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24  Joan carlile 9 1. The National Archives (TNA), PROB 11/367, ff. 177r–178v. Joan’s will, dated 3 December 1677, gives her name as Joanna. Earlier female professional artists include the Scottish calligrapher and miniaturist Esther Inglis, née Kello (1571–1624). 2. William Sanderson, Graphice, The Use of the Pen and Pensil. Or, The Most Excellent Art Of Painting, London, 1658, p. 20. 3. Margaret Toynbee & Gyles Isham, ‘Joan Carlile (1606?– 1679) an identification’, The Burlington Magazine, vol. 96, no. 618 (September 1954), pp. 273–77; Margaret Toynbee, ‘The family connections of Joan Carlile’, Notes & Queries, no. 200 (December 1955), pp. 515–21; Margaret Toynbee, ‘An additional note’, The Burlington Magazine, vol. 100, no. 666 (September 1958), pp. 318–19; Margaret Toynbee, ‘Portrait Group by Joan Carlile’, Country Life, vol. 135, no. 3497 (12 March 1964), p. 572; Margaret Toynbee, ‘Joan Carlile: some further attributions’, The Connoisseur, November 1971, pp. 186–88. 4. I am grateful to Catharine MacLeod for alerting me to the portrait at Mellerstain House and to Philip Mould and Lawrence Hendra for allowing me to view the portrait in their possession during conservation. 5. I would especially like to thank Nicole Ryder, Catharine MacLeod and Tabitha Barber for their generosity and time in discussing Joan Carlile and their enthusiasm for the technical project. 6. British Library, Egerton MSS 2221:2, quoted in Toynbee & Isham, op. cit., p. 515. 7. Lodowick’s plays were printed under the name of Carlell. 8. An explanation of this double usage can be found in Charles H. Gray, Lodowick Carliell, Chicago, 1905, pp. 24–26. 9. See James E. Ruoff, ‘The Author of “Britaines Glory” (1618): An Identification’, Notes and Queries, July 1955, pp. 295–96. 10. Arianne Burnette, ‘Carlile [Carlell; née Palmer], Joan (c. 1606–1679)’, Oxford Dictionary of National Biography, online edition [accessed 10 February 2018: https://doi.org/10.1093/ ref:odnb/4681]. 11. Lodovick was one of two keepers of Petersham Lodge and Walk, the other being Humfry Rogers, who was granted Harleton Farm. The fee was £50 per annum. See Paul Rabbitts, Richmond Park: From Medieval Pasture to Royal Park, Stroud, 2014, p. 46. The State Papers reveal a payment to Lodovick of £100 for ‘Pease, tares and hay for the red and fallow deer in the great Park at Richmond’. John Bruce (ed.), Calendar of State Papers Domestic: Charles I, 1636–7, London, 1867, pp. 457–78. 12. They included Thomas Knyvett, Lucy Hay, Countess of Carlisle, Gilbert Sheldon and Sir Justinian Isham (on whose behalf Joan Carlile attempted to intercede with Cromwell’s secretary of state, who had married her cousin). Following Toynbee and Isham, the Oxford Dictionary of National Biography suggests that the Carliles supplemented their income by taking in lodgers. This view may have been inferred from a letter of Thomas Knyvett dated 16 May 1642 in which he states: ‘That they will furnish with all necessaryes but linning’. Bertram Schofield (ed.), The Knyvett Letters, 1620–1644, London, 1949, p. 104. 13. The figure of Sir Justinian was identified in the will of Miss Vera Isham (d. 1760), who left the painting to her nephew, the seventh baronet: ‘a picture with several Figures in it, in which is that of my grandfather, Sir Justinian Isham’. A later likeness of Sir Justinian can be seen in a miniature by Samuel Cooper of 1653, also at Lamport. 14. The Passionate Lovers: A tragi-comedy, the first and second parts … / Written by Lodowick Carlell, London, 1655. Both parts of the play were produced in the summer of 1638 by the King’s Men in the hall of Somerset House, with stage sets by Inigo Jones. See John Orrell, The Theatres of Inigo Jones and John Webb, Cambridge, 1985, p. 13. 15. Conservation work in 1984 revealed pentimenti consisting of two figures in the centre of the composition, presumably removed to allow for the distant perspective. Report made by the Hamilton Kerr Institute, University of Cambridge, courtesy of Lamport Hall. 16. A copy of this portrait, probably from the 18th century, is in a private collection. The measurements of the figures in the latter suggest that it was traced from the Ham House version and it is likely that the inscriptions on both portraits were added at the same time. 17. In 1629 Lodovick dedicated his play The Deserving Favourite to ‘My Very Noble and approved Friends, Mr. Thomas Carie, Sonne of the Earle of Monmouth, and Mr. William Murrey, both of the Bed Chamber to his majestie.’ 18. Paget Toynbee, ‘Horace Walpole’s journals of visits to country seats, & c.’, The Walpole Society, no. 16 (1927–28), p. 67. 19. Another highly unusual, dynamic portrait of three young women in a landscape, in which all the sitters are shown interacting, was formerly at Okeover Hall, Staffordshire. It is depicted in Toynbee, ‘Portrait Group by Joan Carlile’, op. cit. Toynbee has suggested that the sitters could be the daughters of Joan’s cousin, Sir Walter Overbury. See Toynbee, ‘Joan Carlile: some further attributions’, op. cit., p. 186. 20. It has not yet been possible to examine the portrait in the Bute Collection, currently catalogued as ‘English School’. It will be the subject of continuing research. 21. Gyles Isham (ed.), The Correspondence of Bishop Brian Duppa and Sir Justinian Isham, 1650–1660, Lamport, 1955, p. 74. 22. Ibid, p. 81. 23. Ibid, p. 153. Joan Carlile’s will (proved 1681) mentions arrears due to her late husband at the time of his death, including a pension of £200 per annum which ‘together with what hath become due since her Husband’s death, is still unpaid, except £175, and by reason thereof her Husband’s debts are likewise unpaid’. She suggests, in the event that the arrears are not received in time, selling her pictures to pay their debts. 24. The portrait thought to show Lady Anne Wentworth descended in the Fitzwilliam family of Wentworth Woodhouse and was last sold at Christie’s New York, 26 January 2009, lot 303. 25. A possible exception to this is the portrait formerly at Okeover Hall. 26. This portrait was formerly at Cranford Hall (now demolished), where, in an ‘Inventory of Heirlooms’ of 1896, it was attributed to Mary Beale. 27. The portrait, of an unknown sitter, has been signed in a later hand ‘Rawlison, P.’ and inscribed in the same hand ‘Henrietta Maria, wife of K. Char 1st’. It is interesting to note the presence of works by Carlile at both Mellerstain, the family seat of the earls of Haddington, and nearby Thirlestane Castle, the seat of the Lauderdales, her known patrons. 28. TNA, PROB 11/367, ff. 177r–178v. The sitter referred to may be ‘The Illustrious Princess, Mary Dutchess of Richmond and Lenox’ of Lodowick’s dedication in The Passionate Lovers (1655), rather than Princess Mary of Orange or Anne Hyde, as suggested in Toynbee & Isham, op. cit., p. 277. 29. Donald C. Fels, The Lost Secrets of Flemish Painting, Including the First Complete English Translation of the De Mayerne Manuscript, Eijsden, 2010, p. 32. 30. Lely’s painting is at Ham House (NT 1139764). 31. These include his first portrait of Queen Henrietta Maria (1632, Royal Collection), of their mutual friend Nicholas Lanier (1632, Kunsthistoriches Museum, Vienna), and of Lady Anne Carey (1636, Frick Collection, New York). 32. TNA, PROB 11/367, ff. 177r–178v. The codicil to Carlile’s will leaves to ‘the worthy Mrs Colt the picture of the Lady Bedford [Anne Carr, Countess of Bedford] hanging in her staircase’. 33. RCIN 406553. 34. Other portraits as yet untraced share similar characteristics – for example, the portraits of Elizabeth Sandys (née Pettus) and Lady Abigail Pettus, formerly in the collection of Viscount Hereford at Hampton Court in Hertfordshire. The portraits were identified by Ralph Edwards and described in Toynbee, ‘Joan Carlile: some further attributions’, op. cit. They were sold at Phillips Auctioneers, 21–22 June 1972, lots 570 & 574. 35. John Ruskin, Proserpina: Studies of Wayside Flowers, Orpington, 1875, quoted in Richard Mabey, Weeds: The Story of Outlaw Plants, London, 2010, p. 162. Carlile was possibly inspired by Van Dyck’s portrait of Charles I in the hunting field (1632, Louvre, Paris). 36. Buckeridge mistakenly gives Joan’s name as Anne. See the entry ‘Mrs Anne Carlisle’ in ‘An Essay Towards an English School of Painting’, printed in Roger de Piles, The Art of Painting, and the Lives of Painters, London, 1706, p. 406. This is an English translation, with additions, of Abrégé de la vie des peintres, first published in Paris in 1699. 37. TNA, PROB 11/367, ff. 177r–178v. It is probably this reference to working on a small scale, along with the essay by Buckeridge, that has given rise to the view that she reproduced Old Masters in miniature.
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TASTE CONTAINED AND LIBERATED: WOMEN AS PATRONS AND POSSESSORS OF SILVER IN STUART AND GEORGIAN BRITAIN 1 1 FIG 1 Bread basket, 1734–35, Peter Archambo (1699– 1759), London, silver, diam. 30.4cm, Erddig, Clwyd Photo: © National Trust Images/Susanne Gronnow Although married women could not legally possess property in 17th- and 18th-century Britain, they were often influential patrons of the arts – which included the commissioning of many noteworthy pieces of silver, writes JAMES ROTHWELL

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24  Joan carlile

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1. The National Archives (TNA), PROB 11/367, ff. 177r–178v. Joan’s will, dated 3 December 1677, gives her name as Joanna. Earlier female professional artists include the Scottish calligrapher and miniaturist Esther Inglis, née Kello (1571–1624). 2. William Sanderson, Graphice, The Use of the Pen and Pensil. Or, The Most Excellent Art Of Painting, London, 1658, p. 20. 3. Margaret Toynbee & Gyles Isham, ‘Joan Carlile (1606?– 1679) an identification’, The Burlington Magazine, vol. 96, no. 618 (September 1954), pp. 273–77; Margaret Toynbee, ‘The family connections of Joan Carlile’, Notes & Queries, no. 200 (December 1955), pp. 515–21; Margaret Toynbee, ‘An additional note’, The Burlington Magazine, vol. 100, no. 666 (September 1958), pp. 318–19; Margaret Toynbee, ‘Portrait Group by Joan Carlile’, Country Life, vol. 135, no. 3497 (12 March 1964), p. 572; Margaret Toynbee, ‘Joan Carlile: some further attributions’, The Connoisseur, November 1971, pp. 186–88. 4. I am grateful to Catharine MacLeod for alerting me to the portrait at Mellerstain House and to Philip Mould and Lawrence Hendra for allowing me to view the portrait in their possession during conservation. 5. I would especially like to thank Nicole Ryder, Catharine MacLeod and Tabitha Barber for their generosity and time in discussing Joan Carlile and their enthusiasm for the technical project. 6. British Library, Egerton MSS 2221:2, quoted in Toynbee & Isham, op. cit., p. 515. 7. Lodowick’s plays were printed under the name of Carlell. 8. An explanation of this double usage can be found in Charles H. Gray, Lodowick Carliell, Chicago, 1905, pp. 24–26. 9. See James E. Ruoff, ‘The Author of “Britaines Glory” (1618): An Identification’, Notes and Queries, July 1955, pp. 295–96. 10. Arianne Burnette, ‘Carlile [Carlell; née Palmer], Joan (c. 1606–1679)’, Oxford Dictionary of National Biography, online edition [accessed 10 February 2018: https://doi.org/10.1093/ ref:odnb/4681]. 11. Lodovick was one of two keepers of Petersham Lodge and Walk, the other being Humfry Rogers, who was granted Harleton Farm. The fee was £50 per annum. See Paul Rabbitts, Richmond Park: From Medieval Pasture to Royal Park, Stroud, 2014, p. 46. The State Papers reveal a payment to Lodovick of £100 for ‘Pease, tares and hay for the red and fallow deer in the great Park at Richmond’. John Bruce (ed.), Calendar of State Papers Domestic: Charles I, 1636–7, London, 1867, pp. 457–78. 12. They included Thomas Knyvett, Lucy Hay, Countess of Carlisle, Gilbert Sheldon and Sir Justinian Isham (on whose behalf Joan Carlile attempted to intercede with Cromwell’s secretary of state, who had married her cousin). Following Toynbee and Isham, the Oxford Dictionary of National Biography suggests that the Carliles supplemented their income by taking in lodgers. This view may have been inferred from a letter of Thomas Knyvett dated 16 May 1642 in which he states: ‘That they will furnish with all necessaryes but linning’. Bertram Schofield (ed.), The Knyvett Letters, 1620–1644, London, 1949, p. 104.

13. The figure of Sir Justinian was identified in the will of Miss Vera Isham (d. 1760), who left the painting to her nephew, the seventh baronet: ‘a picture with several Figures in it, in which is that of my grandfather, Sir Justinian Isham’. A later likeness of Sir Justinian can be seen in a miniature by Samuel Cooper of 1653, also at Lamport. 14. The Passionate Lovers: A tragi-comedy, the first and second parts … / Written by Lodowick Carlell, London, 1655. Both parts of the play were produced in the summer of 1638 by the King’s Men in the hall of Somerset House, with stage sets by Inigo Jones. See John Orrell, The Theatres of Inigo Jones and John Webb, Cambridge, 1985, p. 13. 15. Conservation work in 1984 revealed pentimenti consisting of two figures in the centre of the composition, presumably removed to allow for the distant perspective. Report made by the Hamilton Kerr Institute, University of Cambridge, courtesy of Lamport Hall. 16. A copy of this portrait, probably from the 18th century, is in a private collection. The measurements of the figures in the latter suggest that it was traced from the Ham House version and it is likely that the inscriptions on both portraits were added at the same time. 17. In 1629 Lodovick dedicated his play The Deserving Favourite to ‘My Very Noble and approved Friends, Mr. Thomas Carie, Sonne of the Earle of Monmouth, and Mr. William Murrey, both of the Bed Chamber to his majestie.’ 18. Paget Toynbee, ‘Horace Walpole’s journals of visits to country seats, & c.’, The Walpole Society, no. 16 (1927–28), p. 67. 19. Another highly unusual, dynamic portrait of three young women in a landscape, in which all the sitters are shown interacting, was formerly at Okeover Hall, Staffordshire. It is depicted in Toynbee, ‘Portrait Group by Joan Carlile’, op. cit. Toynbee has suggested that the sitters could be the daughters of Joan’s cousin, Sir Walter Overbury. See Toynbee, ‘Joan Carlile: some further attributions’, op. cit., p. 186. 20. It has not yet been possible to examine the portrait in the Bute Collection, currently catalogued as ‘English School’. It will be the subject of continuing research. 21. Gyles Isham (ed.), The Correspondence of Bishop Brian Duppa and Sir Justinian Isham, 1650–1660, Lamport, 1955, p. 74. 22. Ibid, p. 81.

23. Ibid, p. 153. Joan Carlile’s will (proved 1681) mentions arrears due to her late husband at the time of his death, including a pension of £200 per annum which ‘together with what hath become due since her Husband’s death, is still unpaid, except £175, and by reason thereof her Husband’s debts are likewise unpaid’. She suggests, in the event that the arrears are not received in time, selling her pictures to pay their debts. 24. The portrait thought to show Lady Anne Wentworth descended in the Fitzwilliam family of Wentworth Woodhouse and was last sold at Christie’s New York, 26 January 2009, lot 303. 25. A possible exception to this is the portrait formerly at Okeover Hall. 26. This portrait was formerly at Cranford Hall (now demolished), where, in an ‘Inventory of Heirlooms’ of 1896, it was attributed to Mary Beale. 27. The portrait, of an unknown sitter, has been signed in a later hand ‘Rawlison, P.’ and inscribed in the same hand ‘Henrietta Maria, wife of K. Char 1st’. It is interesting to note the presence of works by Carlile at both Mellerstain, the family seat of the earls of Haddington, and nearby Thirlestane Castle, the seat of the Lauderdales, her known patrons. 28. TNA, PROB 11/367, ff. 177r–178v. The sitter referred to may be ‘The Illustrious Princess, Mary Dutchess of Richmond and Lenox’ of Lodowick’s dedication in The Passionate Lovers (1655), rather than Princess Mary of Orange or Anne Hyde, as suggested in Toynbee & Isham, op. cit., p. 277. 29. Donald C. Fels, The Lost Secrets of Flemish Painting, Including the First Complete English Translation of the De Mayerne Manuscript, Eijsden, 2010, p. 32. 30. Lely’s painting is at Ham House (NT 1139764). 31. These include his first portrait of Queen Henrietta Maria (1632, Royal Collection), of their mutual friend Nicholas Lanier (1632, Kunsthistoriches Museum, Vienna), and of Lady Anne Carey (1636, Frick Collection, New York). 32. TNA, PROB 11/367, ff. 177r–178v. The codicil to Carlile’s will leaves to ‘the worthy Mrs Colt the picture of the Lady Bedford [Anne Carr, Countess of Bedford] hanging in her staircase’. 33. RCIN 406553. 34. Other portraits as yet untraced share similar characteristics – for example, the portraits of Elizabeth Sandys (née Pettus) and Lady Abigail Pettus, formerly in the collection of Viscount Hereford at Hampton Court in Hertfordshire. The portraits were identified by Ralph Edwards and described in Toynbee, ‘Joan Carlile: some further attributions’, op. cit. They were sold at Phillips Auctioneers, 21–22 June 1972, lots 570 & 574. 35. John Ruskin, Proserpina: Studies of Wayside Flowers, Orpington, 1875, quoted in Richard Mabey, Weeds: The Story of Outlaw Plants, London, 2010, p. 162. Carlile was possibly inspired by Van Dyck’s portrait of Charles I in the hunting field (1632, Louvre, Paris). 36. Buckeridge mistakenly gives Joan’s name as Anne. See the entry ‘Mrs Anne Carlisle’ in ‘An Essay Towards an English School of Painting’, printed in Roger de Piles, The Art of Painting, and the Lives of Painters, London, 1706, p. 406. This is an English translation, with additions, of Abrégé de la vie des peintres, first published in Paris in 1699. 37. TNA, PROB 11/367, ff. 177r–178v. It is probably this reference to working on a small scale, along with the essay by Buckeridge, that has given rise to the view that she reproduced Old Masters in miniature.

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