Untold lives blog

In the British Library, there is a portrait of Raja Chandu Lal, the famous minister to the Nizam of Hyderabad from 1809 to 1843.  He was an influential figure who was so powerful that the British suspiciously regarded him as the proxy ruler of Hyderabad.  The on-line catalogue entry for the portrait says that it was a gift from 'Mrs Moore'.  Who was she, and why did she have a painting of a man who Hyderabad’s British resident, Sir Charles Metcalfe, described as having 'the plausibility ascribed to Satan'?

British Library, Foster 16 – Portrait of Raja Chandu Lal (1809-1843) by John Godwin Williams (fl.1813-1837), c.1836.  Given to the India Office by Sophia Stewart Moore, née Yates (1808-1905), probably in the 1870s.

Sophia Stewart Yates was born at Madras in 1808.  Her parents, Richard Hassels Yates of the Madras Army and Benjamina, had ten children.  Sophia and her sisters were probably married off quite young, and her brothers would have been sent into the army.  On 29 July 1827, when she was 19, she married John Arthur Moore, an employee of the Nizam of Hyderabad from 1817 to 1838.  He began as a soldier in Hyderabad’s army, then served as the Nizam’s Military Secretary and Auditor of Accounts for 14 years.  He retired from the Nizam’s service for health reasons and returned to Britain with Sophia in 1839.

The painting of Raja Chandu Lal was printed in London as a mezzotint in 1841 by Charles Turner.  The caption below the mezzotint, written in English and Persian, celebrates Raja Chandu Lal as the 'Rajah of Rajahs… the devoted servant of Asuf Jah who is the Roostum of his Age'.   It is impossible to say why the mezzotint was commissioned, but it might relate to Raja Chandu Lal granting Major Moore a generous pension.

British Museum, 1861,0810.148 – Mezzotint of John Godwin Williams’ portrait of Raja Chandu Lal.  Engraved in 1841 by Charles Turner, 50 Warren Street, Fitzroy Square, London.

Unfortunately, the East India Company’s directors in London blocked Major Moore from receiving the pension of 500 rupees a month, claiming that it was 'extremely inexpedient for the Local Government to allow British Officers to be pensioned by the Nizam’s Government or by that of any other Native Prince or Chief'.  Several 'influential men petitioned the Company to allow him to collect the pension, including Charles Metcalfe, the resident at Hyderabad who once described Raja Chandu Lal as 'Satan'.

John Arthur Moore died on 7 July 1860, when Sophia was 52.  Following the East India Company’s liquidation and absorption into the British state, Adolphus Warburton Moore (1841-1887), John and Sophia’s son, became the India Office’s Political Secretary in the 1870s.  He prompted his mother to give the portrait of Raja Chandu Lal to the India Office.

Sophia died in 1905, at the age of 97.  It is intriguing to think that Raja Chandu Lal, a man who the British caricatured as evil, was the subject of a portrait that John and Sophia Moore cherished.  One wonders if young Sophia, who moved to Hyderabad as a teenager and left in her early 30s, personally knew Raja Chandu Lal.  It seems he was kind to her and her husband.

CC-BY Jennifer Howes
Art Historian specialising in South Asia

Creative Commons Attribution licence

Further reading:
Account of John Arthur Moore’s service in India, including letters of support from Charles Metcalfe and Lord Elphinstone to receive a pension from the Nizam of Hyderabad. British Library, IOR/F/4/1780/73179, f.1v-5.
Archer, Mildred. The India Office Collection of Paintings and Sculpture (London: 1986), 47-48.
Foster, William. A Descriptive Catalogue of the Paintings, Statues, &c. in the India Office (London: 1924), 16.
Raja Chandu Lal. 'Translation of a note from the Minister, under date 27th November 1838 to the Resident'. British Library, IOR/F/4/1780/73179, f.19.

In 1775, the East India Company commissioned a huge memorial in Westminster Abbey dedicated to Major General Stringer Lawrence (1698-1775).  It was completed in 1777 at a cost of £750, making it the most expensive artwork the Company had ever commissioned.  Unlike other soldiers who were memorialised in Westminster Abbey for dying in the line of duty, Lawrence died at home, almost 20 years after he retired.  What made him so important to the East India Company?

Memorial to Stringer Lawrence in Westminster Abbey by William Tyler.  Commissioned by the East India Company in 1775, completed in 1777.  Image copyright: Dean and Chapter of Westminster.

In 1746, the Company appointed Stringer Lawrence to establish a private army in India.  This militarisation accelerated the Company’s transformation from a mercantile business to an imperial power.  Lawrence’s most famous protégé was Robert Clive.  In the 1750s, they fought side by side, in a series of proxy battles against the French known today as the Carnatic Wars.  Lawrence and Clive commanded troops out of the inland fortress-town of Tiruchirappalli, an important base during these battles.  By 1756, Clive succeeded Lawrence as the Company’s Commander-in-Chief of the East Indies.

In 1760, to celebrate its military successes, the East India Company commissioned marble statues of Lawrence and Clive dressed as Roman soldiers.  These were placed in the General Court Room of East India House, the Company’s headquarters in London.  Lawrence may have founded the Company’s army, but Robert Clive, the younger of the two men, was by then considered more important, and was certainly more famous.  Clive’s fame worked against him in the early 1770s, when he was exposed as financially and morally corrupt, and on 22 November 1774, at the age of 49, he died after cutting his throat.

Sculptures of Robert Clive and Stringer Lawrence in Roman military costume by Peter Scheemakers. Commissioned by the East India Company in 1760, completed in 1764. Clive’s raised left hand indicates authority. British Library, Foster 53 and 54. Both statues are now in Britain’s Foreign Commonwealth and Development Office.

The East India Company went silent on all matters pertaining to Clive.  How could it divert attention away from his inauspicious end?  The answer came along seven weeks later, on 10 January 1775, when Stringer Lawrence died at the venerable age of 77.  The Company fixated on memorialising the respectable 'father' of its army by commissioning the enormous and costly monument in Westminster Abbey.  At its centre, two female figures, one an angel and the other a personification of the East India Company, flank a sculpted landscape of Tiruchirappalli, the fortified town where Clive and Lawrence commanded troops during the Carnatic Wars.

Detail at the centre of Stringer Lawrence’s memorial, Westminster Abbey. Image copyright: Dean and Chapter of Westminster.

In the 18th century, before the formation of museums and art galleries, Westminster Abbey was one of London’s most popular public attractions.  Stringer Lawrence’s conspicuous memorial was placed in an extremely prominent location, next to the Abbey’s main, west facing entrance.  To secure this location, the Company paid for a pre-existing monument to be moved to another part of the Abbey.  By memorialising Lawrence this way, the East India Company drew attention away from Robert Clive’s scandalous death.

CC-BY Jennifer Howes
Art Historian specialising in South Asia
 
Creative Commons Attribution licence

Further reading:
Howes, Jennifer. The Art of a Corporation: The East India Company as Patron and Collector. New Delhi: Routledge, April 2023. Pages 85 and 114-116.
Payments to William Tyler for the construction of Stringer Lawrence’s memorial British Library, IOR/B/92, pages 326 and 688.
Charges to the East India Company for relocating a pre-existing monument. Westminster Abbey Library, Chapter Act Book, CH/02/01/011.

The Institution for Promoting the Natural History of India was established by Governor-General Richard Wellesley at Barrackpore outside Calcutta in 1801.  The aim was to increase Western scientific knowledge of the fauna of India, which Wellesley viewed as being ‘altogether unknown to the naturalists of Europe, or [which] have been imperfectly and inaccurately described’.  The Institution was supervised initially by Dr Francis Buchanan (later Buchanan Hamilton), an East India Company surgeon and accomplished naturalist, and then by William Lloyd Gibbons, an assistant at the Calcutta Orphan School and member of the Bengal Asiatic Society.  Animals and birds were collected and sent to Barrackpore for scientific study, the process of which included making descriptive notes and commissioning drawings, often from Indian artists.  The Institution itself was short-lived, receiving little advocacy or financial support from the East India Company.  Barrackpore Menagerie survived as a public attraction until 1878, when the animals and birds were transferred to Alipore, to what later became Calcutta Zoo.

Moore & Horsfield catalogue entry for Falco tinninculus

Copies of many of the notes and drawings produced at Barrackpore are held at the British Library.  Some were deposited directly with the East India Company by Buchanan Hamilton, others sent to London by Gibbons, and still others ended up at East India House via intermediaries such as Nathanial Wallich and Dr John Fleming.  Drawings, notes, and physical specimens were housed as part of the India Museum, and many were worked on by Thomas Horsfield and Frederick Moore for their Catalogue of the birds in the Museum of the Honourable East India Company (London, 1854-58).

Mss Eur Mack Misc 167. 6. Notes on ‘Falco tinnunculus’ (Common Kestrel)

Mss Eur Mack Misc 167. 91. Notes on ‘Ardea purpurea' (Purple Heron)

Two volumes of scientific notes made at Barrackpore Menagerie are in India Office Records and Private Papers, the first of which (Mss Eur D541) deals exclusively with birds.  The notes were unbound, (or possibly dis-bound), which made it easier to consult the scientific writings alongside the drawings for identification purposes.  Unfortunately, this did historically make it easier for items to stray, so when the notes were eventually bound, nine of the descriptions – nos. 1-7 and 90-92 – were lacking.  Thankfully, the descriptions were numbered and with some research we have recently identified a small collection of bird descriptions relating to five birds of prey and two herons in the Colin Mackenzie Miscellaneous collection as being seven of the Buchanan Hamilton/Gibbons descriptions.

NHD2/191 Common Kestrel. ‘Falco tinnunculus’. Watercolour by Mahangu Lal, 1805-07.

Our Visual Arts Department holds the drawings, and they are exquisitely detailed.  They were drawn and painted by Indian artists such as Guru Dayal, Haludar, Mahangu Lal and Bishnu Prasad.  East India Company librarians and curators in the 19th century gave each of the natural history drawings in their care a running number in red ink.  The drawings that relate to birds of Barrackpore, as described in Mss Eur D541, are NHD2/186-284, otherwise known as the G & B (Gibbons & Buchanan) Collection.  Additional bird, mammal, and reptile drawings by Buchanan Hamilton are found in NHD3/311-536, the Buchanan Collection, and these relate to descriptions held in the second volume of notes from the Barrackpore Menagerie (Mss Eur D94).

NHD2/276 Purple Heron. ‘Ardea purpurea’. Watercolour by Guru Dayal, 1805-07.

The British Library’s newly opened exhibition Animals: Art, Science and Sound includes an important volume of watercolours of Gangetic fish, commissioned by Buchanan Hamilton and made by the artist Haludar.  These were published in An Account of the Fishes found in the river Ganges and its branches, etc. (Edinburgh, 1822), which remains a seminal work on Indian fish species.

Lesley Shapland
Cataloguer, India Office Records

Further reading:
India Office Records and Private Papers - Dr Francis Buchanan Hamilton papers, including Journals of his Deputation from Bengal to Ava [Burma], 1795-1798; Observations on Nepal, 1802; Natural history observations and drawings made at the Barrackpore Menagerie; Notes, descriptions and natural history illustrations in preparation for Fishes of the Ganges; Catalogue of Dried Plants presented to the East India Company Museum; Reports, statistics, drawings and vocabularies produced during the Survey of Bengal (1807-1814). These have various references, including Mss Eur C12-14; Mss Eur D70-98; Mss Eur E68-73; Mss Eur G10-25.
Mss Eur D541: Description of Birds and Animals in the Barrackpore Menagerie, Volume I
Mss Eur D94: Description of Birds and Animals in the Barrackpore Menagerie, Volume II
Mss Eur D487: Description by Dr F Hamilton (formerly Buchanan) of Birds, Quadrupeds and Tortoises
Mss Eur D562/21: Lists of Drawings Birds & Quadrupeds, 1817-1820
NHD2/186-284: The 'G & B' (Gibbons & Buchanan) Collection. Ninety-nine drawings in laid down in an album of birds from India and the East Indies, in a collection formed under the supervision of Francis Buchanan (afterwards Buchanan-Hamilton) and William Lloyd-Gibbons
NHD3/311-536: Two hundred and twenty-six drawings in watercolour and pencil depicting 169 birds (151 separate drawings and 18 duplicates), 38 mammals and 19 reptilia from India and the East Indies
Thomas Horsfield and Frederic Moore, A catalogue of the birds in the Museum of the Hon. East-India Company (London, 1854-58)
Mildred Archer, Natural History Drawings in the India Office Library (London, 1962)
Sally Walker ‘Zoological Gardens of India’, Chapter 8 in Zoo and aquarium history: ancient animal collections to zoological gardens by Vernon N Kisling, Jr. (ed) (Boca Raton, Florida : CRC Press, 2001)
Salim Ali ‘Bird Study in India: Its History and its Important’, India International Centre Quarterly, Vol 6., No. 2 (April 1927), pp.127-139

During Robert Clive’s lifetime, the East India Company commissioned two portraits showing him as a hero.  The first of these, a marble statue of Clive in Roman military costume, was installed in 1764 inside East India House, their headquarters in London.  It was one of four marble portrait statues commissioned by the Company in 1760 of men dressed as Romans.  These neo-classical statues showed the Company as the conqueror of a new Asian empire, with London at its centre.

Statue of Robert Clive in Roman military costume.  Peter Scheemakers, 1764. British Library, Foster 53.  Today, the statue is in Britain’s Foreign Commonwealth and Development Office.

Less than a decade later, Robert Clive’s reputation as a hero had collapsed.  In the late 1760s he returned to Britain, bringing with him a staggering personal fortune that he had amassed in Bengal.  Regarded as one of the richest men in Europe, he conspicuously bought properties in England and Wales, and spared no expense on rebuilding and furnishing these new residences.  Clive’s spending spree coincided with reports of the Bengal Famine, a catastrophe that killed about 10 million people.  The source of Clive’s fortune came under scrutiny and his character was aggressively criticised by the British public.

In May 1771, Town & Country, a satirical magazine, published a searing memoir of Robert Clive which named him 'Nero Asiaticus', who had 'fleeced the Asiatics as much as he was able'.  This alias compared him to the insane emperor who watched Rome burn to the ground.  The comparison was derived from the marble statue of Robert Clive in Roman dress inside East India House.

Robert Clive receiving from the Nawab of Bengal the grant for Lord Clive’s Military Fund. Edward Penny, 1772. British Library, Foster 91. Today, the painting is in the Asia & Africa Reading Room of the British Library.

Perhaps to heal his toxifying reputation, the East India Company commissioned Edward Penny, the Royal Academy’s first 'Professor of Painting', to create the second artwork of Robert Clive, this time showing him performing a heroic deed.  Titled 'Lord Clive explaining to the Nabob the situation of the invalids in India', the painting shows him with the Nawab of Bengal, at the alleged moment when the East India Company’s Military Fund was founded.  In the background are the fund’s intended recipients.  On the right is a group of needy soldiers and at the centre, a beautiful young widow sits, surrounded by children.  The painting was completed in 1772 and exhibited in the Royal Academy’s annual show before being moved to East India House.

'The India Directors in the Suds.' Town & Country, December 1772. The cartoon is accompanied by a descriptive text.

The Royal Academy’s annual shows were busy, popular public events.  Edward Penny’s painting of Clive would have been seen by thousands of people.  One of those people happened to be a cartoonist who worked for Town & Country magazine.  The resulting cartoon, titled 'The India Directors in the Suds' (suds being a euphemism for excrement), was published later that same year.  In place of the Nawab of Bengal and his entourage, it shows a procession of Indian ghosts who represent the Bengal Famine’s victims.  A terrified Robert Clive is shown leaping backwards.   Behind him, in place of the invalids and the widow, the East India Company’s directors stare at the scene.

Artworks like these demonstrate how the East India Company tried to cultivate a strong, positive reputation in London by commissioning artworks.  However, such manoeuvring, particularly in Georgian London’s critical atmosphere, could also backfire.

CC-BY
Jennifer Howes
Art Historian specialising in South Asia

Creative Commons Attribution licence

Further reading:
Anonymous. 'Memoirs of a Nabob.' Town & Country, London, May 1771: 255-256.
Anonymous. 'The India Directors in the Suds or the Jaghire Factor Dismayed at the Ghosts of the Black Merchants.' Town & Country, London, December 1772: 705-706.
Hazzard, Kieran. 'The Clives at Home: Self-fashioning, Collecting, and British India.' In Coutu, Joan. Politics and the English Country House, 1688-1800. Montreal: McGill-Queens University Press, February 2023.
Howes, Jennifer. The Art of a Corporation: The East India Company as Patron and Collector. New Delhi: Routledge, April 2023 

King Charles III’s coronation continues an extremely long-standing ceremonial tradition.  The scale of coronations does vary from reign to reign, yet core elements such as the monarch’s selection, anointment with holy oil, public acclamation and enthronement remain unchanged.  Records for English coronations stretch back over a thousand years, but as David’s instructions to crown Solomon as king reveal, the Judaeo-Christian origins of the ceremony actually stretch back much further in time:
“And let Zadok the priest and Nathan the prophet anoint him there King over Israel: and blow ye with the trumpet, and say, God save King Solomon.  Then ye shall come up after him, that he may come and sit upon my throne; for he shall be king in my stead” (I Kings 1: 34-5).

The coronation on 6 May 2023 includes a rendition of ‘Zadok the Priest’ alluding to this biblical tradition.  Charles III’s enthronement appears to take its lead from early medieval religious iconography.  The Liber Vitae created around 1031CE centres upon King Cnut and Queen Emma presenting a cross to the altar of New Minster at Winchester.  Angels descend from heaven touching the Monarch’s crown.  There is an image of Christ enthroned located immediately above the cross.

King Cnut and Queen Emma presenting a cross to the altar of the New Minster, Winchester British Library, Stowe MS 944 f. 6r. 

The earliest surviving English Royal Seal from Edward the Confessor’s reign 1042-1066 depicts the King crowned and enthroned, holding an orb and sceptre.  Excluding the Commonwealth era between 1649 and 1660, every monarch has been depicted in this manner on their Great Seal.

Earliest surviving English Royal Seal from Edward the Confessor’s reign 1042-1066 - British Library, Lord Frederick Campbell Charter XXI 5.

This theme continues within the illuminated manuscript and other artistic traditions into modernity.  The following detail from Matthew Paris’s Historia Anglorum Chronica Majora created around the 1250s illustrates Henry III seated upon his throne holding a sceptre and a model of Westminster Abbey.

Portrait of Henry III from Historia Anglorum Chronica Majora - British Library, Royal MS 14 C VII, f. 9r (detail)

Centuries later, during the 1670s, Michael Wright’s portrait of Charles II displays the monarch similarly posed, wearing the St Edward’s crown and dressed in parliamentary robes.

Portrait of Charles II  courtesy of The Royal Collections Trust, RCIN 404951.

Philately also embraces such iconographical references.  This die proof made by the security-printing firm Perkins Bacon and Company Limited, London for the State of Victoria in Australia’s 1856 stamps carries an image of Queen Victoria enthroned on King Edward’s Chair.  Created by Edward I, it is now known as the Coronation Chair having been used in most coronations since that time.

State of Victoria 1d postage stamp 1856 - British Library Philatelic Collections: Supplementary Collection, Victoria

Edmund Dulac’s design for the 1s 3d stamp for the UK Coronation Issue of 1953 likewise includes a modern iteration of Elizabeth II enthroned.

1s 3d stamp for the UK 1953 Coronation Issue - British Library Philatelic Collections: UPU Collection, Great Britain.

Cecil Beaton’s iconic 1953 photographic Coronation Portrait of Elizabeth II reveals fascinating insights regarding the planning of such symbolic imagery.  It depicts her enthronement at Westminster Abbey, but actually it was taken inside Buckingham Palace.  Beaton’s archives at the Victoria & Albert Museum include photographs illustrating preparations for the portrait which was adopted by Jersey on its 6 February 2002 £3 postage stamp commemorating of Elizabeth II’s Golden Jubilee.

Jersey £3 postage stamp commemorating Elizabeth II’s Golden Jubilee 6 February 2002 -British Library Philatelic Collections: The Holman Collection

Richard Scott Morel
Curator, Philatelic Collections

Further reading:
Roy Strong. Coronation: A History of Kingship and the British Monarchy. Harper Collins. 2005, p. 9.
Susanna Brown. Queen Elizabeth II: Portraits by Cecil Beaton. V & A, 2011.
The New Minster Liber Vitae 

Richard Greenbury was an artist and decorator of furniture in early 17th century London.  In the 1620s, he received two important painting commissions from the East India Company.  Both documented incidents of treachery and suffering.

The first commission showed an odious moment of horror on the Indonesian island of Ambon.  In this faraway place, the East India Company was exporting spices alongside a larger, more established Dutch trading station.  In 1623, the Dutch tortured to death ten Englishmen at Ambon, claiming that they were going to invade the Dutch fort.  News of this event sparked a diplomatic incident in Europe.  In London, the East India Company published a pamphlet telling its side of the story, titled A True Relation of the Unjust, Cruell and Barbarous Proceedings against the English at Amboyna.

Frontispiece of the East India Company’s pamphlet, A True Relation of the Unjust, Cruell and Barbarous Proceedings against the English at Amboyna.  The illustration on the left might have been the basis for Richard Greenbury’s painting. (British Library, T39923)

Richard Greenbury’s painting of the event, titled 'The Atrocities at Amboyna', was so graphic that the Company had to ask him to repaint part of it.  Crowds flocked to the painter’s studio to see it before it was finished.  One woman, purportedly a widow of one of the massacred Englishmen, fainted when she saw it.  It stirred such outrage that London’s Dutch citizens had to appeal to the Privy Council of King Charles I for protection from the furious public.  In February 1625 the completed painting went on display inside the East India Company’s headquarters, but only two weeks later, it was removed by order of the king and never seen again.  It was most likely destroyed by order of the Privy Council.  Reluctant to pay for a vanished painting, the East India Company eventually gave Greenbury less than half the amount of money he expected to receive.

Portrait of Naq’d Ali Beg by Richard Greenbury (British Library, Foster 23)

The Company then gave Greenbury another commission.  This time, it wanted a pair of portraits of Naq’d Ali Beg, a trade ambassador from the court of Shah Abbas of Persia.  Unfortunately, this exotic young man’s stay in London was fraught with scandals, and he was ordered by King Charles I to return to the court of Shah Abbas.  Unable to bear the embassy’s failure, Naq’d Ali Beg committed suicide during the journey back to Persia in 1627.  Even though the East India Company contributed to the Persian ambassador’s disgrace, Greenbury’s portrait was displayed inside its headquarters in London.  Today, that same painting is part of the British Library’s permanent collections.

The disastrous subject matter of Greenbury’s paintings highlights the instability and sloppy diplomacy that the East India Company somehow survived in the 17th century.  One hundred years later, a new, relatively stable United East India Company emerged.  By the late 18th century it was a systemic part of Britain’s economy and a prolific corporate patron of British art.

CC-BY
Jennifer Howes
Art Historian specialising in South Asia

Creative Commons Attribution licence

Further reading:
East India Company. A True Relation of the Unjust, Cruell and Barbarous Proceedings against the English at Amboyna. London: Nathaniel Newberry, 1624.
Howes, Jennifer. 'Chaos to Confidence'. Chapter one in Howes, J. The Art of a Corporation: The East India Company as Patron and Collector, 1600-1860. New Delhi: Routledge, April 2023. 

The working lives of Victorian women in England were apt to be hidden, rarely referenced in contemporary publications.  This term could be doubly applied to gifted artist Winifred Arthur (b. 1864 in Lancashire) whose work was literally hidden.  Winifred created ingenious paintings on the fore-edges of books.  The edges were then coated with gilt, thus concealing the image until the pages were fanned out.

Rimmer’s Rambles around Eton and Harrow (shelf mark C.188.a.525.) bound by Fazakerley of Liverpool with a fore-edge picture of Windsor Castle by Winifred Arthur. Image copyright Cooper Hay with thanks.

The Library has recently acquired a copy of Rimmer’s Rambles around Eton and Harrow (shelf mark C.188.a.525.) bound by Fazakerley of Liverpool with a fore-edge picture of Windsor Castle by Winifred Arthur.  Fore-edges are difficult to photograph and Winifred’s signature can be challenging to distinguish.  She signed using her initials W A, visible above on the lower left corner, somewhat resembling a five legged spider.  Specialist Jeff Weber believes it is likely Winifred signed all her fore-edges, other practitioners did not always do this.

Winifred Arthur's initials on the fore-edge

Hiding such decoration was not a new procedure.  'Royal’ examples were made in the 18th century by bookbinder John Brindley for Queen Caroline, Consort of George II.  They were unique and were often included to personalise a book or to enhance presentation copies. Winifred’s edge paintings also had regal recipients, in her case the Princess of Wales, the Duchess of Teck and even Queen Victoria herself.

Newspaper report of Winifred Arthur’s fore-edge painting on John Lovell’s ‘Literary Papers’  - Liverpool Mercury 11 June 1894 British Newspaper Archive

At the age of 16, Winifred was described as ‘Art scholar’ in the 1881 census.  She may have received instruction at the Liverpool school of art and design, which was not far from the family home in West Derby and admitted women students from 1832.  By the 1891 census, Winifred was listed as ‘Artist in watercolours’, implying that she worked on her own behalf.  There is no record of her adult sisters’ employment but her brothers were clerks or assistants.

Winifred was fortunate in that she could conduct business via commissions through the bookshop (and publisher) Howell's of Liverpool (which was founded by her grandfather Edward Howell).  Winifred’s father John Sanderson Arthur managed the shop, as did her brother Edward subsequently.  Without such connections, she would have found it difficult (as a woman) to sell her work.

Winifred’s art appeared in newspapers from time to time.  The Western Mail reported upon the 1898 exhibition of the ‘ladies’ (defined as amateurs) of the South Wales Art Society; 'There are, while perhaps nothing very remarkable, few really bad specimens this year'.  The first contributor named was Winifred Arthur.  The review was mostly positive, though the tone appears tooth-grindingly patronising to the modern ear.  One study was ‘charming’ and ‘admirable’ and another titled ‘Sweet Hawthorn’ was a 'sweet little bit of colour'.  A final sentence concluded that two of her landscapes 'were not so good'.

According to the 1911 census, Winifred lived with her widowed father in Toxteth Park.  He died in 1917.  The 1921 census shows Winifred living in Edge Lane, Liverpool ,with Sara Evelyn Seckerson, her widowed younger sister, and her teenage nephew Richard Arthur Seckerson.  Winifred died on 6 July 1934 at Braddon on the Isle of Man.

P J M Marks
Curator, bookbindings. Printed Historical Collections

Further reading;
Jeff Weber, Annotated Dictionary of Fore-Edge Painting Artists & Binders, 2010.
Marianne Tidcombe, Women bookbinders, 1880-1920, 1996
Dataset of selected fore edge paintings on British Library books.

Henry Scott Trimmer was born in Old Brentford on 1 August 1778.  His mother, Sarah (1741-1810), was a prominent educationalist, whose writing had a marked effect on the style and content of children’s literature of the time.  It was in Brentford that Henry and his older brother, John, first met the ten-year-old William Turner, who had been sent to live with his uncle, Joseph Marshall, a local butcher.  William and Henry soon became firm friends.

Oil painting of Sarah Trimmer, evangelist and children's writer by by Henry Howard - © National Portrait Gallery  NPG 796

Henry fell ill with consumption in 1792-3 but made a full recovery.  He gained a B.A from Merton College, Oxford in 1802 and in August that year was ordained deacon and appointed curate at St Leonard’s, Shoreditch.  In December 1802 he was ordained priest and in 1803 became curate in Kedington, Suffolk, where he met his future wife.  In 1804 he was appointed Vicar of Heston, near to where he had grown up, and remained there until his death in 1859. 

St Leonard’s Church, Heston (photograph by author)

In 1805 Henry married Mary Driver Syer in Kedington.  They had three sons: Henry Syer, Barrington and Frederick.

Bury and Norwich Post 10 July 1805 British Newspaper Archive

After Turner completed the building of Sandycombe Lodge, his Twickenham house, in 1813, he and Henry Trimmer spent more time together and it is thanks to the information that Henry Trimmer’s sons passed on to Turner’s first biographer Walter Thornbury, that we know so much about Turner’s life at Sandycombe Lodge.  Henry was also an occasional visitor at Turner’s studio and gallery in Queen Anne Street.  Thornbury suggests that the interior of a church depicted in Turner’s Liber Studiorum is St Leonard’s, Heston, but the original drawing dates from 1797, before Trimmer moved to Heston.

Turner felt that he needed to be better educated in the classics and Henry wished to improve his artistic skills, so they came to an arrangement whereby Henry schooled Turner in Latin in exchange for painting lessons.  They went out on sketching trips together, often with the Trimmer sons, and also visited art galleries, such as the one at nearby Osterley House.  Sadly, none of Henry’s paintings seem to have survived but there is an engraved print of one of them in the Victoria and Albert Museum.

Seascape with Rainbow, 1837. Henry Scott Trimmer (artist), David Lucas (engraver).  © Victoria and Albert Museum 

In 1815, Henry was appointed Justice of the Peace and, in 1821, Deputy Lieutenant for Middlesex.  He was active in social reform and, in particular, campaigned for an investigation into the death of Private Frederick John White of the 7th Queen’s Own Hussars, based in Hounslow.  In 1846, White had been court-martialled and flogged for insubordination and had died shortly after the lashes had been administered.

Grave of Private Frederick John White  at St Leonard’s Churchyard, Heston (photograph by author)

After Turner sold Sandycombe Lodge, in 1826, Henry saw less of him but, as Turner had appointed him as one of his executors, he was involved in the long-drawn-out dispute about Turner’s will, from 1852 to 1856.

Henry died on 20 November 1859 and his wife, Mary, only survived him by 48 hours. His son, Barrington, who had been his curate for 27 years, died the following year.

Norfolk Chronicle 3 December 1859 British Newspaper Archive

Henry Scott Trimmer’s tomb in St Leonard’s Churchyard, Heston (photograph by author)

Illustrated London News 14 January 1860 British Newspaper Archive

During his lifetime, Henry had amassed a fine collection of paintings by celebrated artists, many of whom were known to him personally. When the collection was sold, in 1860, it included works by Hogarth, Reynolds and Gainsborough. No mention is made of any Turners, although Henry certainly owned some.

Morning Post 19 March 1860 British Newspaper Archive

David Meaden
Independent Researcher

Further reading:
British Newspaper Archive
Brentford High Street Project 
Franny Moyle, The Extraordinary Life and Momentous Times of J.M.W.Turner (London, 2016).
Anthony Bailey, Standing In The Sun – a life of J.M.W.Turner (1997).
Walter Thornbury, The Life of J.M.W. Turner R.A. founded on letters and papers furnished by his friends and fellow Academicians, (London, 1862).

Turner’s restored house in Twickenham is open to visitors.