Dr Lisa Gee

@lis4g33.bsky.social

272 Followers 450 Following

Enthusiastic, neurodivergent, digressive, herded by cat (RIP Kooky)

Miniature of Mary Wellford Hayley in her wedding garb, probably by George Engleheart. Mary wears a lacy cream (or white) wedding gown, with pink roses (or peonies) in her hair, and a gold cross on a gold chain round her neck. She has dark curly hair, brown eyes a narrow nose and red-painted lips
damaged print portrait of Dante in profile, facing left, wearing a soft white cap with a brown band around it, a brown jacket with a short collar, with a white, short-collared shirt underneath. He also appears to be holding a sprig of a plant in his partially-visible right hand, raise to armpit level. Licence: Public Domain Mark Credit: Dante Alighieri. Colour lithograph, 1859, after S.S. Kirkup after a fresco attributed to Giotto. Wellcome Collection. Source: Wellcome Collection.
Award announcement re Dora Gee winning the lead performance (musicals) in the inaugural Fringe Theatre Awards, screenshot from Instagram
Heading from book chapter. Text reads William Hayley and Jane Austen A Biographical Romance Diana Barsham
Engraving by Blake of Thomas Alphonso Hayley which appears in William Hayley’s ‘Essay on Sculpture’ (photo © Lisa Gee) Profile of Thomas Alphonso Hayley with a fine head of hair covering his shoulders, a full fringe large eyes and a purposeful expression.
Cowper faces left, wearing a large, soft white hat. His mouth is slightly upturned, he has a long aquiline nose, and is wearing a soft fabric coat with a frankly enormous collar. William Blake, 1757–1827, William Cowper, Author of "The Task", 1802, Etching and engraving on medium, slightly textured, cream wove paper, Yale Center for British Art, Paul Mellon Collection, B1978.43.1668.
Engraving of Jeremiah Meyer. William Pether, ca. 1738–1821, Jeremiah Meyer, Esqr. r. A., Miniature painter in Enamel to His Majesty, 1789, Yale Center for British Art, Paul Mellon Collection, B1977.14.12362. Meyer, his body turned slightly to the left, looks over his left shoulder, while – from the top – he holds what looks to be a large sketch pad, with a pencil or brush held gently in his right hand. His face bears a concentrated expression as if he’s observing something closely. His features are large and heavy, his hair neatly dressed and curled outwards over his ears (his right lobe is visible). His hairline is slightly receding. He wears what looks like a simple, brown jacket over a cream or white cravat.
Blake’s sketch of Eartham Impressionistic pen sketch of house in background, with green bush front right and to right on hill, viewed through 2 trees front centre & left, with more greenery/?dead tree to left foreground. William Blake, 1757–1827, The Entrance Front of Hayley's House at Eartham, 1801, Pen and black ink with watercolor and graphite on medium, smooth, beige wove paper, Yale Center for British Art, Paul Mellon Collection, B1981.25.2396.
Terracotta Bust of William Hayley Thomas Alphonso Hayley, 1780–1800, William Hayley, 1795, Terracotta, Yale Center for British Art, The Gift of Charles Ryskamp, B2002.6. In September 1795 Tom recalled in a letter: “in the beginning of this year, I modeled a small full-face medallion of my father, for which Mr. Romney did me the honour to give me five guineas.” This is almost certainly the portrait medallion Thomas described and is one of only two surviving pieces of sculpture from his hand; the other, a plaster medallion of George Romney, is now in the collection of the West Sussex Records Office, UK. https://collections.britishart.yale.edu/catalog/tms:50821
Book jacket. Text reads Top left: Palgrave studies in life writing Series editors: Clare Brant • Max Saunders Centre: William Hayley A Biographer’s Influence on Life Writing and Romantic Networks in the Long Eighteenth Century Edited by Lisa Gee • Mark Crosby Bottom right: Palgrave macmillan Image: Full length picture showing (l-r) George Romney (self portrait) peering impishly into the frame, William Hayley standing side on head turned to face the viewer. He’s tall, has an imperious expression under shortish grey hair, is wearing a long dark blue cape, grey trousers and his right hand holds a walking stick. John Flaxman(who comes up to Hayley’s shoulder looks at him while working on a large grey bust. In front of him, the height of Flaxman’s shoulder,. and facing away from us, is Tom Hayley, wearing a red waistcoat over a white/cream shirt, knee length britches, white socks or spats and brown shoes. His hair is brown and touches his shoulder George Romney, 1734–1802, John Flaxman Modeling the Bust of William Hayley, 1795 to 1796, Oil on canvas, Yale Center for British Art, Paul Mellon Collection, B1981.25.538.
Grubby old white wire bound notebook cover with James Thin Booksellers Since 1848 logo
Book jacket. Text reads Top left: Palgrave studies in life writing Series editors: Clare Brant • Max Saunders Centre: William Hayley A Biographer’s Influence on Life Writing and Romantic Networks in the Long Eighteenth Century Edited by Lisa Gee • Mark Crosby Bottom right: Palgrave macmillan Image: Full length picture showing (l-r) George Romney (self portrait) peering impishly into the frame, William Hayley standing side on head turned to face the viewer. He’s tall, has an imperious expression under shortish grey hair, is wearing a long dark blue cape, grey trousers and his right hand holds a walking stick. John Flaxman(who comes up to Hayley’s shoulder looks at him while working on a large grey bust. In front of him, the height of Flaxman’s shoulder,. and facing away from us, is Tom Hayley, wearing a red waistcoat over a white/cream shirt, knee length britches, white socks or spats and brown shoes. His hair is brown and touches his shoulder George Romney, 1734–1802, John Flaxman Modeling the Bust of William Hayley, 1795 to 1796, Oil on canvas, Yale Center for British Art, Paul Mellon Collection, B1981.25.538.
Engraving of Jeremiah Meyer. William Pether, ca. 1738–1821, Jeremiah Meyer, Esqr. r. A., Miniature painter in Enamel to His Majesty, 1789, Yale Center for British Art, Paul Mellon Collection, B1977.14.12362. Meyer, his body turned slightly to the left, looks over his left shoulder, while – from the top – he holds what looks to be a large sketch pad, with a pencil or brush held gently in his right hand. His face bears a concentrated expression as if he’s observing something closely. His features are large and heavy, his hair neatly dressed and curled outwards over his ears (his right lobe is visible). His hairline is slightly receding. He wears what looks like a simple, brown jacket over a cream or white cravat.
Shadow of a finger pointing to the chapter title. Text reads ‘Be My Enemy for Friendship’s Sake’: Hayley and Blake’s Biographers Jason Whittaker and Annise Rogers
Lost Romney watercolour, b&w/sepia L-R Eliza Ball Hayley in profile (facing right), seated at a table, looking down while at some form of handiwork: possibly sharpening a pen, or preparing materials for needlework. William Hayley is seated behind the same table, pictured front on, wearing a jacket with a huge collar. His arms rest semi crossed on the table, and in front of him is a large book with another document on it. Standing to his right (directly opposite the seated Eliza) is Captain Howell, a protegé of William Hayley’s who was lost at sea. Howell is looking down at the document while William Hayley’s head is slightly tilted up to look at him
Impressionistic pen sketch of house in background, with green bush front right and to right on hill, viewed through 2 trees front centre & left, with more greenery/?dead tree to left foreground. William Blake, 1757–1827, The Entrance Front of Hayley's House at Eartham, 1801, Pen and black ink with watercolor and graphite on medium, smooth, beige wove paper, Yale Center for British Art, Paul Mellon Collection, B1981.25.2396.
Eliza Ball Hayley in profile (facing right), looking down while at some form of handiwork: possibly sharpening a pen, or preparing materials for needlework. b&w/sepia Detail from lost Romney watercolour, which also features William Hayley and Captain Howell, a protegé of William Hayley’s who was lost at sea.
George Romney, Anna Seward, 1788. Oil on canvas. © Forsyth County Library, Winston-Salem, NC. Used with permission. A woman in a long, dark dress with gold trimmings and a blue silky sash leans her left elbow on a table covered in red fabric. Her eyes look to her right, and her face rests gently on her left hand, her index finger pointing upwards. She holds a scroll of paper in her right hand. On the table are inkwell with a quill pen in it, an unfolded sheet of paper, and some crumpled pieces of paper. The background is reddish orange, darkening on the sitter's left into what could be read as night.
Upright spine of leather bound book embossed with gold designs and the words LIFE OF MILTON The book is held in position by two piles of other old books (mostly also by Hayley)
Selfie of Lisa holding up William Hayley book so that the title, editor & other jacket text are visible, and concealing part of her face. Behind her are her slightly chaotic bookshelves and the tops of some plants
Close-up of fluffy calico cat with green eyes.
Chapter title from book. Text reads "Hayley’s Biography of Dante Silvia Riccardi"
Title of Diana Barsham’s chapter. Text reads “William Hayley and Jane Austen: A Biographical Romance Diana Barsham”
Engraving by Blake of Thomas Alphonso Hayley which appears in William Hayley’s ‘Essay on Sculpture’ (photo © Lisa Gee) Profile of Thomas Alphonso Hayley with a fine head of hair covering his shoulders, a full fringe large eyes and a purposeful expression.
Full length picture showing (l-r) George Romney (self portrait) peering impishly into the frame, William Hayley standing side on head turned to face the viewer. He’s tall, has an imperious expression under shortish grey hair, is wearing a long dark blue cape, grey trousers and his right hand holds a walking stick. John Flaxman (who comes up to Hayley’s shoulder) looks at him while working on a large grey bust. In front of him, the height of Flaxman’s shoulder,. and facing away from us, is Tom Hayley, wearing a red waistcoat over a white/cream shirt, knee length britches, white socks or spats and brown shoes. His hair is brown and touches his shoulder George Romney, 1734–1802, John Flaxman Modeling the Bust of William Hayley, 1795 to 1796, Oil on canvas, Yale Center for British Art, Paul Mellon Collection, B1981.25.538.
William Hayley’s head & shoulders: detail from George Romney, 1734–1802, John Flaxman Modeling the Bust of William Hayley, 1795 to 1796, Oil on canvas, Yale Center for British Art, Paul Mellon Collection, B1981.25.538. Hayley faces out of the painting, his hair is grey (or powdered). his dark eyebrows arched, his eyes brown, serious expression, aquiline nose, fullish lips, dark blue velvet cloak over white shirt.
Engraving of Jeremiah Meyer. William Pether, ca. 1738–1821, Jeremiah Meyer, Esqr. r. A., Miniature painter in Enamel to His Majesty, 1789, Yale Center for British Art, Paul Mellon Collection, B1977.14.12362. Meyer, his body turned slightly to the left, looks over his left shoulder, while – from the top – he holds what looks to be a large sketch pad, with a pencil or brush held gently in his right hand. His face bears a concentrated expression as if he’s observing something closely. His features are large and heavy, his hair neatly dressed and curled outwards over his ears (his right lobe is visible). His hairline is slightly receding. He wears what looks like a simple, brown jacket over a cream or white cravat.
Profile sketch of William Blake by John Flaxman. Blake is facing the left, hair receding, brushed back and curling at the (collar-length) ends. His visible eye is large, his nose wide, lips full and slightly downturned giving a serious (not sad) expression, and he has a double chin. John Flaxman, 1755–1826, Portrait of William Blake, ca. 1804, Graphite on medium, slightly textured, cream wove paper, Yale Center for British Art, Paul Mellon Collection, B1992.8.11(59).
Daft selfie of Lisa grinning, with the text HAPPY BIRTHDAY TO ME on her forehead, an image of the book jacket plastered over part of her face, and a big white arrow pointing to the book title
Selfie of Lisa holding up William Hayley book so that the title, editor & other jacket text are visible, and concealing part of her face. Behind her are her slightly chaotic bookshelves and the tops of some plants
George Romney, Anna Seward, 1788. Oil on canvas. © Forsyth County Library, Winston-Salem, NC. Used with permission. A woman in a long, dark dress with gold trimmings and a blue silky sash leans her left elbow on a table covered in red fabric. Her eyes look to her right, and her face rests gently on her left hand, her index finger pointing upwards. She holds a scroll of paper in her right hand. On the table are inkwell with a quill pen in it, an unfolded sheet of paper, and some crumpled pieces of paper. The background is reddish orange, darkening on the sitter's left into what could be read as night.
Book jacket. Text reads Top left: Palgrave studies in life writing Series editors: Clare Brant • Max Saunders Centre: William Hayley A Biographer’s Influence on Life Writing and Romantic Networks in the Long Eighteenth Century Edited by Lisa Gee • Mark Crosby Bottom right: Palgrave macmillan Image: Full length picture showing (l-r) George Romney (self portrait) peering impishly into the frame, William Hayley standing side on head turned to face the viewer. He’s tall, has an imperious expression under shortish grey hair, is wearing a long dark blue cape, grey trousers and his right hand holds a walking stick. John Flaxman(who comes up to Hayley’s shoulder looks at him while working on a large grey bust. In front of him, the height of Flaxman’s shoulder,. and facing away from us, is Tom Hayley, wearing a red waistcoat over a white/cream shirt, knee length britches, white socks or spats and brown shoes. His hair is brown and touches his shoulder George Romney, 1734–1802, John Flaxman Modeling the Bust of William Hayley, 1795 to 1796, Oil on canvas, Yale Center for British Art, Paul Mellon Collection, B1981.25.538.
Miniature of Mary Wellford Hayley in her wedding garb, probably by George Engleheart. Mary wears a lacy cream (or white) wedding gown, with pink roses (or peonies) in her hair, and a gold cross on a gold chain round her neck.
damaged print portrait of Dante in profile, facing left, wearing a soft white cap with a brown band around it, a brown jacket with a short collar, with a white, short-collared shirt underneath. He also appears to be holding a sprig of a plant in his partially-visible right hand, raise to armpit level. Licence: Public Domain Mark Credit: Dante Alighieri. Colour lithograph, 1859, after S.S. Kirkup after a fresco attributed to Giotto. Wellcome Collection. Source: Wellcome Collection.
Book jacket. Text reads Top left: Palgrave studies in life writing Series editors: Clare Brant • Max Saunders Centre: William Hayley A Biographer’s Influence on Life Writing and Romantic Networks in the Long Eighteenth Century Edited by Lisa Gee • Mark Crosby Bottom right: Palgrave macmillan Image: Full length picture showing (l-r) George Romney (self portrait) peering impishly into the frame, William Hayley standing side on head turned to face the viewer. He’s tall, has an imperious expression under shortish grey hair, is wearing a long dark blue cape, grey trousers and his right hand holds a walking stick. John Flaxman(who comes up to Hayley’s shoulder looks at him while working on a large grey bust. In front of him, the height of Flaxman’s shoulder,. and facing away from us, is Tom Hayley, wearing a red waistcoat over a white/cream shirt, knee length britches, white socks or spats and brown shoes. His hair is brown and touches his shoulder George Romney, 1734–1802, John Flaxman Modeling the Bust of William Hayley, 1795 to 1796, Oil on canvas, Yale Center for British Art, Paul Mellon Collection, B1981.25.538.
Black & white cat just visible in grey pet carrier.
Engraving by Blake of Thomas Alphonso Hayley which appears in William Hayley’s ‘Essay on Sculpture’ (photo © Lisa Gee) Profile of Thomas Alphonso Hayley with a fine head of hair covering his shoulders, a full fringe large eyes and a purposeful expression.
Cowper faces left, wearing a large, soft white hat. His mouth is slightly upturned, he has a long aquiline nose, and is wearing a soft fabric coat with a frankly enormous collar. William Blake, 1757–1827, William Cowper, Author of "The Task", 1802, Etching and engraving on medium, slightly textured, cream wove paper, Yale Center for British Art, Paul Mellon Collection, B1978.43.1668.
pressed flowers or leaves close to spine of p 37 of Hayley’s An Essay on Painting. All the same, 4-petalled (or leafed) variety
Engraving of Jeremiah Meyer. William Pether, ca. 1738–1821, Jeremiah Meyer, Esqr. r. A., Miniature painter in Enamel to His Majesty, 1789, Yale Center for British Art, Paul Mellon Collection, B1977.14.12362. Meyer, his body turned slightly to the left, looks over his left shoulder, while – from the top – he holds what looks to be a large sketch pad, with a pencil or brush held gently in his right hand. His face bears a concentrated expression as if he’s observing something closely. His features are large and heavy, his hair neatly dressed and curled outwards over his ears (his right lobe is visible). His hairline is slightly receding. He wears what looks like a simple, brown jacket over a cream or white cravat.
Shadow of a finger pointing to the chapter title. Text reads ‘Be My Enemy for Friendship’s Sake’: Hayley and Blake’s Biographers Jason Whittaker and Annise Rogers
Book jacket. Text reads Top left: Palgrave studies in life writing Series editors: Clare Brant • Max Saunders Centre: William Hayley A Biographer’s Influence on Life Writing and Romantic Networks in the Long Eighteenth Century Edited by Lisa Gee • Mark Crosby Bottom right: Palgrave macmillan Image: Full length picture showing (l-r) George Romney (self portrait) peering impishly into the frame, William Hayley standing side on head turned to face the viewer. He’s tall, has an imperious expression under shortish grey hair, is wearing a long dark blue cape, grey trousers and his right hand holds a walking stick. John Flaxman(who comes up to Hayley’s shoulder looks at him while working on a large grey bust. In front of him, the height of Flaxman’s shoulder,. and facing away from us, is Tom Hayley, wearing a red waistcoat over a white/cream shirt, knee length britches, white socks or spats and brown shoes. His hair is brown and touches his shoulder George Romney, 1734–1802, John Flaxman Modeling the Bust of William Hayley, 1795 to 1796, Oil on canvas, Yale Center for British Art, Paul Mellon Collection, B1981.25.538.
4 aubergines & 3 tomatoes on a kitchen worktop in the sunshine
Selfie of Lisa holding up William Hayley book so that the title, editor & other jacket text are visible, and concealing part of her face.Behind her are her slightly chaotic bookshelves and the tops of some plants
Romney’s face, wearing small round spectacles, can be seen smirking (self-portait). He’s holding up an artist’s pallet with smears of orangey-red, yellow & blueish-white paint..George Romney 1734–1802, John Flaxman Modeling the Bust of William Hayley, 1795 to 1796, Oil on canvas, Yale Center for British Art, Paul Mellon Collection, B1981.25.538.
Impressionistic pen sketch of house in background, with green bush front right and to right on hill, viewed through 2 trees front centre & left, with more greenery/?dead tree to left foreground. William Blake, 1757–1827, The Entrance Front of Hayley's House at Eartham, 1801, Pen and black ink with watercolor and graphite on medium, smooth, beige wove paper, Yale Center for British Art, Paul Mellon Collection, B1981.25.2396.
Title page of Eliza Ball Hayley’s first book. Text reads ESSAYS ON FRIENDSHIP AND OLD-AGE BY THE MARCHIONESS DE LAMBERT Que tout ce qu’elle dit est grace ; Tout ce qu’elle pense, raison. LA MOTTE TRANSLATED FROM THE FRENCH BY A LADY WITH AN INTRODUCTORY LETTER TO WILLIAM MELMOTH, ESQ. LONDON PRINTED FOR J.DODSLEY, PALL-MALL. M. DCC.LXXX.
Book jacket of Anna Seward and the End of the Eighteenth Century by Claudia Thomas Kairoff It shows the earlier Romney portrait of Seward, depicting a woman in a long, dark dress with gold trimmings and a blue silky sash leans her left elbow on a table covered in red fabric. Her eyes look to her right, and her face rests gently on her left hand, her index finger pointing upwards. Her hair is auburn and she wears a headdress with a laurel wreath. She holds a scroll of paper in her right hand, which rests on her dress. On the table are books and an urn. The background comprises a reddish swathe of fabric, which, to the sitter’s left reveals flattish scenery and a cloudy sky.
Book jacket. Text reads Top left: Palgrave studies in life writing Series editors: Clare Brant • Max Saunders Centre: William Hayley A Biographer’s Influence on Life Writing and Romantic Networks in the Long Eighteenth Century Edited by Lisa Gee • Mark Crosby Bottom right: Palgrave macmillan Image: Full length picture showing (l-r) George Romney (self portrait) peering impishly into the frame, William Hayley standing side on head turned to face the viewer. He’s tall, has an imperious expression under shortish grey hair, is wearing a long dark blue cape, grey trousers and his right hand holds a walking stick. John Flaxman(who comes up to Hayley’s shoulderlooks at him while working on a large grey bust. In front of him, the height of Flaxman’s shoulder,. and facing away from us, is Tom Hayley, wearing a red waistcoat over a white/cream shirt, knee length britches, white socks or spats and brown shoes. His hair is brown and touches his shoulder George Romney, 1734–1802, John Flaxman Modeling the Bust of William Hayley, 1795 to 1796, Oil on canvas, Yale Center for British Art, Paul Mellon Collection, B1981.25.538.
Lost Romney watercolour, b&w/sepia L-R Eliza Ball Hayley in profile (facing right), seated at a table, looking down while at some form of handiwork: possibly sharpening a pen, or preparing materials for needlework. William Hayley is seated behind the same table, pictured front on, wearing a jacket with a huge collar. His arms rest semi crossed on the table, and in front of him is a large book with another document on it. Standing to his right (directly opposite the seated Eliza) is Captain Howell, a protegé of William Hayley’s who was lost at sea. Howell is looking down at the document while William Hayley’s head is slightly tilted up to look at him
damaged print portrait of Dante in profile, facing left, wearing a soft white cap with a brown band around it, a brown jacket with a short collar, with a white, short-collared shirt underneath. He also appears to be holding a sprig of a plant in his partially-visible right hand, raise to armpit level. Licence: Public Domain Mark Credit: Dante Alighieri. Colour lithograph, 1859, after S.S. Kirkup after a fresco attributed to Giotto. Wellcome Collection. Source: Wellcome Collection.