The Belton Bamboo Dressing Room mystery

The Chinese wallpaper in the Bamboo Bedroom at Belton House, inv. no. NT 434774. © National Trust Images/Paul Highnam

Belton House in Lincolnshire has two rooms with Chinese wallpaper. The one called the Bamboo Bedroom is not usually open to the public, but we recently managed to photograph the wallpaper in more detail for my forthcoming book.

The wallpaper seems to have been hung in 1861 under the supervision of Marian, Viscountess Alford. This is one of the examples that show how the taste for Chinese wallpapers was still very much alive in the later nineteenth century. Lady Alford also influenced the decoration of the Chinese Bedroom at Castle Ashby, a seat of her brother, the third Marquess of Northampton, in about 1871.

The Bamboo Bedroom at Belton, showing the furniture with oversize bamboo detailing introduced in about 1930. ©National Trust Images/Graham Challifour

The bed, wardrobe and dressing table in the Bamboo Bedroom at Belton were introduced in about 1930 by Peregrine Brownlow, sixth Lord Brownlow, and his wife Katherine, Lady Brownlow. This was the era when the Prince of Wales, later King Edward VIII, would visit Belton as a friend of the Brownlows. The fillet edging of the wallpaper was probably silvered at this time, reflecting a twenties-thirties sense of glamour.

A pair of pheasants in the wallpaper in the Bamboo Bedroom. The fillet was probably silvered in about 1930. © National Trust Images/Paul Highnam

A dressing room next door is known to have been hung with the same wallpaper, which was recorded as being in store at Belton just before the National Trust acquired the house and estate, partly as a gift from the seventh Lord Brownlow and partly with the help of the National Heritage Memorial Fund, in 1984. The subsequent whereabouts of the wallpaper from the dressing room were thought to be unknown.

A cock and hen on a picturesque rock in the wallpaper in the Bamboo Bedroom at Belton. © National Trust Images/Paul Highnam

But the other day I spotted some images of a very similar wallpaper on the walls of the château de Wideville in Île-de-France, one of the residences of retired fashion designer Valentino Garavani. The house was decorated by Valentino in collaboration with the interior designer Henri Samuel in 1995-6. Perhaps the Chinese wallpaper from the dressing room at Belton, possibly having been sold in about 1984, was at some point acquired by Samuel and then reused at Wideville?

Fascinating fragments at Uppark

Section of Chinese wallpaper at Uppark, West Sussex, NT 138490. © National Trust/Paul Highnam

In the collection at Uppark, West Sussex, are some fascinating fragments of Chinese wallpaper, which emerged from beneath a later wallpaper after a fire in 1989. Apart from being stunning examples of Chinese woodblock printing (with colours added by hand), they also contain clues about how Chinese wallpapers spread through Europe in the mid eighteenth century.

Fragment of Chinese wallpaper at Uppark, West Sussex, showing how parts of various Chinese prints were added at the bottom. NT 138490. © National Trust/Paul Highnam

This section of wallpaper shows a pair of pheasants on a picturesque rock surrounded by peonies and other flowering plants and trees. These ‘scholar’s rocks’ (gongshi) have long been used in Chinese gardens as sculptural ornaments. In the Chinese visual tradition, pheasants are associated with ‘beauty’ and peonies with ‘rank’.

Ribbon-tailed bird (shoudainiao) in a print attached to the bottom of a Chinese wallpaper sheet, at Uppark, NT 138490 © National Trust/Paul Highnam

Most of these specifically Chinese references were lost on Europeans, but this did not prevent these wallpapers from being in high demand. To make this rare and expensive material fit specific walls, the paper-hangers deployed various ‘cutting and pasting’ techniques’, shrinking or expanding it as required.

Head and shoulders of a female figure collaged onto a section of the Chinese wallpaper at Uppark, NT 138490. © National Trust/Paul Highnam

Looking closely at this fragment, we can see that parts of various different prints have been added at the bottom edge. On the left is a ‘ribbon-tailed bird’ (shoudainiao) on a scholar’s rock, depicted at a smaller scale than the main scenery, and in the centre we can see the head and shoulders of a female figure. Such prints could be bought in London in the same shops and paper-hanging establishments that offered Chinese wallpapers.

Section of the Chinese wallpaper at Ightham Mote, Kent, NT 825922. © National Trust/Paul Highnam

Looking further afield, we find the same pair of pheasants at Ightham Mote, Kent. The wallpaper was clearly printed using the same woodblocks. The difference in colour is due to the diverging ‘biographies’ of the wallpapers: the one at Uppark remained covered up for much of its life, preserving its colours to a greater degree, while the one at Ightham was partly overpainted in about 1900 in an attempt to counteract the effects of ageing and damp.

Part of the Chinese wallpaper at Ightham Mote, showing how it was arranged slightly differently to the paper at Uppark. NT 825922. © National Trust/Paul Highnam

Yet another identical pair of pheasants survives at Schloss Wörlitz in Sachsen-Anhalt, Germany, and copies of the print with the ribbon-tailed bird (actually showing a pair of birds) are at the Château de Filières, in Seine-Maritime, France. The whole of Europe was agog at these sophisticated Chinese products. More about these wallpapers and prints and other related examples will be revealed in my forthcoming book Chinese Wallpaper in Britain and Ireland.

Discovering immortality at Saltram

Chinese print showing a female figure with a hoe slung over one shoulder and an empty basket over the other, probably the immortal Lan Caihe, used as wall decoration in the Study at Saltram. ©National Trust/Andrew Bush

Sometimes you are trying to work something out for ages, then you give up, then you come back to it and then suddenly the penny drops. As I am in the last stages of finishing the text for my forthcoming book on Chinese wallpapers in the British Isles, I decided to revisit the prints of female figures at Saltram, which had puzzled me for some time.

The Study at Saltram, decorated with Chinese prints and paintings in the mid eighteenth century. ©National Trust Images/John Hammond

These prints depict female figures in elegant poses and with beautifully detailed clothes and accoutrements. I had long been wondering whether they might be ladies – because of their elegance – or peasants – because of the humble, outdoor nature of their dress – or perhaps even the Chinese equivalent of Queen Marie-Antoinette at her hameau, i.e. upper class ladies engaging in country pursuits or playing at being peasants.

But then I noticed the dainty hoe again that one of the figures carries over her shoulder. And I remembered that Christer von der Burg, the collector of and expert on Chinese prints, had once told me that one of the immortals carries a hoe. And then after some searching online the name Lan Caihe came up.

Two female figures, probably immortals, pasted onto a partition in the Chinese Dressing Room at Saltram. ©National Trust Images/Andreas von Einsiedel

Lan Caihe is one of the eight immortals, a group of deities connected to Daoism. Their characters and exploits exemplify Daoist thought and teachings. Various folk tales developed around the different immortals, emphasising their whimsicality and untrammelled spirit.

Lan Caihe is an androgynous immortal, sometimes depicted as a young man, sometimes as a young woman. She often carries a basket of flowers, a reference to the fleeting nature of life. She travelled around making a living from singing and dancing and is often shown with castanets or a flute hanging from a hoe slung over her shoulder.

Chinese print depicting a female figure with a fishing rod and a fish, possibly an immortal or other deity, used as wall decoration in the Study at Saltram. ©National Trust/Andrew Bush

So the figure at Saltram with the hoe and the basket could well be Lan Caihe. Perhaps the fact that nothing hangs from the hoe and that the basket is empty may relate to a particular story, perhaps with some kind of stern message to the effect that ‘the music is over, the flowers are gone.’

If that figure is indeed Lan Caihe, then perhaps the other similar figures at Saltram are immortals as well, or deities of some other type. Certainly the cape made of leaves that one of them wears – a nicely ‘untrammelled’ fashion statement – seems to point in that direction. But I haven’t worked out who they are yet. I will need to wait patiently for another flash of insight – or for one of you readers to tell me.

Cataloguing Chinese hairstyles

Chinese porcelain saucer dish decorated with a female figure sitting on a bench with a child offering her a lotus flower, Kangxi period (1662-1722), at Polesden Lacey, NT 1245638.1. ©National Trust/Jane Mucklow

As part of my research into Chinese wallpaper I have been noticing the elegant hairstyles of many of the female figures. I have been trying to work out whether certain hairstyles can be associated with certain periods, which in turn might help with dating wallpapers that we don’t have much documentation for.

Female and male figure in a Chinese woodblock print used as wallpaper in the Chinese Dressing Room at Saltram, NT 872998. ©National Trust/Andrew Bush

I have facetiously dubbed one of the hairstyles ‘the triple gourd’, as the hair is piled up and tied in such a way that it forms three globular shapes, ending in a loop.

Chinese porcelain serving dish, part of a 25-piece dinner service, depicting two female figures in a garden, c. 1695-1710, at Shugborough, NT 1270511.2.2. ©National Trust/Sophia Farley

Another hairstyle could be called ‘the kidney bean’, as the hair rises up from the back of the head in one slightly curved vertical shape.

Both of these styles can be seen in mid-eighteenth-century wallpapers, but on porcelain they seem to appear earlier, perhaps from the late seventeenth century onwards.

Chinese painting on paper depicting female figures in a garden, used as wallpaper in the Study at Saltram, mid eighteenth century, NT 873000. ©National Trust Images/John Hammond

Some Kangxi-period (1662-1722) porcelain depicts female figures with more voluminous, globular hairstyles, which one might call ‘the persimmon’.

Chinese porcelain plate decorated with a lady seated at a table, her head resting in her hand, c. 1690-1720, collection of Captain George Francis Warre, given to the National Trust by Mrs. George Warre, 1961, at Dudmaston, NT 813530. ©National Trust/Claire Reeves

And in addition to those there appear to be other hairstyles, fabric haircoverings and a variety of hair ornaments as well as flowers or flower-shaped jewellery.

Chinese woodblock prints of female figures pasted onto a partition in the Chinese dressing room at Saltram, NT 872998. ©National Trust Images/Andreas von Einsiedel

Some of these styles may have been regional, while others may have been associated with particular classes or roles, but much of this remains unclear. Regardless of whether the descriptive names suggested above catch on, I think the time has come for a proper taxonomy of Chinese historical hairstyles.

Phoenix frenzy

Chinese porcelain dish decorated with phoenixes and peonies, about 1750, one of a pair, at Melford Hall, NT 926292. ©National Trust Images/John Hammond

I just spotted this image of a rather nice Chinese porcelain dish at Melford Hall, Suffolk, showing a pair of phoenixes. They are perched on rocks and surrounded by peonies. In Chinese art the phoenix – called ‘the king of birds’ – is often associated with the peony – similarly called ‘the king of flowers’.

Large Chinese porcelain lidded jar decorated with a phoenix among peonies, about 1745, one of a pair, at Melford Hall, NT 926279. The vases were among the cargo of the Spanish galleon Santissima Trinidad captured by Captain Sir Hyde Parker, 5th Baronet, off Manila in 1762. ©National Trust Images/John Hammond

A pair of large Chinese lidded vases also at Melford is decorated with similar scenery. Apart from the odd scale of some of the elements of the design (the huge peonies on the dishes and the tiny fences on the vases), the mythical phoenixes are painted with the same level of detail as the other fauna and flora, making it seem as if you could readily encounter them in Chinese gardens.

Phoenix among peonies, with a magpie and a duck, on the Chinese wallpaper in the State Bedroom at Nostell Priory, NT 959651. ©National Trust Images/Dennis Gilbert

A similar mythical phoenix in a similarly realistic setting turns up in the Chinese wallpaper at Nostell Priory.

There is a long tradition in Chinese art of combining myth and reality. This is connected to the symbolic meanings attached to all sorts of plants and animals: if everything is imbued with symbolism, then there is no fundamental difference between reality and myth.

I have just been made aware of a new book about this subject, The Zoomorphic Imagination in Chinese Art and Culture, edited by Jerome Silbergeld and Eugene Y. Wang (University of Hawai’i Press), which I am looking forward to reading.

The language of love in Chinese export paintings

I am reading Kristina Kleutghen’s fascinating new book Imperial Illusions: Crossing Pictorial Boundaries in the Qing Palaces. It analyses the surviving illusionist paintings which enjoyed a vogue at the Chinese imperial court in the eighteenth century, in particular those in the private quarters of the Qianlong emperor in the Forbidden City.

As part of that analysis Kleutghen also discusses the genre of ‘beautiful women paintings’ (meiren hua), which until recently have received scant scholarly attention. It is now becoming clear that what used to be regarded as generic and bland images of Chinese ‘gentlewomen’ are actually about desire and longing.

Chinese mirror painting depicting a lady in an interior gazing at a pair of doves and about to write something, mid eighteenth century, at Shugborough Hall, NT 1270824. ©National Trust Collections/Sophia Farley

These ‘beautiful women’ are shown in private spaces such as gardens or the inner rooms of mansions. In a society where respectable women were kept from public view, this already made these images somewhat suggestive. In addition, the pictures contain various hints that the women are in fact waiting for or are about to welcome their lovers. They may be high-class courtesans or concubines, objects of desire surrounded by other luxury objects.

This imagery was also used in Chinese paintings made specifically for export to the west. In the mirror painting at Shugborough Hall, for instance, the lady is looking tenderly at a pair of cooing doves, who are presumably mirroring her own thoughts and feelings. The room contains two barrel-shaped ceramic seats, suggesting that she is expecting someone, or hoping that someone will visit. She stands next to a table poised to write something – perhaps a letter to her lover, or a love poem.

Chinese mirror painting depicting a lake with a couple and a single lady in the foreground, in the Hoare collection, Stourhead, but currently on display at Dyrham Park, NT 452429. ©National Trust Collections/Seamus McKenna

When seen in this light, another mirror painting, from the Hoare collection at Stourhead, also seems to be about love and longing. On the left a couple is seated on a bench, closely entwined, reading a book together – perhaps a love story? The lady on the right, by contrast, sits on her own, with only a servant girl for company, her head forlornly resting in her hand, again gazing at a pair of doves who seem to mock her loneliness.

The European buyers of these pictures probably understood very little of all that and likely regarded these scenes as just innocuous Chinese genre paintings. But now this new scholarship is allowing us to understand some of the meanings hidden almost in plain sight within these pictures.

 

Two and three dimensions in Chinese porcelain

Chinese porcelain vase, at Erddig, NT 1145621.2. ©National Trust Collections/Susanne Gronnow

I just noticed the delicate landscapes on these early-eighteenth-century Chinese porcelain vases at Erddig (on our database here and here). We can see the wall of a country mansion situated next to a waterway, with a figure leaning against a balustrade gazing out at the waves. Another figure approaches the gate over a wooden zig-zag bridge.

Chinese porcelain vase, at Erddig, NT 1145621.1. ©National Trust Collections/Susanne Gronnow

Further along we see the waterway widening out, with a little boat coursing over the waves, a pagoda on the opposite bank and mountains above.

This decoration is derived from the tradition of Chinese landscape painting. But along their necks the vases have also been decorated with stylised floral and fungus ornaments which are part of the Chinese decorative art vocabulary. The globes along the necks have been painted with a diaper pattern that is reminiscent of openwork or basketwork. The silhouette of the vases is pear-shaped, but in section they are in fact octagonal.

So we have three-dimensional objects which are both curvaceous and angular. And we have painted decoration suggesting both pictorial distance and surface perforation. Not bad for a pair of small vases.

In a mottled mood

Detail of the Chinese wallpaper with its imitation bamboo trellis border in the Chinese Bedroom at Blickling Hall, inv. no. NT354141. ©National Trust Collections

Our little Chinese wallpaper study group was recently discussing the use of printed and painted paper borders which give a trompe l’oeil impression of mottled bamboo trelliswork. They were probably made by the same Guangzhou workshops which produced the actual wallpapers and they seem to have been particularly popular during the second half of the 18th century.

Fragment of a painted imitation bamboo trelliswork border, formerly at Hampden House, Buckinghamshire. Victoria & Albert Museum, inv. no. E.948A-C-1978. ©Victoria and Albert Museum, London

The discussion was sparked off by the border in the Chinese Bedroom at Blickling Hall. We also discussed a very similar border in the collection of the Victoria & Albert Museum, originally from Hampden House, Buckinghamshire. There may be a direct link between the Blickling and the Hampden borders, as both houses were owned by the Earls of Buckinghamshire, albeit at different times.

Sections of Chinese wallpaper framed with a faux bamboo trelliswork paper border, second half 18th century, from a house at no. 10 Ginnekenstraat, Breda, which was demolished in 1961. Breda’s Museum, inv. no. S06489. ©Breda’s Museum

Anna Wu and Sander Karst told us about another similar border which frames two ‘pictures’ made up of sections of wallpaper that had formerly hung in a town house in Breda, in the Netherlands.

Imitation bamboo chair made of turned, carved and painted beech, c. 1790, owned by David Garrick’s widow. Victoria & Albert Museum, inv. no. W.27-1917 ©Victoria and Albert Museum, London

The taste for mottled bamboo caught on in England to the extent that the actor David Garrick and his wife had a number of faux mottled bamboo chairs in their villa on the Thames at Hampton between the 1770s and the 1790s.

Corner of the wallpaper in the Chinese Bedroom at Belton House (inv. no. NT433859), showing the faux bamboo European paper border and the imitation bamboo trim on the doorframe. ©National Trust Images/Martin Trelawny

Even as late as 1840 imitation mottled bamboo woodwork and paper borders were still fashionable, as can be seen in the Chinese bedroom at Belton House.

Detail of a Chinese watercolour picture pasted on the wall as part of the ‘wallpaper’ in the Study at Saltram, inv. no. 871979. ©National Trust Images/John Hammond

A representation of a decorative mottled bamboo fence in an elegant Chinese garden is visible in one of the pictures used as ‘wallpaper’ on the walls of the Study at Saltram, probably in the late 1760s.

Detail of a mottled bamboo armchair, in scroll 4 of a set of hanging scroll paintings entitled ‘The Eighteen Scholars’, by an anonymous Ming-dynasty artist. ©National Palace Museum, Taipei

In China mottled bamboo was  considered a rare and refined material suitable for scholars and other members of the elite, as is explained in an online exhibition of the National Palace Museum, Taipei. The patterning was thought to add a sophisticated touch of natural boldness to fencing, fretwork, furniture and other objects.

Mottled bamboo and goat’s hair writing brush by Li Dinghe, mid-19th-century. ©The Palace Museum, Beijing

Jonathan Hay has recently written a fascinating study, entitled Sensuous Surfaces, about how materials like mottled bamboo interacted with other patterns, textures and shapes in Chinese interiors during the late Ming and early Qing periods, creating subtle interweavings of visual delight and cultural meaning.

Chinese wallpaper families

Detail of the Chinese wallpaper in the Drawing Room at Ightham Mote, Kent. ©National Trust Images/Nadia Mackenzie

As the work on the catalogue of Chinese wallpapers in National Trust houses progresses, an informal ‘advisory committee’ has sprung up around it consisting of a dozen or so academics, curators and conservators. We bombard each other with information and queries and general enthusiasm – a genuine little liquid network.

The Drawing Room at Ightham. ©National Trust Images/Nadia Mackenzie

This morning one member of the group, Dr Clare Taylor, mentioned the similarities between the Chinese wallpaper at Ightham Mote in Kent and the one at at Felbrigg Hall in Norfolk. They are in fact almost identical, which makes them a good example of how Chinese wallpapers were sometimes produced as multiples, with the combined use of printing and hand-painting resulting in near-identical copies.

Detail of the Chinese wallpaper at Ightham. ©National Trust Images/Nadia Mackenzie

Another member of the group, conservator Allyson McDermott, then chipped in by saying she had examined the Ightham paper in the past, and found that it had had quite a hard life, with quite a lot of overpainting and restoration over time. This probably explains the difference in colouring between the Ightham and the Felbrigg papers.

The Chinese Bedroom at Felbrigg Hall, Norfolk. A pheasant identical to the one in the Ightham paper can be seen behind the bell cord. ©National Trust Images/John Hammond

Allyson also mentioned that a Chinese wallpaper that was discovered under later wallpaper at Uppark, West Sussex, was also rather similar, and indeed it has the same ‘frosted’ palette of a white background, subfusc greens and bright reds, purples and blues.

Fragment of Chinese wallpaper found under later wallpaper in the Little Parlour at Uppark, West Sussex.

We know that the Felbrigg paper was hung in 1752, and the Uppark paper is thought to have been put up in about 1750, so this appears to be a relatively early type of Chinese wallpaper. The Ightham one is said to have been hung in about 1800, which suggests that it was hung or stored somewhere else before coming to Ightham.

The antiquarian setting of the Drawing Room at Ightham, with its Jacobean fireplace, is in some ways quite incongruous for a Chinese wallpaper, but that is part of the fascination of this subject: to learn more about the different ways people used Chinese wallpaper in different places and at different times.

Life in the Chinese country house

Chinese gouache showing elegant company making music on a lakeside terrace. Claydon House, Buckinghamshire. ©National Trust Images/John Hammond

With apologies to Mark Girouard (who published the well-known social history of the country house, Life in the English Country House, in 1979) I thought it might be interesting to show this small set of Chinese paintings of interiors and gardens.

These pictures in body colour on paper depict elegant company engaged in various leisure activities in a series of interiors and gardens.

Chinese gouache showing elegant company in a garden with a board game being played. Claydon House, Buckinghamshire. ©National Trust Images/Matthew Hollow

We can see people playing musical instruments, playing a board game, arranging flowers and serving drinks (possibly tea).

Miniature trees can be seen growing in pots placed on balustrades and stands. Some people are sitting on chairs, others on seating platforms with bolsters, little tables and objets d’art close at hand.

Chinese gouache showing elegant company in an interior with a view to a lake, one of the women holding a vase with flowers. ©National Trust Images/Matthew Hollow

One of the pictures appears to show a courtyard of a high official’s mansion or a palace. The symmetricality of this view seems reminiscent of western pictorial taste. Indeed, the style of these pictures generally is rather ‘western’, with the use of single-point perspective and shading.

Chinese gouache showing elegant company on a terrace with a view to a mansion or palace courtyard. ©National Trust Images/Matthew Hollow

Paintings such as these were made for export to the west. This particular set is thought to date to about 1800. It would be interesting to learn more about how realistic these images were – whether the painters produced fantasy views of a semi-mythical ‘Cathay’ for foreign consumption, or whether these pictures, in spite of being destined for ignorant foreigners, were nevertheless based on indigenous traditions of realistically depicting upper class life. Do please comment if you know more about this subject.

Chinese gouache showing elegant company in an interior with a woman serving drinks and a view to a circular garden doorway. Claydon House, Buckinghamshire. ©National Trust Images/Matthew Hollow

These paintings were bequeathed to Claydon House in 1995, where they form an interesting counterpoint to the outrageously fantastical chinoiserie decoration by Luke Lightfoot of the 1760s.