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44 posts categorized "Visual arts"

15 February 2019

JMW Turner’s First and Last Loves (Part 2)

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Our last post told the story of Elizabeth White, the first love of artist JMW Turner. Today we turn to his last love - Sophia Booth.

Sophia Caroline Nollte was born in Dover, in 1798, to German immigrant parents.  She moved to Margate when she married a local fisherman, John Henry Pound, in 1818.  Sadly, he drowned in 1821, leaving her with two sons, Joseph, who died before he was six, and Daniel.

In 1825 she married John Booth, who described himself as 'a gentleman of Margate'.  He was 37 years older than her.  They established a guest house on the seafront in Margate, near the harbour.  In 1826 Sophia gave birth to a son, John Pound Booth, who died of cholera in 1832.  John Booth also succumbed to cholera in 1833 and so, once again, Sophia was left a widow, with one surviving child, Daniel Pound.

Turner stayed in the Booth guest-house from about 1829, favouring the location because of the quality of the light.  After John Booth’s death he began a relationship with Sophia.  Turner’s friend, Charles Turner (no relation) described Sophia as being like a fat cook with no discernible education.  But Turner’s love for Sophia was romantic; he wrote her poems and gave her drawings.

A Sleeping Woman  Perhaps Mrs Booth

Joseph Mallord William Turner, A Sleeping Woman, Perhaps Mrs Booth c.1830–40 Photo © Tate CC-BY-NC-ND 3.0 (Unported)

In 1846 they moved to Davis Place, Cremorne Road, Chelsea, which is now part of Cheyne Walk.  The house was rented in Sophia’s name and the neighbours assumed that Turner was Mr Booth.  He habitually wore a naval greatcoat and was known as 'Puggy Booth' or 'The Admiral' in the area.  Turner died in the house in 1851.

After Turner’s death, Sophia told his friend, David Roberts, that Turner never made any financial contribution to their life together but that he had composed verses in honour of 'herself and her personal charms' and had been jealous.  She claimed that he had told her that she was 'the handmaid of art'.

In December 1852, Sophia’s son, Daniel Pound, who had become an engraver, applied for a passport.  His travelling companions were named as his mother and Gustave Philip de Garlieb, a Danish-born engraver who worked at the Ordnance Survey. His address was the same street as Sophia, so he was either a neighbour or, possibly, a lodger.  Where did they go and what was the reason for their trip?  I am still looking for clues.

Sophia became friendly with John Ruskin, Turner’s artistic executor, and sold him some of Turner’s notebooks.  Ruskin gave her gifts, including the oval self-portrait miniature of Turner as a boy.  Turner’s first biographer, Walter Thornbury, portrayed Sophia as acting in a mercenary way after his death but Ruskin and other friends thought that this was unfair.  She had, after all, burned Turner’s letters to her rather than sell them and she gave away many of his other possessions.

In 1865, her son, Daniel Pound, sold some of the Turner paintings she owned for £4,000 and bought Haddenham Hall, in Buckinghamshire, for £1,000, where she lived until her death in 1878, aged 80.  She asked to be buried at St John’s Church, Margate, so Turner’s first and last loves lie in the same churchyard.

Booth gravestone 1

Booth gravestone 2Grave of Sophia Booth at St John's Church Margate - photographs by author

David Meaden
Independent Researcher

Further reading:
Franny Moyle, The Extraordinary Life and Momentous Times of J.M.W.Turner (London, 2016)
Felicity Myrone , J. M. W. Turner and his World: John Platt (1842-1902), a Late Victorian Extra-illustrator, and his Collection Electronic British Library Journal

 

Turner's House logo

Turner’s restored house in Twickenham is currently open Wednesday-Sunday: 12 –1pm: Self-guided visits, and 1-4pm: Guided Tours (Last entry: 3:30pm)

 

14 February 2019

JMW Turner’s First and Last Loves (Part 1)

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Valentine’s Day would seem to be an appropriate time to look at the romantic life of the great painter, JMW Turner.  There were many women in Turner’s life, at least one of whom bore him children, but he never married.  The disparaging comments he made about matrimony were probably formed by his observation of his parents’ troubled marriage and perhaps as the result of an early experience.

Today we look at Turner’s first love - Elizabeth White.

When things were difficult at home, and for the benefit of his health, the young Turner would often stay for long periods with relations, notably his maternal uncle, Joseph Marshall, who was a butcher in Brentford.  In 1787, the twelve-year-old Turner moved from Brentford to stay with friends in Margate, where he attended Thomas Coleman’s school in Love Lane.  One of his school friends was Edward White, whose sister, Elizabeth, was the same age as Turner.  Young William was strongly attracted to Elizabeth and, after he returned to London, he visited Margate frequently throughout the early 1790s and the relationship blossomed.  Turner’s problem was that he did not feel that the state of his finances made it possible for him to propose marriage.

Margate harbour from the sea 1786-7 TurnerJoseph Mallord William Turner, Margate Harbour from the Sea 1796–7 Photo © Tate CC-BY-NC-ND 3.0 (Unported)

After his success at the Royal Academy Exhibition of 1796, Turner felt himself sufficiently established to propose to Elizabeth and set off down to Margate, only to find that she had become engaged to a local man, Richard Wiles.  Some of Turner’s biographers describe Wiles as a builder – he wasn’t, he was a publican.  The marriage licence describes him as Richard Wiles of St John, Thanet, innkeeper, bachelor, and the newspaper report of the wedding, in 1798, describes him as of The Bull’s Head Inn.  The confusion is probably because his parents were also Richard and Elizabeth. There is still a Bull’s Head on the site, where, in 1952, Eric Morecambe (Bartholomew) had his wedding reception when he married the landlord’s daughter, Joan Bartlett.

Turner was devastated and his friends’ accounts suggest that he suffered some form of breakdown. Sadly, Elizabeth did not enjoy a long or happy life. Her son, another Richard, was born in October 1799 but died in February 1800.  Elizabeth herself died the following year, aged 26, but I have not been able to discover the cause of her death.

Elizabeth is buried in the churchyard of St John the Baptist Church, Margate. 

Margate St John's ChurchSt John's Church Margate from New Ramsgate, Margate, and Broadstairs Guide (Ramsgate, 1855?)

Wiles 1Wiles family grave at St John's Church Margate - photograph by author

I assume that Turner knew of Elizabeth’s death from her brother or one of his other contacts in Margate but I can find no record of this.  It is, however, a reasonable assumption that this early experience contributed to Turner’s jaundiced view of relationships and marriage in particular.

David Meaden
Independent Researcher

Further reading:
Franny Moyle, The Extraordinary Life and Momentous Times of J.M.W.Turner (London, 2016)
Kentish Weekly Post or Canterbury Journal 27 November 1798 British Newspaper Archive
Felicity Myrone, 'J. M. W. Turner and his World: John Platt (1842-1902), a Late Victorian Extra-illustrator, and his Collection' Electronic British Library Journal

JMW Turner’s First and Last Loves (Part 2)

Turner's House logo
Turner’s restored house in Twickenham is currently open Wednesday-Sunday: 12 –1pm: Self-guided visits, and 1-4pm: Guided Tours (Last entry: 3:30pm)

 

17 January 2019

Isaac Robert Cruikshank – a life retold?

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On display in the exhibition Cats on the Page at the British Library is the pamphlet The Pretty, playful, tortoise-shell cat published in 1817.  The illustrator is probably the caricaturist and portrait painter Isaac Robert Cruikshank, often known professionally as just Robert Cruikshank.

Isaac-Robert-CruikshankIsaac Robert Cruikshank by Frederick William Pailthorpe (1828) NPG D9318 © National Portrait Gallery, London    NPG CC

Isaac Robert Cruikshank was born in London in 1789.  He and his more famous younger brother George followed in the footsteps of their artist father Isaac.  Biographies of the two brothers tell of Isaac Robert venturing to sea as a teenager during the French Wars.  His parents are said to have secured their son a position as midshipman in the East India Company ship Perseverance.  The story goes that Isaac Robert was left behind at St Helena on the return voyage.  He had gone on shore in command of a boat’s crew, a storm arose, and he was stranded and reported to be lost.  After hiding from press gangs and suffering privations, he was befriended by the governor of the island and went home to England in a whaler.  On the way back, they met with a vessel which gave them news of the battle of Trafalgar.  His appearance on the family doorstep in London was greeted with astonishment as they were in mourning for his death.

I decided to dig into the East India Company archives to see if I could discover more about this interesting tale.  What I found was rather different!  Isaac Cruikshank appears in the crew list for the Perseverance as the purser’s servant, with the rank of seaman rather than junior officer.  The wage and receipt books show that he joined the ship in the Downs on 31 March 1804 for the voyage to China and was discharged on 17 September 1805 when the Perseverance reached England.  His wages were 45 shillings per month; after deductions he was paid £39 10s 6d for service of 17 months and 17 days.  Cruikshank collected and signed for his wages in person at East India House in the City of London on 15 January 1806, four months after arriving back in England.  Where had he been in the interim?  Was the St Helena story concocted to cover the young man’s absence immediately after the ship docked?

I did check the St Helena records to see if there were any clues there.  The Perseverance anchored there on 30 June 1805, and a muster of the crew was taken on 11 July 1805 just before the ship departed.  Cruikshank is in that muster list of crew members and I could find nothing to suggest that anything unusual happened to him.

So a cracking good yarn, but seemingly untrue.  Being told about Trafalgar by a passing ship is a nice touch.  The battle took place on 21 October 1805 but, according to the records of the Perseverance, Cruikshank had been discharged in England a month earlier. 

After Cruikshank’s death in 1856, George Daniel wrote a tribute which mentioned the time his friend had spent at sea. Daniel said that Cruikshank ‘was wont to recall those happy days, when he proudly walked the quarter-deck in the uniform of his sovereign; eager, in his exuberant pugnacity, to fight the battles of his country.  But he was born to be an artist’.

Margaret Makepeace
Lead Curator, East India Company Records

Further reading:
IOR/L/MAR/B/255D Journal of the Perseverance 1804-1805, with a crew list
IOR/L/MAR/B/255K Wage book for the Perseverance 1806-1806
IOR/L/MAR/B/255K2 Receipt book for the Perseverance 1806-1806
IOR/G/32/70 St Helena Consultations 1805
George Daniel, Love’s last labour not lost (London, 1863)
William Bates, George Cruikshank: the artist, the humourist, and the man, with some account of his brother Robert (London, 1878)
William Blanchard Jerrold, The life of George Cruikshank (London, 1882)


Cats on the Page exhibition supported by
 

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25 September 2018

William Blake’s Grave

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The Bunhill Fields Burial Grounds are the final resting place for around 120,000 people including Daniel Defoe, John Bunyan, Susanna Wesley, and William Blake. Previously, Blake’s precise location in the cemetery was unknown but thanks to Carol and Luis Garrido’s investigation, the exact location has been determined. In celebration of the discovery, the Blake Society commissioned a new gravestone, and arranged for an unveiling ceremony 191 years after Blake’s death, on August 12, 2018. Philip Pullman, novelist of His Dark Materials trilogy, and heavy metal frontman of Iron Maiden, Bruce Dickinson, came together, alongside other Blake devotees to celebrate the occasion.
 

Blake graveWilliam Blake’s grave. Taken by Elizabeth Potter. September 2018. Noc

Another grave to visit for all things Blake, is Robert Blair’s The Grave, a Poem (1808). Blair belonged to what is often called the Graveyard School, a pre-Romantic group of poets in the eighteenth century that wrote about mortality, loss, and the afterworld.  Blake was commissioned to create designs to illustrate Blair’s popular poem for a new edition. Eventually, Blake was ousted from the position as engraver to be replaced by Louis Schivaonetti but twelve of his designs would populate the pages, and later would be Blake’s claim-to-fame in the nineteenth century.

An interesting plate by Blake is The Soul exploring the recesses of the Grave. The design is described in the book as: “The Soul, prior to the dissolution of the Body, exploring through and beyond the tomb, and there discovering the emblems of mortality and of immortality”.  The Soul, embodied as a curious woman holding a candle, ventures into the rocky, cavernous tomb that houses a corpse surrounded by flames. Atop the cave is a young man, with a crescent moon appearing behind and between his legs, bending towards the tomb with a confused, saddened expression.

  Grave Poem 1The Grave, A Poem by Robert Blair. C.39.k.11. Noc

Scholars Robert N. Essick and Morton D. Paley suggest comparing this design to another contained in The Grave, called Death’s Door. These two images function as opposites – The Soul Exploring conveys restriction and obfuscation, and the Death’s Door revealing the possibilities of regeneration after death. Blake’s departure from gloom and towards the opportunity of immortality and spiritual regeneration is epitomized in the pairing of engravings. As the description of the imagery asserts in The Grave (1808), “these designs, detached from the work they embellish, form of themselves a most interesting poem.”
 

Grave Poem 2The Grave, A Poem by Robert Blair. C.39.k.11. Noc

 

Elizabeth Potter
PhD Research Placement Student from the University of York

Further reading:
Robert Blair's The Grave illustrated by William Blake: a study with facsimile by Robert N. Essick and Morton D. Paley (1982).

The Notebook of William Blake, page 70.

Carol and Luis Garrido’s efforts to find the exact location of Blake.

 

01 May 2018

May Day in the Olden Time

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Today we bring you another surprising discovery from the India Office Records.  In a volume of correspondence for the Surveyor’s Department in 1868 is a report on a watercolour painting entitled May Day in the Olden Time by Henry Stacy Marks. 

May Day in the Olden Time. V&A  FA.677Panel of a triptych watercolour painting by Henry Stacy Marks entitled May Day in the Olden Time, 1867 © Victoria and Albert Museum, London  FA.677

The appraisal is the subject of a letter written by Matthew Digby Wyatt, India Office Surveyor, to Henry Cole, director of the South Kensington Museum.  Cole had asked Wyatt to visit the Dudley Gallery to inspect Marks’ painting because the Department of Science and Art was interested in reproducing it as a mural decoration for the Museum.  The procession of 16th-century figures in May Day in the Olden Time was described by one contemporary critic as ‘a favourable example of Mr Marks’s transition manner –a  manner which lies halfway between an easel-picture and a wall-picture, which reconciles a figure composition to the conditions of architectural construction and the requirements of mural decoration’.

Not everyone who viewed the painting at the Dudley Gallery was appreciative.  The London Daily News wrote of ‘general quaintness and affected imbecility’.  Wyatt reported to Cole : ‘In my opinion its artistic merit is considerable as it is well composed and with the exception of a few faults in proportion of parts of some of the figures, carefully drawn in a somewhat conventional manner, while the subject is cheerful, suitable as a picture for a private room of moderate dimensions, and treated with less caricature than this Artist is generally in the habit of introducing into his work’. 

Wyatt did not think the asking price of £168 was excessive and went on to consider two aspects of the painting’s suitability: the subject matter and the technical fitness for reproduction.  Wyatt was struck by ‘the want of harmony between the subject and the scope of such an institution’ as the Museum.  He thought a ‘graver aim’ would be more desirable.  However he believed that the painting was technically ideal for copying onto earthenware slabs or plaques, indeed it ‘seemed expressly intended for some such object’.  In conclusion, Wyatt suggested that Marks should be commissioned to design a composition in the same style but limited to a much smaller number of figures.

May Day in the Olden Time. 3 panels V&A  FA.677Triptych watercolour painting by Henry Stacy Marks entitled May Day in the Olden Time, 1867 © Victoria and Albert Museum, London  FA.677 

The Department of Science and Art did purchase May Day in the Olden Time and it is now in the collections of the Victoria and Albert Museum. The painting was copied onto three porcelain panels by a student from the South Kensington Art School.  The panels were then incorporated into a decorative buffet placed in the Green Dining Room of the Museum.

Margaret Makepeace
Lead Curator, East India Company Records

Further reading:
India Office Surveyor’s Department correspondence IOR/L/SUR/2/7 ff.28-31, letter from Matthew Digby Wyatt to Henry Cole 6 February 1868.
English painters of the present day – Essay on H S Marks by  by J Beavington  Atkinson (London, 1871)
British Newspaper Archive e.g.  London Daily News 8 February 1868

 

19 April 2018

The Plans, Maps and Views of Lieutenant-General William Skinner, Chief Engineer of Great Britain

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Born to a merchant in St Kitts in the Caribbean, William Skinner (1700-1780) lost his parents at a young age and was adopted by his Aunt and her new husband Captain Talbot Edwards, Chief Engineer in Barbados and the Leeward Islands.

Skinner was educated at military colleges in Paris and Vienna and received his warrant as practitioner engineer in 1719. By 1757 he had risen through the ranks to become Colonel William Skinner, Chief Engineer of Great Britain, and in 1770 he was made Lieutenant-General.

Image 1A View in Newfoundland (Add MS 33233, f. 26)

At the British Library we hold Skinner’s personal collection of maps, plans, surveys and views (Add MS 33231-33233) which show the variety of places where he worked throughout his career, as well as giving an insight into the working process of a military engineer in the 18th century. 

From the start of his career Skinner was sent all over the world.  He became known as an authority on fortifications, and worked on important projects including the building of fortifications on Menorca and surveying Gibraltar, where he later served as Director of Engineering.

Image 3A View of the South Front of the Mountain of Gibraltar (Maps K.Top.72.48.d.)

After the Jacobite Rising of 1745, Skinner was asked to lead a major project to build fortifications in the Highlands. Fort George, built on the sea front north-east of Inverness, was finally completed in 1769 and is still in use today.

Image 4A Plan of Fort George (Maps K.Top.50.33.)

Skinner became Chief Engineer in 1757, just after the Seven Years War (1756-1763) had begun, and many projects that he worked on at this time were as a result of this conflict. In 1761 Skinner was sent to Belle Île in France, which had been captured by the British in order to have a base from which to attack the French mainland. General Studholme Hodgson who had led the raid on the island, complained about ‘the set of wretches I have for engineers’, at which point Skinner was brought in to survey the defences and provide accommodation and shelter for the Armed Forces which had been left to hold the island.

Image 5Plan of the Citadel and Part of the Town of Palais Belle-Isle (Add MS 33232, f. 3)

As Chief Engineer all military building projects needed to be submitted for his approval. One such project was the building of fortifications around St John’s in Eastern Newfoundland. This area had been reclaimed from the French in 1762 after the Battle of Signal Hill, which was the final battle of the Seven Years War in North America.

Image 6A View of Conception Bay, Newfoundland (Add MS 33233, f. 34)

William Skinner died on Christmas Day 1780. He kept on working right up until the end of his life, and had passed on his engineering talent to his grandson, who worked successfully as an engineer in the US.

All the items from Skinner’s collection are available to be viewed in the British Library Reading Rooms, and one of his views of Newfoundland (Add MS 33233, f. 34) can currently be seen in our Treasures Gallery.

Stephen Noble
Modern Archives and Manuscripts

Catalogue links:

Maps and Plans, chiefly of fortifications or surveys for military purposes, Add MS 33231 A-PP
Surveys of Belle Isle, France, and plans and sections of its fortifications during the British occupation after its capture in 1761, Add MS 33232
Views of fortifications and landscapes, Add MS 33233

 

22 March 2018

The creative genius of Edmund Dulac: Artist, illustrator and stamp designer extraordinaire

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Although Edmund Dulac graduated in law from Toulouse University his true passion was art, so he also attended a number of art schools whilst at university. Passionately Anglophile, Dulac studied English and often wore the latest English fashions thereby earning his nickname 'l’Anglais'. He moved to London in 1904, becoming a naturalised British citizen in 1912.

  Edmund-DulacEdmund Dulac by Howard Coster, 1938 NPG x11459 © National Portrait Gallery, London   NPG CC By

 Dulac is best remembered as a book illustrator whose works span over 116 published monographs including Edmund Dulac’s Fairy-Book. 

Dulac 3 aUrashima Taro from Edmund Dulac’s Fairy-Book: Fairy Tales of the Allied Nations (Hodder & Stoughton, 1916)

He also produced portraits, caricatures, posters, tapestries, carpets, furniture and theatrical props. Well known within Britain’s artistic and literary circles, Dulac was a close friend of William Butler Yeats, participating in the first performance of his play 'At the Hawk’s Well' in 1916. He also produced much of the play’s scenery, costumes, masks and music. 

Dulac 4 aMask for Young Man in “At the Hawk’s Well” from W. B. Yeats, Four Plays for Dancers (Macmillan, 1921)

Less well known outside philatelic and numismatic circles is that Dulac designed stamps, banknotes and proposed coinage. Notable designs for British stamps include the following.

Dulac 51937 (13 May) Coronation Issue [Philatelic Collections: UPU Collection: Great Britain] Noc

 

Dulac 61937-1947 Definitive Issue ½d to 7d stamps with Eric Gill [Philatelic Collections: UPU Collection: Great Britain] Noc

  Dulac 71937-1947 Definitive Issue 7d to 1s stamps alone [Philatelic Collections: UPU Collection: Great Britain] Noc

  Dulac 81939-1948 Issue 1s 6d to 5s stamps [Philatelic Collections: UPU Collection: Great Britain] Noc

  Dulac 91948 (29 Jul) Olympic Games Issue, 1s. [Philatelic Collections: UPU Collection: Great Britain] Noc

  Dulac 101951 (3 May) Festival of Britain 2½d. [Philatelic Collections: UPU Collection: Great Britain] Noc

  Dulac 111952 Elizabeth II Definitive Issue, 1s, 1s 3d and 1s 6d [Philatelic Collections: UPU Collection: Great Britain] Noc

General Charles de Gaulle also approached Dulac to design stamps and banknotes aimed at fostering unity and a common cause for the Free French Colonies against Vichy France and the Axis powers during the Second World War.
 

Dulac 12French Equatorial Africa 1941 Free French Issue 30c [Philatelic Collections: UPU Collection: French Colonies] Noc

  Dulac 13St Pierre & Miquelon 1942 Free French Airmail Issue 5fr stamp [Philatelic Collections: UPU Collection: French Colonies] Noc

  Dulac 14St Pierre & Miquelon Mutual Aid and Red Cross Fund Omnibus Issue 5fr+20f stamp [Philatelic Collections: UPU Collection: French Colonies] Noc

  Dulac 15France 1944 Provisional Government Definitive Issue 5fr. [Philatelic Collections: UPU Collection: France] Noc

  Dulac 16French West Africa 1945 Definitive Issue 4fr [Philatelic Collections: UPU Collection: French Colonies] Noc

Dulac suffered a heart attack following a strenuous bout of flamenco dancing, sadly dying on 25 May 1953. He left behind well over a thousand works of art and design spanning various mediums, much of it awaiting detailed research.

Richard Scott Morel
Curator, British Library Philatelic Collections

 

06 March 2018

Like father, unlike son: James and Frank Bourdillon

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Although there are many examples within the India Office Records of sons following fathers and grandfathers into military or administrative careers in the sub-continent, today we shine the spotlight on a family where the opposite appears to have happened.

Civil servant c13441-10'A civilian going out' from Twenty four Plates illustrative of Hindoo and European Manners in Bengal. Drawn on the stone by A Colin from sketches by Mrs Belnos. (London, 1832?) Images Online Noc

James Dewar Bourdillon was the son of a Huntingdonshire clergyman who entered the East India College at Haileybury in 1828, and arrived to take up a post in the Madras Presidency civil service early in the following year. He seems to have spent the 1830s and 1840s in a variety of administrative and judicial posts in Trichinopoly, Salem, and Nellore, later rising to become secretary to the Board of Revenue. The summit of his career was probably reached in 1856, when as a member of the three-man Commission tasked with investigating the local system of public works he wrote its Report. Unfortunately a few years later he was obliged to retire and return to the U.K. because of ill health, but he retained sufficient interest in Indian affairs to publish A Short account of the measures proposed ... for the restoration of the Indian Exchanges in 1882 under the pseudonym 'An ex-Madras Civilian'. He died in Tunbridge Wells in the following year aged seventy two.
 
So far, so conventional - Bourdillon's life and achievements were not radically different from other early Victorian servants of the Raj. One of his children, however, was to travel down a very different path.

This was his son Francis Wright Bourdillon, known as Frank, who was born in Madras on 7 November 1851. He appears first to have tried his hand at earning a living as a coffee planter, but also being a talented amateur artist he decided to leave India and undergo training at the Slade School of Art in London, following this with some time in the centre of the contemporary painterly universe, Paris.

Bourdillon On Bideford Sands 'On Bideford Sands' by Frank Bourdillon from The art-journal March 1890 Noc

After returning to England he settled in Cornwall, where in 1887 he became a member of the Newlyn School, a colony of artists who were stimulated by the local scenery, residents, and light quality (not to say the cost of living). His style may well have been influenced by the example of the Pre-Raphaelite artist Thomas Cooper Gotch who was living in Newlyn at the same time, as can be discerned in works such as The Jubilee Hat, Duel on Bideford Sands and Aboard the 'Revenge'. We shall no doubt never know whether his artistic career was in some sense an act of rebellion against his upbringing, or if his family encouraged him in such endeavours.
 
There are two more twists and turns to record. In 1892 he all but abandoned art and went back to the land of his birth to work not as an administrator but as a Christian missionary. Eventually, however, he left India and died in the quintessentially English venue of Chipping Sodbury, Gloucestershire, in 1924. 

Hedley Sutton
Asian & African Studies Reference Services 

Further reading: 
J.D. Bourdillon's application to Haileybury IOR/J/1/42/280-290, available on FindMyPast
F.W. Bourdillon's baptism IOR/N/2/30/568, available on FindMyPast
J.D. Bourdillon, First report of the Commissioners … digitised on Explore the British Library
J.D. Bourdillon, A Short account of the measures proposed ... for the restoration of the Indian Exchanges, London, 1882, shelfmark 8228.dd.22