sun-down, the soft evening light well reflectedin cool putty greys, a faded blue and,where the sun lingers, a warm sandybrown. The drawing is signed and datedJV. Pocock 1783.Pocock who was born and brought up in

Bristol was primarily a painter of seabattles. Having begun life as a sailor he hada practical knowledge of ships that isillustrated in this work by the complicatedaccuracy of the rigging. His career as apainter, encouraged by Sir Joshua Rey-nolds, began rather late. When he paintedthis, one of his earliest drawings, he wasforty-two but most of his work was doneten to fiftee years later when he wasacquiring a reputation in naval circles andbecame a founder member of the OldWatercolour Society. Sea battles were hismost frequent subject, pure landscapes hisrarest but such mixtures of the two as hisviews of Bristol are as delightful as any.Some were engraved and the compositionof this one was used by him in an oilpainting at Bristol City Art Gallery. Thechange of medium did not improve it.From John Downman we now have two

very characteristic oval portraits of SirThomas Gascoigne (Fig. 1) and his firstwife, Mary (nee Shuttleworth) both takenin 1780. In Downman's usual manner theyare half lengths with the sitter's head inprofile; the drawing of both is with a softcharcoal stump. Apart from some light

touches of white on cravat or coiffure theonly colour is a faint pink on lips andcheek and even there it is negative, a stainof watercolour being applied to the backof the very thin paper which allows it toshow through as a soft velvet-like bloom.Mainly because of this extreme thinness ofthe paper both portraits are in a frail not tosay irreparable condition. Since Down-man's art is itself frail and delicate thisseems sad but at least appropriate and inone way these drawings are stronger, lessanaemic, now that time and sunlight havegiven them a mellow warmth, than theywere in 1780. As for their charm, it liesnot in the portraiture which with Down-man is almost always vacuous but ratherin the sharp elegance of the silhouette (hiswork has obvious connections with both thesilhouette and the miniature), the bearingof the figure within the oval and generallya lightness of touch combined withsartorial neatness and an air of goodmanners that make even the stout person-age of Sir Thomas seem pleasantlyineffectual. Two later oval portraits inwatercolour, one of them signed I. R.Herbert, 1832, may be mentioned asgiving a useful idea of the 'Downmantradition'.The Lotherton gift includes also a small

number ofminiatures. There are ten in all,one of them being a portrait of MarieAntoinette on the lid of the snuffbox —thereal one—which Sir Thomas Gascoigneholds in his left hand in the portrait byBatoni. By far the nicest miniature how-ever, for intrinsic merit, is a half length ofCatherine, the elder daughter of SilverOliver (Gascoigne), by Richard Cosway(1742—1821). Cosway is one of the two orthree really important names in Englishminiature. For many he is also the manwho showed greatest respect for his mediumusing it as did Fragonard in France in anessentially watercolour style: the ivory isallowed to shine through transparentpigments and supply its own light while it

conveys, in a miniature with a 'sky'ack-ground, the white light of day. This luckyexample, our only one, of Cosway's artcould not be more typical of his loose laterstyle as it emerged about 1785 (Fig. 2). Itis large; the sitter is one of his slim, long-necked, rather 'distrait'omen; the hair, amass of curls, is pencilled in rapid strokesof warm grey, while the only positivecolours are a fresh brick for lips andaccessories (high necklace and large floppybow) and in the sky and her eyes reflectingit, a vivid Antwerp blue. For its societyelegance and delicate flattery the miniatureinvites comparison with Downman's ovalsbut whereas the latter's drawing istentative, even timid, Cosway's is flowing,relaxed, yet very alive; the clouds move asin a Constable, the breeze blows throughthc sitter's hair and lifts the frills of herdress.John Smart (1742—1811) has a portrait

of that oft-portrayed Sir Thomas lookingself-pleased in a blue coat. Like all Smart'sminiatures it is amazingly competent. Ofthe Regency period there is a militaryportrait by a specialist in them, JohnComerford of Dublin (d. 1832) and aByronic young man with dark eyes andhair by S. J. Rochard (1788—1872)s aFrench miniaturist who worked in Eng-land. This is very much a portrait not anefligy; when the glass is cleaned it shouldbe an attractive miniature. The last item tonote is a curious and exciting one: it is asmall oil miniature on copper about 1675

which bears on its elaborate velvet andbrass mount an engraved inscription 'TheEarl of Rochester'. This if trustworthymeans the second earl (1647—1680), i.e.Henry Wilmot, the Restoration poet andlibertine, the friend of Charles II. Of fourrecorded portraits of Rochester this is notunlike onc. The miniature as such is notvery professional by John Smart standardsbut to a literary historian this may be nodisadvantage. The artist is so far un-identified.Compared with the drawings and

miniatures the prints at Lotherton aremore numerous if less significant. Besides aquantity ofmilitary prints which would gowell with the military books but are not ofspecial note artistically, there are sometwenty miscellaneous mezzotints afterGeorge Morland, many of them engravedby William Ward. With such titles as 'TheFruits of Early Industry', 'The Triumph ofBenevolence'nd 'The Effects of

Idleness'heir

moral message is quite clear. Most ofthem were published about 1800.Of morevalue will be a set of six prints fromHogarth's 'Marriage a la Mode'hichRichard Earlom engraved in mezzotint forMessrs. Boydell between June 1795 andAugust 1800. At Temple Newsam wealready possess another set of the 'Mar-riage', a cheaper edition (without en-graver's name) of the original engravings—which we do not possess—published byHogarth himself in 1745.

J.P.P.

1. Richard Cosrvay (1742—1821).Catherine, daughter of'Rt. Hon. Silver Oliver.Ivory; unsigned, c.1785.2I x 2sr in.

2. fohn Dotvnman (c.1750—1824).Sir 7 homas Gascoigne.Black stump; signed and rlated 1780.8 m 6'n.

17

Silver at Lotherton

The most impressive group of objectswithin the Gascogine collection is the fineseries of race cups which range in date from1776 to 1842. This period representsliterally the golden age of such com-memorative pieces—they were nearlyalways gilt as the Gascoigne cups are—andbear witness to the splendour demanded ofthem. Being made only for show they carryon something of the ancient tradition of the'masterpiece'n object produced toprove the silversmith's awareness of thedecorative repertoire of his day as well ashis skill in the various techniques of hiscraft. By the last quarter of the 18thcentury the best trophies illustrate also thesophisticated taste of patrons whoseartistic education included trav-1 toclassical sites as well as familiarity with thebeautifully produced archaeological andantiquarian books being issued then.Publications such as Wood and

Dawkins'uins

of Palmyra, 1753 and d'Hankarville'smassive work of 1766—7 devoted to SirWilliams Hamilton's collection of Greekvases had the expressed intention ofserving as pattern books for the improve-ment of taste in the decorative arts.Knowledge of this library material wasindeed shared by the leading craftsmenand a remarkable artistic partnership grewup between scholar, publisher, customerand silversmith in which all the principalsspoke the same language —ifwith differentaccents.Already in the Leeds collection are two

magnificent race cups, one by Holmes andDumee of 1774 (discussed in Leeds ArtsCalendar No. 56) and the other theDoncaster cup for 1828 by Emes andBarnard (see Leeds Arts Calendar No. 59).The Gascoigne trophies now provide ex-emplary supporting cast. The first of the

series is the Doncaster cup for 1776 (Fig. 1)by William Holmes, who by this time hadended his partnership with Dumee. Theserpent handles here are remarkably free intreatment and are made to hold rings intheir mouths which support the draperymotif around the bowl—a charmingvariation on a familiar theme. No doubtserpents were chosen for handle duties as,being organic, they could be twisted intoany form and visual weight withoutinfringing canons of proportion. This cuphas particularly good palm and acanthusleaf decoration around its lower regions,but the foot is meagre —a curious faultfrom which other fine cups of this timesuffer—including two more Richmondtrophies, those of 1764 and 1770 madefrom a drawing by Robert Adam of about1763. A massive cup of 1779, the next inchronological order, is a fine specimen byRobert Salmon, good in proportion as wellas detail. The palm and acanthus leavesround the base of the bowl are very likethose on the Doncaster cup of 1776 alreadydiscussed, while the honeysuckle patternround the top is based on an illustration ind'Hankarville. Two of the four famoushorses bred at Parlington and com-memorated by this piece, 'Soothsayer'nd

'Jerry', are the subjects of portraits atLotherton, thus greatly enhancing thiscup's historical interest.The Beverley cup of 1809 and the

Lincoln cup of 1822, also in the collection,are both by Robert Garrard whose firmwas illustrious a little earlier under thenames of Wakelin, Parker and Taylor invarious combinations and who, with thetitle of Garrard and Co., later becameRoyal Goldsmiths in succession to RundellBridge and Rundell. The proportions ofboth cups are very satisfactory and the

1. The Doncaster Race Cup 1776. Silver-gilt by William Holmes.

2. Tankard Russian mid 18th century. Silver, parcel-gill

sn'ac 5.

lettering on them is bold and chunky,typical of the best work of the day. Thehandles on the Beverley cup show anotheramusing variation on the serpent theme inthat the creatures encircle jockeys headswithout apparently causing any alarm. TheLincoln cup is in the form of a GreekKrateri a very popular and functionalshape for wine-coolers too, and almostcertainly deriving immediately from yetanother illustration in d'Hankarville. Theinfluence of this publication, it may besaid, went on well into the second quarterof the 19th century, the engravings in it,whether they be of vases in the round orflat projections of the decoration on them,were of wellnigh inexhaustible use assource material carrying with it the seal ofthat unquestioned authority possessed bythe 'Ancients'.The latest of the cups—for the Stockton

races of 1842—is in the full Victorianmanner. It has considerable panache andillustrates well the point that silverware isfrequently a good guide to the general tasteof later years.Of totally different interest, but certainly

of no less importance, are two foreigntankards. One is a splendid example of thelate 17th century Scandinavian type—inthis case made in Sweden—which werevery popular in the rest of Europe andbeyond. With their three ball feet theywere emulated in a group of tankards madein York chiefly by one John Plummer inthe 1650s and 60s. The other tankard(Fig. 2) was almost certainly made inMoscow probably as late as the middle ofthe 18th century —it is unmarked. Thisfollows closely a Scandinavian prototypeand is superbly embellished with engravedswags and flowers against a niello back-ground. Apart from the fact that Russiandecoration was often many years later thanits Western counterpart or source thesophistication of this piece is a further hintthat it may be later than its form suggests.The Gascoigne collection also includes a

Communion Cup and Cover made in Yorkin 1628 by John Harrington working to anElizabethan model, a paten of 1719 bySeth Lofthouse and four very good smallsalts by Anne Tanqueray.

Furniture at LothertonPreliminary research has revealed that thefurniture at Lotherton comes from manydifferent sources and elucidation of theprovenance of this collection will be noeasy matter. An inventory made duringthe early 1930s records the origin of somepieces, a few items bear helpful labels andSir Alvary and Lady Gascoigne have beenable to supply information about thehistory of certain other objects but theexact provenance of many importantpieces has yet to be determined.When the Gascoigne's ancestral home at

Parlington was vacated in 1905 many ofthe furnishings were sold, but amongstthose brought to Lotherton were three fineneedlework chairs (Fig. 2) and a stool, thelegs boldly carved with lion masks andterminating in paw feet: they date fromabout 1730 and are the first examples oflion-mask seat furniture acquired byLeeds. The Parlington Hall sale catalogue(Hollis k Webb) July 24th—29th, 1905reveals that they once formed part of alarger suite which included two large andtwo small forms, a, pair of settees and threestools (lots 90—94). A pair of 17th centuryoak tables of semi-circular form werebought from a dealer named Nickall forHimbleton Manor in Worcestershire (thehome of Sir Alvary's mother) before theycame to Lotherton and a superb Victoriandavenport with signed locks was prc-

viously at Waverley Abbey, the home ofFlorence Nightingale, who was related tothe family. Two Jacobean armchairs andan oak hall cupboard together with a largesuite of Edwardian bedroom furniture inthe Sheraton style came from LadyGascoigne's home at Wentbridge. Otherpieces in the collection were bought atcountry house sales during the firstquarter of this century or from dealers. Forinstance, in 1922 Colonel F. R. Trench-Gascoigne purchased a pair of repro-duction William and Mary settees and twoleather-covered Spanish armchairs at theTemple Newsam sale—awareness of thislink with Mrs. Meynell Ingram's expensiveschemes to restore the baronial characterof Temple Newsam contributes greatly tothe interest of these otherwise unremark-able pieces. It is to be hoped that infor-mation about the origin of most of theLotherton furniture will become availablein due course.The furniture given by Sir Alvary ancl

Lady Gascoigne extends the collectionalready at Temple Newsam in a parti-cularly significant way;,... for it greatlystrengthens categories which were pre-viously poorly represented. The outstand-ing piece is a late medieval oak chest ofplank construction carved in the solid withpanels of Gothic tracery and geometricroundels (Fig. 1).The decoration displays

no trace of the Renaissance style whichstarted to influence English furnitureduring the early Tudor period—indicatinga 15th century date. Two oak settles dated1690 and 1756 are also of great interest forth demonstrate how traditional stylestey epersisted in the provinces. Both are

Cfloridly carved with conventional Jaco-bean'otifs, the former being embellishedwith distinctly archaic medallioned Ro-mayne heads and the latter inscribed witha text in Latin and Greek: 'DEUS VIDETQ.N.T.N.L TAYTA MEAETA'. The

II

I

mI

II

r adabbreviations may be expanded to rea'Quae natura tuae nocte latent'nd thewhole roughly translated as 'God seesthose thoughts that be hid in your soul atnight'. The Leeds collection formerlycontained nothing of quite this characterand the group of a dozen or so oak piecesf rm a most welcome addition.orm 'tFrom the Georgian period one mighsingle out the lion-mask chairs alreadymentioned, two mahogany Pembroketables and anoctagonal wine-cooler all ofwhich add depth to the existing collection.The early-Regency era is represente ydb

a series of neat but inexpensive writing and

An inventory of the contents of Parlingtontaken in 1843, the sale catalogue of 1905and another catalogue of furnishings soldat Lotherton by Hollis &. Webb (Oct. 1st& 2nd 1956) indicate that this group formsthe remnant of a very much larger col-lection of allied pieces. Gillows may wellhave been commissioned to re-furnishP 1'on about 1805 for one of the earlyar ing on

n 1905 (lotRegency dressing tables sold in 19 t ot490) was stamped 'Gillows Lancaster'ndcontemporary furniture at Farnley Hallproves that sometimes the firm onlymarked isolated items in large consign-ments. There is, accordingly, a distinctpossibility that the early-Regency furniturenow at Lotherton was originally made for

consistent with their authorship and it is tobe hoped that evidence to support theattribution can be traced amongst thefirm's records.Although serious interest in furniture of

the Victorian age has grown rapidly overthe past decade very few pieces of this

2. 0 f three mahogany chairs carved reitith lion masksne oork c.1730.and covered in contemporary nee emor c.

period have been acquired by the museum,it is therefore gratifying to record that the

expensive drawing room furniture datingfrom the early years of this century. Thetechnical finish of these items is of thehighest quality and they serve to illustraterecent developments in taste and cabinet-making.The continental furniture at Lotherton

also adds a new dimension to the presentsmall stock of such pieces. A remarkableearly 17th century German chest carvedwith biblical scenes (in the chapel) pro-

it thevides an interesting comparison witmassive intarsia Dankse est in theDarnle room at Temple Newsam and thegrouroup of Spanish furniture given y a yb L dRamsden in 1956 is usefully supplementedby the two 17th century leather coveredarmchairs. There are several good ex-amples of Dutch cabinetwork includingthree commodes, a bureau cabinet and twochairs gaily decorated with floral mar-quetry. o cornq . T complete the picture referencemust be made to a handsome provincialFrench armoir and an exquisite lateLouis XV period kingwood writing tableinlaid with musical instruments, urns andfloral sprays.

C.G.G

91

The Gascoigne Services ofChinese Armorial Porcelain

It was a very natural thing that SirThomas Gascoigne of Parlington, whosucceeded his elder brother, Sir Edward, inthe baronetcy in 1762, should order a largedinner service of porcelain. At that time itwas natural too that this should come fromChina and, by special order, be decoratedwith his arms. On estates near Parlingtonwere other services—one made for theReverend Richard Lowther, Vicar ofSwillington about 1725 and another forViscount Irwin of Temple Newsam a littlelater. *About fifty Armorial services areknown to have been supplied to Yorkshirefamilies, who, like Sir Thomas, evidentlyfelt that they should supplement theirsilver plate with porcelain.

Chinese Export Porcelain is recorded asa cargo in ships of the East India Companyas early as 1637 but the English trade wasnot very great until the second decade ofthe 18th century. It was then realised thatthis cargo acted as excellent ballast for therapidly increasing light but bulky teashipments. Both the Portuguese and theDutch had for some time decorated a smallpart of their imports of Chinese Porcelainwith coats of arms both for families and forcity 'plate'ut it was not until between1693 and 1697 that the earliest example ofArmorial porcelain for the English marketwas made (for Sir Henry Johnson ofBlack-wall—a wealthy ship builder). During thefirst two decades of the 18th century

*There is a piece of this service at Temple NewsamHouse.

1. Part of the Chinese armorial porcelain tea servicedecorated tvith the initials 7.G. and the Gascoignecrest, c.1780.

2. Part of the Chinese armorial porcelain dinner servicedecorated vvith the coat of arms and crest of theGascoigne family incorporating the red hand ofUlster, the badge of a Baronet, c.1770.

probably not more than 75 armorialservices were made for English families andmost of these for Merchants or Directors ofthe East India Company or the South SeaCompany. But in the next half centurymuch of the nobility, English landed gentryand naval and military commandersordered through the company or theircaptains services of porcelain with theirarms. Walpole and Pitt, Gibbon andBoswell, Clive and Rodney, and manyLords Mayor of London.Patterns were often bookplates, some-

times drawings or pieces from earlierservices and often mistakes were made bythe Chinese artists in interpreting thestrange subjects. In some services colourswere transposed (making these the arms ofanother family), mottos were misspelledand in more than one, special instructionswritten on the order were faithfully copiedon every piece (thus the service made forthe family of Bewicke had "our coat ofarms" written beneath the coat on everypiece). In the first half of the century mostof the painting was done at the inland cityof Ching-te-chen, famous for its potteryand porcelain for over 2,000 years. Laterenamelling of the arms was frequently

added to stock patterns at the port ofCanton itself.Ships of the East India Companies

arrived in Canton each year on the SouthWest monsoon between August andNovember and departed on the NorthEast monsoon early in the new year. It thustook over a year for an order of porcelainto arrive. When Sir Thomas'ervicearrived at Parlington about 1770 it hadalready travelled halfway round the worldby coolie, sampan, merchantman andcoach or waggon. In the 19th century alegend grew that this porcelain had beenmade in China and decorated in Lowestoftso that to the names "Chinese ExportPorcelain" and "Porcelaine des Indes"was added the name "Oriental Lowestoft".A tiny portion of Chinese porcelain wasdecorated in England (the best examplesare by James Giles of Kentish Town whopainted Chinese and 'nglish porcelainbetween 1760 and 1780) and at the end ofthe century a small quantity of armorialporcelain was made at Lowestoft—justenough perhaps for the rumour which heldcredence for a century?Of all the Armorial services ordered-

and there were approaching three thou-

sand between 1700 and 1815—perhaps 3/~were made in the reign of the EmperorK'ang Hsi who died in 1722. A further10/~ in the reign of Yung Cheng (1723—1735) and perhaps 2/~ in the reign of ChiaChi'ng (1796—1820). The remainder—about 85/~—made in the reign of thegreat and peaceful Emperor Ch'ien Lung—the last of the great Chinese Emperors.The trade reached its peak in the middledecades of the century and almost 20/~ ofArmorial services were made between 1750and 1760.Earlier services are blue and white or

Chinese Imari (blue, white, red and gold).'Famille verte'nd 'rouge de fer'nd goldwere followed by the famous 'famille

rose'ow

established by heraldic evidence asbeginning between 1720 and 1723. In the1720s and 1730s the decoration becamericher, frequently covering almost thewhole surface of the porcelain in enamelsand gilding. The peak was reached about1730 and almost imperceptibly gradualsimplifications of style followed each otherfor over half a century until all that wasleft of the thick enamels, picture panels,gilding, and rich Chinese peonies andpheasants, were thin borders of wavy ordotted enamels and anaemic copies ofMeissen flowers. Even the heavy under-glaze blue diaper and 'Fitzhugh'ordersfailed to arrest the decline so that it isalmost a relief for the lover of Chineseporcelain to see the best early Worcesterand Spode which by 1800were enjoying anincreasing share of the table porcelainmarket. It should be realised that althoughprobably more than half a million pieces ofChinese Armorial Porcelain came to Eng-land during the 18th century that this wasonly a tiny part—probably less than 1 /~—of all the Chinese porcelain imported.After the intervening two centuries only afraction survives today.Unfortunately no trace has yet been

found among the Gascoigne papers ofthe invoice and one can only guess atthe original size of the dinner serviceand the tea service which was madeand decorated about ten years later withthe family crest—a pike's head—andinitials 'T.G.'nly. An inventory ofRichard Olivers Gascoigne's effects at

Parlington taken in 1843 records:

p.97Sundry plates and dishes

'Pikeshead'.100

Tea service 'Pikeshead'slop basins

3 teapots and stands3 coffee pots2 tea cannisters1 cream jug

45 tea and coffee saucers18 tea cups8 coffee cups7 scallop shells (butter dishes)

Twenty-two items from this tea serviceremain at Lotherton (Fig. 1) including acoffee pot, a cream jug and two tea potsbut alas no scallop shells which areexceedingly rare today in Armorial por-celain—and as many as seven unheard of.The surviving portion of the dinner service(Fig. 2) comprises: 2 soup tureens; 6 saucetureens; 4 sauce boats; 17 dishes of varioussizes; 29 plates (meat, soup and cheese);2 salts and 3 saucer dishes.The photographs convey an impression

of what the whole services must havelooked like; originally there would havebeen at least 100 meat plates and 50 forsoup. Many of the shapes are derived fromEnglish silver and the decoration fre-quently reflected silver engravings of theprevious few years. The Chinese werealways anxious to learn exactly what stylewas required by their European customersand the East India Companies sent outnumerous patterns and samples for themto copy. On more than one occasion aleading Chinese Merchant at Canton wasinvited to Europe.An invoice (dated 1731)which does exist

for another Armorial service consisting ofabout 410 pieces of a dinner service and 2'teasetts'ecords a cost of '228 Tales'—roughly equivalent to f75 in those days—and a very considerable sum now. Butwhatever Sir Thomas paid on each occa-sion one expects he was well pleased andanyone who can, should look carefully atthese fine services now at Lotherton. It israre today to be able to see so many piecesstill together and in the house of the familyfor which they were made.

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