Interiors by Design: Writing desks
Even for those well versed in the act of writing, it usually demanded a formal technique and took place at a dedicated piece of furniture, a writing desk. That often provided storage for the quills, pens and ink required, as well as a stock of paper. They could also be more elaborate and house a complete office with correspondence sorted into drawers, and pigeonholes that much later were models for software mailboxes. For the wealthy these more elaborate writing desks might be crafted by a joiner using exotic woods into a large bureau.
Antonello da Messina (c 1430–1479), Saint Jerome in his Study (c 1475), oil on lime wood, 45.7 x 36.2 cm, The National Gallery, London. Wikimedia Commons.
Antonello da Messina’s groundbreaking oil painting of Saint Jerome in his Study from around 1475 features an integrated office with shelving, although there are few books visible.
Gerard ter Borch (1617–1681), Woman Writing a Letter (c 1655), oil on panel, 39 x 29.5 cm, Koninklijk Kabinet van Schilderijen Mauritshuis, The Hague, The Netherlands. Wikimedia Commons.
Gerard ter Borch’s Woman Writing a Letter from about 1655 shows a more modest desk doubling as a table. Its heavy decorated table cover has been pushed back to make room for the quill, ink-pot, and letter. Behind the woman is her bed, surrounded by heavy drapery, and at the lower right is the brilliant red flash of the seat.
Johannes Vermeer (1632–1675), A Lady Writing a Letter (1665-1666), oil on canvas, 45 × 39.9 cm, National Gallery of Art, Washington, DC. Wikimedia Commons.
Vermeer painted at least two works showing women writing, of which the earlier is A Lady Writing a Letter from 1665-1666. The fur trimmings on her golden jacket confirm that this is no country bumpkin, but the lady of an affluent and well-educated house. Rather than looking down at her quill, she stares the viewer out, her faint smile of confidence lit by sunlight coming through the window off to the left. This illustrates the importance of placing a writing table or desk where it can be lit well by daylight, hence an association between writing desks and windows.
Matthäus Kern (1801–1852), A Study Interior at St. Polten (1837), brush and watercolor on white wove paper, dimensions not known, Cooper Hewitt, Smithsonian Design Museum, New York, NY. Wikimedia Commons.
Matthäus Kern’s watercolour showing A Study Interior at St. Polten (1837) reveals two contrasting types of writing desk: that at the right edge has a drawer and pigeonholes above to order papers and correspondence, while the long desk to the left of it has books, papers and writing instruments laid out across its flat surface, and a folding extension leaf to accommodate even more.
Robert Braithwaite Martineau (1826–1869), Kit’s Writing Lesson (1852), oil on canvas, 52.1 x 70.5 cm, The Tate Gallery (Presented by Mrs Phyllis Tillyard 1955), London. Photographic Rights © Tate 2016, CC-BY-NC-ND 3.0 (Unported), http://www.tate.org.uk/art/artworks/martineau-kits-writing-lesson-t00011
Robert Braithwaite Martineau’s painting of Kit’s Writing Lesson from 1852 shows this young character from Charles Dickens’ novel The Old Curiosity Shop struggling to write with a more modern dip pen. Sewing next to Kit Nubbles is the orphaned heroine Nell Trent, who is teaching him to write in the shop where he works.
Lesser Ury (1861–1931), Woman at a Writing-Desk (1898), oil on canvas, 71 x 51.5 cm, Alte Nationalgalerie, Berlin, Germany. Wikimedia Commons.
Lesser Ury’s Woman at a Writing-Desk from 1898 is an everyday interior with a woman, a pianist perhaps, sitting writing at her bureau-style desk. The popularity of bureaux was perhaps one mark of the achievement of education.
Paul César Helleu (1859–1927), Madame Paul Helleu Seated at Her Secretaire, Seen from the Back (c 1900), oil on canvas, 80.7 x 64.8 cm, Private collection. The Athenaeum.
Paul Helleu’s portrait of Madame Paul Helleu Seated at Her Secretaire, Seen from the Back from about 1900 is an unconventional view of his wife, who appears dressed for a social engagement rather than catching up with her letter-writing.
Félix Vallotton (1865–1925), Woman Reading in an Interior (1904), oil on board, 60.3 x 34.6 cm, Museum of Fine Arts, Houston, TX. Wikimedia Commons.
There’s dispute as to whether this painting by Félix Vallotton shows a Woman Reading in an Interior, as given by its French title, or a woman writing. Vallotton painted this in 1904, and its single figure doesn’t show her face as she sits at her small bureau, backlit by the light streaming in through the window.
Pierre Bonnard (1867-1947), The Letter (c 1906), oil on canvas, 55 x 47 cm, The National Gallery of Art, Washington, DC. The Athenaeum.
Pierre Bonnard painted a few interiors featuring a woman writing. The Letter from about 1906 is a conventional portrait of a well-dressed woman sitting at a desk or table to write a letter, and may have used Anita Champagne as the model. Her right hand holds a fountain pen with its own ink reservoir, a big step forward from the quill.
William McGregor Paxton (1869–1941), The New Necklace (1910), oil on canvas, 91.8 x 73.0 cm, The Museum of Fine Arts Boston (Zoe Oliver Sherman Collection), Boston, MA. Image courtesy of The Museum of Fine Arts Boston.
The New Necklace (1910) is one of William McGregor Paxton’s best-known paintings, and perhaps his most intriguing open narrative. A younger woman is sat at a narrow bureau writing. She has turned her chair so that she can reach behind and hold out her left hand to receive the new necklace of the title. This is being lowered into her hand by a slightly older woman, in a dark blue-green dress, whose face and eyes are cast down, and her left hand rests against her chin. The writing desk of this bureau is hinged so that it stores vertically and encloses the drawers inside.
A last aside: not one of these writers appears to be holding their quill or pen in their left hand. Teachers of the past weren’t as accommodating.
