A portrait of art dealer and philanthropist Sir Hugh Lane. The picture was painted in September 1904 by Roman-born Antonio Mancini when Lane was visiting the artist’s native city. Tomorrow marks the centenary of the sinking of the RMS Lusitania off the coast of Cork, and Lane was among the 1,198 persons who died on that occasion.
I shall be giving two talks in the coming weeks on Sir Hugh Lane. On Thursday 14th May, I will be speaking at the Library in Douglas, Cork at 7pm (for more information, see http://www.vernonmountpark.ie/latest-news) and on Thursday 21st May I will be speaking at Dublin City Gallery The Hugh Lane at 6.45 (for more information, see http://www.hughlane.ie/lectures/lectures-past/1320-evening-lecture-the-commercial-world-of-sir-hugh-lane-art-dealer-with-robert-obyrne). The Mancini portrait continues to hang in the gallery founded by Sir Hugh Lane and can be seen there in an exhibition marking the centenary of his death.
Granted a royal charter in December 1600 to trade as as the ‘Governor and Company of Merchants of London trading into the East Indies’, the East India Company was the first such organisation established in Europe. A joint-stock company its task was to develop closer trade links with Asia, which in practice came to mean the Indian subcontinent and Imperial China. Shares in the business were owned by merchants and wealthy landowners, some of whom became even richer as a result of their association with the company. The British government possessed no shares but exercised indirect control thanks to a series of acts passed during the 18th century as the East India Company expanded. Eventually the company came to be responsible for half the world’s trade, with a focus on certain commodities such as cotton, silk, salt and tea. But the need to secure this dominance led the East India Company into warfare both with the indigenous population and with rival businesses from other European states such as France. As a result, it came to maintain a private army and to seek control over parts of the countries in which it operated, most notably India. Only with the 1858 Government of India Act did the British government assume direct control of the subcontinent; the East India Company itself was wound up sixteen years later. Mention has been made of the principal goods in which the company traded, but there were many secondary ones, luxury items like porcelain, spices, lacquerwork and silk for which demand steadily increased. And then there was what came to be called India paper, even though it was made in China.
The taste for Chinese wallpaper developed in the 18th century and led to the emergence of a specific trade in this item. Initially ships returning from Asia brought other luxury goods like screens, porcelain and pictures intended as gifts for royal residences. The exotic appeal of the work led to increasing consumer demand so that items were no longer brought back as gifts but as tradeable commodities. In his invaluable book on Irish wallpaper published last year, David Skinner notes that such goods seldom appear on cargo lists but instead were treated as ‘private trade’ by ships’ captains: paper had the advantage of being easily rolled up and fitted into available space in the hold. Then once in Europe, it could be sold at auction in the East India Company’s London headquarters. Skinner cites a single vessel belonging to the company in 1776 carrying 2,236 pieces of paper, enough to cover the walls of around one hundred rooms. That figure gives an idea of how keen demand had become for this commodity by the third quarter of the 18th century. In turn it led to increased production in China, aimed at the European market but without pictorially concealing its country of origin, unlike Chinese porcelain which often incorporated western decorative motifs. Wall paper, on the other hand, retained its indigenous imagery and featured birds, insects and plants unfamiliar to Europeans. So too were the costumes of human figures, the buildings they occupied and the landscape through which they moved. The paper’s appeal lay precisely in the depiction of difference, combined with evident technical finesse. Hand painted Chinese paper tended to offer varying scenes, almost like a narrative, so that no part of the run around a room’s walls looked the same. This differed from the repeat pattern of its printed western equivalent.
By the 1750s Chinese wall papers were being offered for sale in Dublin. However, when Emily, Countess of Kildare (later first Duchess of Leinster) undertook the decoration of a small drawing room at Carton, County Kildare she sourced her material in London, presumably because it could offer a wider selection. Her husband was often dispatched on such errands when in England, on one occasion writing to her, ‘As to the India paper you want, there are patterns gone to Chester of every kind in London for you to choose out of; so that you will please yourself.’ The problem was that Lady Kildare had trouble finding a sufficient quantity of the same type of paper. Her scheme for the room was elaborate, since the walls were not simply covered with paper; it formed only one part of the decoration. The design of the imported paper, as described by David Skinner, features ‘a landscape with a river winding towards distant mountains, past villas and gardens whose well-to-do inhabitants engage in leisurely rural pastimes, and villages where rustic figures are at work fishing and farming. As always with Chinese papers, the landscape is evocative rather than strictly topographical, yet is still recognisable as that of southern China in the middle of the Qing period.’ All of this is found set within painted paper borders designed to resemble carved jade, and carved and gilded rococo filets. It is a complex, almost overly rich style of decoration that is difficult for our own era to appreciate.
The Chinese Room at Carton is the earliest extant example of this form of decoration in Ireland. Somewhat later is the room shown here, that on the first floor of Westport House, County Mayo, home to successive generations of the Brownes, Earls of Altamont and later Marquesses of Sligo. The core of the house was designed in the early 1730s by Richard Castle but then enlarged in the 1770s and 1780s following designs by Thomas Ivory and James Wyatt. The paper here was most likely installed after completion of the latter’s work on the property. In many ways the paper hung here is similar to that in Carton, again featuring groups of figures depicted moving among villas and gardens in an imaginary landscape. The paper is uninterrupted by other elements but as a result of the low coved ceiling height, it had to be cut down. So there is no sky, which gives the room a slightly claustrophobic character. Although there no information has been found in the Westport papers, David Skinner believes that while the paper is from the late 18th century, it was only put up here in the 19th century, not least because three earlier patterned papers have been found underneath. At the moment, the room is undergoing a gradual programme of restoration by English conservator Mark Sandiford who has undertaken similar commissions in other buildings, including Woburn Abbey, Bedfordshire. To see it at the moment, when this process remains incomplete, is especially fascinating since the techniques involved in the paper’s creation and hanging are more apparent than would otherwise be the case.
The ceiling rose in the dining room of Turbotstown, County Westmeath. There is some debate over who was responsible for the design of this early 19th century neo-classical house, with Francis Johnston the most likely candidate since in purity of style it bears similarities with Townley Hall, County Louth with which he was involved (see Là, tout n’est qu’ordre et beauté, June 10th 2013). Here, as at Townley, the plasterwork remains wonderfully crisp and sharp.