Illustrating 'savagery': Sir John Lubbock and Ernest Griset.

Illustrating 'savagery': Sir John Lubbock and Ernest Griset. 'Utopia, which we have long looked upon as synonymous with synonymous withadjective equivalent to, the same as, identical to, similar to, identified with, equal to, tantamount to, interchangeable with, one and the same as anevident impossibility, which we have ungratefully regarded as 'toogood to be true', turns out on the contrary to be the necessaryconsequence of natural laws, and once more we find that the simple truthexceeds the most brilliant flights of the imagination' (Lubbock1865: 492). 'Reading Malthus, he [Wallace] grasped that living nature wasin effect the workhouse workhouse:see poor law. world writ large. Ruthless struggle waseverywhere the law, not just among London's starving poor.Adaptation comes through competition. Progress costs lives' (Moore1997: 293). Introduction Much has been written about the extraordinary impact of Darwinismduring the mid- to late nineteenth century, expressed in the scholarshipof 'reception studies' (see for example Ellegard 1958; Glick1988; Numbers & Stenhouse 1999). A significant focus has been ondeveloping an understanding of the impact of Darwinian thinking on justabout every aspect of Victorian society, particularly on literature,science, politics and social relations (see for example Beer 1983;Frayter 1997; Lorimer 1997; Moore 1997; Paradis 1997; Browne 2001). Agreat deal of attention has also been paid (by historians andphilosophers of science) into the specifics of how the Darwinian messagewas disseminated so quickly and so broadly. Here the interest lies inthe links between the rhetoric of scientific naturalism and the politicsof the day, be it Whig-Liberal or Tory (see for example Clark 1997;Barton 1998, 2004; Clifford et al. 2006). A consequent interest lies inthe ways in which science was popularised in Victorian Britain (seeespecially Lightman 1997, 2007). Historians of archaeology have generally been slow to incorporatethe tenor of this research into their accounts of the rise ofprehistoric archaeology History is the study of the past using written records. Archaeology can also be used to study the past alongside history. Prehistoric archaeology is the study of the past before historical records began. during this period, though there are notableexceptions (see for example Stocking 1987; Owen 2000; Patton 2007).Taking into account this recent work, and the solid contribution ofolder accounts (see for example Hutchinson 1914; Duff 1924; Pumphrey1958; Murray 1990), I attempt here to delve deeper into thesecomplexities, by publishing and analysing a suite of picturescommissioned by the pre-eminent prehistorian Sir John Lubbock John Lubbock can refer to: Several members of the Lubbock family: Sir John Lubbock, 1st Baronet (1744–1816) Sir John Lubbock, 2nd Baronet (1774–1840) Sir John William Lubbock, 3rd Baronet (1803–1865) (1834-1913), populariser of Darwinism, tireless advocate for theimportance of science in society and Liberal social activist. Theanalysis will not be straightforward, if only because of the sheerbreadth of Lubbock's interests within science, not to mentionoutside it. Clark (1997) among others (such as Stocking 1987), has notedthe great ambiguities that lie within him, and the probability thatLubbock's polymathy pol��y��math?n.A person of great or varied learning.[Greek polumath will resist simplistic sim��plism?n.The tendency to oversimplify an issue or a problem by ignoring complexities or complications.[French simplisme, from simple, simple, from Old French; see simple rendering. Nevertheless the use of the pictures is revealing. Thevisualisation of human ancestors has been a particular focus of past andpresent research, if only because it is abundantly clear that 'waysof seeing' our ancestors Our Ancestors (Italian: I Nostri Antenati) is the name of Italo Calvino's "heraldic trilogy" that comprises The Cloven Viscount (1952), The Baron in the Trees (1957), and The Nonexistent Knight (1959). are very much a product of the ways we seeourselves (see for example Moser 1998; Milner 2007). At the same timearchaeologists have also begun to explore the histories of collectionsthat lie at the heart of museums great and small all over the world, andto work out what these histories might contribute to the history ofarchaeology The history of archaeology has been one of increasing professionalisation, and the use of an increasing range of techniques, to obtain as much data on the site being examined as possible. OriginsThe exact origins of archaeology as a discipline are uncertain. itself (see for example Owen 2006; MacGregor 2007, 2008). The pictures to be considered in this essay come from a suite of 20created for Lubbock by the Victorian illustrator Ernest Griset(1844-1907). Nineteen are currently housed in the Museum of the LondonBorough of Bromley The London Borough of Bromley is a London Borough of outer southeast London, England. It has an area of 59 square miles (153 km2), of which the majority is green belt land. The borough is the largest in Greater London in terms of area. at Orpington (some are on display in its AveburyRoom). The remaining picture is in private hands in Sydney, Australia,gifted by Lubbock's grand-daughter to a friend. Only two are dated,Griset 18 painted in 1869, and Griset 20 painted in 1871. We know fromoral histories and the observations of visitors to Lubbock's houseat 'High Elms' in Kent that the paintings were originallyassociated with Lubbock's museum there, and were subsequentlydistributed throughout the house. Griset 20 was painted as a gift fromLubbock to Charles Darwin, though never presented to him, and it seemsit was not displayed with the other 19 paintings. In a historiographicalnote at the end of this article, I determine the provenance of thepictures and try to solve the mystery of how images of this age,quality, subject-matter and association with one of the founders ofprehistoric archaeology can have been hidden from the history ofarchaeology for so long. Griset's images are the visual equivalents of informationcreated directly through archaeological and natural historical research,and its interpretation through inferences drawn from ethnographicanalogies. Lubbock's own very forthright statements in Pre-historictimes (1865) make this clear enough: 'Deprived then, as regards the Stone Age, of any assistancefrom history, but relieved ar the same time from the embarrassinginterference of tradition, the archaeologist can only follow the methodswhich have been so successfully pursued in geology--the rude bone andstone-implements of bygone ages being to the one, what the remains ofextinct animals It may never be fully completed or, depending on its its nature, it may be that it can never be completed. However, new and revised entries in the list are always welcome. Pre-modern extinctionsList of extinct cetaceans List of extinct birds are to the other.... and in the same manner if we wishclearly to understand the antiquities of Europe, we must compare themwith the rude implements and weapons still, or until lately, used bysavage races in other parts of the world. In fact, the Van Diemaner andSouth American are to the antiquary an��ti��quar��y?n. pl. an��ti��quar��iesAn antiquarian.[Latin antqu , what the opossum opossum(əpŏs`əm, pŏs`–), name for several marsupials, or pouched mammals, of the family Didelphidae, native to Central and South America, with one species extending N to the United States. and the sloth sloth(slōth, slôth), arboreal mammal found in Central and South America distantly related to armadillos and anteaters. Sloths live in tropical forests, where they sleep, eat, and travel through the trees suspended upside down, clinging to areto the geologist' (1865: 336). Lubbock's Grisets prompt other objectives too: an explorationof the social and political context of Lubbock's advocacy ofnatural law in human history, and of Griset's other worksillustrating 'savage life' that were executed before and afterhe was commissioned by Lubbock. Here the social consequences ofDarwinism and scientific naturalism, of Lubbock's adherence toWhig-Liberal politics, and of the reception of the 'savageother' in a society where the struggle for existence and thestruggle between the races was becoming more symmetrical, provide aricher context within which historians of archaeology during the mid- tolate nineteenth century can begin to produce accounts that are moresensitive to the complexities of the social and political roles of theirdiscipline. Last, but by no means least, we also have the chance to looka bit more closely at the relationships between archaeology andanthropology during this formative period, especially the constructionof the category of 'savagery' within a broader inquiry intothe history of hunter-gatherer studies (see for example; Schrire 1984;Barnard 2004; Yengoyan 2004). The Lubbock commission The images that comprise the Lubbock commission can be found in lowresolution format online at(http://www.latrobe.edu.au/archaeology/Staff_directory/lubbock.htm). Three images from this group are reproduced with this essay and arebroadly representative of the group in both theme and treatment (Figures1, 2 & 3). Griset's subject matter ranges from portrayals ofthe struggle between humans and animals in prehistoric times, to animals(without people) in typical environments, images of site types, humansmaking tools and boats, and people fishing and hunting. Figure 1 (Griset9), a cave, and Figure 2 (Griset 14), a highly detailed close-up of aLake Village, represent archaeological contexts that had been visited byLubbock and which were extensively discussed in Prehistoric Times(1865). It is also worth noting that the Griset images differsubstantially in treatment from two paintings by August Bachelincommissioned by the Swiss Confederation Swiss Confederation:see Switzerland. in 1867: Village lacustre del'age du bronze (used to represent Switzerland at the ParisExposition Paris Exposition can refer to The French Industrial Exposition of 1844 World's FairThe Paris Exposition of 1855, Exposition Universelle (1855) The Paris Exposition of 1867, Exposition Universelle (1867) The Universelle in 1867), and Village lacustre de l'age dela pierre (in the Schweizerisches Landesmuseum). Figure 3 (Griset 1), adramatic re-imagination of a clash between mammoth and humans, isindicative of other clashes with bears, bison and stags portrayed byGriset. All but two of the images showing people have more than oneperson in view. In the two with people acting alone, one (Griset 2) hasan individual pursued by a pack of wolves and possibly only minutes awayfrom death, the other (Griset 11) a lone hunter sneaking up on someseals. Several images represent social action outside of the business ofslaughtering wild beasts (either in self-defence or as food). Griset 4represents burials inside a megalithic meg��a��lith?n.A very large stone used in various prehistoric architectures or monumental styles, notably in western Europe during the second millennium b.c. tomb, Griset 8 and Griset 18family groups on the seashore, Griset 9 (reproduced here as Figure 1)portrays dinner time conversation in a cave, Griset 10 a family groupwith a man hollowing-out a log to make a boat and a woman about to lighta fire near the family home, Griset 12 a hunter returning to an earthhouse from the hunt with dogs, and an infant playing with a puppy inview, while Griset 13 shows a group making spears outside the familytent with a woman and a child actively involved in the process. [FIGURE 1 OMITTED] These straightforward observations support other generalisations.First, the commission can be clearly divided between images that areclearly archaeological in inspiration, and those that have a much moreethnographic flavour. For example, Griset 1 (the mammoth hunt), Griset 4(the megalithic tomb), Griset 9 (the cave scene), Griset 14 and Griset17 (the lake villages), and Griset 15 and Griset 16 (extinct fauna)differ from scenes around the camp or the chase that were commonlyobserved and reported by travellers in the American West or inAustralia. Second, Griset has obviously seen prehistoric materialculture such as spears, axes and domestic ceramics at first hand--quitepossibly from Lubbock's own extensive collection. Third,gender-based divisions of labour (outside of the chase) are by no meansrigid. While it is true that a woman is tending the fire in Griset 10,and carrying a basket laden with food in Griset 14, in Griset 11 she isinvolved in making spears. Last, these prehistoric peoples, although forthe most part clad in skins and sporting long, unkempt hair, look verylike contemporary images of indigenes of the American West.Significantly, they are not portrayed as being either stupid or cruel(there are no instances of conflict between people, and they are notsatirised in any way). Rather, Griset's people (in this commissionat least) are resourceful, personally brave, capable of groupinteraction beyond the immediate family, respectful of their dead, anddoing their best to cope with the trials of life. Griset (doubtless atLubbock's insistence) has produced something far more thancaricature. [FIGURE 2 OMITTED] The commission in context: Lubbock, Darwin, contemporary'savages' and Liberal science Lubbock's great contribution to prehistoric archaeology,Pre-historic times, went to seven editions--the last being completedjust prior to his death in 1913. All editions were lavishly illustrated(indeed the first edition had 156 figures), but none presentedreconstructions of life in prehistoric times. Rather the focus is onmaterial culture (both ancient and modern), with a smaller number ofimages showing views and sections of sites, such as St Acheul, andskulls (the Engis and Neanderthal skulls in particular). Many of theartefacts illustrated there came from Lubbock's private collection,the collections of friends, or from museums across Europe that werevisited by Lubbock during his extensive travels. Clearly the Grisetcommission was not be used for that purpose. [FIGURE 3 OMITTED] Janet Owen (1999, 2006, 2008) has produced the most comprehensiveanalysis of Lubbock as a collector of archaeological and ethnographicartefacts, and has convincingly demonstrated that the bulk of hiscollection was acquired between 1863 and 1880. Much of her analysiscentres on the uses to which the collection was put, which wereprimarily didactic. Lubbock's collection became a tool fordemonstrating the reality of human social and cultural evolution, andthe displays mounted at his home, 'High Elms', for theedification ed��i��fi��ca��tion?n.Intellectual, moral, or spiritual improvement; enlightenment.Noun 1. edification - uplifting enlightenmentsophistication of visitors were, like Lubbock's frequent publiclectures on prehistoric times, regarded as a vehicle for spreading themessage of Darwinism and its consequences for an understanding of humansociety past, present and future. Lubbock's Grisets were perfectlysuited to that context. Lubbock's Grisets and his artefact See artifact. collection (and the publicand private displays of both) give us, as Owen (2000) has demonstrated,a window onto so many other aspects of the life of a Whig Liberalintellectual in Victorian Britain. We see his links to other collectorswho were often his friends, his belief that his collections couldprovide a concrete instantiation (programming) instantiation - Producing a more defined version of some object by replacing variables with values (or other variables).1. In object-oriented programming, producing a particular object from its class template. of the lessons of science and ofhistory for contemporary society, and his adoption of new technologiesof persuasion to disseminate Darwinian science. We can also see thatLubbock's interests in prehistoric archaeology were driven by muchmore than a fascination with the past, and this broader reading ofLubbock can help us make better sense of the final chapter ofPre-historic times (a point I will return to at the end of this essay).But why did Lubbock choose Ernest Griset to create such evocative imagesof the prehistoric past? The commission in context: Ernest Griset and 'Legends ofsavage life' Much work has been done on the use of satirical illustration inVictorian Britain (and in France during the same period) and clear linksdemonstrated between satire and science (Paradis 1997; Browne 2001). Notvery much is known about Ernest Griset, a fact that amazed his twobiographers (Hubbard 1945; Lambourne 1977) given his great popularity inEngland in the 1860s and 1870s. Griset was born in Boulogne on 24 August1843, but came to England when he was a child. Much of his life (savefor a stint on the Continent learning his craft from the Belgian painterLouis Gallait Louis Gallait (born May 9 or May 10, 1810 in Tournai, Hainaut (Belgium); died November 20, 1887 in Brussels) was a Belgian painter.He first studied in his native town under Philippe Auguste Hennequin. ) was spent in north London North London is a part of London, England which has several possible definitions. River & geographyThe part of London north of the River Thames (illustrated). close by London Zoo--a placewhere he often went to sketch (seehttp://www.zsl.org/info/library/ernestgriset-online-exhibition,27,PS.html). Lambourne and others have celebrated the great skill (and sympathy)of Griset's renderings of animals (he had a particular affinity forstorks), but it was his capacities as an illustrator of books andmagazines that were the basis of his fame. Many of these were satiricalin content (he was to work for magazines such as Fun and Punch) and hewas particularly adept at drawing anthropomorphic Having the characteristics of a human being. For example, an anthropomorphic robot has a head, arms and legs. figures that were atsome times funny and at others, grotesque. Perhaps the best example ofthis style was The purgatory of Peter the Cruel (1868), one of severalcollaborations with James Greenwood James Greenwood (b 1832 - d 1929) was a British social explorer, journalist and writer.The Daily Telegraph on July 6, 1874, published an article written by James Greenwood, in which he reported on June 24, 1874 to have witnessed a human-baiting. . During the height of his fameGriset was particularly sought after for his illustrations of thedenizens (human and otherwise) of 'savage lands', especiallyby Sir Richard Burton Noun 1. Sir Richard Burton - English explorer who with John Speke was the first European to explore Lake Tanganyika (1821-1890)Burton, Richard Burton, Sir Richard Francis Burton , but also by Colonel R.I. Dodge (an author oftales of the American West, as well as the person after whom Dodge Cityis named). Griset was skilled, experienced and fashionable. Earlier I remarked that his renderings of 'savage life'in the Lubbock commission did not denigrate den��i��grate?tr.v. den��i��grat��ed, den��i��grat��ing, den��i��grates1. To attack the character or reputation of; speak ill of; defame.2. our ancestors or theirmodern representatives. However, this cannot be said for illustrationshe produced for satirical works about modern 'savages',especially those illustrating the works of James Greenwood, notably Thehatchet hatchet:see tomahawk. throwers (1866) and Legends of savage life (1867). Lubbock musthave been well aware of this aspect of Griset's work, andGreenwood's sense of humour Noun 1. sense of humour - the trait of appreciating (and being able to express) the humorous; "she didn't appreciate my humor"; "you can't survive in the army without a sense of humor"sense of humor, humor, humour was described by Lambourne as'possessing almost every mid-Victorian prejudice' (1977: 42).Others, such as Forster have been damning. 'One whose images couldevoke horror in any child was Ernest Griset ... with its habitualassociation of blacks and animals, usually in a situation of slapstick slapstickComedy characterized by broad humour, absurd situations, and vigorous, often violent action. It took its name from a paddlelike device, probably introduced by 16th-century commedia dell'arte troupes, that produced a resounding whack when one comic actor used it to cruelty, it must mark a low-point for racist art outside Germany'(1989: 63). But stories of 'savage' credulity cre��du��li��ty?n.A disposition to believe too readily.[Middle English credulite, from Old French, from Latin cr and cannibalism cannibalism(kăn`ĭbəlĭzəm)[Span. caníbal, referring to the Carib], eating of human flesh by other humans. were particularly popular in Victorian Britain, and Griset'sillustrations were widely regarded as being of the first rank. Clearly Legends of savage life was intended to be a funnycollection of stories about contemporary 'savages', andGrisets's illustrations, such as Figure 4, reinforced the comedy. The last story, 'The Clay Head', is typical of the mixand describes the outcome of a conflict between two tribes of indigenousAustralians, the Whoggles and the Whangs: 'That evening a great feast was made, at which there werefruits of all kinds and meats of--. Well, we will say nothing as to themeat. It is true that there were afterwards found several heaps of bonesthat were not those of sheep or kangaroo, and it is likewise undeniablethat a conquering army will at times be guilty of excesses ir wouldblush to confess to afterwards; but then, on the other hand, theWhoggles were a people most simple in their diet, and had always sertheir faces in a most determined manner against can--. However, it is anunpleasant subject, and perhaps the least said about it the better underany circumstances' (Greenwood 1867: 163). [FIGURE 4 OMITTED] And just in case there was any doubt about the fate of the Whangs,Griset follows this discussion with an image of 'savages'gnawing bones around a cooking fire titled 'The last occasion ofthe Whoggles picking a bone with their enemies'. All prettypredictable stuff, but worth revisiting by way of a gesture towards thereality of a broader context of racism in mid-Victorian Britain.However, there is something more here. Grisets 'savages' inLegends (Hottentot, Patagonian, indigenous North American North Americannamed after North America.North American blastomycosissee North American blastomycosis.North American cattle ticksee boophilusannulatus. , Fijian andAustralian) are all distinguishable from each other but, as Figure 4demonstrates, singularly inaccurate as representations of each of thesegroups. Finally, returning to my opening remark about the developingconcept of 'savagery' in anthropology and archaeology duringthis formative period, Griset's inaccuracy might be plausiblyinterpreted as either a complete lack of interest in detail (one'savage' the same as another, so to speak), or a reflection ofjust how little accurate information about the indigenous people ofAustralia was available to people in England. Some conclusions Mid-Victorian discussion about race and cultural evolution wereredolent red��o��lent?adj.1. Having or emitting fragrance; aromatic.2. Suggestive; reminiscent: a campaign redolent of machine politics. with ambiguity. For Lubbock and like-minded Whig Liberalseducation and science were the foundation of a just and progressivesociety. While it was demonstrably the case that there were'savages' living in the far-flung corners of the empire, therewere also 'savages' (the criminal classes being a primeexample) within. By understanding the causes of 'savagery'(usually a lack of education) society could defend itself against thedanger of social and cultural regression. Here the benefits ofunderstanding the meaning of prehistoric times, the gradual separationof human beings from the savagery of natural selection, could be mademanifest to all who cared to look. Darwin's theory, in the hands ofAlfred Russell Wallace, Herbert Spencer and indeed John Lubbock, was atrue expression of natural law: 'Even in our own time we may hope to see some improvement, butthe unselfish mind will find its highest gratification in the beliefthat, whatever may be the case with ourselves, our descendants willunderstand many things which are hidden from us now, will betterappreciate the beautiful world in which we live, avoid much of thatsuffering to which we are subject, enjoy many blessings of which we arenot yet worthy, and escape many of those temptations which we deplore de��plore?tr.v. de��plored, de��plor��ing, de��plores1. To feel or express strong disapproval of; condemn: "Somehow we had to master events, not simply deplore them",but cannot wholly resist' (1865: 492). For Lubbock the message of prehistoric times was not about thespecificities of the deep past (or indeed the savage present), it wasabout the future. Science had uncovered the truth of natural law, of thereality of progress through human virtue. Lubbock's Grisets,revealing the reality of savage life in prehistoric times played theirpart in demonstrating the story of progress, thereby strengthening ourcollective resolve to improve ourselves still further. Notwithstandingali of the changes incorporated in successive editions (brought about bynew discoveries and changes in interpretation) the closing passages ofPre-historic times remained unchanged over the 48 years separating thefirst and last. Lubbock's views about the meaning of human historymade manifest by archaeology and the theory of natural selection wereadamantine adamantine/ad��a��man��tine/ (ad?ah-man��tin) pertaining to the enamel of the teeth. adamantinepertaining to the enamel of the teeth. : 'Thus, then, the most sanguine hopes for the future arejustified by the whole experience of the past ... and he must be blindindeed who imagines that our civilization is unsusceptible un��sus��cep��ti��ble?adj.Not susceptible to or admitting of: unsusceptible to illegal entry.Adj. 1. ofimprovement, or that we ourselves are in the highest state attainable byman' (1890: 600). Historiographical note: provenance of the paintings The 'invisibility' of the Grisets can be mostly explainedby the way Lubbock chose to use them (and not to use them). None wasever published, and documentation of the history of the collection(based on information supplied by Adrian Green, then curator of theBromley Museum, and supported by Owen's research (2000)) makes itclear that after Lubbock's death in 1913 the paintings ceased tohave an educative ed��u��ca��tive?adj.Educational.Adj. 1. educative - resulting in education; "an educative experience"instructive, informative - serving to instruct or enlighten or inform function at 'High Elms'. It appears mostlikely that they, along with his collection of artefacts, faded into thebackground of life at the house. 'During my childhood they weredisplayed along the first floor corridor at High Elms, but I don'tremember them being discussed' (Lord Avebury to Murray 05/06/2007). Their journey back into the public domain was to begin after thedeath of Lubbock's second wife Alice Augusta Laurentia LaneFox-Pitt Rivers. Griset 7-10 were transferred into the care of theOrpington Historical Society in December 1947 with that part of Sir JohnLubbock's artefact collection that had not been sent to the BritishMuseum. The Lubbock/Avebury collection was transferred to the newlyopened Orpington Museum (later Bromley Museum) in 1965 on'permanent loan'. At the time of the death of Adelaide Lubbock in 1981 there wasdiscussion between her solicitors and the museum about the ownership ofthe entire Avebury collection. The status of the collection belonging tothe Orpington Historical Society was unclear as there was no writtenproof that the Society was given the Avebury material in 1947. Inessence it still belonged to the Lubbock family--hence when the previouscurator (Adrian Green) tried to resolve ownership in 2003 both theLubbock family and the Orpington Historical Society were consulted. Thecollection was transferred as a gift in 2003. Fourteen of the pictures (Griset 1-14) remained with the familyafter the transfer of the bulk of the collection in 1947. At some pointthey were transferred to Down House for storage. This group were loanedby Adelaide Lubbock to Bromley Museum in 1975. They were inherited byher children Eric Lubbock (current Lord Avebury) and Olivia Keighleywhen she died in 1981. Olivia Keighley decided to donate her share in1983, but Eric Lubbock still retains ownership of his share (Griset 8,11, 13, 15-18). A letter of 10 March 1982 states that one of the pictures was inthe ownership of Mrs Adelaide Lubbock ar the time of her death. It hasbeen surmised that this is the Griset now owned by the Sydney doctorRobert Gordon (Griset 19). In 2007 Dr Gordon lent the painting to theauthor so that ir could be photographed, and advised the followingconcerning its provenance: 'I have known Olivia Keighley for manyyears. She is the sister of Lord Avebury. In the late 90s she becameaware that these paintings were now ar 'High Elms', the oldfamily estate in England, and there was some uncertainty as to what todo with them. I was in England ar the time and she asked me to visit'High Elms' and to arrange that two of them be transferred toSydney. This I did, and on their arrival here she gave me one ofthem' (Robert Gordon to Murray 03/07/2007). Dr Gordon's statement accords with advice the author receivedfrom Lord Avebury (that the painting was gifted to him by OliviaKeighley). However Gordon's dates do not fit with the timing ofOlivia Keighley's gift of her Grisets to the Bromley Museum, norwith the fact that 'High Elms' was destroyed by fire in 1967.Further research is required to resolve these discrepancies, but they inno way disturb the authenticity of the Sydney Griset, nor the chain ofprovenance to Dr Gordon(http://ericavebury.blogspot.com/2007_07_01_archive.html). CertainlyLord Avebury has a strong recollection of Griset 19: 'I rememberthat picture very well; it was one of my favourites, and always gave mea frisson when I saw it in the dark corridor leading to mygrandmother's sitting room at High Elms' (Lord Avebury toMurray 24/04/2007). Acknowledgements The former curator at the Bromley Museum, Adrian Green, very kindlyshowed me the Grisets, provided documentation concerning theirprovenance and supplied the jpegs used in the online gallery. Hissuccessor, Marie-Louise Kerr, has also assisted with the images andpermissions to publish. Eric Lubbock, Lord Avebury, gave me the benefitof his knowledge about the Grisets and set me down the right path tolocate Dr Robert Gordon and the 'missing' Griset. Dr Gordonmade ir possible for me to document his wonderful painting and trustedme to move it far from its 'home'. Earlier versions of thisessay formed part of a lecture at the Institute of Archaeology The Institute of Archaeology is an academic department of University College London (UCL), in the United Kingdom. The Institute is located in a separate building at the north end of Gordon Square, Bloomsbury. , UCL UCL University College LondonUCL Universit�� Catholique de LouvainUCL UEFA Champions LeagueUCL Upper Confidence LimitUCL University of Central LancashireUCL Upper Control LimitUCL Unfair Competition LawUCL Ulnar Collateral Ligament andthe Mulvaney Lecture at the Australian National University in 2007. Ithank Professor Stephen Shennan and Professor Matthew Spriggs for theirinvitations to speak. Wei Ming (La Trobe University 1. u/r = unranked2.AsiaWeek is now discontinued. Student lifeDuring the 1970s and 1980s, La Trobe, along with Monash, was considered to have the most politically active student body of any university in Australia. ) and the StateLibrary of Victoria prepared the illustrations. References Primary sources Lubbock correspondence and papers 1855-1911 British LibraryAdd.496-49681. Lubbock diaries, correspondence etc. 1850-1913. British LibraryAdd. 62679-62693; 76145-76147. Emails Lord Avebury to Murray 24/04/2007 Lord Avebury to Murray 05/06/2007 Robert Gordon to Murray 03/07/2007 Secondary sources BARNARD, A. 2004. Hunting-and-gathering society: aneighteenth-century Scottish invention, in A. Barnard (ed.)Hunter-gatherers in history, archaeology and anthropology: 31-43.Oxford: Berg. BARTON, R. 1998. 'Huxley, Lubbock and half a dozenothers': professionals and gentlemen in the formation of the XClub, 1851-1864. Isis 89: 410-44. --2004. Lubbock, Sir John Lubbock, Sir John(lŭb`ək), 1834–1913, English banker, statesman, and naturalist. 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