A Liverpool Exemplar - Sarah Biffin

Sarah Biffin

Sarah Biffen was born in 1784 to a poor labouring family, her father being a draper, in East Quantoxhead, Somerset, a small village near Williton in West Somerset. ( Her name is often spelled 'Biffen' or 'Beffen' but she herself spelled it 'Biffin'.) Born with no arms and only vestigial legs, a condition known as phocomelia, she survived infancy only by the intervention of a clergyman who protected her. In her family, with four brothers and sisters, she was known as a 'pixie child', and she was even feared by some in her village. However, despite her handicap and only being only 97 cm tall, in an age of superstition, misunderstanding and fear, when there was little medical assistance, Sarah was determined not to be a burden on her poor family. She taught herself how to thread a needle, tie a knot and by the age of eight was starting to make her own dresses. Able to read by the age of twelve, she even began to write letters using her mouth.

Around the age of 18, her family apprenticed her to a man named Emmanuel Dukes, who had a travelling show and he offered her room and board to exhibit her in fairs and side shows throughout England. So she left her West Country home to travel with him, billed as 'The Limbless Wonder.' Dukes was an art lover and noting Sarah's gift of using her mouth, taught her to paint, encouraging her as her skill for art grew offering him a new commodity to peddle to the masses. He charged admission fees for people to watch her sew, paint, and draw, but she also held her own exhibitions, at which she sold her paintings and signatures. Her talent was astounding to all who saw her as she drew landscapes or painted portrait miniatures on ivory which were sold for three guineas each, albeit none of the money she earned was paid directly to her; it all went to Dukes who became very wealthy thanks to this diminutive artist. Sarah was only paid £5 a year by him. She must have been such a courageous and determined child to teach herself to sew, write and paint using only her mouth to steady her needle or brush.

A few years later, after seeing her at St. Bartholomew's Fair of 1808, the Earl of Morton sponsored her to study with William Craig, the best miniaturist of the day, and a Royal Academician who was also drawing master to Princess Charlotte of Wales. Sarah's work became incredibly popular in Georgian London after she was commissioned to paint members of the royal family. Here she became a professional miniaturist and did work for George IV, William IV, and Queen Victoria. Aristocratic families flocked to have their portraits completed by this unusual woman who had won the favour of the monarch. After 16 years with Dukes, and released from her contract with him, she set up a studio in Bond Street, London and is mentioned in novels by William Makepeace Thackeray and in Nicholas Nickleby, Martin Chuzzlewitt and Little Dorrit by Charles Dickens. Sarah's paintings were accepted for exhibition by the Royal Academy as she now led a comfortable life and continued to develop her skills. In 1821 she was awarded a medal by the Society of Arts for her portrait work and the Academy of Art began displaying her work. She held numerous exhibitions of her work all over England, among them, one in the Liverpool Collegiate Institution in Shaw Street, and another in what was then the Liverpool Mechanics' Institute. By now she was able to support herself entirely from the proceeds of her art, and this was undoubtedly the happiest period of her life. On the 6th September 1824, Sarah was married, by the Rev. Mr Hole, at Killton, Somerset, to a Mr William Stephen Wright, a gentleman who had been long attached to her and she wore her wedding ring around her neck. It was reported some years later though, that although married they never actually lived together and went their separate ways. There were rumours, which Sarah strenuously denied, that her husband had made off with her money.

Fanny Maria Pearson (b.1813) hangs in the Walker Art Gallery

 

The Earl of Morton died in 1827 and without the support of her, noble sponsor Sarah ran into financial trouble, although a watercolour on ivory of Edward, Duke of Kent, painted in 1839 was bought by the Duke's daughter, Queen Victoria and is part of the Royal Collection. Recognising that she really should travel to the place that was being hailed as 'the most important town in the British Empire' outside London, in 1841 she came to Liverpool and after living in lodgings in various parts of the town settled down at Number 8 Duke Street. Here, at the age of 63, she found herself in very poor circumstances with nothing but the Civil List pension of £12 a year granted to her by William IV. To make matters worse, her eyesight began to fail and she suffered from general bodily infirmity. Fortunately, her plight came to the notice of Richard Rathbone and it was through his kindly exertions on her behalf that a sum was subscribed in order to purchase a small annuity for her. He had raised a subscription by Public Appeal for Sarah Biffin "prompted alone by the feelings of respect and commiseration… it is not easy to imagine a more affecting case, nor one more deserving of sympathy". Twelve years after her initial fame, Sarah attempted to relaunch her painting career, working under her married name of E M Wright, however she was unsuccessful, as obviously the incredible muscle control in her mouth and neck would have been reduced as she aged. She returned to retired life and was supported in her last years by the pension and funds donated by her friends and colleagues including Richard Rathbone who had arranged the public subscription to finance her for her final years.

Sarah Biffen remained in Liverpool and lived comfortably until her death at her lodgings in Duke Street on the 2nd of October 1850 at the age of 66 and was buried in St James Cemetery, Liverpool at the foot of the Anglican Cathedral. She left a legacy in the art world and is a shining example of overcoming adversity, becoming an acclaimed artist despite her disability. In December 2019 Sarah's self-portrait which is shown above, painted at the height of her fame in the 1820s, was sold at Sotheby's. The anticipated selling price was between £800 – £1200 however the painting actually sold for £137,500.

see also:- http://www.thefootballvoice.com/2021/07/a-liverpool-exemplar-andrew-barclay.html