Our new Weekend Newsletter is landing in subscriber inboxes across the city. If you haven't signed up (yet) then you can read it here:

Inside Art:
A fan for North Parade

Nowadays we express ourselves through our phones, our designer wear and the headphones we sport. In the 18th century, the tool of expression for ladies was the fan. This object wasn’t just something to hide behind; a snap or a gentle tap both had clear meanings.

Art curator and historian Monserrat Pis Marcos from The Holburne Museum gives us some insights into the fan culture and describes an example from the Holburne’s collection depicting Beau Nash in North Parade.

The 18th century witnessed an exponential rise in the popularity of fans across Europe. Folding fans – as opposed to rigid, non-collapsible fans – gradually diversified their variety, ranging from lavishly painted and jewelled goods to essential, functional accessories intended for everyday use. The introduction in the 1720s of printing techniques to manufacture fan leaves, coupled with the use of cheaper materials for the sticks, allowed for an increase in the production at competitive prices, making the item accessible to a wider pool of customers.

Complementary to their role as fashion statements, fans were often gifted to celebrate special occasions such as weddings or births – and even deaths! They were also produced to commemorate significant social or political events. Fans with topographical views such as this one appeared in England in the 1740s and found a receptive audience in cities like Bath, where they were sold as souvenirs.

Although fans were first and foremost designed to regulate air temperature, they soon acquired additional purposes. It has been suggested that they prevented cheeks from blushing and preserved a lady’s make up from running when exposed to a heat source. Their role in courtship and flirting was also commonly acknowledged. These multiple uses of fans were recorded, often humorously, in written sources throughout the 18th century, as in Air XIII of the comic opera The Capricious Lovers (1764) by Robert Lloyd:

For various purpose serves the fan,
As thus — a decent blind,
Between the sticks to peep at man,
Nor yet betray your mind.
Each action has a meaning plain,
Resentment’s in the snap,
A flirt expresses strong disdain,
Consent a gentle tap.
All passions will the fan disclose,
All modes of female art,
And to advantage sweetly shews
The hand if not the heart,
‘Tis folly’s scepter first designed
By love’s capricious boy,
Who knows how lightly all mankind
Are govern’d by a toy.

This fan leaf with a chinoiserie border shows a view of the North Parade in Bath, which was built by John Wood the Elder between 1740 and 1743. Various figures are promenading in a square bordered by stone terraces on one side and a balustrade on the other. In the foreground, in the bottom right, a line of sedan chairs and their chairmen are waiting outside of the Lower Assembly Rooms – the building with the round windows. In the centre, two gentlemen meet. One of them has removed his white hat in order to greet the other. This distinctive element, as well as the lack of a wig, identifies the gentleman as Richard ‘Beau’ Nash, the Master of Ceremonies.

Richard Nash (1674–1762) was one of the most influential figures in the consolidation of Bath as a popular spa. Born in Wales, Nash moved to Bath in 1705 and quickly succeeded the previous Master of Ceremonies. During his tenure he promoted the construction of a new Assembly House and was instrumental in engaging John Wood as the architect of some of Bath’s most significant buildings. He had a remarkable impact on many aspects of the city’s daily life, from establishing the starting time and the duration of balls – from 6 to 11pm sharp – to mediating between parties in a dispute.

Between the 1720s and 1790s, Bath grew rapidly from a medieval market town into a city of elegant stone squares and terraces, and its buildings became an inexhaustible source of inspiration for artists. This fan was painted by Thomas Loggon. He was born in Great Grimbsy in 1706 and started his career in London as the dwarf for the Prince and Princess of Wales. In the 1730s he moved to Bath, where he made a living by painting fans with topographical views of the city under the commercial name ‘The Little Fanmaker’. He also ran a ladies’ tearoom and a china shop.

The Holburne Museum possesses another fan attributed to the same artist, dated c.1750 and depicting Harrison Walk, also in Bath. There are around 30 fans in the museum’s collection, dated between the mid-18th century and the late 19th century.

Fan Leaf: View of North Parade
Thomas Loggon (active late 1740s)
Engraving and gouache on paper, 1749
Presented by The Holburne Society, 1936

Image © The Holburne Museum

holburne.org

See also Monserrat Pis Marcos other pieces in our Inside Art series:



Also, an important message.
Help the HOLBURNE through the corona crisis.
Please visit:

https://www.crowdfunder.co.uk/help-the-holburne

X