Beetham, Isabella, Mrs (SCC Newsletter September 2011)

Mrs. Isabella Beetham c.1753-1825.

One of the ‘Greats' amongst British Silhouette Artists.

Her work on glass.

Above are three illustrations from the Book. On the left, described as an "ethereal silhouette" by Mrs. McK. (p.574 illus.1006), in the centre an unknown man from the V& A Collection (p.574 illus.1010) and on the right a young woman (p.575 illus.1011) All are backed with trade label no. 5.

INTRODUCTION

In the July 2000 Newsletter I wrote an article entitled "Mrs. Beetham—her work painted on paper and the part played by Mrs. Bull in these. "This is the only article on Mrs. Beetham's work that has appeared in the Newsletter since my editorship. My conscience has been pricked for sometime as I have always marvelled at Mrs. Beetham's skill on the reverse side of convex glass. Now I feel it is about time that I produced an article on this glass work—so here goes!

Desmond Coke, the author of "The Art of Silhouette" usually has much of interest to say about the major artists. Mrs. Beetham he rated very highly and I quote — “To Mrs. Beetham must be awarded the palm of merit among profilists unless the judge be anyone whose tastes run to a classic sternness. She, as befits her sex, had nothing of that quality. Hers not to leave Nature's own shade in its uncompromising, beautiful simplicity: she held the mirror up and lo! her sitters found themselves (one almost must suspect) more graceful, delicate and fair than even they themselves had hitherto suspected." (page 47) I hope you will agree when you have read this article.

As you are all aware photographing works on glass is not easy and often the results are not as good as one would have hoped. Catalogue photographs of her works, of which there are many, are often rather small and show little detail. However, I think I have found a satisfactory sample for the purposes of this article in the literature, in articles and catalogues and from two collections, that will do her justice. I hope you will agree.

Below are two further ladies from the Book On the left is Mrs. Sophia Metcalf nee Andrews—the daughter of Mr. & Mrs. Andrews by Gainsborough. She was sold at Mrs. McK’s Sale on 30th July 1979 (lot 18) She is in the Book on p.575 illus.1014. On the right is Mrs. Ann Jones in the on Book p.576 illus.1021, The detail shown on bath is not especially good hut Mrs. McK. mentions the fineness of the painting in both profiles.

 

 

 

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FAMILY HISTORY.

Above is a silhouette of Mrs. Beetham by her friend Amelia Opie wife of the portrait painter—it is from Mrs. P. Hickman's "Two Centuries of Silhouettes. Celebrities in Profile". On her right is a portrait of Edward Beetham taken from a mezzotint after a portrait by Mrs. Beetham. This is taken from Mr. Woodiwiss's article "The Ingenious Beetham Family" in Country Life for 26th.January,196L It is also illustrated in the Book.

Mrs.McK. has her main entry on Mrs. Beetham in Section Three (Artists who painted silhouettes on glass) on pages 518-524. In this she goes into considerable detail about the family background. I will go into this in somewhat less detail, but it is of particular interest neverthless and has a bearing on the development of Mrs. Beetham's career. In this connection I have also referred to the article by John Woodiwiss mentioned above. Mrs. Beetham's decendents have also made their contribution to the family history.

Mrs. Beetham was born Isabella Robinson in 1753. She came from an old Hampshire family. In 1772 she met Edward Beetham. He was 28 years old at the time and had come from a rich Westmorland landowning family, who were Roman Catholics with Jacobite sympathies. However, before meeting Isabella he had been disowned by bis family for deciding to pursue a career on the stage. Also, after the disowning he had added an extra 'e' to his name (Betham to Beetham) in order it seems to distance himself even further from his family. Apparently he was never reconciled with his close family, although he did finally receive some family inheritance. Not surprisingly Isabella's family did not approve of stage players either and refused their consent to the marriage. However, when Isabella was about 20 years old the couple had a runaway marriage.

Edward Beetham proved to be a man of many parts. He persisted with his stage career in spite of many hardships and did finally make the London stage through his contact with Samuel Foote (a famous actor & mime at the time "who proved a powerful and lasting friend.") Mr. Foote is also said to have influenced Isabella to paint profiles. However, it was Edward's inventive skills that enabled the family to eventually have a more comfortable life and to meet some of the influential people of the time - whom Isabella was able to paint in silhouette.

Edward's first invention - the roller curtain to reduce the risk of fire in theatres - was a success but not financially for Edward as he could not afford to patent this. However, his "Beethams Royal Patent Washing Mill” invented in 1782 was a success. On the next page is an advertisement for the Mill drawn by Mrs. Beetham.

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Above are Sir Edward & Lady Beetham Govenor of Trinidad & Tobago 1955-1960 painted by Honoria Marsh for P. Hickman's "Two Centuries of Silhouette - Celebrities in Profile" in 1971.

In 1784 Edward went to Venice, Island of Murano, where he learnt about crystal glass decoration in gold & silver—which enabled him to decorate his wife's frames—adding much to the attractiveness of her profiles when she was at the height of her powers. Edward's last and perhaps most successful venture was bis part in setting-up the Eagle Star Insurance Company—which exists today. He was appointed company director in October 1807, but unfortunately he died in 1809 before he saw how successful the company had become.

The couple had six children—many of their exact dates of birth have not been established. The eldest was Jane (later Jane Read, who became a well-known artist in her own right) - she was born in 1773. Next was William, who was born in 1774. He became a solicitor and eventually Secretary of the Eagle Star Insurance Company. Then there seems to have been a gap of about six years before Harriet was born possibly between 1780 & 1782. She was living with her mother at the time of her death and was no doubt a widow herself by then . Charles was born about 1789-92—he became a lawyer but died before his mother. Cecilia was born 1793-4 and like Harriet was living with her mother at the time of her death and was also likely to have been a widow. Finally Alfred was born in 1795 - he died in 1819 and was probably a medical student at the time It is of interest to note that Mrs. Beetham had at least three children during the time she was at the height of her powers.

After the Beetham marriage the family set up home in Holborn - they moved to 4., Cornhill before moving finally about May 1784 to 27, Fleet Street, where they remained until the death of Edward in 1809. They were able with their increasing prosperity to buy the lease of No. 27 and also some interest in No. 26 for the storage of the washing mills. The houses provided a shop for Edward, a studio for Isabella as well as a home for an increasing family and staff. The houses were in an area where the family were able to associate with more prominent people, which would have been likely to help both the business of Edward and Isabella' artistic work. After Edward's death Mrs. Beetham moved out of central London - apparently she had not been painting silhouettes for some years prior to this. For the rest of her life she lived more simply with her two widowed daughters and died in August 1825.

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HER CAREER

This probably began in about 1777 when she started cutting profiles as opposed to painting these—charging half-a-crown for two copies. The last recording of a dated cut-out example of her work is 1783 - the label on the back had the 4, Cornhill address . It was about 1785 when she had lessons in miniature painting from John Smart (an important miniature painter of the period). It was after these lessons that she started to paint on card & glass. She was then able to put up her prices and to become the major earner at that time for her growing family. Most of her outstanding works on glass were painted in the latter part of the 1780's and the early 1790's. Clearly there was an increasing demand for her works during these years. I have mentioned that she was having babies at the same time - so she was a busy lady!

She is known to have employed assistants in the 1780's—in particular Mrs. Bull, who helped her with her painted work on paper. Mrs. Bull is not recorded as helping her with her work on glass. However, William Gardiner (see entry on him in the Book on pages 529-530) is recorded as assisting her for at least some months before he decided to pursue a quite different career. I will mention his particular contribution in more detail under the heading - “Her Work".

Her daughter Jane Read definitely worked with her in the years 1792-1797, when their work was backed with a joint trade label. Mrs. McK. takes the view that Mrs. Beetham probably did not paint profiles much after 1799, but adds that it is possible that she did produce a handful in the early I 800's. Whether she stopped because there was less demand for her work or the competition was to great we shall not know. However, there is no doubt that her work on glass would be time consuming and require a lot of effort. Or possibly her husband was bringing in enough money for the family and she decided to 'retire'.

On the left above is Miss Di. Jones - she is from Plate V1 in D. Coke's “The Art of Silhouette. In the centre is an unknown lady ex. Hickman Collection—sold at her Sale at Christie's, S. Kensington on 12th May 1993. At the Sale she made the grand price of £4,950! She had previously belonged to Arthur Mayne and had been exhibited at the National Portrait Gallery in 1972. On the right is Mrs. Helmore from the Victoria & Albert Collection—she was also exhibited at the N.P.G. in 1972.

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HER WORK ON GLASS.

Mrs. Beetham is recorded as always painting on convex glass—although John Woodiwiss in his book "British Silhouettes" illustrates two early works on glass, which he states are painted on flat glass. He was usually very accurate—so it is possible that Mrs. Beetham started on flat glass and then ‘adopted’ convex when she was confident to cope with the more difficult surface.

Most of these works were painted on a thumb and finger print base. For some months in the early days William Gardiner provided these prints—that was before he went on to learn the art of engraving and then pursuing of an academic career at Cambridge. After his departure it is probable that Mrs. Beetham did these prints herself or was assisted by her daughter Jane. The base for the prints is likely to have been produced by a mixture of gum arabic with pigment.

The costume detail and hair were then carefully and conscientiously painted on the top - each strand of hair painted separately. (see on left above an enlargement from the Book on page 610 illus.1216 showing this.) Clever hatching i.e. the painting of closely drawn parallel fines over the surface) was used to give shape and elegance to the work. (see in the centre above an enlargement of a man's jacket showing these lines— it is from the Book on page 612 illus.1227).

On certain works some of the highlighting was achieved by the use of a needle to scratch the pigment away. (see on the right above an enlargement showing this on a bandeau - again from the Book on page 610 illus. 1217). Bust-line terminations are always of the double-loop concavity - although many of the finest silhouettes of women on glass have no termination and go down to the bas of the glass oval.

All this - i.e. the thumb prints, the hatching, the use of the needle and Mrs Beetham's skills produced an especially delicate transparency for most of her works on glass. Mrs. Beetham was the master of this transparency. To quote again from Desmond Coke - “she certainly gave full rein to ribbons, jewels, hair and dress - her women on glass at the height of her powers have not been surpassed in my view".

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With the exception of works backed with wax most of the silhouettes on glass were backed with a slab of white plaster—although a few might be backed with silk or paper. The white backing in particular helped to enhance the shadow that the convex glass threw onto this flat surface. The profile shadow is one of the major attraction of works painted on convex glass. I have illustrated three silhouettes above that demonstrate this. All three came up for sale at the Christie Collection Sale at Bonhams on 9th November 1995. On the left is an unknown gentleman, with a good provenance as he had at some time been part of both the Mrs. Nevill Jackson and Desmond Coke Collections—he was lot 84. In the centre is an unknown lady with no provenance but nevertheless she made £1,800 on the hammer and was considered to be a fine example of Mrs. Beetham's work at the time. (lot 83) On the right is Mrs. Humphrey Ingwell, who had also been part of Mrs. Nevill Jackson's Collection (lot 85.)

It has been suggested that the body and hair of these works were prepared in advance by Mrs. Beetham with or without the help of an assistant. The face being added later after the sitting with the client and when it had been decided what outfit and hair style the client preferred. A hat could be added if that was required. This suggestion has come about due to a number of examples that have turned up over the years, where the face has become somewhat detached at the hairline. Below is an example where this has happened. The silhouette is a wonderful, image but when she came up for sale at Christie's, King Street on 2nd September 1998 it did not reach its reserve - clearly due to this damage. Sometimes this problem can lead to a 'lifting' of a part of the hair bordering the face and understandably there is a fear that the whole silhouette will `lift' in due course. I do not think this problem can be 'repaired' with any success unfortunately. Note the wonderful verre eglomise surround on this silhouette—I think Mr. Beetham at his best.

 

 

 

 

 

 

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WORKS ON GLASS BACKED WITH WAX.

It is recorded that after 1792 Mrs Beetham’s silhouettes became “duller in style” - many of these were backed with wax. Also at this time Edward Beetham was not providing his decorated glass surrounds as he was likely to be earning more on his other activities. Desmond Coke was especially dismissive of these wax examples - he felt that the “rather grimy shine (i.e. of the wax) ruins the dainty portrait and the owner is deprived of the effect of the shadow on the white chalk of the more normal specimens”. It is certainly true that some of the transparency effect is lost, but I think these works still show exceptional skill and have special charm of their own. Also it is fortunate that Mrs. Beetham’s was was of a good quality and has generally remained in tact - unlike the wax used by Hinton Gibbs! However, the wax does give more brownish colour to the profiles and a certain density.

Above I have illustrated three works backed with wax. On the left is an unknown man - he is one of a pair to the unknown lady on the right. Both are in papier mach frames with a pearwood inset and gold bands of verre eglomise. I do not think the frames have anything to do with Mrs. Beetham. Both are backed with trade label No. 5. The wax on both is in very good condition. In the centre is a hatted officer - interestingly he did have small piece of wax missing above his hat when purchased - but the rest of the wax has remained intact.

Below are three further examples backed with wax, On the left is young lady from a Member’s collection - note she has two lines of gold bands of verre eglomise in her surround. In the centre is another lady - she was sold at Christie’s, Kings Street on 8th March 1995 (lot 113). She had been part of the Christie Collection and is illustrated in the Book on page 576 illus. 1017 - her frame is definitely by Mrs. Beetham. On her right is Vice Admiral Sir Richard Grindall - he was sold at Bonhams on 8th. April, 2010 (lot 174)

 

 

 

 

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SOME OUTSTANDING LADIES!

On the left is a silhouette of an unknown young lady, who once formed part of the Jack Pollak Collection. She was lot 117 in his Sale at Bonhams on 21st February 1996 when she made £1,200 on the hammer. She is illustrated in A. Mayne's "British Profile Miniaturists" (illus.54) and also in his article for the Antique Collector for June 1968 entitled "The Fitzherbert Attribution" from which this is taken. In the centre is a splendid lady called Mrs Sharland—she was sold at Christie's, King Street on 20th March 1990. She had been part of the Wellesley & Desmond Coke Collections. The illustration is taken from "One Hundred Silhouette Portraits" (Wellesley Collection). Unfortunately over the years she seems to have parted company with her husband—he was illustrated beside her in the Wellesley book, but he did not appear at the Sale. On the right is another unknown lady—now in the Collection of the Victoria & Albert Museum. She is illustrated in the Book on page 575 illus 1015, but the above is taken from an article in Country Life in April 1945 by G. Bernard Hughes entitled "English Silhouettes I"

 

On the left is a lady —she was described then by the local saleroom as being by J. Miers! Her No. 5 label was revealed after a backing paper had been steamed off. In the centre is lot 16 from Bonhams Sale on 4th Match 2003 - her verre eglomise surround by Mr. Beetham is very fine, although the illustration from the catalogue does not do it justice. On the right is Miss Baxland, who is ex. Christie Collection - she was sold at Christie's King Street on 8th. Match, 1995 (lot 114) for £1,800. She was a wonderful example of the artist’s work with lier detailed turban and glorious hair.

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SOME FINE MEN!

On the left is a silhouette from a Member's Collection of a Dr. William Bennet—at one time Bishop of York. He is backed with card and housed in a plain turned wood frame. It is possible that he was backed with plaster at some point. On the right is an unknown gent. Over the years he has ‘lost' a small amount of paint on his stock and hair—he is also minus his label. His frame is decorated by Mr Beetham and I would date him c. 1786 or so—in other words an early work on glass. He was sold at my the local saleroom as a Miers! In the centre is another unknown gent wearing a hat—he is backed with plaster as the last gent but is housed in a plain fruitwood frame and is backed with trade label No.5. He was sold at Halls of Shrewsbury during Richard Allen's time on 23rd November 1994_ Unfortunately the catalogue illustration does not do the work justice, as it was much admired at the time of the Sale at which I was present.

Below are three further men. The gent on the left and the gent on the right are both ex. McKechnie Collection and were sold after her death at Sotheby's on 30th. July 1979 Both are illustrated in the Book on page 574 illus. 1007 & 1008. Both I think are early works on glass as both are housed in giltwood frames with a beaded inset surround. Both are backed with trade label No. 5. In the centre is an unknown gent ex Christie & ex Harman Collections. He first appeared in the salerooms at Christie's King Street on 8th March, 1995 (lot 115) - his estimate was £2,000-£4,000 ! However, and not surprisingly, he did not sell as he was damaged with the 'face problem' to which I have referred earlier in this article. Although there is little doubt that when he was painted he was a very fine silhouette and would have represented Mrs. Beetham at her best. Even with this damage he is still a fine work. Subsequently he appeared at the Harman Sale at Bonhams on 30th June 1998 (lot 64) when he made a fair price of £1,400. He is illustrated in the Book on page 575 illus.1012

 

 

 

 

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HER FRAMES AND VERRE EGLOMISE DECORATION.

Mrs Beetham used a variety of frames to house her works on glass. The earliest works seem to be in pressed brass or framed in giltwood with beaded inset borders—and in each case with no verre eglomise. An example is on the left above—of an officer illustrated in Mrs. Jackson's "Dictionary" (plate 15) Works towards the end of her career were usually in turned pearwood frames with a single gold line of verre eglomise or none at all. Sometimes papier mache frames were used with a pearwood inset and a number of gold lines of varying width. Both these frames tended to be more round than oval in shape. There is an example on the right above - the frame is similar to those that usually house silhouettes backed with wax, but there is no sign that any wax has been removed in this case. Finally in the centre above is a silhouette housed in a substantial pearwood frame with a Mr. Beetham decorated verre eglomise border. It was sold at Sotheby's on 4th.February, 1980 (lot 5) These decorated frames were used in Mrs.Beetham's 'middle' period, when she was at the height of her powers.

Below I have illustrated a couple—Mr. & Mrs. Carr from John Woodiwiss's "British Silhouettes" (plate 18). The frames are described as early examples of Mr. Beetham's work, as the verre eglomise decoration looks to be fairly basic and likely to have been done soon after he returned from his ‘lessons' in Murano. Between the pair is a splendid example of verre eglomise decoration—likely to be by Mr. Beetham and showing his skills at their best. It is housing a silhouette of Mr. Sharland (ex.Wellesley Collection) - the illustration is taken from the book of the Collection "One Hundred Silhouette Portraits" (plate XXXIX) I illustrated earlier in this article a silhouette of his wife mentioning that the marriage seemed to have broken up! I would be interested to know if an Member is the present owner of Mr. Sharland.

 

 

 

 

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Her Labels

Mrs. Beetham produced 7 labels in all—but only numbers 4-7 were used for painted silhouettes. Numbers 1-3 were used for her early cut-out work. As mentioned she did not start to paint silhouettes until after May 1785. Label No.4 is illustrated above on the left—it is from a gentleman painted on paper. The profile is said to be of Mrs. Beetham herself, but there is no record of the artist. Actually I have not seen this label on the reverse of a profile painted on glass—so I would be interested to know if any collectors have an example. This label ceased to be used after 1790. On the right above is label No. 5—this is the label found on nearly all works on glass. The date 1785 does not relate to the date of the silhouette—it is the date the label was first printed. The wording of this label could hardly be shorter and simpler—clearly it did not need to make any extravagant claims as Mrs. Beetham by this time was confident about her work.

In this context it is interesting to note that Mrs. Beetham's first label was very flowery in its language—although her second label was 'crisper'. Label No.6 was a label used jointly by Mrs. Beetham & her daughter Jane (later Jane Read) - this was possibly used around 1797. It gave the time of sitting as "1 minute", which lends weight to some pre-preparation. Also it gives prices i.e. 2s.6d to a £1.1s and adds "Old Shades reduced and dressed in the Present Taste." I have not seen this label on a silhouette. Again I would be interested to hear from anyone who has this label on a silhouette in their Collection.

Label No.7 was small and was possibly used on pocket cases. I have not seen this label and neither had Mrs. McKechnie. Below is a very nice silhouette of a young lady housed in a red pocket case. Written on the white silk at the back of the cover is "By Mrs. Beetham, Fleet St" - apparently in contemporary writing. Can this be regarded as label No. 8?

 

 

 

 

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DID MRS.BEETHAM PAINT CHILDREN?

I have not seen a child or a young adolescent painted by Mrs.Beetham on glass or paper for that matter. Nor have I seen any illustrations in the literature of children by her—unlike other contemporary artists such as John Miers, Samuel Houghton & Mrs. Lightfoot. Both silhouettes illustrated above have lost some detail at the ‘edges' but from their style of clothing they would appear to date to about 1790-95. I have attributed the pair to Mrs. Beetham as no other artist I know would seem to 'fit the bill! William Hamlet and Hinton Gibbs always had a bust-line and Parkin is too late in date. Any other views or confirmation would be welcome!

CONCLUSION.

To quote John Woodiwiss—"Mrs. Beetham, whose wonderful likenesses placed her among the finest artist of her age" I hope you agree that her work on glass fully justifies his comment. I have always greatly admired her work—especially those attractive young ladies who go down to the base of their frames. This is not to detract in any way from her painted work on paper and card, which I consider equally fine. I am sure that she had her bad days, which Woodiwiss refers to when he states that she could be "very ordinary especially with an uncongenial sitter". So far I have not come across such a silhouette, but perhaps I am biased. I hope this article will encourage you to acquire a work by her on glass if you have not already done so. Finally I would welcome photographs of any outstanding examples that any of you own and I have not used for this article. Also, I would be interested to hear if any of you have had ‘face detachment problems' and whether you know of any 'solutions' for this. Below I have illustrated three further profiles for good measure. On the left is Elizabeth Farren), later Countess of Derby from the Wellesley Collection book (plate XXXIII). In the centre an unknown gent sold at Bonhams & Brooks on 5th July 2001 (lot 30) and on the right a young lady sold at Sotheby's on 7th March 1983 (lot 6).