Joséphine Bowes

Joséphine Benoîte Coffin-Chevallier was born in 1825,{{Cite book | title=The Connoisseur: An Illustrated Magazine for Collectors, Volume 202, Issues 811-814| last=Low| first=Sampson| publisher=Marston & Company| year=1979| isbn=| location=| pages=50}} the daughter of a clockmaker and an actress.{{cite web |title=The Extraordinary Life of Joséphine Bowes | url=https://www.durham-singers.org/the-extraordinary-life-of-josephine-bowes/ |website=The Durham Singers |date=29 May 2019}} She herself became an actress in Paris, appearing under the stage name Mlle. Delorme. She was a vaudeville performer, actress, comedienne, and singer in the Théâtre des Variétés. Coffin-Chevallier met John Bowes, a wealthy landowner, when he purchased—and then managed—the theatre. They found they held a mutual love of the arts, and it is believed that they began a relationship soon after they met in 1847. After they married in 1852, she retired from the stage to concentrate on her painting and art collecting. As a wedding present, John Bowes bought her the former home of one of King Louis XV's mistresses, the Château du Barry, that became their residence.{{Cite news | url=https://www.bbc.com/news/uk-england-tees-39354571| title=The forgotten 'pioneer' of the art world| last=Leatherdale| first=Duncan| date=2017-05-27| work=BBC News| access-date=2018-11-14| language=en-GB}}

After her marriage to John Bowes, she became a noted hostess. She was considered one of the great salon holders and patrons of the arts in Paris at the time.{{cite web| title=Exhibition: Joséphine Bowes – A Woman of Taste and Influence| url=https://www.thebowesmuseum.org.uk/About/News/Detail/ArtMID/3381/ArticleID/251/JOS201PHINE-BOWES-%E2%80%93-A-WOMAN-OF-TASTE-AND-INFLUENCE| website=The Bowes Museum| access-date=2022-11-20| archive-date=2021-05-06| archive-url=https://web.archive.org/web/20210506185917/https://www.thebowesmuseum.org.uk/About/News/Detail/ArtMID/3381/ArticleID/251/JOS201PHINE-BOWES-%E2%80%93-A-WOMAN-OF-TASTE-AND-INFLUENCE| url-status=dead}} The Revue Critique wrote of her 1860s gatherings of artists, intellectuals, and French society that 'the salons of Madame Bowes are counted among the most brilliant in Paris'. She was celebrated for her taste in fashion and jewellery, and an 1872 bill from one of her visits to the foremost couturier of the day, Charles Worth, comes to the equivalent of £114,000 in modern (2020) currency.

Bowes became a patron of the arts on a grand scale, and is known to have commissioned plays from several playwrights of the time.Illingworth, J.; [https://pure.qub.ac.uk/portal/files/153741105/The_French_Library_of_John_and_Jos_phine_Bowes.pdf The French Library of John and Joséphine Bowes]; Published via: French Studies Library Group Annual Review.; Illingworth, J. (2017) She was also gifted in recognising what art works would become the next sensation, buying impressionist works before impressionism had made a great impact.{{cite web |title=Joséphine's Painting of Her 'Enemy' drew Great Acclaim |url=https://www.teesdalemercury.co.uk/features/josephines-painting-of-her-enemy-drew-great-acclaim |website=www.teesdalemercury.co.uk |date=9 January 2021 |language=en}}

Bowes was a talented amateur artist who studied under the landscape painter Karl Josef Kuwasseg. She eventually became a skilled artist, with her work exhibited on four occasions in the late 1860s at the Académie des Beaux-Arts in Paris and once at the Royal Academy in London—an unusual achievement for a woman of the time. The Bowes Museum still holds fifty-five of her paintings in its collection, most of which are landscapes.

File:Joséphine Bowes.jpg

In the 1860s, the Bowes conceived the idea of founding a museum filled with the already substantial collections of John's. Joséphine's vision was to create a place where the local coal miners and farmers could encounter fine art and improve their lives.{{Cite book | title=The art collections of Great Britain and Ireland : the National Art-Collections Fund book of art galleries and museums| last=Jeannie.| first=Chapel| date=1986| orig-year= 1985| publisher=Abrams| others=Gere, Charlotte., National Art-Collections Fund (Great Britain)| isbn=978-0810909410| location=New York| pages=99| oclc=12420066}} She sold the Chateau du Barry in order to raise funds for the project, and is known to have sold some of the most valuable of her diamonds in order to fund the completion of the museum. She is widely credited by the museum as the driving force behind the project. The pair began the collection specifically destined for a museum in Bowes' ancestral lands in Teesdale in 1862. The couple commissioned the architect Jules Pellechet, who had already worked with them in France, to design a museum in Barnard Castle, which was the town nearest to John's family home, Streatlam Castle.{{Cite web| url=http://thebowesmuseum.org.uk/About-Us/Our-History/The-Building| title=The Bowes Museum > About Us > Our History > The Building| website=thebowesmuseum.org.uk| language=en-GB| access-date=2018-09-14| archive-date=2018-09-16| archive-url=https://web.archive.org/web/20180916164329/http://thebowesmuseum.org.uk/About-Us/Our-History/The-Building| url-status=dead}}

In the next twelve years, fifteen thousand objects were purchased to fill the projected building. Bowes collected pieces across a broad spectrum.{{Cite book | title=Women in the Victorian art world| date=1995| publisher=Manchester University Press| others=Orr, Clarissa Campbell.| isbn=978-0719041228| location=Manchester| pages=133| oclc=32552132}} From the records that are left, Bowes collection archivists surmise that Bowes used her own artistic eye in collecting decorative arts pieces such as ceramics, silverware, and tapestries. She also made extensive purchases from the International Exhibitions held in Paris in 1862, 1867, and in London in 1871. Her purchases of paintings benefited from her friendships with young artists, and she also worked with two Parisian dealers, Mme Lepautre and A. Lamer, who left annotated records of their dealings, which are still held by the museum. She purchased works by artists as diverse as El Greco, Cannaletto, Boucher, Anne Vallayer-Coster, Courbet, and Charles Joshua Chaplin.

The couple did not have children. In 1868, Her husband purchased the title of Countess of Montalbo for Bowes, from the nation of San Marino, to elevate her status.{{cite book | url=http://redsqdesign.co.uk/uploads/pdf/jandjbowes.pdf| title=John and Joséphine: the Creation of the Bowes Museum| last=Chapman| first=Caroline| date=1 May 2010| publisher=The Bowes Museum| isbn=978-0-9548182-96| edition=| location=Barnard Castle, County Durham DL12 8NP| access-date=13 October 2013| archive-url=https://web.archive.org/web/20131017005132/http://redsqdesign.co.uk/uploads/pdf/jandjbowes.pdf| archive-date=17 October 2013| url-status=dead}} As an illegitimate son, John Bowes had not inherited his father's titles. They visited his family estates in Durham in the United Kingdom regularly, however, and chose that location to create the art museum to both cater to the local people's need for art and to create a legacy. Bowes had dedicated herself to building up a collection worthy of the museum, buying art which even if not to her taste, she felt was necessary to show in such a location.{{cite journal |last1=Coutts |first1=Howard |last2=Medlam |first2=Sarah |title=John and Joséphine Bowes' Purchases from the International Exhibitions of 1862, 1867 and 1871 |journal=The Journal of the Decorative Arts Society 1850 - the Present |date=1992 |issue=16 |pages=50–61 |jstor=41809199 |url=https://www.jstor.org/stable/41809199 |issn=0260-9568}}

At the ceremony to mark the laying of the foundation stone, Bowes reportedly said to her husband: ‘I lay the bottom stone, and you, Mr Bowes, will lay the top stone’. Joséphine officially laid the foundation stone of the museum on 27 November 1869, but she was apparently too ill to do so physically, and merely touched it with a trowel. The museum building, in the style of a French chateau, was not completed until 1892. Bowes did not live to see it completed. She had experienced bouts of ill health since the 1850s, and died of lung disease at the age of forty-eight in Paris on 9 February 1874. Even in the last days of her life, she is known to have spent time ensuring new items of the museum collection were sent to Teesdale.{{Cite web | url=https://www.thenorthernecho.co.uk/history/15339322.Gloriously_incongruous__the_Bowes_Museum_turns_125/| title=Gloriously incongruous: the Bowes Museum turns 125| website=The Northern Echo| date=10 June 2017| language=en| access-date=2018-09-14}} John Bowes died in October 1885 at Streatlam, and was interred next to Joséphine at Gibside.{{cite news | title=Death of Mr John Bowes| url=http://46.32.255.219/pdf/1885/October-14/October-14-1885-05.pdf| access-date=26 April 2013| newspaper=The Teesdale Mercury| date=14 October 1885| page=[5]}}

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Category:1825 births

Category:1874 deaths

Category:19th-century French women painters

Category:Artists from Paris

Category:French salon-holders

Category:French art collectors

Category:19th-century French philanthropists

Category:19th-century art collectors

Category:French vaudeville performers

Category:French women philanthropists

Category:19th-century French actresses

Category:19th-century French singers