Linley Sambourne, the famous Punch cartoonist posing
Sunday, 1st November
"I called for Anne Rosse at her uncle's house in Stafford Terrace, a house bought by her grandfather, Linley Sambourne, the Punch cartoonist of the 1880s. It is a period piece, untouched. It is choc-a-bloc with art nouveau. The Morris-papered walls are plastered with old photographic groups and Sambourne drawings, the frames touching each other, weird clocks galore, stained-glass windows, Victorian walking-sticks and parasols. Anne and I walked round the pretty back streets by Holland Park, and took a bus to the Ritz, where Michael joined us at 1 o'clock and Oliver [Messel]* at 2 o'clock. We talked over the luncheon table till 4. Oliver is a camouflage major in Norwich. He has discovered Ivory's disused Assembly Rooms, made them into his headquarters, and is redecorating them."
[*Artist and designer, brother of Lady Rosse]
Ancestral Voices James Lees-Milne 1942
The rich, darkly cluttered Victorian interiors of Linley and Marion Sambourne's Kensington home are just as Lees-Milne describes, but relieved by lamps, mirrors, and the light reflecting off the glass-framed pictures and photographs covering the walls,
Two views of the Drawing Room
© Linley Sambourne collection, Royal Borough of Kensington and Chelsea
This family home at 18 Stafford Terrace was part of the artistic life of Kensington in the 1880s, dominated by Lord Leighton in nearby Holland Park Road. It was preserved almost unchanged by Lady Rosse, remembering her happy childhood, and the Victorian Society, until it was passed to the local authority and opened to the public in 1980.
Linley Sambourne made a good living from his drawings for Punch, but he had to follow the editor's directions. He wrote to James Whistler to warn him that he would be satirised for his libel case against the critic John Ruskin, who had so strongly derided Whistler's Falling Rocket painting. "I am in a manner obliged to take up any subject the editor points out….I have every sympathy with you in what must be a most trying and irritating time".
Working to deadlines and aiming for a range of accurately drawn characters, he used posed photographs as a source for figures in his cartoons, and turned one of the bathrooms into a workroom, with a marble-lined developing tank in place of the bath.
Marion Sambourne posing for a Punch cartoon drawing © RBKC Sambourne collection
He used family and servants for these photos, and professional models for artistic and nude poses; when I first visited in the 1980s many of these were hung in the workroom; I still remember one (maidservant or model?) of a nude young woman in profile, wearing nothing but a pair of black stockings, and looking as unconcerned as if she were just washing dishes.
As well as the stylish 'aesthetic' furnishings, the family records, photographs, diaries and correspondence were also preserved, now part of the Linley Sambourne archives; Marion Sambourne's diaries in particular give a fascinating picture of daily life for a well-off Victorian family and their artist friends.
and see: rbkc.gov.uk/18 Stafford Terrace; The Holland Park Circle, Susan Dakers
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