Raphael took part in a one-week curatorial research micro-internship in June 2023, hosted by the University of Oxford National Trust Partnership team and co-supervised by National Trust.
When researching the historical background of The Black Prince statue (1884) (currently undergoing renovation at the Royal Oak Foundation Studio at Knole), its decidedly layered past immediately became apparent.
Firstly, the statue was an object in itself; that is, an equestrian statue situated alongside other similar contemporary works by other artists. Secondly, it was the product of its architect Edouard Lantéri (1848-1917); an artist connected with the New Architecture movement of the late nineteenth-century, and thus influenced by (and contributing to) a particular artistic milieu. And thirdly, it was an object of curatorial interest later down the line; a statue collected by the American businessman Charles Henry Robinson in the mid-20th century, who was himself the product of a medievalist wave colouring the Anglo-American curatorial sphere at this later stage (as a depiction of a chivalrous medieval knight The Black Prince fit the bill). Robinson was the last private owner of the Kentish manor Ightham Mote, which was the site of The Black Prince - it has remained there since, under the care of the National Trust.
As quickly became evident during the project, The Black Prince exists as much more than its physical appearance; its poignancy lies in the artistic styles and tastes it represents, cutting across generations of architectural movements and interested curation. In that sense it is still living: just as Robinson’s curatorial decisions are now an unescapable part of its history, current and future curatorial decisions will continue to adorn it with new artistic resonances. Its layered background will continue to grow more complex centuries after the death of its initial creator.
Such comprehensive coverage of the statue’s historical background is therefore crucial, as the decisions it will inform surrounding its re-installation at Ightham Mote will only be the latest in its rich (and ongoing!) artistic trajectory.
It was a pleasure to track the artistic journey of this object. It afforded me the opportunity to delve into the entirely new world (as far as my personal studies had hitherto extended) of Art History; a fresh and welcome lens through which to analyse the past. The research aspect of the project was exciting - I was able to go into the Oxford libraries (even though it was a wholly virtual internship) to discover and ultimately present findings on an entirely new topic. That my research was to have a tangible impact on a genuine National Trust project was also a thrilling prospect; the National Trust team I worked with were helpful and encouraging, and it was great to feel a part of such a fascinating project. I am very much looking forward to visiting the statue itself at its temporary home in the conservation studio at Knole in September, as well as Ightham Mote as its permanent site of residence. I also appreciated more generally such an insight into the work the National Trust undertakes as an organisation, and I am keen to continue my exploration of the world of curatorial research and conservation upon the completion of my undergraduate degree.
Raphael is a third-year finalist completing his undergraduate History degree at Jesus College, Oxford; his course mainly focused on political, religious and intellectual European history across the eighteenth and nineteenth centuries. His love for academic study within the field of history more generally has grown throughout his time at Oxford and has ultimately stimulated his interest in heritage research. This project therefore appealed to him directly (even as the subject matter itself was relatively unfamiliar!) and he hopes to continue gaining new experiences in the heritage sector upon the completion of his degree.
Image credit: The Black Prince, Ightham Mote
© National Trust / Jaron James
Find out more about the National Trust Partnership here.
Find out more about the TORCH Heritage Programme here.
