Benjamin Henshawe (1585–1631) was a London merchant tailor and silkman who supplied fabrics and passementerie for costume and furnishings for the royal court. His widow, Anna Henshawe, continued in business with William Geere.[1]
Silkmen typically supervised weavers in-house, or used outworkers, who completed their products with silk supplied by the silkman. Nicholas Herman, a silkman based in Perth in the 1630s had a workshop with three silk trimming mills and five looms to make passementerie.[13]
Career
Like his father, Benjamin Henshawe supplied gold spangles, and spangled lace, for masques in 1613 at the wedding of Princess Elizabeth and Frederick V of the Palatinate.[14] Spangles and oes were early types of sequin.[15] He supplied "Venice gold twist" and "gold edging lace" to the embroiderer William Broderick, to make wall-hangings for the bridal chamber, silk ribbons to the upholsterer John Baker, and spangles to William Cookesbury who made plumes of feathers for the bed. The list of items supplied for the apparel of Elizabeth and her attendants includes "ten dozen of very rich gold and silver high sugar loaf buttons, wrought with pearl and oes". He delivered sewing silk for four ladies of the bedchamber, silver loop lace for eleven bridesmaid's gowns, and materials for the liveries of footmen and coachmen.[16]
For the funeral of Anne of Denmark in 1619, Benjamin Henshawe provided gold fringes and trimmings for the velvet cushion on the hearse, on which an effigy of the queen was placed.[17] Henshawe did not receive payment for goods supplied to Anne of Denmark worth £30,000 until May 1625.[18] The historian Malcolm Smuts, noting that Henshawe supplied goods to the value of £45,000 to the king and queen between 1616 and 1618, wrote that his contribution to court culture had "been forgotten even by experts".[19]
In 1620, Henshawe's servant Richard Jones billed Edward Herbert, 1st Baron Herbert of Cherbury for "greedaline" gold and silver lace, buttons, and loops for a night gown of "silver stuff" which Herbert intended to take to Paris.[22] Henshaw worked with the upholsterer Ralph Grynder in the 1620s, making beds, couches, chairs, and cushions.[23]
Henshawe was a member of the Honourable Artillery Company, and was known as "Captain Henshawe". He became a supplier of trimmings to Henrietta Maria and supplied lace to the tailors Gilbert Morrett and George Gillin who made clothes for the two dwarfs in her household, Jeffrey Hudson and Little Sara. After his death in 1631, his widow Anne or Anna Henshaw continued the business for a time,[24] and received payment for an order for the masque Chloridia, which included copper lace for two "maskinge suttes for Jefferye".[25]
Some editions of Geralds Meditations translated by Ralph Winterton include a dedication to Benjamin Henshaw and his brothers (1638), or to Henshaw and members of his wife's family, (1627).
Henshawe was wealthy enough to donate windows for the chancel of St Mary Magdalen, Milk Street in 1619.[26] Henshawe and another textile merchant Baptist Hicks were involved in a corruption court case brought against Thomas Howard, 1st Earl of Suffolk, due to a large sum of money owed to him by James VI and I.[27] Henshawe's brother-in-law, Sir John Bingley (husband of Anne Henshaw, who died in 1615),[28] was an exchequer official, and had brokered a series of transactions with Catherine Howard, Countess of Suffolk in 1617. A percentage of money owed to Henshawe for materials supplied to the royal wardrobe was diverted to the countess.[29][30]
Henshawe and other suppliers including Oliver Browne were questioned on 26 April 1624 about goods supplied to the royal wardrobe under Lionel Cranfield, 1st Earl of Middlesex.[31] Henshawe had bought the position of receiver of revenue from Dorset and Somerset crown lands from Cranfield in 1613 for £1000. As Cranfield became short of money he mortgaged manors to Henshawe.[32]
Anna Henshawe and William Geere
William Geere obtained Van Dyck's portrait of the The Five Children of Charles I
As a widow, Anne Bonham Henshaw served Henrietta Maria as a silkwoman.[33] With William Geere, she supplied "deep gold and silver French caulworke" fringes set with 100 silver roses to edge carnation velvet table carpets, chairs, and stools, completing a suite of furniture matching a bed. They also provided "fingerwork string" cords and tassels for the chapel at Somerset House. Geere and Anna Henshawe sold goods worth £1000 to Theophilus Howard, 2nd Earl of Suffolk.[34]
Geere obtained significant furnishings and art works from the royal collection in 1650 in recompense of debts. Geere bought cloths of estate and Anthony van Dyck's portrait of The Five Children of Charles I. He died in 1654.[43][44] Anna Henshawe petitioned to recover debts due to her, and an annuity sequestered by Parliament. She had one of her petitions printed in 1654, and was awarded £8,000 in December 1655.[45]
Family
The children of Benjamin and his wife Anna, daughter of the vintner William Bonham,[46] included:
^Annabel Westman, Fringe Frog & Tassel: The Art of the Trimmings-Maker in Interior Decoration in Britain and Ireland (London: Philip Wilson, 2019), 19–20.
^Jemma Field, 'Clothing the Royal Family: the Intersection of the Court and City in Early Stuart London', Peter Edwards, Monarchy, the Court, and the Provincial Elite in Early Modern Europe (Brill, 2024), 259–60, 262. doi:10.1163/9789004694149_014
^Thomas W. Ross, 'Expenses for Ben Jonson's The Masque of Beauty', The Bulletin of the Rocky Mountain Modern Language Association, 23:4 (December 1969), 171–172.
^John Shaw, Charters Relating to the East India Company (Madras, 1887), 18.
^Annabel Westman, Fringe Frog & Tassel: The Art of the Trimmings-Maker in Interior Decoration in Britain and Ireland (London: Philip Wilson, 2019), 20: Martin Wiggins & Catherine Richardson, British Drama, 1533–1642: 1609–1616, vol. 6 (Oxford, 2015), p. 279.
^R. Malcolm Smuts, 'Art and the material culture of majesty', The Stuart Court and Europe (Cambridge, 1996), 110: Calendar State Papers Domestic, 1619–1623, 357.
^Annabel Westman, Fringe Frog & Tassel: The Art of the Trimmings-Maker in Interior Decoration in Britain and Ireland (London: Philip Wilson, 2019), 20.
^Erin Griffey, 'Re-Dressing the Evidence: Henrietta Maria’s Wardrobe Accounts, 1627–1639', Costume, 57:1 (March 2023), 8, 10, 13. doi:10.3366/cost.2023.0243: Caroline Hibbard, 'The Queen's Patronage of Artists and Artisans', Erin Griffey, Henrietta Maria (Ashgate, 2008), 131–32.
^Annabel Westman, Fringe Frog & Tassel: The Art of the Trimmings-Maker in Interior Decoration in Britain and Ireland (London: Philip Wilson, 2019), 29–30.
^Ethel Bruce Sainsbury, A calendar of the court minutes of the East India Company (Oxford, 1909), 180.
^HMC 7th Report, 55–56: Calendar of the Proceedings of the Committee for Advance of Money, 1642-1656, part 2 (London, 1888), pp. 948-952: National Library of Scotland, MS 14547.
^Bulstrode Whitelocke, Memorials of the English Affairs (London, 1682), 334: John Rushworth, Historical Collections, 2 (London, 1701), 1278.
^Jerry Brotton, The sale of the late King's goods (London, 2017), 241–42, 258: Peter Barber, 'Gambling in wartime: the rise and fall of William Geere', Camden History Review, 19 (1995), 17–20.
^Gert-Rudolf Flick, Missing masterpieces : lost works of art (London, 2003), 204, as "John Geere".
^Amy Erickson, Women and Property: In Early Modern England, 154: Elaine Hobby, Virtue of Necessity: English Women's Writing, 1649–88 (Michigan, 1989), 14: Journals of the House of Commons, vol. 7, 353.
^Calendar of wills proved and enrolled in the Court of Husting, London (London, 1890), 758.
^W. Bruce Bannerman, Registers of All Hallows, Honey Lane, 1 (London, 1914), 110.