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Hi all,
<div class="">Thanks for all of those terrific speculations! </div>
<div class=""><br class="">
</div>
<div class="">As Diane points out in her chapter in <i style="font-family: TimesNewRomanPSMT;" class="">The Edinburgh Companion,</i> this Bell painting predates both <i style="font-family: TimesNewRomanPSMT;" class="">Mrs. Dalloway </i>(1925) and the seven
short-stories written between 1922 and 1927 that were published by Stella McNicol as <i class=""><font face="TimesNewRomanPSMT" class="">Mrs. Dalloway’s Party</font></i> in 1973. However Mrs. Dalloway does of course appear in <i style="font-family: TimesNewRomanPSMT;" class="">The
Voyage Out </i>(1915), so is the central figure supposed to allude to Clarissa? </div>
<div class=""><br class="">
</div>
<div class="">Christine’s great question—“<span style="font-family: TimesNewRomanPSMT; background-color: rgb(255, 255, 255);" class="">are those </span><i style="font-family: TimesNewRomanPSMT;" class="">fingers</i><span style="background-color: rgb(255, 255, 255);" class=""><font face="TimesNewRomanPSMT" class=""> on
the young woman (Mary Hutchinson)'s left shoulder?”—is unanswerable because of the imposing central figure. </font></span></div>
<div class=""><span style="background-color: rgb(255, 255, 255);" class=""><font face="TimesNewRomanPSMT" class=""><br class="">
</font></span></div>
<div class=""><span style="background-color: rgb(255, 255, 255);" class=""><font face="TimesNewRomanPSMT" class="">That figure’s</font></span><span style="background-color: rgb(255, 255, 255);" class=""><font face="TimesNewRomanPSMT" class=""> extremely revealing </font></span><em class=""> </em><em class="">d</em><em class="">écolleté </em><span style="background-color: rgb(255, 255, 255);" class=""><font face="TimesNewRomanPSMT" class=""> is
not a Bell signature, so what exactly is that plunging neckline doing in this painting? </font></span><span style="background-color: rgb(255, 255, 255);" class=""><font face="TimesNewRomanPSMT" class="">We know that Mary Hutchinson was bisexual, and if the
figure on the far left is indeed Hutchinson, then perhaps the painting is commentary on her sexuality… or is something else going on here? </font></span></div>
<div class=""><span style="font-family: TimesNewRomanPSMT; background-color: rgb(255, 255, 255);" class=""><br class="">
</span></div>
<div class=""><span style="background-color: rgb(255, 255, 255);" class=""><font face="TimesNewRomanPSMT" class="">Such questions seem only to add mystery upon mystery, but thanks for helping us try to problem-solve!</font></span></div>
<div class=""><span style="background-color: rgb(255, 255, 255);" class=""><font face="TimesNewRomanPSMT" class="">best wishes, </font></span></div>
<div class=""><span style="background-color: rgb(255, 255, 255);" class=""><font face="TimesNewRomanPSMT" class="">Jane </font></span></div>
<div class=""><span style="font-family: TimesNewRomanPSMT; background-color: rgb(255, 255, 255);" class=""><br class="">
</span></div>
<div class=""><span style="font-family: TimesNewRomanPSMT; background-color: rgb(255, 255, 255);" class=""><br class="">
</span></div>
<div apple-content-edited="true" class="">Jane Garrity<br class="">
Associate Professor of English<br class="">
Associate Chair and Director of Undergraduate Studies<br class="">
University of Colorado at Boulder<br class="">
226 UCB<br class="">
Boulder, CO 80309-0226<br class="">
<a href="mailto:Jane.Garrity@Colorado.Edu" class="">Jane.Garrity@Colorado.Edu</a>
</div>
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<blockquote type="cite" class="">
<div class="">On Oct 18, 2018, at 11:34 AM, Diane Gillespie via Vwoolf <<a href="mailto:vwoolf@lists.osu.edu" class="">vwoolf@lists.osu.edu</a>> wrote:</div>
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<p class="">The painting is reproduced in black and white in my "Virginia Woolf, Vanessa Bell and Painting" (p. 130) in
<i class="">The Edinburgh Companion to Virginia Woolf and the Arts,</i> ed. Maggie Humm (2010). Barbara Ginsberg kindly described the colors for me and I included them in my discussion of the painting in relation to Woolf's description of the party in
<i class="">Mrs. Dalloway </i>(pp. 129-131).</p>
<p class="">Diane Gillespie<br class="">
</p>
<br class="">
<div class="moz-cite-prefix">On 10/18/2018 9:44 AM, Christine Froula via Vwoolf wrote:<br class="">
</div>
<blockquote type="cite" cite="mid:4b3d47ef-4b7a-2516-7c5a-4c5e5b2bd0aa@northwestern.edu" class="">
<p class="">Fantastic recovery! And--are those <i class="">fingers</i> on the young woman (Mary Hutchinson)'s left shoulder? if so... whose..?<br class="">
</p>
<div class="moz-cite-prefix">On 10/18/2018 11:04 AM, Regina Marler via Vwoolf wrote:<br class="">
</div>
<blockquote type="cite" cite="mid:CAJfVJ74tM8GL5oHzx4h0viEphZYa9JOuhj9qaCKbmSK1CJTHcQ@mail.gmail.com" class="">
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<div class="">Dear Woolfians,</div>
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</div>
<div class="">My friends Barbara and Howard Ginsberg bought this painting from Caroline Cuthbert at Anthony d'Offay in the 1980s. Caroline only vaguely remembers the story of its discovery by Quentin Bell and someone else, still rolled, in the "Monk's House
attic." The painting has somehow picked up a title, "Mrs. Dalloway's Party"--I think a selling title given by d'Offay. It's signed VB 1922 in pencil on the verso, if I recall. </div>
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<div class="">Looks like Mary Hutchinson on the left, and (at a stretch) Iris Tree in center? She was plump in this period but I'm not sure she was quite so monumental.<br class="">
</div>
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</div>
<div class="">Diane Gillespie referred to the painting in the Edinburgh Companion, I think. Jane Garrity hopes to include mention of the painting (and a reproduction, if possible) in a forthcoming essay. Jane and I welcome any further thoughts you may have--whether
about VB's making of this painting, VW's acquisition and non-display of it, or your musings on the painting itself.</div>
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</div>
<div class="">With thanks in advance,</div>
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</div>
<div class="">Regina Marler</div>
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