Julia Stephen
This article may contain an excessive amount of intricate detail that may interest only a particular audience. |
Julia Stephen | |
---|---|
Calcutta, Bengal Presidency | |
Died | 5 May 1895 , UK | (aged 49)
Julia Prinsep Stephen (
Julia Prinsep Jackson was born in Calcutta to an Anglo-Indian family, and when she was two her mother and her two sisters moved back to England. She became the favourite model of her aunt, the celebrated photographer Julia Margaret Cameron, who made more than 50 portraits of her. Through another maternal aunt, she became a frequent visitor at Little Holland House, then home to an important literary and artistic circle, and came to the attention of a number of Pre-Raphaelite painters who portrayed her in their work.
Married to Herbert Duckworth, a barrister, in 1867 she was soon widowed with three infant children. Devastated, she turned to nursing, philanthropy and agnosticism, and found herself attracted to the writing and life of Leslie Stephen, with whom she shared a friend in
After Leslie Stephen's wife died in 1875 he became close friends with Julia and they married in 1878. Julia and Leslie Stephen had four further children, living at 22 Hyde Park Gate, South Kensington, together with his seven-year-old mentally disabled daughter, Laura Makepeace Stephen. Many of her seven children and their descendants became notable. In addition to her family duties and modelling, she wrote a book based on her nursing experiences, Notes from Sick Rooms, in 1883.
She also wrote children's stories for her family, eventually published posthumously as Stories for Children and became involved in social justice advocacy. Julia Stephen had firm views on the role of women, namely that their work was of equal value to that of men, but in different spheres, and she opposed the suffrage movement for votes for women. The Stephens entertained many visitors at their London home and their summer residence at St Ives, Cornwall. Eventually the demands on her both at home and outside the home started to take their toll. Julia Stephen died at her home following an episode of rheumatic fever in 1895, at the age of 49, when her youngest child was only 11. The writer Virginia Woolf provides a number of insights into the domestic life of the Stephens in both her autobiographical and fictional work.
Life
Family
Julia Stephen was born in
By contrast with the colourful Maria, Jackson was less overt, and tolerant of her passion for her friend, the poet Coventry Patmore.[8][9] Jackson and Maria Pattle were married in Calcutta on 17 January 1837 and had six children, of whom Julia was the youngest, the third of three surviving daughters, Adeline Maria (1837–1881), Mary Louisa (1840–1916) and Julia (see Table of ancestors).[10] They had two sons and a daughter. The Jacksons were a well educated, literary, and artistic proconsular middle-class family.[11]
Early life (1846–1867)
Julia's two older sisters were sent to England for reasons of health in 1846
The Pattle sisters and their families (see Pattle family tree) provided important connections for Julia and her mother. As Quentin Bell, Julia's grandson, described it, they had "a certain awareness of social possibilities".[18] Sarah Monckton Pattle (1816-1887), had married Henry Thoby Prinsep (1793–1878), an administrator with the East India Company, and their home at Little Holland House was an important intellectual centre and influence on Julia, that she would later describe to her children as "bohemian".[19] Little Holland House, a farmhouse on the Holland estate, that served as the dower house, was then on the outskirts of London, and nicknamed the "Enchanted Palace", where Sarah Prinsep ran the equivalent of a French salon.[9] Quentin Bell states that Julia was "largely brought up in" Little Holland House.[20] The house was also frequented by Leslie Stephen. One of the Prinseps' sons, another of Julia's many cousins, was the artist, Valentine Cameron Prinsep (1838–1904).[11]
Another of Maria Jackson's sisters was Virginia Pattle (1827–1910), who married (1850) Lord Charles Eastnor, later the
Sarah Prinsep and her sisters were adept at making great men feel at ease, and they frequented her house. There one might find
Marriage
(1) Herbert Duckworth 1867–1870
On 1 February 1867, at the age of 21, Julia became engaged to Herbert Duckworth, a member of the
He described him as "the kind of man who might be expected to settle down as a thorough country gentleman ... simple, straight forward and manly ... a singularly modest and sweet-tempered man".[42] Leslie Stephen felt "a touch of pain" later, in writing about the purity of their love, commenting on her letters to Herbert, he stated that she "made a complete surrender of herself in the fullest sense: she would have no reserves from her lover, and confesses her entire devotion to him".[43] As he read through Julia's letters to Herbert after her death, Leslie had misgivings in comparing "the strength of her passion" at this stage of her life to her later marriage to himself.[44][45]
The Duckworths lived at 38 Bryanston Square (see images of exterior and interiors), Marylebone, London, a townhouse belonging to the Duckworth family,[36][i] and the following year, their first child was born on 5 March 1868. Two other children followed in quick succession.[15][1] Their third child, Gerald Duckworth, was born six weeks after his father's premature death in September 1870, at the age of 37, from an undiagnosed internal abscess. He was said to be reaching for a fig for her, while they were visiting Julia's sister (now Adeline Vaughan) at Upton Castle, New Milford, Pembrokeshire, when it ruptured. Within twenty-four hours, he was dead.[12][15][47]
Julia and Herbert Duckworth had three children;[1]
- George (5 March 1868 – 1934), a senior civil servant
- Stella (30 May 1869 – 1897), died aged 28[j]
- Duckworth Publishing.
Mourning 1870–1878
Married for only three years, Julia was devastated by her husband's death, lying on his grave at his family home of
It was then that she took up nursing the sick and dying to make herself useful,[20] and began studying the agnostic writing of Leslie Stephen. As Leslie Stephen described it "She became a kind of sister of mercy. Whenever there was trouble, death or illness in her family, the first thing was to send for Julia, whether to comfort survivors or to nurse the patients".[47] After her husband's death, she joined her parents who had moved to Freshwater, Isle of Wight.[1] It was also a period when she spent extensive visits to her aunt, Julia Margaret Cameron's home in Freshwater, who took many photographs of her (see Gallery II). She also resisted her aunt's efforts to persuade her to remarry.[15][k]
Friendship to courtship
Julia had become aware of Leslie Stephen through both his writings on agnosticism, and through a mutual friend,
In January 1877, Leslie Stephen decided he was in love with Julia, writing "There was a music running through me... delicious and inspiring. Julia was that strange solemn music to which my whole nature seemed to be set".[63] He proposed to her on 5 February; however, Anny also became engaged to her cousin at the same time, to his displeasure, although Julia intervened on Anny's behalf. Julia declined Leslie's offer of marriage and they agreed to remain friends, although developing an intense correspondence. At the time she entertained thoughts of committing herself to a life of chastity and the happiness she envisaged could be found in a convent.[64] When Anny Thackeray married on 2 August 1877, Julia would soon change her mind, and it was a proposal to install a German housekeeper, Fräulein Klappert, that brought the matter to a head, for both realised this would separate them.[49] Woolf would later speculate that "perhaps there was pity in her love" in addition to "devout admiration for his mind".[64][65]
(2) Leslie Stephen 1878–1895
On 5 January 1878, Julia Duckworth and Leslie Stephen became engaged, and on 26 March they were married at
It was a happy marriage, as Leslie Stephen describes it, a "deep strong current of calm inward happiness".[61] Of their children, he wrote "our own children were to her a pure delight. To see her with a baby on her breast was a revelation, and her love grew with their growth".[70] The Stephens both had aristocratic connections,[71] were considered to belong to the "intellectual aristocracy"[72] and despite Leslie Stephen's obsession with money and fear of poverty, were quite well off financially.[73] They belonged to a social strata of the well educated, who though not wealthy, had inherited sufficient resources to pursue their chosen vocations, a group that at the time was well defined.[74] To many, the Stephens were the ideal Victorian parents, a leading man of letters and a woman admired for beauty, wit, bravery and self-sacrifice.[64] He treated her as a goddess, and in return she pampered him.[75] However, Julia informed him that she could never give up her nursing vocation, and that "I may be called away to nurse people for weeks or have invalids in my house for weeks".[76]
In the early 1880s Leslie Stephen read
22 Hyde Park Gate
Number 22 Hyde Park Gate, South Kensington, lay at the south east end of Hyde Park Gate, a narrow
Talland House (1882–1894)
Leslie Stephen was in the habit of hiking in
In both London and Cornwall, Julia was perpetually entertaining, and was notorious for her manipulation of her guests' lives, constantly matchmaking in the belief everyone should be married, the domestic equivalence of her philanthropy.[11] As her husband observed "My Julia was of course, though with all due reserve, a bit of a matchmaker".[99] While Cornwall was supposed to be a summer respite, Julia Stephen soon immersed herself in the work of caring for the sick and poor there, as well as in London.[94] [95][t]
Both at Hyde Park Gate and Talland House, the family mingled with much of the country's literary and artistic circles.[90] Frequent guests included literary figures such as Henry James and George Meredith,[99] as well as James Russell Lowell, and the children were exposed to much more intellectual conversations than their mother's at Little Holland House.[81]
Julia and Leslie Stephen had four children;[1]
- Vanessa "Nessa" (30 May 1879 – 1961), married Clive Bell
- Thoby (9 September 1880 – 1906), founded Bloomsbury Group
- Virginia "Jinny", "Ginia" (25 January 1882 – 1941), married Leonard Woolf
- Karin Costelloe
Relationships with family and household
Much of what is known about Julia Stephen comes from the viewpoint of her husband, Leslie Stephen, and her daughter, Virginia Woolf, although the latter had only just turned thirteen when her mother died. Woolf, who stated that "for we think back through our mothers if we are women",
As the youngest daughter, and last to marry, Julia was her mother's favourite daughter, in part due to her constant care of her mother who had many needs, and little time for maternal affection.
Leslie Stephen writes about Julia "the noblest woman present" in tones of reverence in his Mausoleum Book,
Julia dealt with her husband's depressive moods and his need for attention, which created resentment in her children, boosted his self-confidence, nursed her parents in their final illness, and had many commitments outside the home that would eventually wear her down. Her frequent absences and the demands of her husband instilled a sense of insecurity in her children that had a lasting effect on her daughters.[112] Amongst her family commitments, she cared for her mother during her long period of ill health, nursed her uncle Henry Prinsep when he was dying in 1878, and her sister Adeline who died in 1881. Leslie Stephen was also prone to bouts of ill health, suffering a breakdown from overwork in 1888–1889. Leslie Stephen describes how his constant self-deprecation, was intended to elicit Julia's sympathy and attention.[128] In considering the demands on her mother, Woolf described her father as "fifteen years her elder, difficult, exacting, dependent on her" and reflected that this was at the expense of the amount of attention she could spare her young children, "a general presence rather than a particular person to a child",[129][130] reflecting that she rarely ever spent a moment alone with her mother, "someone was always interrupting".[131] Woolf was ambivalent about all this, yet eager to separate herself from this model of utter selflessness. She describes it as "boasting of her capacity to surround and protect, there was scarcely a shell of herself left for her to know herself by"[90] At the same time she admired the strengths of her mother's womanly ideals. Given Julia's frequent absences and commitments, the young Stephen children became increasingly dependent on Stella Duckworth, who emulated her mother's selflessness, as Woolf wrote "Stella was always the beautiful attendant handmaid ... making it the central duty of her life".[132] At the same time, Julia's relationship with Stella, who idolised her, was frequently problematic. As Julia confided to her husband, she was especially hard on her eldest daughter because she considered her part of herself.[81]
Julia greatly admired her husband's intellect, and although she knew her own mind, thought little of her own. As Woolf observed "she never belittled her own works, thinking them, if properly discharged, of equal, though other, importance with her husband's". She believed with certainty in her role as the centre of her activities, and the person who held everything together,[11] with a firm sense of what was important and valuing devotion. Of the two parents, Julia's "nervous energy dominated the family".[31] While Virginia identified most closely with her father, Vanessa stated her mother was her favourite parent.[133] Angelica Garnett recalls how Virginia asked Vanessa which parent she preferred, although Vanessa considered it a question that "one ought not to ask", she was unequivocal in answering "Mother"[31] Stella, the oldest daughter, led a life of total subservience to her mother, incorporating her ideals of love and service.[134] Virginia quickly learned, that like her father, being ill was the only reliable way of gaining the attention of her mother, who prided herself on her sickroom nursing.[112][131] Against this background of over committed and distant parents, suggestions that this was a dysfunctional family must be evaluated. These include evidence of sexual abuse of the Stephen girls by their older Duckworth halfbrothers, and by their cousin, James Kenneth Stephen (1859–1892), at least of Stella.[x] Laura is also thought to have been abused.[82] The most graphic account is by Louise DeSalvo,[135] but other authors and reviewers have been more cautious.[136][137] Other issues the children had to deal with was Leslie Stephen's temper, Woolf describing him as "the tyrant father".[138][77]
Julia's grandson, Quentin Bell (1910–1996) describes her as saintly, with a certain gravitas derived from sorrow, playful and tender with her children, sympathetic to the poor and sick or otherwise afflicted, and always called upon at times of need as a ministering angel. As he adds, "because of this one cannot quite believe in her".[20] Yet a close reading of Leslie Stephen's memoir reveals cracks in the image of the perfection of both Julia and the marriage.[139] Woolf's more balanced assessment seems more realistic than her father's idealised version,[140][141] but her family's assessments also need to be balanced by the picture that emerges from Julia's own writings.[142] In contrast, Vanessa maintained her idealised version of her mother, passing it on to her own daughter.[31] Ultimately the demands on her selflessness and her tireless efforts on behalf of others became too much and started to take their toll.[143] Like her husband (and eventually her daughters), she suffered from depression,[112] and has been described as "haunted, worn down and beautiful"[144] as captured, somewhat controversially, by Rothenstein's drawings of her in the 1890s, shown here.[145] Woolf, like all the family, greatly admired her mother's beauty, and so strong was her conviction she could not accept what Rothenstein depicted, "my mother was more beautiful than you show her".[146]
Running a large household, in a towering Victorian mansion and with many commitments outside the home necessitated the supervision of the family finances and management of a large number of domestic servants, as would be common then,[147][148] and indeed indispensable in such a lifestyle.[149] This would be the subject of two of her essays.[150] So strong were some of these ties, that Sophie Farrell, who came to work at 22 Hyde Park Gate in 1886, would continue to work for various members of the extended Stephen family for the rest of her life.[151] Woolf provides us with a picture of her mother "adding up the weekly books".[152] Nevertheless, it was a household run by a woman for a man, Julia believing that a woman's role was ultimately to serve her husband.[134]
Death
On 5 May 1895, Julia died at her home, of heart failure brought on by influenza at the age of 49. She left her husband with four young children aged 11 to 15 (her children by her first marriage being adults, although Stella, then 26, took over her mother's duties till she was married two years later[153]). Julia was buried on 8 May at Highgate Cemetery, where her husband, daughter Stella and son Thoby were also later interred.[48][154][11] Julia's wealth at her death is listed as £5483 17s 1d.[y][155]
Work
Artist's model
Julia Stephen is best known for being a model, not only of Pre-Raphaelite painters, but also her photographer aunt, Julia Margaret Cameron. She was Julia Margaret Cameron's favourite and most trusted and mutable model, (see
Cameron frequently used a soft focus such as Julia Duckworth 1867 (plate 311) here.[157][158][aa] One of these portraits she titled My Favorite Picture of all my works. In this her eyes, are downcast and averted from the lens, a more sentimental effect than the dramatic frontal view of My niece Julia full face shown here. In this portrait, the subject appears to stare assertively at the photographer, as if saying: "I am, like you, my own woman."[160] These are in sharp contrast to the series taken during her long widowhood and mourning for her first husband (1870–1878), with its gaunt pallid facial features. Again, Cameron draws on another Victorian symbol, this time the tragic heroine whose beauty is consumed in grief.[157]
Social activism and philanthropy
In addition to her tireless contributions to running the Stephen household, and attending to the needs of her relatives, she worked to support friends and
At home, Virginia Woolf describes how Julia used one side of the drawing room for dispensing advice and consolation, the "
Views
Julia held firm views on the role of women in society.
Nor did her views preclude friendship with passionate advocates for women's rights and suffrage, such as the actress Elizabeth Robins. Robins recalls that her Madonna like face was somewhat misleading "she was a mixture of the Madonna and a woman of the world"[182] and that when she came up with something more worldly, it was "so unexpected from that Madonna face, one thought it vicious".[183] Julia Stephen was, in most respects, a conventional Victorian lady. She defended the hierarchical system of the live-in servants, the need to keep a constant watch over them, and believed a "strong bond" existed between the mistress of the house and those who serve.[150][184] It was this conventionality that Woolf consciously separated herself from, in terms of a model of womanhood, with the Victorian expectations of social conformity, that Woolf described as "a machine into which our rebellious bodies were inserted".[185][186]
Publications and other writings
Julia Stephen's literary canon consists of a book, a collection of children's stories and a number of unpublished essays. The first was a small volume, entitled Notes from Sick Rooms, published by her husband's publisher, Smith, Elder & Co. in October 1883, an account of her nursing experience together with a detailed manual of instruction. It was republished in 1980[187] and later published in conjunction with Virginia Woolf's On Being Ill (1926) in 2012.[163][188] The second is a collection of stories she told to her children, entitled Stories for Children and written between 1880 and 1884. Her stories tended to promote the value of family life and the importance of being kind to animals. Sometimes, such as in Cat's Meat, they reflect the tensions in Julia's own life. She emerges from these writings as decisive, conservative, and pragmatic,[189] with a wit that some considered almost shocking.[190] Although she was unsuccessful in getting these published in her lifetime, they were eventually published, together with Notes from Sick Rooms and a collection of her essays, which had been in the possession of Quentin Bell,[145] in 1993.[191] She also wrote the biographical entry for Julia Margaret Cameron in the Dictionary of National Biography of which her husband was the first editor (1885–1891),[192][11] one of the very few biographies of women to be found in this work,[af][194] and an omission which drew the critical exclamation of Woolf "it is much to be regretted that no lives of maids ... are to be found in the Dictionary of National Biography".[195][196] Among her essays was Agnostic women defending her philanthropy as an agnostic (see Social activism and Views), and two other essays addressing the management of households, and in particular servants.[150]
List of publications
- Stephen, Julia D. (1987). Steele, Elizabeth; Gillespie, Dianne F (eds.). Julia Duckworth Stephen: Stories for Children, Essays for Adults. ISBN 978-0-8156-2592-6.
- Broughton, Panthea Reid (1989). "Julia Stephen's Prose: An Unintentional Self-Portrait". English Literature in Transition, 1880-1920 (Review). 22 (1): 125–128.
- Stephen, Mrs Leslie (1883). Notes from Sick Rooms. London: Smith, Elder, & Co.
- Stephen, Julia Duckworth (1980) [1883]. Notes from sick rooms. Puckerbrush Press. ISBN 978-0-913006-16-0.
- Stephen, Julia Duckworth (1980) [1883]. Notes from sick rooms. Puckerbrush Press.
- Hadas, Rachel (14 December 2012). "Virginia Woolf and Julia Stephen". The Times Literary Supplement (Review).
- Oram, Richard (17 April 2014). "Drawing parallels: Virginia Woolf's "On Being Ill" and Julia Stephen's "Notes from Sick Rooms"". Ransom Center Magazine (Review).
- Ward-Vetrano, Gianna (4 October 2016). "Julia Stephen's "Notes from Sick Rooms"". The Unbearable Bookishness of Blogging (Review). Retrieved 9 January 2018.
- Anonymous (11 February 2015). "Out! damn crumbs, from Notes from Sick Rooms, by Mrs. Leslie Stephen (1883)". The Neglected Books Page (Review). Retrieved 9 January 2018.
- J.P.S. (1885–1900). Cameron, Julia Margaret. New York Macmillan. p. 300., in Stephen (1886)
Quotations
We are bound to these sufferers by the tie of sisterhood and while life lasts we will help, soothe, and, if we can, love them. Pity has no creed, suffering no limits. And shall we, who are not helpers but sufferers, refuse to be helped in our turn by those who differ from us in doctrine but who are one in heart? ... Women are not all blind followers of men. They have power to think as well, and they will not weaken their power of helping and loving by fearlessly owning their ignorance when they should be convinced of it ... Women do not stand on the same ground as men with regard to work, though we are far from allowing that our work is lower or less important than theirs, but we ought and do claim the same equality of morals ... man and woman have equal rights and, while crediting men with courage and sincerity, do not let us deny these qualities to each other.
Legacy
Julia Stephen was the mother of Bloomsbury.
Quentin Bell considers her importance measured not so much in herself as in her influence on others.
Throughout her life, Julia Stephen was a prodigious letter writer, and according to Leslie Stephen, during her mother's lifetime, they "never passed a day apart without exchanging letters", often several.[213] After her death, The Julia Prinsep Stephen Nursing Association Fund was established to commemorate the life of a woman, Leslie Stephen described as one whose "frank kindly ways made her many friends among the poor".[214]
Virginia Woolf
The intense scrutiny of Virginia Woolf's literary output (see
Family trees
Ancestors of Julia Stephen | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
|
Pattle-Antoine Family Tree[229][1] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
|
Stephen Family Tree[225][232] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
|
Notes
- ^ Dr Jackson died at Hove, where he and his wife were then living, on 31 March 1887[1]
- Versaille, where they received their education[7]
- Regius Professor of History at Oxford (1848–1858) but retired shortly after their marriage, to Upton Castle in Pembrokeshire[16]
- ^ Herbert Fisher was also a historian
- ^ Elizabeth died in 1650 at the age of 14. Queen Victoria commissioned the memorial in 1856 for the church of Sts Thomas Minster, Isle of Wight, where Elizabeth was buried
- ^ Filbert (hazelnut) nails were greatly prized by Victorians, as a sign of refinement. They were a demure pink oval with a white crescent tip[33]
- ^ Herbert Duckworth, was born on 19 May 1833, the fourth son of William Duckworth Esq. (1795–1876) and Hester-Emily Philips (d. 1834)[36][37]
- ^ Leslie Stephen graduated in mathematics in 1854, Herbert Duckworth in law in 1855[15]
- ^ The house was demolished in 1940 following damage during The Blitz[46]
- ^ Stella Duckworth was 26 when her mother died, and married Jack Hills (1876–1938) two years later, but died following her honeymoon. She was buried next to her mother[48]
- ^ The Camerons built a home in Freshwater, Dimbola Lodge in 1870,[52] and when the lease on Little Holland House in London was not renewed in 1873, Watts arranged for Philip Webb to build the Prinseps a house in Freshwater, The Briary. This soon became the new literary and artistic focus, and was dubbed Little Holland House by the Sea[53]
- ^ Laura was born premature, at 30 weeks[54]
- Altar of the Dead[20]
- ^ The line separating the additional floors of 1886 can be clearly seen[58]
- ^ As Virginia Wool puts it, they "did what they could to prevent me"[67]
- ^ Laura would spend some time with the family in Cornwall in the summers[54]
- ^ The Survey of London considers this renovation an example of insensitive and inappropriate mutilation, adding two brick-faced stories to a stucco-fronted house.[88][58]
- ^ There was no furniture upstairs and the cold water tap did not function
- ^ On Albert Road, off Talland Road
- ^ A notice was posted to the effect that the St Ives Nursing Association had hired "a trained nurse ... under the direction of a Committee of Ladies to attend upon the SICK POOR of St Ives free of cost and irrespective of Creed" and that "gifts of old linen" should be sent to Mrs E Hain or Mrs Leslie Stephen, of Talland House and Hyde Park Gate. St Ives, Weekly Summary, Visitors' List and Advertiser 2 September 1893.[95] The phrase "irrespective of Creed" echoes her axiom "Pity has no creed" in Agnostic Women 1880 (see Quotations)
- ^ Leslie Stephen incorrectly dated it 1893 in his album. In describing it, he wrote "when I look at certain little photographs - at one on which I am reading by her side at St Ives with Virginia ... I see as with my bodily eyes the love, the holy and tender love"[100]
- ^ Mrs Jackson spent her final years in Brighton[113]
- ^ After Julia's death in 1895, Leslie Stephen compiled an epistolary memoir and photograph album for the children. The memoir (Mausoleum Book) remained known only to the family till published in 1977.[118] Begun on 21 May 16 days after Julia's death and completed in six weeks, it was composed as a letter to her children with a request to keep the contents confidential.[119][20] To it was appended a calendar of Julia's correspondence.[120] The photograph album is available, in part, on line[121][122]
- ^ James Kenneth Stephen was the son of James Fitzjames Stephen, Leslie Stephen's older brother
- ^ Stephen Julia Prinsep of 22 Hyde-park-gate South Kensington Middlesex (wife of Leslie Stephen) died 5 May 1895 Probate London. 26 July to the said Leslie Stephen gentleman Effects £5483 17s 1d[155]
- ^ Plates 279–321 and 328–333 in Cox & Ford 2003
- ^ Roger Fry wrote that this portrait was "a splendid success. The transitions of tone in the cheek and the delicate suggestions of reflected light, no less than the beautiful ‘drawing’ of the profile, are perfectly satisfying”[159]
- ^ Often reproduced as an oval, due to its cameo like composition, the image suggests deep relief and the ideals of purity, strength, and grace.[161] The photographer provided detailed notes on the sitting which she described as an "experiment" lit by firelight, and a 4 minute exposure. It fetched an unusually high price for the time of £1[162]
- ^ This photograph is thought to be the inspiration for the last scene of Virginia Woolf's On Being Ill (1930).[163]
- ^ Two letters were published in the Pall Mall Gazette, dated 3 and 16 October 1879, signed Julia Prinsep Stephen. 13, Hyde Park-gate South[169]
- ^ "Angel in the house" was the title of a popular poem (1854–1862) of the time by Coventry Patmore, which became a metaphor for the ideal woman. Virginia Woolf saw one of her generation's tasks was to combat this image — "Killing the Angel in the House was part of the occupation of a woman writer"[171] Woolf lays out the problem with this metaphor in Professions for Women (1933), an essay read to the Women's Service League[172]
- ^ The other biography of a woman was by Leslie's sister, Caroline Stephen, who contributed the article on Mary Aikenhead[193]
- ^ In Vanessa Bell's library at the Charleston Farmhouse
- ^ "here I am experimenting with the parent of all pens—the black J, the pen, as I used to think it, along with other objects, as a child, because mother used it"
- Florence Henrietta Fisher (1864–1920) who married Frederic William Maitland (1850–1906) in 1886, who wrote the biography of Leslie Stephen[230] and 2. H. A. L. Fisher (1865–1940), whose daughter Mary Bennett (1913–2005), wrote the biography of the Jackson family[6][231]
- ^ Leslie Stephen had one daughter, Laura (1870–1945), by his first wife, Minny Thackeray
References
- ^ a b c d e f g h i j Wood 2017.
- ^ a b c Llewellyn-Jones 2017.
- ^ a b c Vine 2018, Jackson Family
- ^ Vine 2018, Jackson Diary
- ^ a b c Lilienfeld 2016, pp. 163–164
- ^ a b c d Bennett 2002.
- ^ a b c d Marler 1993, p. xxiii.
- ^ Reid 1996, p. 5
- ^ a b Garnett 2004, pp. 32–34
- ^ a b Smith 2011.
- ^ a b c d e f g h i j k l m n o p Garnett 2004.
- ^ a b c d Eve 2017, Julia Prinsep Stephen. July 2014
- ^ Kukil 2011, Thoby Stephen
- ^ Lowe 2005, p. 7.
- ^ a b c d e f g h i Stephen 1987, Chronology pp. xvii–xxii
- ^ Broughton 2004, p.87
- ^ Kukil 2011, Saxonbury
- ^ Bell 1997, p. 44.
- ^ a b Wilkes 2014.
- ^ a b c d e f g h i j k Bell 1965.
- ^ Cameron 1994.
- ^ Eve 2017, For My Best Beloved Sister Mia. December 2015
- ^ Gillespie 1987, pp. 4–5
- ^ Reid 1996, p. 6
- ^ Kukil 2011, Julia Prinsep Jackson, c.1856
- ^ Kukil 2011, Julia Stephen reading, Talland House, 1892
- ^ a b Bell 1972, p. 17.
- ^ Woolf 1965, p. 152
- ^ a b Roe 2011.
- ^ Bell 1993, V Bell to A Garnett 27 February 1949, p. 518.
- ^ a b c d e Garnett 2011, p. 16.
- ^ Kukil 2011, Julia, Adrian and Henry James 1894
- ^ Hughes 2010.
- ^ Lowe 2005, p.7.
- ^ Cox & Ford 2003, p. 102
- ^ a b c Burke 1858, Duckworths pp. 321–322
- ^ a b Burke 1894, Duckworths pp. 546–547
- ^ ACAD & DKWT851H.
- ^ Vine 2018, Duckworth
- ^ a b c Cameron 2018, Mrs Duckworth
- ^ Kukil 2011, Julia and Herbert Duckworth, 1867
- ^ Kukil 2011, Herbert Duckworth
- ^ Kukil 2011, Julia Duckworth 2
- ^ Stephen 1895, p. 37.
- ^ Broughton 2004, p.62
- ^ Tietze 2008.
- ^ a b c Kukil 2011, Julia 1870s
- ^ a b Androom 2017, Hills, Stella
- ^ a b c Bell 1972, p. 13.
- ^ Kukil 2011, Julia Duckworth with Stella
- ^ Kukil 2011, Julia Stephen, 1880s
- ^ Cox & Ford 2003, p. 22
- ^ Cox & Ford 2003, p. 28
- ^ a b Koutsantoni & Oakley 2014.
- ^ a b c Olsen 2012.
- ^ Nadel 2016, p. 16ff.
- ^ Wilson 1987, pp. 17ff.
- ^ a b c d Rosner 2008, Walls p. 69
- ^ Bell 2012.
- ^ Newman 2006, p. 14.
- ^ a b c Tolley 1997, p. 106
- ^ Holtby 2007, pp. 10–11.
- ^ Kukil 2011, Leslie and Julia 1889
- ^ a b c d Reid 1996, p. 3
- ^ Woolf 1940, p. 91.
- ^ Bicknell 1996b, p. 234.
- ^ a b c Woolf 1940, p. 127.
- ^ Bell 1972, p.18.
- ^ Bond 2000, Julia Stephen p. 23
- ^ Kukil 2011, Julia & Vanessa 1879
- ^ Woolf 2009, Preface p. vii
- ^ Annan 1984, p. 6.
- ^ Maitland 1906, p. 478
- ^ Marler 1993, p. xxii.
- ^ Gordon 1984, p. 19.
- ^ Gordon 1984, p. 20.
- ^ a b c Rose 1983, p. 5
- ^ Rose 1983, p. 265
- ^ Kukil 2011, Leslie and Julia, Switzerland 1889
- ^ Field 2015, p. 66.
- ^ a b c d Marler 1993, p. xxv.
- ^ a b Lee 2015.
- ^ Stephens 2005.
- ^ BL 2018.
- ^ Humm 2006, p. 5.
- ^ a b Humm 2006a.
- ^ Woolf 1940, p. 119.
- ^ Sheppard 1975, Hyde Park Gate pp. 26–38
- ^ Marler 1993, p. xxiv.
- ^ a b c d e f g Woolf 1940.
- ^ a b c d e Gordon 2004.
- ^ Bell 1972, p. 189.
- ^ a b Woolf 1927.
- ^ a b Deegan & Shillingsburg 2018, Dell. Talland House
- ^ a b c d Richardson 2015.
- ^ Kukil 2011, Talland House
- ^ Humm 2006, p. 6.
- ^ British Library 2018.
- ^ a b Kukil 2011, Julia reading, Talland House 1892
- ^ Humm 2006, p. 7.
- ^ Woolf 2016, p. 61
- ^ Woolf 1977–1984.
- ^ Woolf 1975–1980.
- ^ Woolf 1908.
- ^ a b Woolf 1921.
- ^ Ender 2005, p. 218
- ^ Woolf 2013, Lighthouse p. 1109
- ^ Flint 2017, p. 54
- ^ Schulkind 1985, p. 13.
- ^ Garnett 2011.
- ^ Smith 2017.
- ^ a b c d Curtis 2002, Introduction p. 17
- ^ Marler 1993, p. 5.
- ^ Bell 1972, Chronology p. 189.
- ^ Stephen 1895, p. 26.
- ^ Broughton 2004, p. 63.
- ^ Stephen 1895, cited in MacCarthy (1937, p. 39).
- ^ Broughton 2004, p. 38.
- ^ Stephen 1895.
- ^ Broughton 2004, p. 3.
- ^ a b c Kukil 2011.
- ^ Photo Album 2008.
- ^ Kukil 2011, Julia Duckworth 1
- ^ Kukil 2011, Julia & children at lessons 1894
- ^ Dunn 1990, p. 33
- ^ Rosner 2014, p. 3
- ^ Curtis 2002, Introduction p. 58
- ^ MacCarthy 1937, p. 40
- ^ Woolf 1940, p. 83.
- ^ Squier 1985, p. 28
- ^ a b Briggs 2006, p. 37
- ^ Woolf 1908, p. 42.
- ^ a b c Gillespie 1987.
- ^ a b Garnett 2011, p. 20.
- ^ DeSalvo 1989.
- ^ Poole 1991.
- ^ Beattie 1989.
- ^ Woolf 1940, p. 116.
- ^ Broughton 2004, p.63
- ^ a b Minow-Pinkney 2007, pp. 67, 75
- ^ Kukil 2011, Julia & Vanessa 1880s
- ^ a b Daugherty 2007, pp. 106
- ^ Banks 1999, p. 118.
- ^ Curtis 2002, Introduction p. 16
- ^ a b Stephen 1987, Editorial note pp. xviii–xvi
- ^ Banks 1999, p. 117.
- ^ Light 2007.
- ^ Dunn 1990, p. 31
- ^ Pearce 1987.
- ^ a b c Stephen 1987, Servants pp. 248–256
- ^ Messud 2008.
- ^ Woolf 1921, p. 145.
- ^ VWS 2017.
- ^ Gérin 1981, p. 178.
- ^ a b Archives 2017.
- ^ a b Licence 2015, Bloomsbury 1878 p. 12
- ^ a b c Cox & Ford 2003, p. 67
- ^ Kukil 2003, Virginia's mother
- ^ Cameron 1926, p. 27.
- ^ a b Thurman 2003.
- ^ Cameron 2017.
- ^ Ford 2003, p. 46
- ^ a b Woolf 2012.
- ^ a b Garnett 2011, p. 12
- ^ Stephen 1883.
- ^ Woolf 2012, Crumbs pp. 57–59
- ^ Dell 2015, Stephen's writing
- ^ Stephen 1987, p. 257.
- ^ Dell 2015, Chapter 5 Note 23 p. 188
- ^ a b c Stephen 1987, Agnostic Women pp. 241–247
- ^ Melani 2011.
- ^ Woolf 1933.
- ^ Goldsworthy 2014.
- ^ Gillespie 1987a.
- ^ Hite 2000.
- ^ Marcus 1981, Introduction p. xix
- ^ Thomas 1992, p. 79
- ^ Burstyn 2016, p. 20
- ^ a b Broughton 2004, p. 4.
- ^ Annan 1984, p. 110.
- ^ Burstyn 2016, p. 23
- ^ Woolf 1940, p. 90.
- ^ Curtis 2002, Virginia p. 197
- ^ Zwerdling 1986, p. 98
- ^ Woolf 1940, p. 152.
- ^ a b Simpson 2016, p. 12
- ^ Stephen 1980.
- ^ Oram 2014.
- ^ Lee 1999, p. 83.
- ^ Bell 1972, p. 34
- ^ Stephen 1987.
- ^ JPS 1886.
- ^ Lewis 2000.
- ^ Kukil 2003.
- ^ Woolf 1938, Chapter 2 n.36
- ^ Broughton 2004, p. 12.
- ^ Paulsell 2017, p. 92
- ^ Dahl 1983.
- ^ Humm 2010, p. 25
- ^ Watts 1870.
- ^ Gerard 2018, Jan 4 2018
- ^ Woolf 1983.
- ^ Bell 1993, 11 August 1908, p. 67.
- ^ Humm 2005, p. 47
- ^ Dell 2006.
- ^ Lowe 2005.
- ^ Brooks 2015.
- ^ Burstyn 2016.
- ^ Spalding 2015, p. 14
- ^ Annan 1951, pp. 100–101.
- ^ Mullin 2014, p. 23.
- ^ Woolf 1979, p. 208.
- ^ Kukil 2011, Julia Stephen writing 1892
- ^ Kukil 2011, Julia Stephen, 1894
- ^ Rosenman 1986.
- ^ Hussey 2007, pp. 91
- ^ Hirsch 1989, pp. 108ff.
- ^ Woolf 1940, p. 64.
- ^ Birrento 2007, p. 69
- ^ Woolf 1940, pp. 81–84.
- ^ Woolf 1908, p. 40.
- ^ Rosenman 1986, cited in Caramagno (1989).
- ^ Caramagno 1989.
- ^ Woolf 1975, p. 374.
- ^ a b Bell 1972, Family Tree pp. x–xi
- ^ a b c d e f Geni 2018.
- ^ a b Caws & Wright 1999, p. 387, Note 4
- ^ Wolf 1998, p. 81.
- ^ Forrester 2015, Family Tree
- ^ Maitland 1906.
- ^ Vogeler 2014.
- ^ Venn 1904.
Bibliography
Books and theses
- Burstyn, Joan N. (2016) [1980]. Victorian Education and the Ideal of Womanhood. ISBN 978-1-315-44430-7.
- Cunningham, David; Fisher, Andrew; Mays, Sas, eds. (2005). Photography and Literature in the Twentieth Century. Cambridge Scholars Press. ISBN 978-1-904303-46-6.
- Deats, Sara Munson; Lenker, Lagretta Tallent, eds. (1999). Aging and Identity: A Humanities Perspective. ISBN 978-0-275-96479-5.
- Ender, Evelyne (2005). Architexts of Memory: Literature, Science, and Autobiography. ISBN 978-0-472-03104-7.
- ISBN 978-0-253-11575-1.
- Kaufman, Peter Iver; Bezio, Kristin M.S., eds. (2017). Cultural Icons and Cultural Leadership. ISBN 978-1-78643-806-5.
- ISBN 978-0-956-914-767.
- Rosner, Victoria (2008). Modernism and the Architecture of Private Life. ISBN 978-0-231-13305-0.
- Sheppard, FHW, ed. (1975). Survey of London. Vol. 38. South Kensington Museums Area. London: ISBN 978-0-485-48238-6. see also Survey of London
- Thomas, Gillian (1992). A Position to Command Respect: Women and the Eleventh Britannica. ISBN 978-0-8108-2567-3.
Julia Margaret Cameron
- ISBN 978-0-87923-076-0. (Digital edition)
- ISBN 978-0-944282-17-5.
- Cox, Julian; Ford, Colin (2003). Julia Margaret Cameron: The Complete Photographs. ISBN 978-0-89236-681-1. (see also Getty Publications Virtual Library)
- Ford, Colin (2003). Julia Margaret Cameron: A Critical Biography. ISBN 978-0-89236-707-8.
- Olsen, Victoria (2003). From Life: Julia Margaret Cameron & Victorian Photography. ISBN 978-1-4039-6019-1.
- Wolf, Sylvia, ed. (1998). Julia Margaret Cameron's Women. MOMA here
- Nordstrom, Alison Devine (1 April 2001). "Julia Margaret Cameron's Women (review)". S2CID 144738863.
- Nordstrom, Alison Devine (1 April 2001). "Julia Margaret Cameron's Women (review)".
Leslie Stephen
- ISBN 978-0-404-14021-2.
- ISBN 978-0-394-53061-1.
- Bicknell, John W, ed. (1996a). Selected Letters of Leslie Stephen: Volume 1. 1864-1882. Basingstoke: Macmillan. ISBN 9781349248872.
- Bicknell, John W, ed. (1996b). Selected Letters of Leslie Stephen: Volume 2. 1882-1904. ISBN 978-0-8142-0691-1.
- Broughton, Trev Lynn (2004). Men of Letters, Writing Lives. ISBN 978-1-134-89156-6.
- Fenwick, Gillian (1993). Leslie Stephen's life in letters: a bibliographical study. Scolar Press. ISBN 9780859679121.
- MacCarthy, Desmond (1937). Leslie Stephen: The Leslie Stephen Lecture delivered before the University of Cambridge on 27 May 1937. CUP Archive. (exceepts also at Google Books
- Duckworth & Co.Retrieved 2 January 2018.
- ISBN 978-0-19-812084-1. (excerpts in MacCarthy (1937)
- Stephen, Leslie, ed. (1886). Dictionary of National Biography. vol. VIII Burton Cantwell. London: Elder, Smith & Co. (see also Dictionary of National Biography)
Vanessa Bell
- ISBN 978-0-679-41939-6.
- Marler, Regina. Biographical introduction. pp. xvii–xviii.
- Dejardin, Ian AC, ed. (2017). Vanessa Bell. ISBN 978-1-78130-051-0.
- Field, Claudia Louise (2015). Focusing the lens: the role of travel and photography in the personal and working lives of Vanessa Bell and Duncan Grant (PhD thesis). Department of Art History, University of Sussex.
- ISBN 978-1-78453-241-3.
Virginia Woolf and Bloomsbury
- Acheson, James, ed. (2017). Virginia Woolf. ]
- ISBN 978-0-15-693580-7.
- Black, Naomi (2004). Virginia Woolf as Feminist. ISBN 978-0-8014-8877-1.
- Bond, Alma Halbert (2000). Who Killed Virginia Woolf?: A Psychobiography. Insight Books Human Sciences. ISBN 978-0-595-00205-4.
- Poole, Roger (1991). "Virginia Woolf: The Impact of Childhood Sexual Abuse on Her Life and Work, and: Who Killed Virginia Woolf?: A Psychobiography, and: Virginia Woolf: A Study of the Short Fiction, and: Virginia Woolf: Strategist of Language". MFS Modern Fiction Studies (Review). 37 (2): 300–305. S2CID 162382065.
- Poole, Roger (1991). "Virginia Woolf: The Impact of Childhood Sexual Abuse on Her Life and Work, and: Who Killed Virginia Woolf?: A Psychobiography, and: Virginia Woolf: A Study of the Short Fiction, and: Virginia Woolf: Strategist of Language". MFS Modern Fiction Studies (Review). 37 (2): 300–305.
- Boyd, Elizabeth French (1976). Bloomsbury heritage, their mothers and their aunts. New York: Taplinger Publishing Company. ISBN 978-0-8008-0821-1.
- Briggs, Julia (2006). Virginia Woolf: An Inner Life. ISBN 978-0-15-603229-2.
- Caws, Mary Ann; Wright, Sarah Bird (1999). Bloomsbury and France: Art and Friends. ISBN 978-0-19-802781-2.
- Curtis, Vanessa (2002). Virginia Woolf's Women. ISBN 978-0-299-18340-0.
- Dell, Marion (2015). Virginia Woolf's Influential Forebears: Julia Margaret Cameron, Anny Thackeray Ritchie and Julia Prinsep Stephen. ISBN 978-1-137-49728-4. see also excerpt here
- ISBN 978-0-7043-5042-7.
- Beattie, L. Elisabeth (23 July 1989). "In short". New York Times(Review).
- Poole, Roger (1991). "Virginia Woolf: The Impact of Childhood Sexual Abuse on Her Life and Work, and: Who Killed Virginia Woolf?: A Psychobiography, and: Virginia Woolf: A Study of the Short Fiction, and: Virginia Woolf: Strategist of Language". MFS Modern Fiction Studies (Review). 37 (2): 300–305. S2CID 162382065.
- Beattie, L. Elisabeth (23 July 1989). "In short".
- ISBN 978-0-231-53512-0.
- Goldman, Jane (2006). The Cambridge Introduction to Virginia Woolf. ISBN 978-1-139-45788-0.
- ISBN 978-0-19-811723-0.
- ISBN 978-0-8264-9443-6.
- Curtis, Vanessa (14 January 2007). "Virginia Woolf: A critical memoir by Winifred Holtby". The Independent (Review).
- ISBN 978-0-8135-3706-1.
- Humm, Maggie (2010). Edinburgh Companion to Virginia Woolf and the Arts. ISBN 978-0-7486-3553-5.
- )
- Licence, Amy (2015). Living in Squares, Loving in Triangles: The Lives and Loves of Virginia Woolf and the Bloomsbury Group. Amberley Publishing Limited. ISBN 978-1-4456-4579-7.
- ISBN 978-0-14-190213-5.
- New York Times(Review). Retrieved 20 January 2018.
- Lilienfeld, Jane (2016) [1999]. Reading Alcoholisms: Theorizing Character and Narrative in Selected Novels of Thomas Hardy, James Joyce, and Virginia Woolf. ISBN 978-1-137-10023-8.
- ISBN 978-1-349-05486-2.
- ISBN 978-1-78023-712-1.
- Reid, Panthea (1996). Art and Affection: A Life of Virginia Woolf. ISBN 978-0-19-510195-9.
- Rosenman, Ellen Bayuk (1986). The Invisible Presence: Virginia Woolf and the Mother-daughter Relationship. ISBN 978-0-8071-1290-8.
- Caramagno, Thomas C. (1989). "Review of Virginia Woolf and the Real World, ; The Invisible Presence: Virginia Woolf and the Mother-Daughter Relationship". JSTOR 438044.
- Caramagno, Thomas C. (1989). "Review of Virginia Woolf and the Real World, ; The Invisible Presence: Virginia Woolf and the Mother-Daughter Relationship".
- Rosner, Victoria, ed. (2014). The Cambridge Companion to the Bloomsbury Group. ISBN 978-1-107-01824-2.
- Simpson, Kathryn (2016). Woolf: A Guide for the Perplexed. ISBN 978-1-4725-9068-8.
- Snaith, Anna, ed. (2007). Palgrave Advances in Virginia Woolf Studies. ISBN 978-0-230-20604-5.
- Squier, Susan Merrill (1985). Virginia Woolf and London: The Sexual Politics of the City. ISBN 978-1-4696-3991-8.
- Stape, John Henry (1995). Virginia Woolf: Interviews and Recollections. ISBN 978-0-87745-494-6.
- Wilson, Jean Moorcroft (1987). Virginia Woolf's London: A Guide to Bloomsbury and Beyond. ISBN 978-1-86064-644-7.
- Zamith, Maria Cândida; Flora, Luísa, eds. (2007). Virginia Woolf: Three Centenary Celebrations.
- Zwerdling, Alex (1986). Virginia Woolf and the Real World. ISBN 978-0-520-06184-2.
- Caramagno, Thomas C. (1989). "Review of Virginia Woolf and the Real World, ; The Invisible Presence: Virginia Woolf and the Mother-Daughter Relationship". JSTOR 438044.
- Middleton, Victoria (1987). "Alex Zwerdling: Virginia Woolf and the Real World". Rocky Mountain Review of Language and Literature. 41 (4): 277–278. JSTOR 1347313.
- Pearce, Richard (Autumn 1987). "Review: Virginia Woolf's Reality". JSTOR 1345993.
- Caramagno, Thomas C. (1989). "Review of Virginia Woolf and the Real World, ; The Invisible Presence: Virginia Woolf and the Mother-Daughter Relationship".
Works by Virginia Woolf
- ISBN 978-1-4733-6305-2. (see A Room of One's Own)
- ISBN 978-0-15-162034-0. (see Moments of Being)
- Schulkind, Jeanne (2007). Preface to the Second Edition. p. 6. Bibcode:2007ess..bookD..17M., in Woolf (1985)
- Schulkind, Jeanne. Introduction. pp. 11–24., in Woolf (1985)
- Reminiscences. 1908. pp. 25–60.
- A Sketch of the Past. 1940. pp. 61–160.[a]
- 22 Hyde Park Gate. 1921. pp. 162–178.
- Schulkind, Jeanne (2007). Preface to the Second Edition. p. 6.
- Woolf, Virginia (1933). Professions for Women. Archived from the original on 22 April 2017. Retrieved 14 February 2018., in Adelaide (2015)
- Woolf, Virginia (2016) [1938]. Three Guineas. Read Books Limited.
- ISBN 978-1-904633-49-5. see also To the Lighthouse
- Collections
- ISBN 978-1-908909-19-0.
- "eBooks@Adelaide". Library of University of Adelaide. 22 September 2015. Archived from the original on 12 April 2018. Retrieved 14 February 2018.
- ISBN 978-0-19-955606-9.
- ISBN 9780151509263.
- Woolf, Virginia (1975). The Letters of Virginia Woolf: Volume 3 1923-1928. Harcourt Brace Jovanovich. ISBN 978-0-15-150926-3.
- Woolf, Virginia (1975). The Letters of Virginia Woolf: Volume 3 1923-1928. Harcourt Brace Jovanovich.
- Houghton Mifflin.
- Woolf, Virginia (1979). The Diary of Virginia Woolf Volume One 1915–1919. HarperCollins Publishers. ISBN 978-0-544-31037-7.
- Woolf, Virginia (1981). The Diary of Virginia Woolf Volume Two 1920–1924. Penguin. ISBN 978-0-14-005283-1.
- Woolf, Virginia (1979). The Diary of Virginia Woolf Volume One 1915–1919. HarperCollins Publishers.
Biography (other)
- ISBN 978-0-7126-7396-9.
- ISBN 978-0-907799-78-8.
- Vogeler, Martha S. (11 July 2014). "Bennett, Mary. Who Was Dr. Jackson? Two Calcutta Families: 1830–1855. London: British Association for Cemeteries in South Asia. 2002. Pp. xv, 116. £12. ISBN 0-90779-9-78-71". JSTOR 4054289.
- Vogeler, Martha S. (11 July 2014). "Bennett, Mary. Who Was Dr. Jackson? Two Calcutta Families: 1830–1855. London: British Association for Cemeteries in South Asia. 2002. Pp. xv, 116. £12. ISBN 0-90779-9-78-71".
- Burke, Bernard (1858). A Genealogical and Heraldic Dictionary of the Landed Gentry of Great Britain and Ireland. London: Harrison.
- ISBN 9780394487267.}
- Dunn, Jane (1990). A Very Close Conspiracy: Vanessa Bell and Virginia Woolf. )
- ISBN 978-1-4464-7525-6.
- ISBN 978-0-19-812664-5.
- Lowe, Gill (2005). Versions of Julia: five biographical constructions of Julia Stephen. London: Cecil Woolf. ISBN 978-1-897967-14-0.
- Dell, Marion (January 2006). "Versions of Julia: Five Biographical Constructions of Julia Stephen". The Virginia Woolf Bulletin (Review) (21): 56–58.
- Newman, Hilary (2006). Laura Stephen: a memoir. London: Cecil Woolf. ISBN 978-1-897967-39-3.
- Marshik, Celia (Fall–Winter 2008). "Laura Stephen: A Memoir / Julian Bell, the Violent Pacifist / Conversation with Julian Fry / Roger Fry, Apostle of Good Taste, and Venice" (PDF). Virginia Woolf Miscellany (Review) (74): 30.
- ISBN 978-0-394-72580-2.
- ISBN 978-1-84391-701-4.
- "'Hyde Park Gate News', a magazine by Virginia Woolf and Vanessa Bell". Collection items (Manuscript). British Library. Retrieved 9 January 2018.
- Tolley, Christopher (1997). Domestic Biography: The Legacy of Evangelicalism in Four Nineteenth-century Families. ISBN 978-0-19-820651-4.
- ISBN 978-1-108-04492-9. also Internet archive
Chapters and contributions
- Banks, Joanne Trautmann (1999). The Aging Artist The Sad but Instructive Case of Virginia Woolf. Bloomsbury Academic. pp. 115–126. ISBN 9780275964795., in Deats & Lenker (1999)
- Birrento, Ana Clara. Virginia Woolf: Moments of Being (PDF). pp. 61–72., in Zamith & Flora (2007)
- Flint, Kate. Victorian Roots: The sense of the past in Mrs Dalloway and To the Lighthouse. pp. 46–59., in Acheson (2017)
- Gillespie, Diane F (1993). The elusive Julia Stephen. Syracuse University Press. pp. 1–28. ISBN 9780815625926., in Stephen (1987)
- Gillespie, Diane F (1993). Essays for adults. Syracuse University Press. pp. 195–213. ISBN 9780815625926., in Stephen (1987)
- Humm, Maggie (2005). Memory and photography: The photo albums of Virginia Woolf. Cambridge Scholars Press. pp. 42–51. )
- Milroy, Sarah. Some rough eloquence. pp. 25–39., in Dejardin (2017)
- Mullin, Katherine. Victorian Bloomsbury. pp. 19–32., in Rosner (2014)
- Goldsworthy, Vesna. The Bloomsbury Narcissus. pp. 183–197., in Rosner (2014)
- Paulsell, Stephanie (28 July 2017). Family resemblances: religion around Virginia Woolf. Edward Elgar. pp. 81–102. ISBN 9781786438065., in Kaufman & Bezio (2017)
- Hussey, Mark. Biographical approaches. pp. 83–97., in Snaith (2007)
- Daugherty, Beth Rigel. Feminist approaches. pp. 98–124., in Snaith (2007)
- Minow-Pinkney, Makiko (28 March 2007). Psychonalytic approaches. Springer. pp. 60–82. ISBN 9780230206045., in Snaith (2007)
- ISBN 9780877454946., reprinted in Stape 1995, pp. 147–153
Articles
- Bell, Alan (24 May 2012). "Stephen, Sir Leslie (1832–1904)". doi:10.1093/ref:odnb/36271. (Subscription or UK public library membershiprequired.)
- Bell, Quentin (1965). "The Mausoleum Book". A Review of English Literature. 6 (1): 9–18.
- Dahl, Christopher C. (1983). "Virginia Woolf's "Moments of Being" and Autobiographical Tradition in the Stephen Family". JSTOR 3831120.
- Garnett, Jane (23 September 2004). "Stephen [née Jackson], Julia Prinsep (1846–1895)". doi:10.1093/ref:odnb/46943. (Subscription or UK public library membershiprequired.)
- doi:10.1093/ref:odnb/37018. (Subscription or UK public library membershiprequired.)
- Hite, Molly (10 January 2000). "Virginia Woolf's Two Bodies". Genders.
- Hughes, Kathryn (20 November 2010). "The Finger: A Handbook by Angus Trumble – review". The Guardian. Retrieved 30 January 2018.
- Humm, Maggie (2006). "The Stephen sisters as young photographers". Canvas (15). Archived from the original on 17 January 2018. Retrieved 16 January 2018.
- Koutsantoni; Oakley, Madeleine (2 April 2014). "Hypothesis of Autism and Psychosis in the Case of Laura Makepeace Stephen". Disability Studies. 4 (3). .
- Lewis, Alison M (Autumn 2000). "Caroline Emelia Stephen (1834-1909) and Virginia Woolf (1882-1941): A Quaker Influence on Modern English Literature". Quaker Theology (3). Retrieved 12 February 2018.
- Thurman, Judith (17 February 2003). "Angels and Instincts: A Julia Margaret Cameron retrospective". The New Yorker.
Websites
- Eve, Kimberly (19 November 2017). "Victorian Musings". Retrieved 26 December 2017.
- Gerard, Andre (2018). "Patremoir Press". Retrieved 2 January 2018.
- Lee, Christina (15 October 2015). "A Beautiful Mind – Laura Makepeace Stephen and the Earlswood Asylum medical archives". Retrieved 21 January 2018.
- Melani, Lilia (2 March 2011). "The Angel in the House". William Makepeace Thackeray. Department of English, Brooklyn College, City University of New York. Retrieved 29 January 2018.
- Olsen, Victoria (1 February 2012). "Looking for Laura". Open Letters Monthly. Archived from the original on 21 January 2018. Retrieved 20 January 2018.
- Richardson, Phyllis (24 March 2015). "Tales from Talland House". Unbound. Retrieved 1 January 2018.
- The Victorian Web. Retrieved 15 December 2017.
- "Androom Archives". 2017. Retrieved 19 December 2017.
- "Find a will. Index to wills and administrations (1858-1995)". Calendars of the Grants of Probate and Letters of Administration. The National Archives. Retrieved 19 December 2017.
- "Duckworth, Herbert (DKWT851H)". A Cambridge Alumni Database. University of Cambridge. Retrieved 14 February 2018.
- NPG. "Maurice Beck and Helen Macgregor (1886-1960)". National Portrait Gallery, London. Retrieved 10 March 2018.
- Genealogy
- Vine, Nikki. "Nikki's Family History and Wells Local History Pages". Retrieved 6 January 2018.
- Wood, Dudley (3 November 2017). "Family Histories of Wood of Kent, Bone of Hampshire, Lloyd of Cheshire, Thompson of West Yorkshire". Retrieved 30 December 2017.
- "Relatives of Virginia Woolf". 22 March 2011. Retrieved 15 December 2017., in Smith (2017)
- "Geni". 2018. Retrieved 2 January 2018.
- Virginia Woolf
- Brooks, Rebecca Beatrice (2018). "The Virginia Woolf Blog". Retrieved 19 January 2018.
- Brooks, Rebecca Beatrice (8 April 2015). "Virginia Woolf's Family". The Virginia Woolf Blog. Archived from the original on 17 August 2021. Retrieved 19 January 2018.
- Deegan, Marilyn; Shillingsburg, Peter, eds. (2018). "Woolf Online: A digital archive of Virginia Woolf's To the Lighthouse (1927)". Society of Authors. Archived from the original on 29 October 2019. Retrieved 7 January 2018.
- Roe, Dinah (2011). "Virginia Woolf and Holman Hunt go To The Lighthouse". Pre-Raphaelites in the city. Retrieved 25 December 2017.
- Wilkes, Robert (5 August 2014). "Virginia Woolf and the Victorian Art World". Pre-Raphaelite Reflections. Retrieved 16 December 2017.
- British Library (2018). "To the Lighthouse". 20th century works. 37018. Retrieved 9 February 2018.
- "Woolf, Creativity and Madness: From Freud to FMRI". Smith College Libraries: Online exhibits. Northampton MA: Smith College Libraries. Retrieved 15 December 2017.
- "Virginia Woolf Society of Great Britain". Archived from the original on 18 December 2017. Retrieved 26 December 2017.
Images
- Kukil, Karen V. (2003). "Woolf in the World: A Pen and a Press of Her Own" (Exhibition catalogue). Northampton MA: Smith College. Retrieved 19 December 2017.
- Kukil, Karen V. (2011). "Leslie Stephen's Photograph Album" (Exhibition catalogue: photograph album). Northampton MA: Smith College. Retrieved 19 December 2017.
- Tietze, Anna (2008). "Abe Bailey Biography". Abe Bailey Collection. Archived from the original on 7 May 2018. Retrieved 26 January 2018.
- Woolf, Virginia (1983). "Virginia Woolf Monk's House photographs, ca. 1867-1967 (MS Thr 564)". Harvard Theatre Collection, Houghton Library, Harvard Library. Retrieved 31 December 2017.
- "Stephen Family Photo Album" (Photograph album). Retrieved 7 January 2018., in Deegan & Shillingsburg (2018)
- Smith, Patti (2006). "Vanessa Bell's Library, Duncan Grant's painting of Vanessa Bell in her Mother's Dress" (Photograph). Robert Miller Gallery. Retrieved 9 January 2018.
- Beck, Maurice; Macgregor, Helen (May 1926). "Virginia Woolf tries on her mother's Victorian dress, May 1926" (Photograph). Vogue. Retrieved 9 January 2018.[b]
- "22 Hyde Park Gate". Walking London one postcode at a time: SW7: Beyond our (South) Ken (Photograph). 16 August 2013. Retrieved 9 January 2018.
- "Map of location of 22 Hyde Park Gate". Google Earth (Map). Retrieved 23 January 2018.
- Collections
- The Metropolitan Museum of Art. Retrieved 2 January 2018.
- Cameron, Julia Margaret (1864). "Julia Jackson" (Photograph). London: Victoria and Albert Museum. Retrieved 10 January 2018.
- J Paul Getty Museum. Retrieved 13 January 2018.
- Watts, George Frederic. "Julia Stephen, 1870". Art UK (Painting). Charleston Farmhouse: Arts Council England. Retrieved 17 December 2017.
- Royal Pavilion & Museums, Brighton & Hove: Arts Council England. Retrieved 10 January 2018.
- "Julia Prinsep Stephen (née Jackson, formerly Mrs Duckworth) (1846-1895), Beauty and philanthropist; former wife of Herbert Duckworth, and later wife of Sir Leslie Stephen; mother of Virginia Woolf and Vanessa Bell" (Museum collection). London: National Portrait Gallery. Retrieved 24 December 2017.
Notes
- ^ Originally published in 1976, the discovery in 1980 of a 77 page typescript acquired by the British Library, containing 27 pages of new material necessitated a new edition in 1985. This was inserted following page 107 of the first edition.[Bibliography 1] All page references to Sketches are to the second edition, otherwise to the first edition of Moments of Being
- ^ Maurice Beck and Helen Macgregor, who ran a studio in Marylebone, were chief photographers for British Vogue[Bibliography 2]
References
External links
Works related to Author:Julia Prinsep Stephen at Wikisource