LIBRARY ANNEX 2 Ml 11' lililiiiliil m iii' SiSlniii^iiS \jj\A^^ (IGO At Strata, S^eio $Ptk COLLEGE OF ARCHITECTURE LIBRARY ..Mi S.9....R....S, Harris Cornell University Library N 1160.A7 1920 Wallace collection catalogues; pictures a 3 1924 020 492 835 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924020492835 WALLACE COLLECTION CATALOGUES PICTURES AND DRAWINGS With Histoiical Notes, Short Lives of the Painters, and 380 Illustrations LONDON PEINTED FOR HIS MAJESTY'S STATIONERY OFFICE AND SOLD AT HERTFORD HOUSE 1920 FOURTEENTH EDITION Price -As. 9d. Net. ^ * I- U . • I I Y • l;/;!;Y Ax^&Wj \\(oQ> \YuO WALLACE COLLECTION, KEY TO THE HANGING OF THE PICTURES AND DRAWINGS. The Arabic figures refer to the number of the pictures, the Roman numerals to the number of the Galleries : C=Corridor; F.'R.=Founders' Room {Old Board Room); G.S.^Grand Staircase ; l.'H..=Inner Hall. Where no number or letter appears the picture is in Store or hung in the Offices. Students who have a special reason for desiring to see a particular picture can obtain permission to do so by application to the Head Attendant. No. G. No. No. G. No. 1 XVII 38 XVI 75 XVI 112 IX 2 XVII 39 F.R. 76 XVI 113 XXLV 3 XVII 40 XVI 77 XXIV 114 XVI 4 VII 41 XV 78 XIV 115 XIV 5 XVII 42 XVI 79 XVI 116 XVI 6 XVI 43 XVI 80 XXV 117 XXV 7 XX 44 XVI 81 XVI 118 IX 8 XVII 45 F.R. 82 XVI 119 XVII 9 XVII 46 XVI 83 XIV 120 XVI 10 XVII 47 XVI 84 XVI 121 xxin 11 XVI 48 XII 85 XVI 122 I 12 XVI 49 XVII 86 XVI 123 XII 13 XVII 50 XXIV 87 XVI 124 14 XVII 51 XIV 88 XVI 125 XXI is XVII 52 XIV 89 XVI 126 XVII 16 XXI 53 XVI 90 XVI 127 XVI 17 XXIV 54 XVI 91 XVI 128 VIII 18 XXI 55 XIV 92 XVI 129 XVII 19 XVI 56 XVII 93 XVI 130 VIII 20 XIV 57 X 94 XVI 131 XVII 21 XXIV 58 XVI 95 XXIV 132 XIV 22 XXI 59 XVI 96 XIII 133 VIII 23 XVI 60 XVI 97 XVII 134 VIII 24 XVII 61 XIII 98 XVI 135 XXI 25 XXV 62 VIII 99 XIII 136 VIII 26 X 63 XVI 100 XVI 137 XXV 27 XVI 64 X 101 XVI 138 XVI 28 XVII 65 XXIV 102 X 139 XVI 29 XVI 66 XVI 103 140 XIII 30 X ■67 VIII 104 XII 141 XXI 31 F.R. 68 XVI i05 I.H. 142 32 XVI 69 III 106 VIII 143 XIII 33 F.R. 70 XVII 107 XXIV 144 XXIII 34 XVI 71 XVI 108 XVI 145 XIII 35 XVI 72 XVI 109 VIII 146 XXIII 36 XVI 73 XXIV 110 XXIV 147 XXIII 37 IX ' 74 XIV 111 XVI 148 XXIII No. G. 149 XIII 150 XIV 151 XXIII 152 XXIII 153 XXIII 154 XIV 155 XXIII 156 XIII 157 XXIII 158 XXIII 159 XXIII 160 XIV 161 XXIII 162 XXIII 163 XXIII 164 XXIII 165 XIV 166 XIV 167 XXIII 168 XXIII 169 XXIII 170 XIII 171 XIII 172 XIII 173 XIII 174 XIII 175 XIV 176 XXIII 177 XXIV 178 XXIII 179 XXIII 180 XIII 181 XXIII 182 XIII 183 XXIII 184 XIII 185 XXIIl 186 XXIII 187 XXlII 188 XXIII 189 XXIII 190 XXIII 191 XIV 192 XXIII 193 XXIII 194 XXIII 195 XXIII 196 XIV 197 XXIII 198 XXIII 199 XXIII 200 XIV 201 XIII 202 XIII No. G. 203 XIII 204 XIII 205 XXIII 206 XIII 207 XIII 208 XIII 209 XIII 210 XXIII 211 XIV 212 XXIII 213 XIII 214 XXIII 215 XXIII 216 XIV 217 XXIII 218 XIV 219 XIII 220 XXIII 221 XIII 222 XXIII 223 XXIII 224 XIV 225 XIV 226 XXIII 227 XIV 228 XXIII 229 XIV 230 XXIII 231 XIV 232 XXIII 233 XIII 234 XIV 235 XIV 236 XIV 237 XIII 238 XXIII 239 XXIII 240 XIV 241 XIII 242 XIII 243 XIII 244 XXIII 245 XIV 246 XXIII 247 XXIII 248 XXIV 249 XIV 250 XXIII 251 XIV 252 XXIII 253 XIII 254 XIII 255 XXIII 256 XIII No. G. 257 XV 258 I 259 XXIV 260 XV 261 XV 262 XV 263 XV 264 XV 265 XV 266 XV 267 XV 268 XV 269 XXV 270 XV 271 272 XV 273 XV 274 XV 275 276 XXV 277 C 278 I.H. 279 C 280 XV 281 XV 282 XV 283 XV 284 I.H. 285 I.H. 286 I.H. 287 XV 288 XXV 289 XV 290 VIII 291 XV 292 XXIV 293 XXV 294 XXIV 295 XV 296 XV 297 C 298 I.H. 299 XV 300 XXV 301 XXV 302 XV 303 XXV 304 XXV 305 XV 306 XXV 307 C 308 C 309 XV 310 C No. G. 311 xxni 312 XV 313 XV 314 C 315 XXV 316 III 317 C 318 XXIV 319 C 320 C 321 322 XV 323 XV 324 XV 325 XV 326 XV 327 XV 328 XV 329 VIII 330 XV 331 XV 332 XV 333 XV 334 XV 335 XV 336 XV 337 XXV 338 XXIII 339 XV 340 XV 341 XV 342 343 344 XXV 345 XV 346 C 347 XV 348 XV 349 C 350 XV 351 XV 352 XV 353 XV 354 F.R. 355 XXV 356 XXIV 357 XV 358 XXV 359 XXV 360 XV 361 C 362 XV 363 XXV 364 XXV No. G. No. No. G. No. 365' XV 419 XXII 473 XX 527 XVII 366 XXV 420 XX 474 528 XVII 367 XXV 421 XXII 475 529 XVII 368 XXV 422 XVIII 476 530 IX 369 XV 423 XVIII 477 I 531 XVII 370 XV 424 XXI 478 XVIII 532 XVII 371 XV 425 XVIII 479 XX 533 IX 372 c 426 XXII 480 XXI 534 XVII 373 c 427 XVIII 481 G.S. 535 XVII 374 XXV 428 XVIII 482 G.S. 536 XVII 375 XV 429 XIX 483 XVIII 537 XVII 376 X 430 XVIII 484 G.S. 538 XVII 377 XVIII 431 XIX 485 G.S. 539 XVII 378 XVIII 432 XIX 486 G.S. 540 XVII 379 XVIII 433 XVIII 487 G.S. 541 XVII 380 XVIII 434 XIX 488 XVIII 542 XVII 381 XVIII 435 XX 489 G.S. 543 XVII 382 XVIII 436 XVIII 490 G.S. 544 XVII 383 XXI 437 I 491 XII 545 XVII 384 XXII 438 XIX 492 XTI 546 XI 385 XVIII 439 XIX 493 547 386 XXI 440 XX 494 XII 548 XVII 387 XVIII 441 XX 495 XII 549 XVII 388 XXI 442 XIX 496 XII 550 XVII 389 XVIII 443 XX 497 III 551 I 390 XVIII 444 XIX 498 XII 552 XVII 391 XVI 445 G.S. 499 III 553 LH. 392 VIII 446 XIX 500 XII 554 393 XVIII 447 G.S. 501 IX 555 XVII 394 XVIlI 448 XVIII 502 XII 556 XVII 395 XVIII 449 XVIII 503 XII 557 IX 396 XX 450 XVIII 504 XII 558 XV 397 XXI 451 XX 505 XII 559 XV 398 XXII 452 XVIII 506 XII 560 IX 399 XVIII 453 I 507 XXII 561 F.R. 400 XXI 454 XVIII 508 XII 562 XVII 401 XVIII 455 XVIII 509 XII 563 IX 402 XX 456 I 510 XII 564 IX 403 XVIII 457 XX 511 XXII 565 LH. 404 XVIII 458 XVIII 512 XII 566 C 405 XXI 459 XX 513 XX 567 XXV 406 XXII 460 XXI 514 XII 568 XXV 407 XXI 461 I 515 XII 569 408 XVIII 462 X 516 XII 570 c 409 XVIII 463 XX 517 XII 571 XXV 410 XVIII 464 XVIII S»18 XII 572 XXV 411 XVIII 465 XX 519 XVII 573 XXV 412 XVIII 466 XVIII 520 XVI 574 XX 413 XX 467 521 XVI 575 XXV 414 XVIII 468 522 XVI 576 415 XXII 469 -X 523 XVI 577 XXIV 416 XVI 470 XX 524 XVI 578 IX 417 VIII .471 XVIII 525 XVII 579 XV 418 XIX 472 XIX 526 XVII 580 XXIV No. G. No. G. No. G. No, G, 581 XXV 631 XI 681 XXV 731 XXV 582 XXV 632 F.R. 682 732 XX 583 I.H. 633 Ill 683 XXV 733 XX 584 XXV 634 XI 684 734 XX 585 x;xv 635 XXIII 685 XXV 735 586 XXV 636 XXIII 686 736 587 c 637 XIII 087 737 XXV 588 XXIV 638 XXIII 688 XX 738 XXV 589 IX 639 XXIII 689 739 590 XXV 640 XI 690 740 591 XXV 641 XIII 691 741 XXV 592 XXV 642 XI 692 742 XXV 593 XXV 643 III 693 743 XXV 594 X 644 III 694 744 XXV 595 c 645 I 695 745 XXV 596 c 646 I.H. 696 XX 746 597 c 647 XII 697 747 XXV 598 XXV 648 XXIV 698 XX 748 XXV 599 I 649 699 749 XX 600 XXV 650 XXV 700 XX 750 XX 601 651 XV 701 XX 751 F.R. 602 XV 652 XXIV 702 I 752 F.R. 603 I 653 703 753 F.R. 604 XXV 654 704 XX 754 F.R. 605 c 655 705 XXV 755 IX 606 XXV 656 XX 706 756 XXIV 607 XXV 657 707 XXIV 757 608 XXV 658 708 758 XI 609 XXV 659 709 IX 759 XI 610 XXV 660 710 IX 760 X 611 XXIV 661 XXIV 711 761 X 612 XXV 662 712 XXIV 762 III 613 XXV 663 713 IX 763 F.R. 614 XXV 664 XXIV 714 XXIV 764 F.R. 615 c 665 XXIV 715 765 616 666 716 766 617 XV 667 XX 717 767 IX 618 XXV 668 XX 718 768 xvir 619 XXV 669 719 XXV 769 IX 620 XXV 670 720 XXV 770 F.R. 621 XXV 671 XXV 721 771 XI 622 XXV 672 XX 722 XXIV 772 XI 623 XI 673 723 XXV 773 XIII 624 XI 674 XX 724 774 X 625 XI 675 XX 725 IX 775 X 626 XI 676 XX 72'6 XX 776 IX 627 XI 677 727 XX 777 XIII 628 XI 678 XX 728 XXV 778 629 XI 679 XX 729 XXV 779 F.R. 630 XI 680 730 XXV Ill CONTENTS Preface Introduction Administration Board and Staff Regulations Copying Admission Catalogues Photographs Plans of the Galleries and Key to Plans Explanations CATALOGUE Index of Numbers List of Painters according to their Schools, in Chrono- logical Order List of Painters represented by Copies, &c. List of Painters of Copies List of Portraits Index of Subjects Index of Sales and Former Owners Table of Acquisitions in Order of Time Issues of this Catalogue PAGE v-vi vii-xxv xxvi xxviii-xxxi xxxii 1-363 364-9 370-4 375-6 376 377-80 381-5 386-97 398-407 408 PREFACE To the Fourteenth Edition The present^ issue of the Catalogue differs from its predecessor chiefly in the following respects : — Illustrations — An advance has been made towards the complete illustration of the Collection by the addition of over one hundred blocks, bringing the total number of pictures reproduced up to three hundred and seventy-three. Bonington, Greuze, Isabey, Meissonier and Nattier are now among the painters the whole of whose works are illustrated. Additions — A few paintings, drawings and prints, hung in the Board Room, had not hitherto been numbered or described. These are as follows : Paintings — No. 766, Dana'e and the Golden Rain (School of Boucher); No. 768, Virgin and Child (Florentine School, 15th Century). Drawings — No. 769, The Duke of Parma Dining on a Drum-head at the Siege of Oudenarde (Jacques Courtois, called n Borgognone) ; No. 770, Anne, Fifth Viscountess Irvine (Silvester Harding, after Charles Philips); No. 771, Death and the Huntsman (Hendrik Hondius) ; No. 772, Conversation Galante (Lavreince) ; No. 778, Cardinal Richelieu (J. N. Robert Fleury) ; Nos. 774, 775, 776, Italian drawings of uncertain authorship. Prints — No. 773, The Lace Maker (Pieter de Mare, after Netscher) ; No. 777, The Good Samaritan (School oflRembrandt). Attributions — Two pictures hitherto ascribed to Le Moyne, No. 484, The Rape of Eurojja, and No. 487, Mercury confiding the Infant Bacchus to the Nymphs, have been restored to Boucher. No. 535, Portrait of an English Nobleman, hitherto catalogued under Flemish or English School, has been assigned, on the suggestion of Mr. Lionel Cust, to Hans Eworth or Euwouts. Two pictures hitherto ascribed to Melchior de Hondecoeter, No. 64, Peacoclt and other Birds, and No. 69, Dead Birds and Game, have, for the reasons given, been added to the long list of works in the Collection by Jan Weenix. The Panorama of the Harbour of Malta, No. 493, hitherto grouped with the paintings of Canaletto's atelier, has been placed, pending clos(5r identification, with the Venetian School. No. 378, Girl in a Kitchen, hitherto doubtfully ascribed to Lancret, has been accepted as authentic. On the other hand there seems to be no good reason for attributing to Charlier the gouache copies of Boucher, Nos. 474, 475, 476. History — Some fresh matter has been added to the Introduction, and the working out of the pedigree of pictures has been continued. In the case of over a hundred the source, since the last issue, has been definitely ascertained or further particulars added to their history. The notices of pictures by Bonington, Boucher, Grreuze, Lancret, Pater are examples of the progress made in identifying or tracing the pictures. A consequence is that in certain cases the older titles have been restored. Thus the Study of Grief by Greuze, No. 440, turns out to be Psyche number two. The seals on the backs of certain pictures have been scrutinised by Mr. A. van de Put of the Victoria and Albert Museum, with the result of adding several interesting links to their pedigrees. An Index of Sales and of Former Owners has been added, and a Table, showing the growth of the Collection, so far as it has been ascertained. Thanks are particularly due to Mons. Jacques Doucet, the founder, and to the staff of the Bibliotheque d'Art et d'Archeologie in Paris, for their courtesy in permitting use to be made of that remarkable collection. The rich series of marked sale catalogues has yielded much information, and will be further drawn upon when study can be resumed. M. Seymour de Ricci has been good enough to rill in a number of gaps from marked catalogues in his possession. Messrs. Christie have again allowed reference to be made to their records, and Mr. Algernon Graves has furnished additions and corrections to the notices of Reynolds from his annotated copy of " Graves and Cronin." Acknowledgments should also be made for information on various points to Mons. P. Lemoisne, of the Bibliotheque Nationale, the Keeper of the National Gallery, to Messrs. W. Roberts and R. C. Witt, and to Mr. G. H. Tite, who has finally cleared up the puzzle about Lord Hertford's purchase of Potter, No. 252. D. S. M. vu INTRODUCTION The WA.LLACB Collection was chiefly formed by the fourth Marquess of Hertford, though it inckides works acquired by his predecessors ; was largely added to by his heir Sir Richard Wallace, and was bequeathed to the Nation by the widow of the last, who died in 1897 ; it was opened to the public on 22 June 1900. It ranks, in importance, with all but the greatest imperial and royal collections of Europe, and in variety surpasses some of these ; its money value was estimated by experts in 1890 at three and a half niillions ; no such gift has been received by any country from an individual, unless that of the domain and museum at Chantilly, given in 1884 to the French Institute by the Due d'Aumale. The Collection consists, in the first place, of 778 pictures, water-colours, drawings and prints by artists of various schools; the Italian, Spanish, Flemish, Dutch schools are all represented, the last very fully, and the English Portrait School of the eighteenth century, with some examples of nineteenth century painters; while the French School, formerly so imperfectly shown in our public collections, is illustrated from Clouet to Corot with remarkable completeness. The St. Catherine of Cima and the Bmj Reading of Foppa, the Vierge de Fade of del Sarto, the Perseus and Andromeda of Titian, the Lady with a Fan and two portraits of Baltasar Carlos by Yelazquez, the Rainbow Landscape by Rubens, the Fhilippe le Roy of Van Dyck, the Centurion Cornelius and Titus by Rembrandt, the Boor Asleep by Brouwer, the Woman and Boy by De Hooch, the Lady Beading a Letter by Terboroh, numerous pieces by Watteau by Boucher and by Fragonard, the Nelly O'Brien and other portraits by Reynolds, and the two Gainsboroughs may be named among the many masterpieces of the Collection. In addition to pictures and drawings are large groups of miniatures and wax-reliefs. There is, besides, a notable collection of sculpture and one of medals; furniture, chiefly French of the eighteenth century, a collection unsurpassed ; enamels, porcelain and faience, the collection of Sevres being matched only by that at Windsor and Buckingham Palace ; ivories, glass, snuff-boxes, and other objects of art, ranging from the Renaissance to the eighteenth century, with a few Roman antiques and isolated pieces like the seventh century Bell of St. Mura. Finally there is the rich collection of European arms and armour, and the Oriental section, re-arranged and catalogued in 1914. The history of the whole Collection, from first to last, it may prove impossible to make out, and we shall confine ourselves here to the Paintings and Drawings; but it may be said that, while it is probable that a certain number of objects other than paintings was inherited by the fourth Marquess of Hertford, the great bulk of these, as well as of the pictures, was acquired by him ; a great part of the Renaissance collection of objects, as well as a number of pictures, was bought by his successor Sir Richard Wallace, and it was he who chiefly formed the collection of Arms and Armour. The Pictures and Dkawings The history of the Collection of pictures and water-colour drawings can now be set out to a considerable extent. We can trace its beginnings back through four generations to the first Marquess of Hertford. The Seymours had played other parts in English history before they bred a line of collectors. The first Earl of Hertford of this family was brother of Queen Jane Seymour and Lord Protector of England. More than once, by their alliances, the Seymours came near enough to the throne to be accounted dan- gerous, and by the same means added greatly to their wealth and landed estates. The Earldom of Hertford, extinct when Algernon, seventh Duke of Somerset and Earl of Northumberland, died in 1750, was revived in the person of 1. Francis Seymour-Gonway, second Baron Conway (the Conway title and estates came to the family by marriage), created Earl of Hertford, and in 1793 Earl of Yarmouth and First Marquess of Hertford. He was born in 1718 and died in 1794, was ambassador to France 1763-65, Lord Lieutenant of L-eland 1765-6, Lord- Chamberlain of the Household 1766-82. He married, in 1741, Isabella, youngest daughter of Charles, second duke of Grafton, and had seven sons and six daughters. The portraits of his daughters by Reynolds, Nos. 31 and 38, were commissioned by him, and are the earliest pictures to form part of the Collection that have been so far traced. The portrait of G-eorge III by Allan Ramsay, No. 560, may have been his property, and the versions of Van Dyck's Charles I and Henrietta Maria, since his wife was a Fitzroy (Waagen says they were inherited by the fourth Marquess). 2. Francis Ingram Seymour-Conway , second Marquess of Hertford, K.G., born 12 February 1743, died 28 June J822. He took a prominent part, as Lord Beauchamp, in the House of Commons from 1766 till he succeeded to the title in 1794 ; was ambassador at Berlin and Vienna in 1793 and Lord Chamberlain 1812-21. He married, 4 February 1768, Alice Eliza, youngest daughter and co-heir of Herbert, second Viscount Windsor, and after her death, 20 February 1776, Isabella Anne Ingram Shepherd, eldest daughter and co-heir of Charles Ingram, ninth Viscount Irvine; on whose death he assumed the additional surname and arms of Ingram. His second wife was an intimate friend of the Prince Regent, who was a constant visitor in Manchester Square till his accession. The only additions to the Collection by the second Marquess that have been traced are two purchases in 1810 : one of great importance, the Nelly O'Brien of Reynolds, the other Romney's Mrs. Robinson (" Perdita "). He may also have acquired Reynolds's portrait of the Duke of Queensberry, No. 561. His only surviving child, by the second marriage, was definitely a collector, as well as a man of affairs and fashion. 3. Francis Charles Seymour-Conway, third Marquess of Hertford, E.G., born 11 March 1777, died at Old Dorchester House, Park Lane, 1 March 1842. He represented, as Lord Yarmouth, the family boroughs, Orford, Lisburne and Oamelford (1798-1822), and had considerable influence with the Prince Regent, of whose house- hold he was Vice Chamberlain. He married, 18 May 1798, the great heiress Maria, daughter of the Marchesa Fagnani, whose paternity was disputed by George Selwyn and " Old Q," the Duke of Queensberry. Both left her a fortune. He crossed to Calais to bring home his wife and family on the rupture of the Peace of Amiens in 1803, but was taken prisoner and interned at Verdun for three years. The Prince Regent then induced Fox to open negotiations with Napoleon, and Lord Yarmouth was appointed a plenipotentiary and eventually released. He was in 1827 Envoy Extraordinary, bearing the Order of the Garter to Nicholas I of Russia . ihe magnificence he displayed " made a sensation even in a Court which outshines all in Europe and partakes of Asiatic splendour." He was famous in London also for the splendour of his entertain- ments, his accomplishments, wit and dissipation. He won a place in literature as a model for the Marquess of Steyne in Thackeray's Vanity Fair, where Hertford House figures as "Gaunt House," and Lord Monmouth in Disraeli's Coiiingsby. He was credited at his death with the possession of nearly £2,000,000 (Times, 14 March 1842). The Duke of Queensberry had left to him and his heirs- £150,000, two houses in Piccadilly, a villa at Richmond, &c. ; the Marchioness, as residuary legatee, was expected to receive a farther £200,000 (Gentleman's Magazine, Ixxxii, 659). He had, by his wife, one daughter, Frances Maria, who married, in February 1822, m! de Chevigne, and died in the following November; and a son, Richard, fourth Marquess : Lord Henry Seymour, born 1805^ died 1859, was reputed to be the son of Count Casimir de Montrond by the Marchioness ; he was founder of the French Jockejr Club, and a collector, some of Avhose pictures were bought by his brother, and are now in the Collection. The third Marquess, while Earl of Yarmouth, helped the Prince Regent to form the collection of pictures, chiefly Dutch, that is now at Buckingham Palace and Windsor Castle ; his name appears in sale lists as purchaser for the Prince. " St. Dunstan's," in Regent's Park, was built for him by Decimus Burton ; he is said to have bought the old giants from St. Dunstan's Church and set them up there because his nurse used to take him to see them strike the hour " when he was a good boy." This villa he filled with works of art, chiefly marbles, bronzes and furniture ; there were a few pictures, including the Hoppner now in the Collection, and the Vision of St. Helena by Veronese, now in the National Gallery (see under No. 563). There was, further, a remarkable library of Italian books that speaks for the width of its owner's interests and culture. Of the pictures now in the Collection he is known to have bought the Perseus and Andromeda by Titian, and to have possessed four pictures ascribed to Canaletto. But his tastes led him chiefly to buy Dutch pictures, or his opportunities, for the events of the revolutionary period had led to the break-up of many Dutch Col- lections. The following pictures were in his possession and probably acquired by him, and doubtless there were a good many others : — Berghem, No. 183 ; Cuyp, Nos. 138, 253, 255 ; Van der Heyden, No. 195; Metsu, No. 206; W. van Mieris, No. 188 ; Netscher, No. 237 ; A. van Ostade, No. 169 ; I. van Ostade, No. 73 ; Rembrandt, Nos. 203, 229; Reynolds, No. 48 ; Schalcken, No. 171 ; Steen, No. 209 ; Wouwerman, No. 193; Wynants, No. 160 or 249. He also bought Van Dyck, Nos. 58 and 85 — No. 16 also, but this must have left his hands, for it was bought a second time by his son — and acquired G-ainsborough's Perdita as a gift from the "Prince Regent. In the next of the line the collecting instinct had developed into a ruling passion ; to the disgust of his contemporaries, the fourth Marquess was a collector and little else. _ 4. Richard Seymour-Gomvay, fourth Marquess of Hertford, Viscount Beauchamp of Hatch-Beauchamp in Somerset Baron Conway, of Ragley, County Warwick, in peerage of Great Britain and Baron Co away, of Kiltullagh, County Antrim, in peerage of Ireland, K.G.M., was born 22 February 1800. In early life he held a commission in the 22nd Dragoons, rising to Captain and he was launched on the diplomatic and political life of his' ore decessors ; m 1817 and 1819 he was attache to the Embassy in Pans, and was elected M.P. for County Antrim ; but he retired from Parliament m 1826, four years later. For a short time afterwards he was attached to the Embassy at Constantinoole Irom his accession to the title in 1842, after making a maiden speech in the House of Lords, he took no active part in politics lived chiefly m Pans, and was regarded at home as an eccentric who avoided the ordinary life and duties of his order. He never married, and his half brother died before him ; at his death, therefore, in Paris, August 1870, the title and entailed estates passed to the eldest son of his father's cousin. Sir George Seymour, G.C.B. Sir Robert Peel said that his abilities might have carried him to the place of Prime Minister, but his interest from the first was art, not politics. The fullest account of Lord Hertford's life as a collector in Paris, from 1842 till his death, is to be found in two articles by the late Charles Yriarte, Souvenirs anecdotiques du Marquis de Hertford, in the Moniteur des Arts, 9 September 1870, and The Hertford Hotise Collections in the Pall Mall Magazine, September 1900. Yriarte, according to the editor of the latter, was " the expert " by whose opinion Sir Richard Wallace was guided in many of " his purchases." He therefore knew the Marquess personally, and at least gives us the tradition of his later years. Some further particulars may be gleaned from an obituary notice by Mons. Ernest Fillonneau in the Mmiiteii,r des Arts for 2 September 1870. Yriarte says that Lord Hertford left London on a dispute with the parochial authorities over the drainage of his house in Piccadilly ; he refused to give way, left the new staircase of the house unfinished, " closed " the shutters, declared the place uninhabitable in order to avoid " paying the rates, and abruptly quitted London." Thenceforward he lived in Paris. "As early as 1828 he had been elected a member " of the aristocratic club the Union, just started under the presi- " dency of the Due de Guiche, and now he also became a member " of the Jockey Club ; but of the two he preferred the former, " where, together with Baron James de Rothschild and the Comte " de GrefEulhe, he became a partner of that famous set of whist " players known as La Grosse Partie," and also became famous as a connoisseur. The small casino or pleasure-house of Bagatelle in the Bois de Boulogne was already his property. It was built for the Comte d'Artois by Bellanger in 1780 on the site of a pavilion belonging to Mademoiselle de Charolais. After the Revolution of 1830 it was alienated from the Crown lands, put up to auction, and purchased by the then Lord Yarmouth. Later, through the friendliness of Napoleon III, the fourth Marquess was able to extend his holding ; he fitted up the pavilion as a residence, and sought out furniture and works of art of the eighteenth century, the debris of various revolutions. The grounds were laid out by a landscape gardener named Blaikeley, and decorated with sculpture.* Here grew up Lord Hertford's first collection ; but he had also builtt and fitted up two houses in Paris, one for himself, 2 Rue Laffite, at the corner of that street and of the Boulevard des Italiens, and another close by at the corner of the Rue Taitbout, for his brother Lord Henry Seymour (who, in the "Will of 1838, was named as heir to the Collection). From 1S42 to 1870 the accumulations went on. A great part was stored till 1860, but after the death of Lord Henry the cases were stowed away in the stables that had belonged * There is a story that two acquaintances asked leave to fight a duel in the grounds. The Marquess politely replied that he had not the slightest objection to their shooting one another, hut could not trust their skill so far as to risk his statues. t This statement conflicts -with Yriarte's story of a visitor coming to look over the apartment when the Marquess was in bed. " Tell the pro- prietor," he said to his servant, " that I buy the house at the price be likes to name," and turned over to sleep again. Xll to him, and the contents were placed in some kind of order in the Rue Laffitte. Some idea of this Parisian part of the collection as it existed at the Marquess's death is given by Mons. Fillonneau. About 250 pictures hung in the gallery and rooms of the first floor, without counting the rest of the house. The French pictures were here, and a considerable number of the other schools. At the far end, on the Boulevard side, was the Marquess's bedroom, which contained a Reynolds (? Mrs. Robinson), Greuze's Sophie Arnould, and more than 200 miniatures. At the angle of the house was a "rotunda," and here were hung what the owner regarded as the pick of the collection : four Bouchers fixed in the walls, an Infanta of Velazquez, a Madonna of Murillo, the Hals, the Patureau Coques, Van Rrienen Hobbema and Potter, the portrait of Rubens's wife, three works by Greuze, a marine by Cuyp, and two by W. Van de Velde, pictures by Watteau, Prud'hon, Bonington, Decamps, Delaroche, and others. At the far end on the street side was the " gallerj'^," hung chiefly with French and Dutch paintings. There were also a library and other rooms filled with precious furniture, sculpture, and bibelots. Lord Hertford's income, according to Yriarte, was something over £240,000 a year. He did not entertain, seeing only one or two intimarte friends, suffered from a painful malady, and cared nothing for what passed in the outer world, " n'aurait m6me pas ecarte le rideau de sa fenetre pour voir une revolution passer dans la rue." He could, therefore, concentrate on a single interest, found some distraction from his sufferings in the visits of dealers with pictures and objects before their public exhibition for sale (he rarely himself attended in the auction-room), and he enjoyed a rare gleam of satisfaction when his agents had outbid an Emperor, a King, or a Prince. He thus became a legend in Paris as the English Lord whom no one ever saw, and who purchased at unheard of prices. It was not in default of social gifts that he lived thus retired. Causeur celebre, tres spirituel, tres lettre . . d'une politesse accomplie, d'un raffinement rare, ses gouts personnels I'eloignaient cepen- dant de ]a societe, et il a vecu toute sa vie dans un milieu inferieur ; il y apportait mfime aveo ses intimes une maniere d'etre dissimulee, peu conforme avec le cant anglaise, et il affichait une sorte de cynisme que les deux ou trois amis intimes qu'il a consei'ves jusqu'a sa mort regardaient comme son masque d'emprunt. A certain kindheartedness came out in his treatment of animals. At Bagatelle he arranged little parks for old dogs and horses, had them looked after with the greatest care, and visited them in his few moments of relief from illness. This account may be supplemented, and to some extent corrected, from another source. Concurrently with the collection in Paris another was growing up in London. At the death of his father the Marquess had inherited, besides various country seats old Dorchester House in London, Manchester House (re-christened Hertford House by Sir Richard Wallace), two houses in Piccadilly and one m Berkeley Square. Many of his pictures and other purchases were m Berkeley Square, but he writes more than once to his chief London agent about the collection at Manchester House. This agent was S. M. Mawson, of No. 3 Berners Street, who kept Lord Hertford informed about the London sales, purchased for him, and acted as curator of the pictures. The letters to Mawsoti from the Marquess that have come into the hands of the Trustees illustrate the growth of the London Collection and the personal taste of the writer. If the pictures acquired by the first three Marquesses and by Sir Richard Wallace be subtracted from the whole Collection, an idea will be gained of the leading part played by Lord Hertford in its formation ; with this reserve, that the date of acquisition of certain pictures has not yet been ascertained, that some of those of the Dutch School may have been bought by the third Marquess, those of the earlier Italian and northern schools most probably by Sir Richard. Lord Hertford's originality as a collector lay in his attachment to the French School generally, but especially of the eighteenth century and of his own period. If we were to judge his preferences from the number of works by each painter present in the Collection we should arrive at the following order : — Bonington, 36 pictures and drawings ; Horace Vernet, 29 ; Decamps, 28 ; Boucher, 24; Greuze, 21 pictures; Meissonier, 16; " Canaletto," 14 ; Pater, 13 ; Murillo, 13 ; Delaroche, 12 pictures and drawings ; Rubens, Rembrandt, and Lancret, 1 1 paintings each ; Bellange, 11 pictures and drawings; Roqueplan, 10; Guardi and Watteau, 9 pictures each; Oudry, Fragonard, and Reynolds, 8 pictures each. Of Jan Weenix there are 17 pictures, but the source of many of them is doubtful. It is obvious that all manner of allowances must be made for opportunity, the rarity or abundance of a painter's work, his figure in the market, and the comparatively trifling prices of drawings. L''rom all the evidence, however, we should be justified in concluding that Lord Hertford's natural private taste w^as for Murillo particularly among the old Masters (" the rich, mellow quality I admire so much in that master "), for Boucher and Greuze particularly in the eighteenth century, for Bonington above all in the nineteenth (" I like this master very much, though he is not much admired in our country"), with a very strong admiration also for Horace Vernet and Decamps, for Delaroche and Meissonier. Apart, however, from his more private tastes, he evidently desired to make the Collection a representative one, within certain limits, namely, his liking for a pleasing subject and coldness towards " primitive " masters. " I confess," he writes to Mawson, " I do not much like the portrait of an old man, however fine it may be ; it is not pleasing ;" again, "I only like pleasing pictures." And he speaks of " Primitive masters that I have not yet adopted, and that I don't think I ever will." He was open to advice, and it stands to the credit of S. M. Mawson, who had his full confidence and understood thoroughly within what bounds to exercise his discretion, that fine pictures by Velazquez, Rubens, Rembrandt and others were added to the Collection, some of which Lord Hertford had never seen. He speaks to Mawson of "our Collection, which OAves a great deal of its splendour to the interest you have ahvays taken in it." One or two other citations may be made from those letters, since so little is otherwise known of the life of the secretive recluse who wrote them. He must have been attached to his mother, for he writes on 20 March 18o6 of the " terrible misfortune that has befallen me" (she died on March 2). His health was poor during this period (1848-56), but in 1855 he made an unusual effort, and accepted the office of juror at the Exhibition — Only think of my being' at the Champs Elysees every moraing at 9 o'clock ! Hard work for an old fellowwho has very different habits. . . . I am obliged to get up every morning between 6 and 7 o'clock to be at the Exhibition in proper time to preside over a group composed of four classes. I remain there almost all day doing my work, and as I am not accustomed to this sudden activity I am very tired and in consequence neglect my own affairs. In 1857 some idea was given of the wealth of the Collection by the loan to the Art Treasures Exhibition at Manchester of forty- four pictures. They filled the wall of a gallery in that wonderful assemblage, and photographs of thirty pictures were published by Colnaghi in 1859. When in August 1870 the Marquess died, the Collection, with all unentailed property, was bequeathed to Richard Wallace, who was unaware of his fortune till the day of the funeral. Public notices of the Marquess treated him as an unpatriotic person, who had led an " epicurean life " in a foreign capital. 5. Sir Richard Wallace, Bart., K.C.B. — Richard Wallace, in his earlier years known as Richard Jackson, was born 26 July 1818. He was a natural son of the Marquess when a youth of eighteen. The mother was Agnes Jackson, " a kind of fille du regiment" For six years the child was left with a concierge in Paris; was then taken up by Lady Hertford, and after her death by the Marquess himself.* In his Will of 21 June 1838 the Marquess left his personal estate and effects to Lord Henry Seymour, and a legacy of £30,000 in trust " for Richard Jackson, son of Agnes Jackson, now of age of twenty or thereabouts, and residing at No. 1 Rue Taitbout." In a codicil of 7 June 1850 he revoked all bequests to Lord Henry — and to reward as much as I can Richard Wallace for all his care and attention to my dear Mother and likewise for his devotedness to me during a long and painful illness I had in Paris in 1840, and on all other occasions, I give such residue to the said Richard Wallace now living at the Hotel des Bains, Boulogne-sur-mer in France, and whose domicile previous to the Revolution of February 1848 was in my Mother's house. Rue Taitbout, No. 3, formerly No. 1, absolutely. Richard Wallace spent his early life in Paris, lived in the circle of the writers and artists of the first Empire, and formed a col- lection of pictures and works of art which he sold in 1857. Afterwards, as "Monsieur Richard," he aided Lord Hertford in his purchases. He inherited the fortune during the Franco- Prussian War. He remained in Paris during the siege, organised a field ambulance corps and two others for the city, founded and endowed there the Hertford British Hospital, and subscribed 100,000 francs for those who suffered during the bombardment. He is said to have spent altogether two and a half million francs in aid of the besieged. He farther made a gift to Paris of one hundred drinking fountains for man and beast, which are called by his name. He decided, however, to remove the greater part of his collection to London, and, pending the necessary alterations at Manchester House, lent most of the pictures and other obiects to the Museum at Bethnal G-reen (June 1872-April 1875). The exhibition is said to have been visited by 5,000,000 people According to Yriarte the expenses of transferring those treasures to London were met by the English Government. Another part of the Collection was housed in ,the Pantechnicon, and perished or was damaged in the fire of 1874 ; yet another part remained at Bagatelle and in the Rue Laffitte. * See Lord Bsher's letter in Lord Redesdale's Furthe,- Memories (Hutchmson, 1917), p. 190-4. " On 24 December 1871 Richard Wallace was created a Baronet. He had married, 15 February 1871, Julie Amelia Charlotte, daughter of Bernard Oastelnau, a French officer; there was one son, who had served as an officer in the French army under General Vinoy, and who died before his father. Sir Richard, in 1871, took in hand an extension of the buildings at Bagatelle, and afterwards built a house on the Lisburn estate, but only once stayed in it ; he was member for Lisburn from 1873 to 1885. In 1878 he was one of the Commissioners for the Paris Exhibition, and was afterwards made K.C.B.; he was already Commander of the Legion of Honour ; he was a trustee of the National Grallery, to which he presented Terborch's Peace of Miinster, and a governor of the National Grallery of Ireland. He spent his last four years in Paris ; died there 20 July 1890, and was buried in the Hertford vault at Pere la Chaise Cemetery. Sir Richard Wallace added, as has been said, the European Armoury to the Collection and various objects of art ; he also arranged Hertford House to hold the greater part of his treasures, and made it his London home. In the matter of pictures, he added the latest works, the Corot and Rousseau, as well as some of less XVI consequence ; the Foppa and Becoafumi were also his purchases, and probably all or most of the earlier works in Gallery III. Beside these may be mentioned — Boucher, No. 446 ; Boursse, No. 66 ; Canaletto, No. 501; Drost, No. 61; Bverdingen, No. 113; a Cuardi and a Van Huysum ; Jordaens, No. 120 ? ; Lancret, No. 393 ; Landseer, No. 376 ; Mme. de Mirbel, Nos. 768, 764 ; Nattier, Nos. 437, 456; Pater, No. 452; Platzer, No. 634; Pourbus, No'. 531, Prud'hon, No. 347; Pynaoker, No. 115; Storck, No. 208; Teniers, Nos. 191 and 635-638; Terborch, No. 235; De Troy, Nos. 463, 470; the Velazquez copies, Nos. 106, 109; De Vos, Nos. 18,22; De Witte, No. 254. It has often been stated that Sir Richard Wallace had at one time intended to leave his Collection to the French nation, but Sir John Murray Scott authoritatively contradicted the story a short time before his death, and also, apparently, the circumstantial accounts of negotiations with the English Government- it is probable, however that the project of a Hertford- Wallace museum had been in Sir Richard's mind when the Collection was re-arranged He left the whole unconditionally to his widow, and it was on the disinterested advice of Mr. Murray Scott that she acted in leaving the Collection to the nation. Sir John Edward Arthur Murray Scott, Bart., K.G.B., was the eldest son of Dr. John Scott and his wife Alici^ Lucy, younger daughter of George Murray, J.P., and granddaughter of Nelson's Captain of the Fleet Admiral Sir George Murray! K.C B He was born at Boulogne 23 February 1847, and on leaving Marlborough studied m Germany and at the Sor bonne, and was called to the Bar Lord Hertford and Richard Wallace were friends of Gem-a-e" Murray, and the boy went yachting with them at Boulogne. When Richard Wallace came into the property he asked Mr. Murray if he knew of a young man with a knowledge of French who could act as his secretary. The grandson was suggested, and at once engaged. He aided in the charitable work after the Commune, and his business abilities, genial temper, and knowledge of languages soon made him indispensable. On Sir Richard's death he continued to be the confidential adviser of Lady Wallace. At her death, as residuary legatee, he became the owner of the Lisburn estate, of the remainder of the lease of Hertford House, of the apartment in the Rue Laffitte, the payilion of Bagatelle, and their treasures, and it was left in his discretion to decide what part of the Hertford House Collection should become national property. In recognition of his services to the nation he was created Baronet and K.C.B., and he was appointed a Trustee of the National Grallery. His health, during his later years, became precarious, and on a visit to Hertford House on 17 January 1912 he suffered an attack of heart failure and died. Up to the moment of the seizure he had been furnishing notes on the history of the Collection. A portrait, the gift of his sisters, now hangs in the Board Room, and a bust by Canonica has more recently been added to the gift. The pictures and objects of art in his London house, originally part of the Wallace Collection, were dispersed at Christie's in June 1913; he had disposed of Bagatelle in his lifetime, and of Houdon's Baigneuse which was there (it passed into the collection of Mr. Benjamin Altmann in New York). Of the collection in the Rue Laffitte, a version of Watteau's Accord Parfait and four battle pieces by Horace Vernet were bequeathed to the National G-allery ; the remainder, along with Houdon's bust of Sophie Arnould passed to Lady Sackville. This bequest included Houdon's Frileuse, sculptures by Clodion and others, pictures by Boilly, tapestries, furniture, &c., and a remarkable library containing many famous French books of the 18th Century, among them examples from the royal collections and those of royal favourites. The library was bought by Messrs. Bumpus in 1914, and the remainder of the collection byMons. Seligmannthe Parisian dealer. - Lady Wallace's Bequest Lady Wallace, who, like her husband, lived the quietest of lives in Hertford House, seeing only a few intimate friends, had died on 16 February 1897. Her Will bore date 23 May 1894. She left to the British Nation the Collection of works of art, exclusive of personal effects and modern jewellery and trinkets, on the ground and first floors and in the galleries of Hertford House on the following conditions : — (1) That the Government for the time being should agree to give a site in a central part of London, and build thereon a special museum to contain it, and that the Collection should always be kept together, unmixed with other objects of art, and be styled "The Wallace Collection." (2) That the Louis Quatorze balus- trade to the Great Staircase at Hertford House should be used in the new museum. (3) That Her Majesty's Government should nominate Mr. John Murray Scott to be one of the Trustees. (4) That for the time during which the Collection should remain at Hertford House (not exceeding four years from the death of the testatrix) it should be at the risk and peril of Her Majesty's Government, by whom was also to be defrayed the cost of super- intendence and preservation. M 10931 ^ XVlll As a preliminary to consideration of the main question whether the Wallace Collection should be permanently established at Hertford House, or, as directed in the Will of Lady Wallace, in a new building, a case was submitted to the Law Officers of the Crown. They gave the opinion that, although the purchase and adaptation of Hertford House could not be considered a strict com- pliance with the terms of the bequest, yet, if the residuary legatee, Mr. Murray Scott, the only person who could make a claim in this respect under the Will, should concur, and bind himself and his legal representatives to treat the purchase and adaptation of Hert- tord House as a fulfilment of the condition in the same, then the Ixovernment would be justified in effecting such purchase and adaptation. Mr. John Murray Scott formally concurred in the adoption of this arrangement by Her Majesty's Government Under Treasury Minute of 3 May 1897 a Committee was appointed, consisting of the Marquess of Lansdowne (Chairman) Sir William Vernon Harcourt, Sir Edward Poynter, P.R.A., Mr. Freema,n Mitford (later Lord Redesdale), Sir Francis Mowatt, Mr. (later Sir) Walter Armstrong, Mr. Alfred de Rothschild, and Mr. Alfred Waterhouse, R.A., to consider Where, in what manner, and at what probable cost, provision might best be made for the housing and exhibition of the art collection recently bequeathed to the nation by Lady Wallace, and to make any recom- mendations that might seem fit to them as to the constitution of the Trust in which the collection should be vested. The Committee submitted in their Report, presented to both Houses of Parliament in July 1897, that in their opinion Her Majesty's Government would be well advised if they were to arrange that the Collection should be allowed to remain at Hertford House, subject to the condition that the galleries and apartments should be suitably altered for the purpose. They therein recorded their conclusions that such an arrangement would be in accordance with the terms of the bequest, and would, in the view of the executors, give effect to the wishes of the testatrix; that it would, more than any other arrangement, preserve the distinctive character of the Collection ; that it would be much the least costly of the alternatives suggested; that it would avoid the risks inseparable from removal and re-arrangement ; that it would provide a museum which, owing to its complete detachment from other buildings, would be specially free from risk of fire ; and finally that it would avoid the necessity for delay, and afford the public an opportunity of entering into the enjoyment of the priceless collection bequeathed to the Nation within a shorter time than under the alternative scheme. Sir Edward Poynter, not being in complete agreement with the Committee on certain points, made a separate Report, pointing out the advantages which, in his opinion, would result from the housing of the Wallace Collection in- a new building close to the National Gallery. The Government adopted the scheme of the majority of the Committee, secured the remainder of the lease of Hertford House from Mr. Murray Scott, and the freehold from Lord Portman, and in less than three years and a half the necessary alterations and the arrangement of the Collection had been completed. Mr. John Murray Scott had been expressly nominated under the Will ; other Trustees were appointed by the Treasury Minute of 28 July 1897 to take over the Wallace Ciollection, and the Board was constituted as follows : — The Earl of Rosebery, K.G., K.T. (Chairman) ; Sir John Murray Scott, K.C.B. (who shortly after- wards became Chairman in place of Lord Rosebery) ; Sir Edward Malet, G.C.B., G.C.M.G. ; Sir John Stirling Maxwell, Bart., M.P. ; Major-General Sir Arthur B. A. Ellis, K.C.V.O., C.S J. ; Alfred C. de Rothschild, Esq.; A. B. Freeman-Mitford, Esq., C.B. (after- wards Lord Redesdale). Subsequent appointments to fill vacancies were the Viscount Esher, G.C.V.O., G.C.B. ; the Viscount Harcourt (who succeeded Lord Redesdale as Chairman) ; the Marquess of Ripon, G.C.V.O.; Sir Martin Conway; the Viscount Dillon; the Lord Carmichael, G.C.S.L, G.C.I.E.; and Bowyer Nichols, Esq. The first Keeper of the Collection was Mr. (now Sir) Claude Phillips. On his retirement Mr. D. S. MacColl, formerly Keeper of the Tate Gallery, was appointed in 1911. Sir Guy Laking, till his death in 1919, gave his services as Honorary Inspector of the Armouries. b2 XX Hertford House Hertford House was originally Manchester House, and was the first building in what took its name from that house as Manchester Square. In the last years of Queen Anne there was a project for laying out here a Queen Anne Square, with a church in the centre. The death of the Queen put an end to this, and the Duke of Manchester bought the plot on the north side and built the house in 1776-1788. An aquatint in Papworth's Select Views of London, 1816, shows what was doubtless the original form of the house, with wings a storey lower than at present, but the centre and forecourt very much as they are now. Behind was a garden. On the death of the Duke the house was bought for the Spanish Ambassador, of whose occupancy there is still a trace in Spanish Place with its Catholic Church, once the Chapel of the Embassy. It is stated in Sir Walter Besant's Survey of London that the French Embassy succeeded, and that Talleyrand and G-uizot were among the occupants of the house. In any case by the time of the second ■. Marquess it had passed into the hands of the Hertford family. Up to 1858, and probably later, the fourth Marquess had part of his London collection here, part at 13 Berkeley Square. When Sir Eiohard Wallace brought over a large sectioji of the Paris Collection, the house was rearranged and additions were built on the garden behind, so as to enclose the present court with its fountain. These additions included the large gallery No. XVI, and side galleries (in one of which was the Armoury), with stabling, coach- houses, and a smoking-room (No. IV) below. Yriarte, in his Pall Mall Magazine article, describes the house before and after these changes. The house had been left in charge of devoted servants, old retainers who looked forward to ending then- days there, sinTOimded by children, bom and bred under that roof. However, although everything was in order and the place scrupulously clean, anybody who knows the effects of London chmate on paintings and delicate works of art will understand into what a sad condition things had got, in a house shut up for nigh thirty-six years, of which the outhouses and dependencies alone had been in use and inhabited. I shall never forget the impression I received on entering this " Palace of the Sleeping Beauty," in company with Sir Richard Wallace, towards the end of the year 1871. What a strange contrast it then presented to its actual splendour ! Closed and abandoned since 1836, Hertford House, in its solitary and peaceful square, bad become a kind of legendary mansion ; all life, even the humblest and most retired, had taken refuge in the mews ; and notwithstanding that everything was in readiness for the invisible owners, a solemn silence reigned everywhere. On the walls of the drawmg- rooms the lovely visions of Reynolds and Gainsborough were displayed side by side with the elegant types of Van Dyck, the superb paintings of iitian [«ic], and the glowing canvases of Rubens, represented by the latter's masterpiece, the famous "Rainbow"; but all these living and radiant works bad, by the slow action of time, become covered with a thick coating of bloom, through which, as through a veU, their beauty was but dimly revealed, clothed as it were with a kind of mysterious and melancholy grace. ■' Durmg three days these pictures were cleansed by experts, thoroughly accustomed to such work, and their brilliancy was thus restored ; but even after three or four buccessive washings, the fresh, clear water in the big pails was still impregnated with the black dust ever present in the murky atmosphere of London. At the close of the year 1872 Hertford House was set in order and ready to receive collections. Sir Richard personaUy superintended the arrangements and fittmg up, for he had a somewhat classical taste, and was extremely fastidious about details. He had ranewed almost everything, removed the staircase which, in English fashion, consisted of a single broad flight of steps, and had transfoi-med the interior courtyard into a marble garden, where flowers mingled with bas-reliefs, monumental vases, and seats of Grecian origin. The inauguration of the new premises was heralded by a series of brilliant receptions ; for all that composes London Society was anxious to be admitted to such a perfect sanctuary of Art, methodically and exquisitely set out, and to enjoy the novel spectacle of the sumptiious establishment of a French gentleman's mansion furnished in the French style with objects derived from aristocratic families, and adorned with paintings for the most part hitherto unknown. From 1873 up to the death of Sir Richard Wallace these treasures were only on view to those who could either give the best references or plead some special object of study ; and at one time Wednesday was the day of the weel: set apart for the visitors who had previously obtained the necessary tickets of admission from the master of the house. As a matter of fact. Sir Richard led a very secluded life ; inclined thereto by a certain reserve of character and by his natui-al tastes, which made him prefer a solitary existence. Certain family circumstances con- tributed also to overshadow his life. The Baronet had realised his ideal of making his living-room an inhabited museum ; he had distributed in their respective places, both as regards elegance and convenience in daily use, the various articles of furniture, the pictures and ornaments pertaining to decorative art, such as were fitted to adorn a splendid interior. To be admitted to visit the galleries at Hertford House, and then to be stopped on the threshold of these interesting rooms, was evidently an extremely regrettable restriction for a lover of Art, and deprived many strangers of a keen enjoyment. Before ascending the stairs there was in Sir Richard's day a large parlour on the right-hand side of the entrance [i.e.. Gallery III, front part]. From an early period the Marquess of Hertford had collected in this room a number of views of Venice by Canaletto and Francesco Guardi, of which there are no less than 27 examples, including four famous views of the Grand Oanal, purchased at the Due de Morny's sale. An entire suite of rooms occupied this part of the building, going round the stairs, and these were decorated with more or less valuable works of modem art of the period of Wellington and Lord Palmerston. The big dining-room [Gallery XI], smoking- and billiard-rooms [Galleries IV and X] were never used, for during the lifetime of Sir Richard none but the most intimate friends were ever entertained. The whole suite of drawing-rooms leading to Sir Richard's study [Gallery XXI] were fitted up for daily use, and each article of furniture occupied its appropriate place, whether it were a writing-desk, a bureau, or a fire-screen, an armchair, a table, a show-case, or a sofa, a candlestick, a clock, or any other object. At the same time a certain intention presided in the choice of the paintings, each room being decorated by rare examples — ^not overcrowded — of one special School ; and in this way we passed from France to Spain, from Flanders to Italy, from Holland to England. In the first drawing-room, which Sir Richard habitually occupied [Gallery XII, front part], the English School dominated. Here Sir Joshua Reynolds was represented by works of transcendant beauty ; the famous portrait of Nelly O'Brien, which has become so celebrated since the Manchester Art Exhibition, " Mrs. Bradyll," a masterpiece of calm elegance, and the unique " Strawberry Girl," of which Rejoiolds himself said that " among the half-dozen original paintings I have produced, it is the one " I like the best." Side . by side with Reynolds were Gainsborough, Constable [sic] . . . Romney, and Sir Thomas Lawrence, with his famous portrait of Lady Blessington, all contribute to make up a collection unrivalled in any private gallery of the English School. . . . During Sir Richard's lifetime none but his most intimate friends was admitted into his study, and none even of those chosen few was permitted to cross the threshold of the room beyond. Here he had gathered together specimens of every kind of art, gold- and silversmiths' work, Limoges XXI 1 enamels, ivories, miniatures, exceptional specimens of ceramic art — Gubbio, Deruta and Cafaggiolo ware ; portraits by Olouet (as, for instance, a certain refined and pale-faced Hertford of the sixteenth century) amid water-colours by Turner, David Oox, and Decamps. There is some confusion here. The Limoges was chiefly in the Modern Gallery, No. XV, the miniatures, as at present, in Gallery III, the Corneille de Lyon and a number of water-colours in the Study (Gallery XXI). The arrangement of the rooms in Sir Richard's time is given on pages xxxi and xxviii, facing the Plans. In many cases the contents of the rooms are, to a large extent, unaltered. When it was decided to adapt Hertford House to the purposes of a museum, further changes became necessary. The stables and coachhouses were converted into galleries for the Armoury, the bedrooms on the upper floors became oflices and stores. The Com- mittee of the Board which arranged the Collection made it their principle to preserve, as far as might be in a public museum, the appearance of a private house. The chief difficulty was to find space for the full exhibition of so many treasures, as well as for offices and stores, and fresh alterations have been completed by which further accommodation has been obtained. Primarily with the object of security against fire the woodwork in the upper roofs and floors has been removed, three top-lit galleries have been formed at the back of the second floor, and workrooms on the third, without affecting the appearance of the house from outside. The contents of the Oriental Armoury have been transferred to cases in Gallery IV, and the catalogue prepared by Sir Guy Laking completes the enumeration and description of the Wallace Collection. The Catalogue of Paintings In the time of Sir Richard Wallace a catalogue of pictures was printed for the use of visitors to the house. This gave a list of paintings in three rooms only, the " Larger Gallery " (XVI), the " Modern Gallery " (XV), and " East Gallery " (XIII), 370 in all. An inventory of the Collection determines the distribution of the remainder, so far as the titles permit of identification. At the public opening of the Collection in 1900, a " Provisional Catalogue " was issued. This was a list of the pictures, with measurements and a few notes and lives of the painters. Successive editions steadily grew in bulk, and fresh information was added, till the original size was more than doubled. In 1909 an illustrated edition was brought out containing full-page reproductions of 60 pictures, interleaved. In 1913 the Catalogue was remodelled. It was decided to aim at a complete illustration of the Collection, and a beginning was made with 261 pictures, now increased to 364. To prevent the volume from becoming unwieldy the blocks must be small, but they are sufficient to recall the composition, and take the place of lengthy description. Each was printed, for conveni- ence of reference, with the text relating to it. To admit of two such blocks side by side a page somewhat wider as well as longer was adopted. Students who wish for larger reproductions can obtain photographs of all the pictures reproduced by applying at Hertford House (see notice on p. xxvii). It may be convenient to mention here the other changes made at the same time. To allow for additions to the notices of pictures, lives of painters were .somewhat shortened; greater detail being given where the artist is obscure or is specially represented in the Collection. Statements as to the material (canvas, panel, &o.) on which pictures are painted were checked and corrected, and also the measurements, which are now given in inches and in centimetres. Many additional signatures, dates, or other inscriptions on the pictures and drawings were noted, and also labels, writings, seals, &c. on the backs. The position of signatures or other inscriptions was indicated throughout. In the case of the following pictures the name of the artist was altered or supplied i Nos. 506 and 510 were grouped with the " Canalettos," instead of under the name of Bellotto ; Nos. 20 and 96, formerly attributed to Maes, were, for reasons given, transferred to Joannes van Noordt; No. 657 was re- stored from Decamps to Bonington ; No. 168, from Schalcken to Dou ; No. 736, from Leys to Hubert van Hove ; No. 570, from Horace Vernet to Leys ; No. 621, from Pils to Pettenkofen ; No. 304, from Grer6me to Decamps ; No. 765, from Sully to Denning ; No. 546 was given back to Rossi, and the authorship of the originals of Nos. 635 and 638, copies by Teniers, ascertained. See also under Eembrandt, Nos. 173 and 238; Watteau, No. 395; and I. van Ostade, No. 21. The picture by Claudius Jacquand, No. 648, appeared for the first time in the Catalogue. Names of collaborators were added to the list of painters. The titles, in a good many cases, were altered. In some instances, e.g., Grreuze, No. 454; Fragonard, No. 412; W. van Mieris, No. 163, the previous title was that of another picture; in the case of two portraits by Nattier, Nos. 453 and 461, the pictures had exchanged titles; the persons are now identified. In other cases the older titles were restored, e.g., Berghem, Nos. 25, 183, 213, 256, 640 ; or more precise titles or sub-titles were given to distinguish between two or more pictures. The former title in each case was added in brackets. In previous editions the source of a certain number of the pictures was stated and the prices paid for them. These facts have their value for purposes of identification and, apart from the interests of collectors, the migrations of pictures, the growth and dispersion of collections, changes in reputation mirrored in prices have their place in the history of art. Thus it is interesting to find that our Watteau, No. 377, was sold from Sir Joshua Reynolds's splendid collection for £20 9s. &d., and that the copy of Velazquez, No. 4, was also in his hands, and partly transformed by him into a Reynolds ; or again that no less than four of our Reynolds's had remained in his hands till his death. An effort was therefore made to trace the history of the pictures generally, and of the majority an account can now be given with more or less certainty and fulness. A first essay towards such a history was published by Mr. M. H. Spielmann, in The Wallace Collection,, 1900, but many errors crept into the text. The works of Mr. A. G. Temple, The Wallace Collection (Paintings), 1902, and of Mr. A. L. Baldry, The Wallace Collection at Hertford House, 1904, added little or nothing to our knowledge. Lord Hertford and Sir Richard Wallace left no regular record of their purchases, and till recently only a few receipted bills were available. It is therefore in many cases doubtful at what date or from what source a picture entered the Collection. In the course of 1912, however, a series of sixty letters from Lord Hertford (fourth Marquess) to the agent already mentioned, Mr. S. Mawson, was acquired by the Trustees from the daughter of Mr. Mawson, and another letter has been added to the series by the gift of Mr. Fairfax Murray. These XXIV letters, ranging from 1848 to 1856, throw light on certain pur- chases. Extracts from them are given in the notices of pictures referred to. In the way of indirect evidence, apart from works dealing with particular artists and referred to in the text, the chief sources were the following : — 1. The Memoirs of Painting, 1824, by W. Buchanan, a dealer who imported pictures early in the nineteenth century. 2. A Catalogue Raisonne of the Works of the most eminent Dutch, Flemish and French Painters, 9 vols., 1829-1842, by John Smith, another dealer, who kept records of the pictures that passed through his hands, and under his very observant eyes. He includes thirty-three Dutch painters ; Rubens, Van Dyck, Teniers and Coques of the Flemings ; Nicolas Poussin, Claude and Greuze of the French. The range of his knowledge and the accuracy of his descriptions and measurements are very remarkable ; and his judgment of authenticity so shrewd that to be described by Smith has come to be a valuable note in a picture's pedigree. A very large number of the pictures in the Wallace Collection that came within the scope of Smith's book are so described, and it has been thought worth while to quote his descriptions in full, both as identifying the pictures, and for the flavour of contemporary taste that finds its way through his rich auctioneer's English. 3. A recension of the Dutch section of Smith, with seven painters added, a vast increase in the number of pictures, and an amplification, backwards and forwards, of their sale- histories, has been the work, for many years, of C. Hofstede de Grroot. This is in course of publication, in German and in English (Macmillan & Co., translated and edited by E. G. Hawke, 1907 onwards), and six volumes, dealing with twenty-one painters, have appeared in English. We are indebted to the knowledge and labours of Dr. de Groot and his assistants for the histories of so many of our Dutch pictures as have appeared. In many cases farther study has led to the correction or amplification of Dr. de Groot's results. We need not here go into the older sources for Dutch pictures, such as Hoet, Terwesten, Descamps, Parthey. 4. Waagen's Art Treasures in Great Britain, 3 vols., 1854, and Supplement, 1857. When Dr. Waagen paid his first visit to England many of Lord Hertford's pictures were packed away, so that his account of the Collection is a meagre one ; in 1857 he saw the loan collection in the Manchester Art Treasures Exhibition, and added further notes. He mentions some of our pictures in the hands of previous owners. 5. The Catalogue of the Exhibition just named and those of the Loan Exhibition of almost the whole picture collection at Bethnal Green Museum, 1872-75, are evidence that the pictures mcluded had been acquired by those dates, and two accounts for pictures framed and cleaned in 1857 and 1859 are of some help ; the titles, however, both at Bethnal Green and in those bills are often ambiguous. References are given in the notices of pictures to their numbers at Manchester and Bethnal Green, and their appearance at other exhibitions noted when it has been ascertained. XXV 6. Bedford's Art Sales, 2 vols., 1888, gives a useful analysis of sales up to 1887, chiefly at Christie's, with prices and names of purchasers; he does not, however, include all pictures. There is a valuable but incomplete list of marked catalogues of Messrs. Christie's sales at the Victoria and Albert Museum, and Messrs. Christie and Manson have been good enough to clear up some doubtful points from their OAvn records. 7. Le Tresor de la Curiosite, by Charles Blanc, 1857, gives particulars of sales in France in the eighteenth and nine- teenth centuries up to the date of publication. The names of purchasers and prices are frequently added. Biirger's Tresors de I'Art en Angleterre covers part of the same ground as Waagen's Supplement. 8. The Dictionnaire des Ventes d'Art by Dr. Mireur, 7 vols., 1911-12, attempts to cover the eighteenth and nineteenth centuries in France and abroad. It has been of very great use for French sales of the two centuries, but there are many gaps, and the standard of accuracy is not the highest. Moreover, prices only, not names of purchasers, are given ; there is therefore a greater or less element of conjecture in the identification of our pictures with those mentioned. It is hoped to reduce this in future editions by further research. 9. Sir John Murray Scott furnished, from his recollection and notes, information about various purchases by Sir Richard Wallace, and it is possible that this may be extended when his papers have been examined. On one or two points we are indebted for information to his brother, Mr. Walter Scott. Acknowledgments to others who have furnished information will be found in the text. Note. — The portrait of the third Marquess is from the picture by Lawrence, formerly in the Wallace Collection and lately in that of Sir John Murray Scott ; the remaining portraits are from photographs, that of Sir Richard Wallace dating from 1857, that of Lady Wallace about 1890. For other portraits, se.e under Symonds, No. 578, and note at foot of p. 379. XXVI ADMINISTRATION BOARD OE TRUSTEES The Right Hon. The Earl OF The Maequis OF RiPON, ROSEBERY, K.G. &.C.V.O. The Viscount Esher, G.G.V.O. Sir William Martin Conway. G-C.B. The Viscount Dillon. Sir John Stirling Maxwell The Lord Carmichael, Bart. G.C.S.I., G.C.I.E. The Rt. Hon. The Viscount John Bowybr Nichols, Esq, HarcoUET (Chairman). S T A E E Keeper:— D. S. MacColl, M.A., LL.D. Assistant and Inspector of the Armouries:— S. J. Camp. Inquiries relating to the Collection should be addressed — The Keeper, The Wallace Collection, Manchester Square, W. REGULATIONS 1. Parcels, sticks, umbrellas, parasols, and any articles which might be used to point at pictures must be left at the counter in the Hall. An exception is made of sticks and umbrellas used for support, in cases of infirmity recognised by the Attendants. 2. Muffs and ladies' small handbags or reticules must be tendered for examination or else left at the Umbrella counter in the Hall. 3. Young children, when in charge of responsible adults, are admitted at the discretion of the Keeper; children in arms are not admitted under any circumstances. No intoxicated person can be admitted. 4. Visitors are not allowed to consume refreshments in the Galleries, nor to bring in provisions or bottles of any kind. Paper or refuse must not be thrown about. Smoking is absolutely forbidden. 5. Visitors are not allowed to touch any picture or object exhibited, or to go within the railings placed before the furniture and works of art. 6. In case of noise, indecorous behaviour, or of other misconduct on the part of any visitor, the Attendants shall call in the assistance of the Police. 7. Any person transgressing the Regulations will be liable to immediate expulsion. C O P Y I IS G The crowded state of the Galleries, due to the combination of furniture and objects of art with the pictures in a limited space, renders copying, in the ordinary sense, impossible. Sketching in a small book or block held in the hand is permitted during the hours when the Museum is open to the public, provided the access of visitors to any particular work of art be not impeded ; but it is not permissible to use an easel, or to make use of seats other than the fixed chairs provided for the use of the public. Sketches or colour notes of the miniatures can be made only on Tuesdays and Fridays, before 2 p.m. Subject to the above restrictions, sketches may be made in water-colours, but not in oils. xxvu ADMISSION Admission to the Wallace Collection is FREE— except on TUESDAYS and FRIDAYS, when SIXPENCE is charged The Collection is open on WEEKDAYS from 10a.m. to 5 p.m.: on SUNDAYS from 2 to 5. Note.— The Wallace Collection is closed on Good Friday, Christmas Eve, and Christmas Day. OTEICIAL LECTURES Particulars may be obtained in the Entrance Hall. CATALOGUES The following Official Catalogues are sold at Hertford House. By making application to the Keeper they can be forwarded through the post. A remittance should accompany the appli- cation. Prices, at the date of publication, were under revision. Catalogue of Pictures and Drawings (Illustrated). Catalogue of Furniture, Miniatures and Objects of Art (Illustrated). Catalogue of European Arms and Armour (Illustrated). Catalogue of Oriental Arms and Armour. PHOTOGRAPHS Photographs of the Pictures and Drawings reproduced in this Catalogue, and of some others, have been executed for the Trustees by Mr. William Gray. The negatives are the property of the Trustees, and prints can only be obtained at Hertford House. They are on sale at the Catalogue Stall, price 2.s. each (a few at Is. and Is. 6d.). They will also be sent by post on application to the Keeper. Photographs of pictures not yet reproduced can be obtained, by filling up an order form at the Stall, or by writing to the Keeper, price 5s. each; and a charge of 5s. will be made for permission to reproduce a photograph. A large number of photographs of miniatures, furniture, objects of art, and arms and armour (from Is. to 2s. each) have also been executed, and will be supplied to order. A list of pictures, drawings, and miniatures already photographed can be consulted at the Catalogue stall. PICTURE POSTCARDS These are on sale at the Photograph Stall, price Id. each, or in packets, at various prices. KEY TO PLAN GROUND FLOOR Note. — Visitors whose time is limited are advised to begin with the 18th century French pictures on the first floor in Gallery XVIII, then to pass into Gallery XVI, where masterpieces of the other schools from the 16th Century up to the 19th Century are brought together ; from that point to complete the circle, and end with the rooms on the ground floor. Entrance Hall — Sassoferrato and Hilton, Nos. 646 and 633. I French School, 18th Century. Ill Italian, Netherlands, French, and German Schools, 14th, 15th, 16th Centuries. Nos. 525 to 533, 536 to 540, 543 to 556, and 762. VIII Nos. 129 and 184, by Philippe de Champaigne; Nos. 392, 417, by Le Moine; No. 128 by Raoux; No. 130 by Rigaud. Old Board Room— Family Portraits. IX Portraits of George III, George IV, Queen Victoria, and other Royal and Distinguished Persons. X French School of 18th and 19th Centuries. XI Oudry, &c. The Distribution of Furniture and Objects of Art and of Arms and Armour is shown on the Plan to the Catalogues of those Sections. Lavatories, for Ladies and Gentlemen respectively, are at L and G. ARRANGEMENT IN SIR RICHARD WALLACE'S TIME I Front State Room. II Back State Room. III (Front) Canaletto Room. (Back) Sixteenth Century Room. IV Smoldng Room. V, VI, VII Coach-house, Stable-yard, Stables. VIII Rutln-'s Quarters. Board Room : Housekeeper's Room. IX Breakfast Room. X Billiard Room. XI Dining Room. PLAN GROUND FLOOR CUIRQIUCY PLAN SECOND FLOOR XXXI KEY TO PLAN FIRST FLOOR G-RAND Staircase and Landing— French School, 18th Century; Boucher and Fragonard, Nos. 481-490. XII School of Canaletto ; Guardi. Nos. 491 to 518. XIII Dutch and Flemish Schools; 17th Century. XIV Dutch and Flemish Schools ; 17th Century. XV French and British Schools of 19th Century. XVI Italian, Spanish, Flemish, Dutch, and British Schools. This, the largest gallery, contains many of the finest pictures in the Collection, including Cima, del Sarto, Luini, Titian ; Velazquez and Murillo ; Rubens and Van Dyck ; Rembrandt, Hals, De Hooch, Hobbema, and other Dutch masters, Reynolds and Gainsborough ; but does not include the French School. XVII Italian, Flemish, Dutch, and French Schools of 17th Century. XVIII French School, 18th Century. Works of Watteau and Fragonard. XIX French School, 18th Century. XX French School, 18th Century. XXI French School, 17th and 18th Centuries. XXII French School, 18th Century. ARRANGEMENT IN SIR RICHARD WALLACE'S TIME XII (Front) Small Draining Room. (Back) Large Draiving Room. XIII East (.Tallery or Drawing Room. XIV Oriental Armoury. XV Modern Gallery. XVI Large Gallery. XVII EuroTpean Armoury. XVIII Dressing Room and Bath Room. XIX Lady 1 Vallace's Bedroom. XX Boudoir. XXI Study. XXII Oval Drawing Room. SECOND FLOOR These rooms will contain a number of less important pictures of the Dutch, French, and British Schools as well as water colours. At the date of publication the arrangement of the galleries gener- ally was not complete. In case there is difficulty in finding a picture, application should be made to the Attendant on duty. XXXll EXPLANATIONS The Catalogue is arranged in the alphabetical order of the artists' names. Reference should be made from the painter's name on the frame of the picture to the corresponding name at the head of the page in the Catalogue. Should the name of the painter on the picture-frame from any cause not be easily legible, it may be found by referring to the Index of Numbers, p. 364. The strict order of numbers under each painter has occasionally been departed from to allow pairs or sets of pictures to folloiv one another, or to group school-pieces or copies after original works. In describing the pictures, the terms " right " and " left " are used with reference to the right and left of the spectator, unless the context obviously implies the contrary. The measurements are sight measurements, i.e., giving the area of the picture as seen within the frame or mount. They are given in inches, followed by centimetres enclosed in brackets. The following contractions have been employed, besides others of which an explanation is given in the text : — Lord Hertford = Richard, fourth Marquess of Hertford. Bethnal Green = Loan Exhibition of the Wallace Collection at the Bethnal Green Museum, 1872-75. Smith = A Catalogue Raisonne of the WorJcs of the most eminent Didch, Flemish and French Painters. By John Smith. 8 vols, and Supplement, 1829-37. De Groot = A Catalogue Raisonne of the Works of the most eminent Dutch Painters of the Seventeenth Century. Based on the Work of John Smith. By C. Hofstede de Groot. In progress (see p. xxiv). Hoet = Catalogus of Namlyst van Schilderyen (Dutch sale lists, 1676-1752). By Gerard Hoet, 1752. Terwesten = Continuation of Hoet, 1752-68. By Pieter Terwesten. Descamps = Vie des Peintres flamands, allemands et hollan- dais, 1753-63. By J. B. Descamps. Parthey = Deutsoher Bildersaal, 1863-64. Westrheene = Paulus Potter and Jan Steen : Etudes sur I'Art en HoUande, 1856. Waagen = The Treasures of Art in Great Britain. 3 vols. and Supplement. By Dr. Waagen, 1854-57. Ch. Blanc ^- Le Tresor de I'Art et de la Curiosite. By Charles Blanc, 1857. Bedford = Art Sales, 2 vols., 1888. By George Redford. Mireur = Dictionnaire des Veiites d'Art. 7 vols., 1911-12. By Dr. H. Mireur. Spielmann = The Wallace Collection in Hertford Hou.se, 1900. By M. H. Spielmann. B.A.A. = Marked sale catalogues in the collection at the Bibliotheque d'Art et d'Archeologie. De Ricci = Notes contributed by M. Seymour de Ricci. CATALOGUE ANDREAS ACHENBACH German School. Born at Cassel in 1815; died at Diisseldorf in 1910. He was trained at the Diisseldorf Academy and worked chiefly in that city; was a painter of the sea and coast, but practised other branches of landscape. He is well represented in the galleries of Berlin, Munich, Dresden and Diisseldorf. 618 The Ebb-Tide Panel, 18^x26^ (46x67-3). Inscribed in lower left corner: A. Achenbach 1849. Bethnal Green, 558, as " Seashore : Ebb-Tide." FRANCESCO ALBANI Bolognese School. Born at Bologna in 1578; died there in 1660. He was the pupil of Dionysius Calvert, but with Guido Eeni forsook his studio for the Academy of the Carracci, and afterwards worked in Annibale Carracci's studio at Rome. One of his chief works there is the decoration of the choir-chapel of Santa Maria della Pace. His large altar-pieces are chiefly at Bologna. His fame was mainly won, however, by mythological pieces, such as those in the Borghese Gallery at Rome. 642 Venus with Cupids Copper (oval), llfxlSi (29 -2x38 -7). Bethnal Green, 253, " from the Collection of the Marquis de Montcalm." Bought by Lord Hertford at the Montcalm sale, Christie's, 4-5 May 1849, No. 127, for £388 10s., as " Yenus reposing in Clouds (12x 15)." HEINBICH VON ANGELI Austro-Hungarian School. Born, 1840, at Oedenburg in Hungary. Living Artist. Trained at the Vienna Academy and at Diisseldorf. Worked from 1859 to 1862 at Munich, where several elaborate historical paintings were executed. He then returned to Vienna, executed other works of that type, to some extent under the influence of Hans Makart, finally devoted himself to portraiture, and became a favourite painter at the Austrian, English and Russian Courts. 557 Her Imperial majesty the Empress Frederick as Crown Princess Gallery IX Canvas, 27fx22J (70-5x56 -5). Inscribed in lower right corner : H. von Angeli 1882. Presented to Sir Richard Wallace by the Empress; the picture hung above his writing-table. Victoria Adelaide Mary Louisa, eldest child of Queen Victoria, and Princess Royal, was born 21 November 1840. On 25 January 1858 she married Prince Frederick, afterwards Crown Prince of Prussia, who became German Emperor on 9 March 1888, but died 99 days later. The Empress, who interested herself in art and literature, died at Friederichskron, near Homburg, 5 August 1901. u 10931 A ANONYMOUS— BACKHUIZBN See under — Ferrarese School Flemish School Florentine School French School •German School Milanese School ANONYMOUS North Italian School Parma (School of) Roman School Sienese School JJmbrian School Venetian School Tor anonymous copies and school-pieces, see under the master's name. JACOB ADRIAENSZ BACKER Datch School. Born atHarlingen in 1608; died at Amsterdam .27 August 1651. Pupil of Lambert Jacobsz at Leeuwarde and .afterwards of Rembrandt at Amsterdam, where he worked from 1636 to the date of his death. Painter of " Regent " pieces, por- traits, and a few mythological scenes. 89 Portrait of an Old Woman Grallery XVI Canvas, 46f x37| (118 •8x95-2). Inscribed, on the arm of the chair, with the forged signature : Rembrandt f. 1632, and to left of the head, JSt. 69. A signature has possibly been obliterated to the right. Bethnal Grreen, 113, as " Portrait of an Old Lady," ascribed to Rembrandt. LUDOI.F BACKHUIZBN Dutch School. Born at Bniden 18 December 1631; died at Amsterdam 17 November 1708. Pupil of Allart van Bverdingen and Hendrik Dubbels. Practised at Amsterdam from 1650 onwards. 244 Sea Piece with Shipping Canvas, 20^ x 29^ (51 • 4 x 74 • 3). In the lower right corner may be doubtfully read : L. Bak. Two of the flags are inscribed ; one, apparently, LB, followed by other letters. BACKHUIZEN— BECCAFUMI 244 248 Ships in a Storm Canvas, 20 X 23f (50-8x60). Signed on a floating spar in the foreground : L.B. Bethnal Green, 246, as " Taking in Sail." DOMElflCO BECCAFUMI Sienese School. Born near Siena in 1486 ; died there in May 1551. Influenced by Perugino, then by the contemporary Sienese School, and by Michelangelo, whom he studied in Eome. He worked chiefly in his native city, competing with Sodoma and Grirolamo del Pacchia. Among the most important of his later works are the cartoons for a large portion of the marble mosaic pavement of Siena Cathedral, and a vast ceiling in the Palazzo Pubblico of that city. His works are very rare in England. At the National G-allery is a curious canvas "Esther before Ahasuerus," and in the collection of Mr. R. H.Benson "The Martyrdom of St. Lucy " and " The Flight of Clelia," both of his late time. At the Victoria and Albert Museum are two " Allegorical Figures " attributable to Beccafumi or his studio. Certainly by him is a circular panel, " Caritas," in the " lonides Collection " at the same Museum (there described as "The Virgin and Child"). 525 Judith with the Head of Holofernes Gallery III Panel, 33| x 18|- (85'lx46'3). An early example, painted 525 apparently under the influence of Baldassare Peruzzi ; the picture, indeed, is possibly by some other pupil. Two paintings, belonging to the same series are, or were, in the collection of Mademoiselle de Rumford, niece of Vicomte de Tauzia, once Keeper of the Paint- ings in the Louvre. All three pictures were obtained by him from the collection of Prince Chigi of Siena ; Judith ivith the Head of Holofernes was sold to Sir Richard Wallace in 1872, the two other pictures were left to his niece. A 2 4, BBLLANGE JOSEPH LOUIS, HIFFOLYTE BELLAlfGf French School. Born 17 January 1800 in Paris ; died there 10 April 1886. A painter, draughtsman and lithographer, whose chief subject was the battles of Napoleon. A pupil of G-ros and fellow student of Charlet. Keeper of Rouen Museum 1837-54. Fourteen of his works are at Versailles. 581 Crossing the Ford Canvas, 20| x 24f (52x62-8). Signed in lower left corner; h" Bellange. Bethnal Green, 477, as " Soldiers fording a Stream." 586 The Imperial Tent Panel, 17| x 14f (45 x 37' 1). Inscribed in lower right corner : h" Bellange 185 . Bethnal Green, 526, as "Grenadier: on mill- board." [sic] 620 The Despatch Panel, 14-^ x 17| (36-8 x 44-2). . Inscribed in lower right corner : h" Bellange 1845. Bethnal Green, 519. Possibly " Le Bivouac, tableau de Bellanger " in one of Lord Hertford's accounts, 2,800 f., 30 April 1845. 650 The Soldier's Farewell Water-colour, 7| x 8| (19x21 "9).- Inscribed in lower left corner : h" Bellange 1829. Former title, "The Hussar's Adieu." 671 ITapoleon at Waterloo Water-colour, 16f x 13 (41-6x33). Inscribed in lower right corner : h" Bellange 1836. Bethnal Green, 659, as " Napoleon Bonaparte at Waterloo." 683 ITapoleon and his Staff Water-colour, 15| x 11| (39 - 7 x 28 - 2). Inscribed in lower right corner : h" Bellange 1839. Bethnal Green, 663, as " The Emperor Napoleon at Waterloo." 705 The Farewell Water-colour, 8f x 7i (22-2x18-4). Inscribed in lower left corner: h" Bellange 1859. Former title, "Cuirassiers under Marching Orders." 720 The French at Bruges Water-colour, 12| X 18 (32-7x45-7). Inscribed in lower right corner : h" Bellange 1833. Former title : " Taking of Flanders by the French." Bethnal Green, 1874 catalogue, 680a, as " Soldiers passing through a Flemish City," or " Troops marching through a Flemish City." 730 A (xrenadier Water-colour, 6^ x 5 (15 - 8 x 12 • 7). Inscribed in centre below : n" Bellange 1830. Bethnal Green, 1874 catalogue, 690, as "An Imperial Guard." Title on old mount, " An Imperial Guard." 742 Military Courtship Water-colour, 2| x 2f (7-3x6). Inscribed to right below: h'^ Bellange 1829. Possibly the drawing mentioned by Mireur. " 1852, 29 Mars, Vente B.D., L'Amoureux Grognard, Aquarelle, 128 f. 748 Waterloo Water-colour 8| x 5^ (9-8x13-3). Inscribed in lower left corner : ¥' Bellange. Bethnal Green, 643. Perhaps " Les BELLANGE— BERGHEM 5 Cuirassiers de Waterloo," 2,400 i. at the Bellange sale in 1867 (Mirem-). Besides those already mentioned, the following water-colours by Bellange were at Bethnal Green : Nos. 626, The Prisoner ; 628, Trench before 8ebastopol; 636, The Soldier's Halt (possibly our 650) ; 645, Bodyguard of Napoleon I. Two of these, and perhaps all four, were in the part of the Collection retained by Sir John Murray Scott, and sold after his death at Christie's, 27 June 1913 ; they are described as follows: Lot 9, Napoleon Reconnoitring; 10, An Attack on a Toion; 11, In the Trenches; 12, Off Duty. No. 634 at Bethnal Green, St. Jean d'Acre, was our Raffet, No. 747. Jules Adeline {H. Bellange et son CEuvre, 1880), No. 161, is Cam- bronne a Waterloo, " aquarelle appartenant au Marquis de Hertford " (?No. 748). BEITVEWUTO DI GIOVAIflTI (or DA SIENA) Sienese School. Born 1436; died 1518 ? He painted in 1466 the signed " Annunciation " now at Volterra, and executed illumi- nations in the choir books of the Duomo of Siena in 1482. He also designed the " Tiburtine Sibyl " for the inlaid marble pavement. He was greatly influenced by his precursor and master Lorenzo Vecchietta and in his turn greatly influenced his son Girolamo di Benvenuto. His art was less incisive, more brilliant and decorative than that of Vecchietta. His chief works are in the churches and Academy of Arts of Siena, at Volterra, Buda-Pesth, Florence, and Rome ; in the National Gallery is a fine triptych from his hand, No. 909, "The Madonna and Child with Saints," and a na'ive "Madonna and Child" (Salting Bequest). 543 St. Jerome chastising himself Gallery III Panel, lllxS^^ (29-2 x 21-5). This small panel may have formed part of a predella. In the Inventory of the Collection it was attributed to Andrea del Castagno. CLAES (I.E. iriCOLAES) PIETERSZ BEBCHEIKi: OR BEBGHEIVE Dutch School. Baptised at Haarlem 1 October 1620; died at Amsterdam 18 February 1683. Pupil of his father, Pieter Claesz, of P. de Grebber and J. Wils at Haarlem, and of Nicolas Moyaert and J. B. Weenix at Amsterdam. He probably visited Italy. He was domiciled at Haarlem, and afterwards at Amsterdam. His works are marked by decorative intention and aspect, sharpness of accent, and great facility, but also by a certain superficiality and emptiness. His most beautiful picture in England is perhaps the so-called " Diamant de la Curiosity," a cattle-piece in miniature, at Dorchester House. BERGHEM 25 The Old Port of Genoa (Ii'Ancieu Port de G^nes) XVI (Formerly " Coast Scene with Figures ") Canvas, 32|x40i (82-2 x 102-3). Signed on the step to right between man and dog: Berchem. Bethnal Green, 93, as 25 " Sea Piece, with a Galley." This is one of Berchem's most famous pieces. Smith, 75 : — A Seaport, adorned with handsome edifices, and a superb fountain, on the steps of which is a lady, elegantly attired, accompanied by a gentleman, and followed by a negro servant, who holds a parasol over her head. Upon the lowest step, in front, are a young woman, suckling her infant, and a boy standing by her side. A little retired from them are a woman with vegetables, and a man with his back to the spectator, standing near a mule. On the opposite side of the picture are three men, amusing themselves with a dog, and other figures are seen in the distance. Painted in the artist's ' Weenix manner. Engraved by Aliamet under the title of L'Ancien Port de Genes [1760 ; the picture was then in the collection of M. de Ravanne, " grand Maitre des Baux et Porets d'Orleans," and the engraving is dedicated to him]. 2 ft. 8 in. by 3 ft. 4 in. Canvas. Collection of M. Servad, Amsterdam, 1778, 4,900 florins (£441) ; of Oomte de Merle, Paris, 1783, 12,025 f. (£481) ; of M. Langeao, Paris, 1809, 8,050 f. (£322). To these Smith adds under Supplement, 81 (1842) : — Exhibited for private sale in the collection of the Duchesse de Berri, at Messrs. Christie and Manson's, 1834, price £760 ; not meeting a purchaser at that sum it was sold by auction at Paris, 1837, for 13,858 f. (£504). Bought by Durlacher (? for Lord Hertford) at Demidoff di San Donate sale, Paris, 18 April 1868, No. 1, 42,000 f . Previously at sale of Galerie du Palais de I'Blysee (Due de Berri), Paris, 4 April 1837, No. 15, 13,200 f. (Naudet for Comte de M,agnancourt (B.A.A.); bought by Nieuwenhuys, 1839 (note in his copy of Berri catalogue). Engraved by Philippe le Bas. Descamps, II, 345. Le Brun, Galerie des Peintres flammids. Mireur gives, under " L'Ancien Port de Genes," the following : Wellesley, 1846 (86 x 107 cent.), 6,550 f . ; Comte Vilain XIV, 1857, 4,600 f . ; Lebrun, 1875, 16,000 f . As No. 25 was at Bethnal Green this last was another picture, as was probably also the picture in the 1857 sale. 183 The Perry Boat Gallery XIV (Formerly " Landscape with Figures ") Panel, 13^ x 14| (33 • 6 x 37 • 4). Inscribed on side of boat to left : Berghem 1672. Bethnal Green, 191. Smith, 251 ;— A Landscape with a woman on horseback, and a group of cattle on the left ; on the opposite side is seen a man, pulling a sheep into a boat. A very pleasing example. 1 ft. 1 in. by 1 ft. 6 in. (about). Panel. Now [1834] in the collection of the [third] Marquis of Hertford. A seal on the back shows the arms of Nicolas Judde, Seigneur de Grainville, &c., who died in 1772. EBRGHBM 7 185 Landscape with. Cattle Gallery XIV Panel, 12| x 17 (32-4x43 -2). Signed in lower right corner: JBerchem (not " Berhem " as in earlier editions). Probably No. 151, Bethnal Green, as " Landscape with Cattle." This picture was in the collection of Lord Hertford before 15 February 1859. 186 Italian Landscape with Figures Gallery XIV Canvas, 20^x25 (52x63-5). Inscribed in centre below : G.P^ Berghem f. 1654. Probably 249, "Landscape with Figures," at. Bethnal Green. Probably Smith 204 and Supplement 64, engraved by Le Bas as Le Soir; collection of William Smith, 1823 ; bought, privately by the Chavalier de Bonnemaison for £300; sales of Duchesse de Berry, Christie's, 1834, bought in at £600 ; Paris,, 4 A.pril 1837, 5,271 f. ; sale of Count de Morny, Phillips's, 20-1 June 1848, No. 85, £450 (bought in) ; of Due de Morny, Paris, 1852, 16,000 f. (Mirenr). 213 Halt at an Inn Gallery XIII (Formerly "Landscape with Equestrian Figures ") Canvas, 19 x 15j (48 - 2 x 38 - 7). Signed in centre, below : JBerchem f. No. 215, Bethnal Green, as "Halt at an Inn." Doubtless Smith, 66, and Supplement, 35 : — A Landscape representing a Halt of Sportsmen at an inn door towards, the evening. Amongst the company are a gentleman on a white horse, and a lady on a "brown one ; the hostess has a bottle in her hand, and has just given the gentleman a glass of wine. 1 ft. 7f in. by 1 ft. 3i in. Canvas. Collection of Chevalier Yerhulst, 1779, 530 florins (£47) ; of M.'ViUers, 1812, 2,960 f. (£118); sale of Duchesse de Berry, Christie's, 1834, £80, Messrs. Smith ; collection of the Hon. Long Pole Wellesley, Brussels 1842. M. S. de Eicci says Nieuwenhuys bought the picture in 1835. On the back is " Halte a I'Hotellerie " and a seal which appears on A. Van der Neer, 159. 256 Jupiter with the XTymphs on Mount Ida Gallery XIII (Formerly " Italian Landscape with Figures ") Canvas, 23f x32| (60-6x82-5). Signed in foreground on a rock : GPBerighem 1654 (GPB in monogram). Probably No. 185, Bethnal Green, as " Landscape with Pastoral Group." This picture, hitherto described as "Italian Landscape with Figures,'' was entitled in the Inventory of the Collection " The Youthful Jupiter attended by Nymphs on Mount Ida," and evidently represents that subject. In the foreground are a nymph (standing) and a satyr seated beside her ; in the middle distance, two nymphs seated ; beside them the infant Jupiter being fed by the goat Amalthea. In the distance is a sea-port. This is probably No. 8 in the Schonbom von Pommersfelden sale, Paris, 17-24 May 1867. Pastorale ; paysage arcadique avec fond de mer et de montagnes bleuatres ; deux bergeres demi-nues sont assises sur I'herbe, entourees de troupeau ; la figure principale est une femme debont vue de dos, en robe rouge. Signe, C. Berighem. No. 521 du catalogue, 1857. Toile, 65 x 85, 6,900 f. (B.A.A.) 640 The Musical Shepherdess (Formerly " Italian Landscape with Figures ") Copper, 13 x 16 (33x40-6). Inscribed on rock to extreme left : Bergh [sic], and on a separate rock further to right : 1658 (the " 8 " 8 BERGHEM— BIANCHl horizontal). Probably 232, " Italian Landscape," at Bethnal Green Bought by Lord Hertford at the sale of William Wells of Redleaf; Christie's, 12 May 1848, No. 109, as The Musical Shepherdess- 14i X 161 in.^ £357. This picture is Smith, 247, and Supplement. 57:— The Musical Shepherdess. This beautiful pastoral scene represents a bold rocky coast, under the appearance of the close of day. The rustics have ended their labours and are recreating with music and dancing. A group composed of two peasants and a hke number of women occupies the fore- ground; one of the latter, attired in a blue mantle, is gaUy striking a tambourine, and dancing to the music ; her companion, in a yellow dress, sits near her; the shepherds also ai-e seated, and one of them appears to have just ceased playing a pipe which he holds. The goats are browsing near them. Painted in the artist's most fascinating style. 1 ft. 2^ in. by 1 ft. 41 in. Panel [sic]. In the collection of W. Wells, Esq., Redleaf. Exhibited in the British GaUery, 1839. Waagen, ii, 159, mentions, in the collection of Lord Hertford, (1854) "a, small but careful picture (by Berghem) though placed too high to be properly estimated." There is nothing to show which picture was intended. In Supplement, p. 89 (1857), he speaks of an upright by Berghem, " a rocky landscape with a shepherdess on horseback and her herd." No such picture is now in the Collection. FRANCESCO DE' BIANCHl FERKABI Modenese School. Died in 1510. This scarce master, whose works have not as yet been definitively classified, has been studied in the Archivio Storico dell' Arte by Adolfo Venturi. His last and best authenticated work is " The Annunciation " in the Estense Gallery at Modena, at one time ascribed to Francesco Francia. This was left unfinished at his death. Another characteristic work is the altarpiece " The Virgin and Child with St. Jerome and St. Sebastian " in S. Pietro at Modena, formerly ascribed to Pellegrino Munari. The Berlin (jallery contains two examples. Ascribed to him, but difEering radically from these works in general style and especially in the facial type of the figures, is the puzzling "Virgin and Child with Angels and Saints" in the Louvre. BIANCHI— BOILLY 2 Two Ifude Figures in a Landscape 9 Gallery XVI Panel, 33^ x 24|: (84 • 5 x 61 • 6). Probably a late work, since it resembles in many particulars the first two paintings referred to above. It appears possible, from the character of the principal figures as well as of those in the background, that we have here an idyll after some classical poet. In the Inventory of the Collection the picture is ascribed to " Eroole Grandi." LOUZS-LEOFOLD BOILLY French School. Born at La Bassee, near Lille, 5 July 1761 ; died in Paris 4 January 1845. Pupil of his father. His earlier genre pieces illustrate the end of the eighteenth century, and are strongly coloured with the charm and the peculiar sentimentality of that period ; his later performances give with unabated naivete and increased vigour, if with less pictorial charm, the social aspects of the Restoration. The most remarkable collection of his works is that in the Museum of Lille. He is seen at his best in the three examples of the Wallace Collection, all of which belong to the Louis Seize period. Several pictures by Boilly that remained in the Rue Laffitte, passed from Sir Richard Wallace to the late Sir John Murray Scott, and froni him to Lady Sackville ; the collection was bought by Mr. Seligmann in 1914. 435 The Dead Mouse Gallery XIX Canvas, 15^ x 12| (39 •4x30-8). Bethnal Green, 586. Sale: 1861, Vente L., Madrid ; La Souris prise : 650 f . Harrisse, L. L. Boilly, 1898, No. 515. 473 The Visit Returned (La Visite Reudue) Gallery XX Canvas, 11\ x 21 (43 ■ 8 x 53 • 3). Bethnal Green, 492, as " Paying a Visit." A label on the back runs : " Yisitte rendue peint par Louis Boilly 1789." This and the following picture are those mentioned by Mireur under 1863 : Voisin, Angers, La Visile 10 BOILLY— BOL retidue — Les Malheurs de I' Amour. .Ensemble, 2,100 f. 565, pendant to 564, La Visite Beque. Harrisse 479 The Sorrows of Love (Les Malheurs de 1' Amour) XX Canvas, 17| x 21 (44 ■ 4 x 53 ■ 3), Bethnal Green, 500. See under No. 473. On the back is written on a label partly torn : Les malheurs de I'amour [a blank which may have been, inve]nt6 par M. de [M. Henry Harrisse, in his L. L. Boilly, 1898, supplies, in a similar case, "Galvetleb'Paj\un]peint par Louis Boilly . ier [? fevi-ier] 1790 ['0' doubtful]. Apparently the lover has returned his mis- tress's portrait and her letter, torn. A similar oval portrait is over the bureau of the lover in No. 473. Harrisse, 375, said to be pendant to Le Gadeait, delicat (formerly in the Wallace Collection). FEBDINAITD BOL Dutch School. Born at Dordrecht 24 June 1616; buried at Amsterdam 24 July 1680. One of the most prominent among the pupils of Rembrandt belonging to the earlier phase of his career in Amsterdam. In his later years he adopted a fnore conventional style. Bol established himself at Amsterdam before 1640. 74 The Toper Gallery XVI Canvas, 35 x32f (88'9x83'2). Signed in lower right corner: FBol (the F combined with the B). Bethnal Green, 75. A vigorous work in the artist's Rembrandtesque manner. Doubtless the picture by Bol, " Figure de buveur, vu a mi-corps, un verre a la main," toile, 90 x 86, at sale uf Paul Pgrier, Paris, 16-17 March BONHBUR 11 1843, No. 5, 3,650 f. (B.A.A.) .Our picture was in the collection of Lord Hertford before 15 February 1859, when there is a bill for framing it. In the Inventory it appears as Cavalier Carousing, by Victor. FRAN9OIS AUGUSTE BONHEUR See under Calamb, No. 688. niABIE-BOSA BONHEUB French School. Born at Bordeaux 16 March 1822; died at Chateau By, Fontainebleau, 25 May 1899. Pupil of her father and of Leon Cogniet. The most popular animal painter of the modern French School, especially in England. Among her most important works are " The Horse Fair " (Metropolitan Museum of New York — reduced version in the National Gallery) ; " Le Labourage Nivernais " (Luxembourg) ; and " La Fenaison." 260 A Waggon and Team of Horses Canvas, 13^ x 24 (33 • 6 x 60 ■ 9). Inscribed in lower right corner : Rosa Bonheur 1852. No. 486, " The Waggon," at Bethnal Green. 260 364 Sheep Canvas, 17f x 25^ (44'8 x 63 '8). Inscribed in lower left corner Rosa-Boiiheur 57. Bethnal Green, 592, " Highland Sheep." 365 A Shepherd's Dog Canvas, 171 x 14j (44 • 5 x 36 • 2). Inscribed in lower right corner B.B. 64 ; in upper right corner : Brizo. .SfiS 372 Boe-deer (Chevreuils dans un fourre) Panel, 7 X 9^ (17-8 x 23-2). Signed in lower left corner: Rosa-Bonheur. Bethnal Green, 534. Bought by Lord Hertford at the sale of Prince Paul Demidoff di San Donato, Paris, 26 February 1863, No. 1 (18 X 24), 7,500 f. (B.A.A.) 12 BONINGTON RICHARD PARSES BOXVINGTOIT British School. Born at Arnold near Nottingham, 25 October 1801, son of Richard Bonington, a drawing-master; died in London on the 23 September 1828, before he had completed his twenty- seventh year. Went to Calais with his family at the age of sixteen, and formed his style in drawing and water-colour under Louis Franeia, who had returned to his native place from England about this time (1817-18). A year later he went to Paris, where he studied in the Louvre ; he was a student at the Bcole des Beaux- Arts and in the atelier of Baron Gros. He exhibited at the Salon in 1822, and again in 1824, when he. Constable and other Englishmen produced so vivid a sensation. He visited Italy about 1822, and worked especially at Venice. There was an interchange of influence between him and Delacroix. Bonington excelled both in genre, in which he was one of the precursors of the French Romantic school, and in landscape. The Wallace Collection contains the finest series of his works. 270 A Child at Prayers Panel, 13f x 10 (3.5x25-5). Gallery XV Bethnal Green, 52. Probably 270 the Widow and Child, No. 91 in the sale of General Phipps, Christie's, 25 June 1859, £189 (Mawson) ; exhibited at the British Institution, 1848, by the Hon. Edmund Phipps, as Child Praying, No. 130. 273 A Sea Piece Gallery XV Canvas, 211 X 32i (.53-6 x 82-5). Bethnal Green, 44, as "Sea Piece : a Cutter getting under way." 27.3 BONINGT.ON 13 319 Bergues, near Dunkirk. Grallery XV Panel, 131 x9f (34-3 x 24-5). Bethnal Green, 42, as "Tower, Rouen: on panel;" corrected, in 1874 catalogue, to "La Tour au F"" 319 Marche, Bergues." Engraved in the annual, The Gem, 1831, by W. J. Cook, as La Tour dih Marche at Bergues, near Dunkirk, on the River Colme (Canal de la Colme). Lithographed by Feuillet. 322 Francis I and Marguerite de Ifavarre Gallery XY Canvas, 18 x 13:^ (45 • 7 x 33 • 6). The King has just inscribed on the window-pane the verse attributed to him : — Souvent femme varie, Bien fol est qui s'y fie. Exhibited in the Salon, 1827. Bethnal Green, 43, as " Francis I and his Mistress "; corrected in 1874 to " Francis I and his Sister." Bought by Lord Hertford at the Delessert sale in Paris, 15-18 March 1869, No. 128, for 31,000 f., ex coll. Brown and Paul Perier, (B.A.A.) It was No. 96 in the L. Brown sale, Paris, 12-13 May 1839, the lady being described as Diane de Poitiers (B.A.A.) Engraved by 322 Charles Heath, and by Flameng in Gaxette des Beaux Arts. A second version was in the Munro Collection. A picture with the same title fetched 1,505 f. at the " Vente W.," Paris, 1837 (Mireur). A picture by Boning ton with the title Francis the First and his Sister (14| x 11| in.) was No. 87 in the sale of W. J. Thompson at Christie's, 24 January 1913, but this was a version of Francois I et la Duchesse d'Etanvpes in the Louvre. A brilliant oil sketch by Bonington, at one time in the collec- tion of Thomas Woolner, has borne various titles, including that of 14 BONINGTON our picture, but possibly represents Charles V visiting Francis I with his sister beside him. Marguerite de Valois or d'Angouldme (1492-1459) became by marriage successively Marguerite d'Alen9on or Marguerite de Navarre. She is famous as author of the HeptaTneron and other works. 323 Henri III and the Euglisli Ambassador Gallery XY Canvas, 20f x 25| (52 • 7 x 63 • 7). Bethnal Green, 50. Exhibited, E.A., 1828. "Bought by Lord Hertford at the sale of Lord Henry s-23 Seymour, Paris, 1860, 49,000 f. (P. Mantz in Gazette des Bemix Arts, 1876.) Mr. H. M. Allen stated in 1907 that a version from the collection of the late William Manson of Christie's was in his possession. 333 Anne Page and Slender Gallery XV Canvas, 17f x U\ (45 x 35 • 8). Bethnal Green, 53. Bought by Lord Hertford at the Duchesse d'Orleans' sale, Paris, 18-20 January 1853, No. 6, as Le Page et la Courtisane, 47x37, 8,200 f. (B.A.A.) Lithographed in Galerie de I'Art Ancien et Moderne ; mezzotinted by S. W. Reynolds. Exhibited, Boulevard des Italiens, 1860 (Mantz in Gazette des Beaux Arts, 1876). 339 The Seine near Mantes Canvas, llfxl7| (30-1 x 44-1), Seine near Rouen." Bethnal Green, Gallery XV 51, as "The J30NING-T0N 15 341 Coast of Picardy Gallery XV (Formerly "A Coast Scene ") Canvas, 13f x 19^ (35x48-9). Bethnal Green, 46, as "Sea- shore : a Brig aground." Lithographed by Charles Lewis as " Coast of Pioardy," in " A Series of Subjects from the Works of R. P. Bonington " (1829). Waagen, Supplement, 92, mentions this picture in the collection of Lord Hertford (1857). " The price, £231, shows how much the works of this painter are esteemed." 351 Henri IV and the Spanish Ambassador Gallery XY Canvas, 15xl9| (38x49-8). Bethnal Green, 45. Exhibited, Salon, 1827. Bought by Lord Hertford through Mannheim at San Donate sale, 21 February 1870, No. 1, for 83,000 f. The catalogue states that the picture was acquired from the Gendrini Collection in 1837. Engraved by Fiameng in the Gazette des Beaux Arts. For a water-colour of the same subject, see No. 733. 362 Landscape -with Timber Waggon, France Gallery XV (Formerly " A Rustic Scene ") Canvas, 19| x 26f (49 - 8 x 67 " 5). Bethnal Green, 49, as " Land- scape with Timber Waggon, France." This picture is a fragment of ;-:62 16 BONINGTON the composition lithographed by Charles Lewis as " The Waggon " (see " A Series of Subjects from the Works of E. P. Bonington," 1829). A version different in some respects from the engraving, not so sparkling in effect as our picture, was in the collection of the late Thomas Woolner. Yet another version of the whole composi- tion, from the Nettlefold Collection, was in the hands of Mr. W. B. Paterson in 1913. In the " Vente W." 1837 was a Paysage avec Chariot, 1,001 f., which may have been one of the various versions. On the back of our picture are three seals : 1, a seated woman in classical dress, an aqueduct in two storeys, and inscription Natura duxit initium. 2, Abramo Mieli and device with an anchor. 3, seal of a custom-house in the Lombardo-Venetian Kingdom. 375 The Piazza San Marco, Venice Gallery XV Canvas, 38| x 30| (97 " 8 x 78 • 4). Bethnal Green, 48. 37.T 656 The Doge's Palace, Venice Gallery XXII Water-colour, 7f X 10|(19-3 x 26-6). No. 614 at Bethnal Green, 1872, 648a in 1874, as " Venice, Ducal Palace." Possibly the water- colour No. 73 in sale of L. Brown, Paris, 17-18 April 1837 :— Vue du palais ducal a Venise, prise du cote la mer ; sur le devant des embarcations riches .... aquarelle d'une puissance de couleur remarquable. £15 (B.A.A.) Mireur gives under 1843, 3rd Brown sale, "Vue du palais ducal, du cote de la mer " (1,000 f .) " Bought by Eichard Wallace " (de Eicci). 657 The Arabian Nights Gallery XXII Water-colour, 9^x71 (23-5x18). Inscribed in lower left corner : R F Bonington, 1825. This water-colour was formerly described as " The Interior of the Harem " by Decamps. It passed J3UJN1JN(tTON 17 under that name at the Bethnal G-i-een Exhibition in 1872 (No. 665). The proper title was on the older mount beneath, and the subject corresponds with it, viz., the King, Soherazade and her sister. 657 668 Meditation Gallery XXII Water-colour, 8 x 6|- (20-3 x 15-8). Inscribed in lower left corner: R P Bonington 1826. No. 700, Bethnal Grreen, 1874 cata- logue, as " Inattention." The same title is on the old mount under- neath. Engraved in mezzotint by S. W. Reynolds for publication in Paris as "Meditation" [28 December 1827]. This seems- to-be No. 82 in sale of L. Brown, Paris, 17-18 April 1837 : La lecture de la Bible : une vieille dame, vetue en noir et assise devant una fenetre, lit un passage de la Bible a une jeune femme qui I'ecoute de beaucoup d'attention ; ce dessin parfait est remarquable pour _ la maniere franche avec laquelle il est execute. £14 14s. (B.A.A.) A water-colour with the same title, and with the sub-title, une mere abbesse fait la lecture a, une jeune dame, is given by Mireur under 1832, Vente L.S., 31 Janvier (1,700 f.) 668 672 672 The Antiquary Gallery XXll Water-colour, 8 x 6^ (20-3 x 15-8). No. 698, "The Jeweller," Bethnal G-reen, 1874 catalogue. The same title is on the old mount underneath. Mezzotinted by S. W. Reynolds for publica- tion in Paris in " L'Antiquaire," 1 April 1829; lithographed as "The Antiquary" in Harding's volume (see No. 341). No. 1 in sale of L. Brown, Paris, 17-18 April 1837 :— ^ Un antiquaire examinant avec une loupe un objet precieux ; dernere lui une jeune fille debout et accoudee sur le dossi»v <1e son fauteuil regarde avec u 10931 18 BONINGTON attention I'objet qui I'ocoupe, et de la main gauohe tint une assiette sur laquelle est un vei-re a moitie rempli de vin. Une cuirasse, devant la table sm- laquelle est appuye I'antiquaire, qui est couverte de vieux parcbemins et d'une cassette a bijoux, et un chien noir et blanc debout garnissent le premier plan de ce dessin qui est d'une composition bien cadencee et d'une couleur brillante et barmonieuse. £47 10s. (B.A.A.) Bought by Lord Hertford at Demidoff di San Donate sale, 1863, as L'Antiquaire, 5,1001. (de Eicci).- 674 A Venetian Scene Grallery XXII Water-colour, 6| x 9f (17 • 4 x 24, • 4). Bethnal Green, 657a, 1874 catalogue, as " Venetian group." Inscribed with initials which are like PMR, but are cut below and resemble Bonington's cursive RPB. This seems to be the water-colour in the following sales : — 674 L. Brown, Paris, 12-13 May 1889, No. 74, Seigneur Venitien accompagne' de sa suite prenant le frais sur la terrasse de son palais (B.A.A.), 2,310 f. (Mireur); Paul Perier, Paris, 19 December 1846, Promenade Venitierme, 925 f. (B.A.A.) ; Lord Henry Seymour, 1860, Scene Venitienne, 1,290 f. (Mireur) 675 The Earl of Surrey and the fair Geraldine Gallery XXII Water-colour, 5|x4f (14x10-8). Inscribed in lower left corner -.RPB. Bethnal Green, 618. 075 676 676 Lady and Page Gallery XXII Water-colour, 5|x3| (14-6 x 9-5). Bethnal Green, 611. Perhaps " Le Page Messager," sale of Lord Henry Seymour, 1853 1,050 f. (Mireur). Mr. Spielmann {Wallace Collection, p. 43) says it was bought by Lord Hertford at the sale of the Orleans Collection, 1853, for £328; but this was No. 333. BONING-TON 19 678 The Letter Gallery XXI Water -colour, 6 x 3| (15"2x9'8). Inscribed in lower right corner: BPB 1827. Bethnal Green, 617. Probably " Jeune Femme lisant une lettre " at sale of Lord Henry Seymour, 1860 1,390 f. (Mireur) 678 679 Lady at her Toilet Gallery XXI Water-colour, 5|x3| (14-9 x 9-8). Inscribed in lower right corner : BPB 1827. Bethnal Green, 610. Probably " La Toilette " at sale of Lord Henry Seymour, 1860, 2,430 f. (Mireur) 684 The Piazzetta, Venice Gallery XXI Water-colour, 6f x 8^ (17x21-7). Former title, on mount beneath, " The Doge's Palace." Probably No. 713, " Doge's Palace, Venice," Bethnal Green, 1874 catalogue. Perhaps "Vue de la Place Saint Marc a Venise et du Palais ducal," m 3rd Brown sale, 1843, 355 f. (Mireur) Gallery XXI Signed in lower left corner : 688 Souvenir of Van Dyok Water-colour, 7fx4i (18-8 X 12-1) BPBonmgton. Bethnal Green, 616, as "Lady and her two daughters : time of Charles I." This is No. 74 m sale of L. Brown, Paris 17-18 April 1837, £44 (B.A.A.) Probably also Mireur's ' B 2 20 BONINGTON " Portrait d'une dame et de ses deux filles, en costume du temps de Louis XIII ; composition imitee de Van Dyck " at F. Villot sale, 1864 (1,165 f.) (i88 696 696 The Great Staircase in a French Ch&,teau Gallery XXI Water-colour, 7 X 6| (17'6xl6-4). Inscribed in lower right corner : B P Bonington 1825. Title on old mount, " The Hall Staircase." No. 701, " The Hall Staircase," Bethnal Green, 1874 catalogue. 698 Old Man and Child Gallery XXI Water-colour, 7| X 5| (19 x 14). Inscribed in lower right corner : R P Boningto7i 1827 (last figure might be " 2 "). No. 703, Bethnal 698 Green, 1874 catalogue. This seems to be No. 62 in L. Brown sale, Pans, 17-18 April 1837 :— Assis dans un fauteuil, et les mains appuyees sur les genoux, un vieillard coifie d une bai-i-ette rouge tient entre ses jambes une petite fllle qui lui parle et qu il ecoute avec une grande attention .... £148 (B.A.A.). Bought by Lord Hertford as Le Vieillard in Demidoff di San Donato sale, 12 January 1863, No. 43, 9,100 f. (de Ricci). BONINGTON 21 700 Pishing Boats Water-colour, 6| x 10^ (10 x 26) R P Boningtc Gallery XXI , . . Signed in lower right corner : litle on old mount, "A Dead Calm." No. 712 700 Bethnal Green, 1874 catalogue, as " A Dead Calm." Possibly No. 83 or No. 87 in sale of L. Brown, Paris, 17-18 April 1837. Doubtless bought by Eichard Wallace at Brown sale, 1843, 600 f. 701 The Leaning Towers, Bologna Gallery XXI Water-colour, 91x61 (23-2 x 16-5). No. 711, Bethnal Green, 1874 catalogue, as " Towers of Asinelli and of Garisendi, Bologna." Doubtless Place publique a Bologna, No. 64, in sale of L. Brown, Paris, 12-13 May 1839 ; and Une place a Bologne, Demidoif di San Donato sale, 1863, 3,050 f.. No. 37, when it was bought by Lord Hertford (deEicci). Etched by Bonington, "Oct. 15, 1828." The etching was reprinted in Gazette des Beaux Arffi, 1876. 704 Rouen Gallery XXI Water-colour, 6| x 9| (17 ' 3 x 23). Possibly signed by initials in shadow, but very doubtful. No. 707, Bethnal Green, 1874 cata- logue, as " Eouen, Normandy." This seems to be No. 8 in L. Brown sale, Paris, 17-18 April 1837 :— Vue de Rouen ; sur le devant la Seine couverte d'embaroations d'une couleur riche et harmonieuse ; ce dessin, effet de soleil levant, est plein de vapeur. £32 (B.A.A.) Possibly Mireur's " Vue de Eouen," Demidoff di San Donato sale, 1863 (4,550 f.). He also mentions a water-colour with the same title at the " L.S." sale, 1832 (500 f .), and the 3rd Brown sale, 1843 (760 f.) {For illustration see folloimng page.) 22 BONING TON 704 708 708 Sunset in the Fays de Caux Grallery XXI Water-colour, 7f x 10| (19x25-7). Inscribed in lower right corner: RPB 1828. No. 710, Betlinal Green, 1874 catalogue. Perhaps No. 66 in sale of L. Brown, Paris, 17-18 April 1837 :— Plage a maree basse avec falaises blanches et garnie de petites figures. Ce beau dessin, effet de soleil couchant, est d'une transparence et d'une riohesse de lumiere telles que Ton pent le comparer a une production de Claude Lorrain. £104 (B.A.A.) Possibly also Mireur's " Plage : Maree basse," DemidofE di San Donate sale, 1863 (8,280 f.; 714 The Church of Sant' Ambrogio, Milan Gallery XXI Water-colour, 8f X 11| (21 •3x28-2). Inscribed in lower right corner: BPB 1827. ("7" a little doubtful, through cutting.) Title on old mount: "Chapel in St. Mark's, Venice." No. 709, 7U Bethnal Green, 1874 catalogue, as " Interior of French Church." This is No. 2 in L. Brown sale, Paris, 17-18 April 1837 :— Vue interieure d'une eglise de Venise ; des prStres assis dans des stalles et plusieurs figures a genoux et vues de dos garnissent ce dessin, qui est du plus bel effet. La lumiere est distribuee dans ce bel Interieur avec un art prodigieux, et I'entente du clair-obsur y est d'une rare perfection. Le dessin est peut-ttre le seul de ce genre qu'ait fait I'ai-tiste. £29 10«. (B.A.A.) This was the "Interieur d'une Eglise" at Demidoff di San Donate sale, 1863 (4,150 f.^ bought by Lord Hertford (de Ricci). 726 le Bepos, or La Siesta Between XX and XXI (Formerly " A Balcony Scene ") Water-colour, 7^x5 (18-3x12-7). Inscribed to left: RPB 1828 (or 6 ). Title on old mount : " Scene in Venice." No. 702, BONINaTON 23 Bethnal Green, 1874 catalogue, as " Scene in Venice." The proper title appears to be " Le Eepos " (etched by Bonington), or "La biesta ' ; see J. P. Harding's lithograph in " A Series of Subjects trom the Works of the late E. P. Bonington." The drawing is stated to be then (1829) "in the possession of Mr. Carpenter," apparently the publisher of the volume. Possibly La Vfinitienw, No. 41 in sale of Paul Perier,rParis, 19 December 1846 (B.A.A.j 726 727 Charles V visiting Francis I after the Battle of Pavia Between XX and XXI (Formerly " Death of Leonardo da Vinci ") Water-colour, 5| X 6| (13x16-2). This drawing was formerly described as " Death of Leonardo da Vinci." But it is identified by the lithograph in the publication described above (see No. 726), "from a drawing in the, possession of Clarkson Stanfield, Esq." No. 702, Bethnal (xreen, 1874 catalogue, as " Death of Leonardo da Vinci." Another version was at Messrs. Agnews', 1912. In the sale of L. Brown, Paris, 17-18 April 1837, No. 6 was :— Franpois 1" visitant Leonard de Vinci, malade, dont il tient une des mains ; sur le devant et au pied du Ht, un jeune page, vetu de vert et vu de dos tient en laisse un chien blanc ... la figure de Leonard de Vinci, eclairee toute en reflets, se lie parfaitement avec celle de Francois 1". £45 (B.A.A.) The drawing was bought in, since it reappears in the Brown sale of 12-13 May 1839, No. 72 ; and again in 1843, when it was bought by Richard Wallace for 410 f. (de Ricci). 24 BONINGTON 732 Lady and Cavalier (La Conversation) Betw". XX and XXI Water-colour, 5 x Sf (12-7 x 9-5). Bethnal Green, 704, 1874, " Maid and Page." Etched by Bonington as La Conversation. A water-colour with that title is noted by Mireur at 3rd sale of L. Brown, 1843 (1,015 f.) 733 Henri IV and the Spanish Ambassador Between XX and XXI Water-colour, 6 x6f(15'2x 16 '8). The subject is the same as that of No. 351, but there are many variations in treatment. No. 704 (with our No. 732), Bethnal Green, 1874 catalogue. This was No. 12 in sale of L. Brown, Paris, 17-18 April 1837, £80 (B.A.A.) In an account, apparently of purchases for Lord Hert- ford by Lord Henry Seymour it is entered as bought for 2,300 f. on 25 April 1845. 734 An Odalisque Water-colour corner : RPB 1827 Between XX and XXI (21xl4'6). Inscribed in lower right No. 705, Bethnal Green, 1874 catalogue, as 4 ^ ''4 "Woman Asleep." This is apparently the " Odalisque blanche," No 42 m the Paul Perier sale, Paris, 19 December 1846, bought by Lord Hertford for 3,000 f . ^*®i^^ "***""* Between XX and XXI W ater-colour, 6 x 6f (15 ■ 2 x 17 • 1). Inscribed : R. P. Bonington, 1826. No. 699, Bethnal Green, 1874. This is perhaps " L'Odalisque a la robe jaune" of the L. Brown sale, Paris, 17-18 April J837, No. 60 : — ' > f ! Odalisque etendue sur son divan et entource de liches tapis et insti-u- ments de musique; un vase de porcelaine ome le devant de ce de.ssin £44 (B.A.A.) BONINGTON— BOTH 25 It reappears in the Paul Periev sale, Paris, 19 December 1846 No. 43 (2,020 f.) 750 Turk Reposing Between XX and XXI Water-colour, 4J x 6f (10-8 x 17-1). Inscribed under the mount : RP B 1826. No. 699 (with our No. 749), Bethnal Green, 1874 catalogue. Lithographed as " A Turk " in Harding's volume (see No. 341). No. 78 in sale of L. Brown, Paris, 1837 :— A demi couche suv un sopha richement couvert de tapis et entoure de draperies des couleurs les plus riches un Turc se repose a t'ombre d'un beau rideau ; tout le haut de la figure est dans la demi-teinte et la lumiere eclaire le bas. £10 (B.A.A.) Bought by Bichard Wallace at Brown sale, 1843, 550 f. (de Ricci). An oil painting, presumably of the same subject (if it was the Turk Reposing, contributed by C. B. Ward to the British Insti- tution in 1832, and Turk enjoying Siesta, lent by Thomas Birchall to the Manchester Art Treasures Exhibition in 1857), was in the collection of Samuel Rogers. Mrs. Jameson, in her Companion to the most celebrated Private Galleries in London, 1844, mentions it : 57, "A Turk with his Pipe ; a small picture, very richly coloured. From collection of Sir Thomas Lawrence." Lord Hertford writes to Mawson, from Paris, with reference to Rogers' sale on 31 April 1856 : — I should likewise like to have the Bonnington Turk, No. 703. I like this master very much, tho' he is not much admired in om- country ; and again on May 5, after the sale : — I am sorry to have missed the Bonnington, as I am very fond of the master, and you know what high prices he fetches in this market. The following water-colours were at Bethnal Green, but are no longer in the Collection : — No. 605, " Returning from the Vintage " (1872); 708, "Ducal Palace, Venice" (1874); 706, "Eastern Women " (1874). The two former were Nos. 3 and 1 in the sale of Sir John Murray Scott, Christie's, 27 June 1913, along with 2, The Staircase, which may have been the third. For " IL BORGOGWOITE " see under COTTBTOIS (JACQUES) JOHANNES OK JAN BOTH Dutch School. Born in 1610 at Utrecht ; died there 9 August 1652. Pupil of Abraham Blomaert, and later on in Rome influenced by Claude Lorrain. Practised chiefly at Utrecht, with the exception of a few years' travel in Italy. The figures in his landscapes were usually by his brother Andries. 24 Italian Landscape with Cattle Gallery XVI Canvas, 32f X 43i: (83-2x110). 26 BOTH— BOUCHER 28 Italian Landscape with Figures Gallery XVI Canvas, 311 x 4L (80 x 104). Signed on rook to right : /. Both (J and B combined). Nos. 24 and 28 are 90 and 145 at Bethnal Green, under title, " Italian Landscape." 198 Italian Coast Scene Gallery XIV Panel, ]8fx25|- (46-7 x 65-4). Signed on tree-stump to left: J. Both, fe. FBANgOIS BOUCHER French School. Born in Paris, 29 Sept. 1703; died there 30 May 1770. Pupil of Le Moine, and much influenced also by Watteau, a number of whose paintings and drawings he etched. Unable to secure the Prix de Eome, he neyertheless made the journey to Italy with Carle van Loo. He returned to Paris in 1731, and on 30 January 1734 was received at the Academie Royale, on presentation of the " Renaud et Armide," now in the Louvre. He succeeded Carle van Loo in 1765 as premier peintre du rai, and became also Director of the Academy and Inspector of the Tapestry Manufactory of Beauvais. This was the climax of a career which was in a gi-eat measure shaped by the patronage of Madame de Pompadour, who placed his " Forges de Vulcain " in a private room of the monarch at Marly, acquired, among many other things, the famous " Lever du Soleil " and " Coucher du Soleil," now in this collection, and promoted his interests in every way. The painter was not only the protege but the intimate companion and adviser of Madame de Pompadour. Her protection established him in a position so commanding that the royal favour was continued even after her death, and endured to the end. Boucher, by inclination a man of pleasure, was the hardest of workers, devoting ten hours a day to painting and drawing, and producing thus an incredible mass of work, of which a large proportion was necessarily hasty and perfunctory. He was the typical painter -decorator of the Louis Quinze period, which he did so much to shape in art, and of which his style was a perfect embodiment, both in its brilliant attractive- ness and its superficiality. No gallery — not the Louvre itself — can vie with the Wallace Collection in the number and importance of its Bouchers. At Bethnal Green was also The Water Mill, which is no longer in the Collection, probably Les Blanchisseuses, No. 115 in sale of Sir J. Murray Scott's pictures, Christie's, 27 June 1913, and Venus a demi couchee sur des nuages, et tenant un tambov/rin; un amour lui presents desfleurs, exhibited by Sir Richard Wallace in Paris, 1888 (Exposition de I'Art fran9ais). See, also, for Terpsichore under No. 490. Next to the Wallace Collection comes, longo intervallo, the National Gallery at Stockholm. The museums at Angers, Nancy and Tours possess notable paintings. At the H6tel de Rohan- Soubise (Palais des Archives Nationales) are admirable dessus-de- porte ; others are in the Biblioth^que Nationale. N(JTE. — The references below, " Soullie," are to the catalogue raisonne of Boucher's work by MM. M. L. Soullie and C. H. Masson in Franroix Boucher, by Andre Michel, a handsome book published by H. Piazza et Cie., Paris. Unfortunately the writers do not seem to have examined the Bouchers in the Wallace Collection. 385 Shepherd watching a Sleeping Shepherdess Gallery XVIII Canvas, 42|x60f (108 -5 x 153-3). Inscribed on back to right: /.Boucher 1745 ("5" doubtful). Bethnal Green, 396, "The Sleeping Shepherdess." This picture and No. 399 have originally BOUCHBU 27 been shaped with corners rounded ofE ; and a seal on the back of both proves that they Avere in the KoucheleiJ-Bezborodko Collection. The group, with some variations, repeats the composition of a small bronze, ascribed by Dr. Bode to an Italian artist of the 17th century (Italian Bronze Statuettes of the Renaissance, III., pp. 13, 14). 385 399 399 Shepherd Piping to a Shepherdess Gallery XVIII Canvas, 36|x55f (93-3 x 141-6). Bethnal Green, 387, " The Shepherd's Pipe." In size and description this agrees with Soullie, No. 14Q'd,joueur dejiCite : — Assise devant un massif d'arbres une bergere, un panier d'une main, une couronne de I'autre, s'appuie sur son berger couche a cote d'elle et occupe a jouer de la flute. Toile, 92 x 140. Collection de fh-isenoy, 1841. 390 The Modiste (La lUarchaude de Modes) Gallery XYIII Canvas, 24y x 20 (61 • 5 x 50 • 7). Signed, on the milliner's box, /. Boucher. Bethnal Green, 421, " A Lady and Milliner." Doubtless No. 10 in the sale of Count de Morny, Phillips's, 20 June 1848, La Marchande a la Toilette, engraved, canvas, 25x21, £57 15s. It had been No. 53 in the sale of M. Prousteau, Capitaine de la garde de la Villa, Paris, 5 June 1769 :— Une dame a sa toilette et une marchande de rubans ; tableau peint d'apres M. Boucher, sur toile de 23 p. de haut sur ] 9 p. 6 lignes de large ; on trouve une estampe grave d'apres ce morceau par Gaillard sous le titre de la Marchande de mode. 45 livres fran^ais (Basan) It will be observed that the picture in question is said to be " after M. Boucher " ; it is therefore possible that a reduction was 28 BOUCHER made in his studio for the engraver's purposes : but our picture does not suggest the hand of a copyist. The engraving by B. Gaillard, with the heading, " tire du cabinet de M. Prousteau, Capitaine des gardes de la Ville," has the following verses attached : — Les Dieux ont pi-is plaisir a vous i-endre parfaite, Bt ces Tains omements qu'a tout vous empruntez Ne servent qu'a cacher de reelles fceautes ; Quittez done pour toujours, Philis, votre toilette Voulez-vous exciter les plus vives ardeurs, A vos aimables lois soumettre tous les ccBurs, Ainsi qu'a I'age d'or sans fard et sans parure Montrez-vous dans I'etat de la simple Nature. par M' Moraine. The large picture (Soulli6, 1216), dated 1746, is in the National Museum, Stockholm. Monsieur Andre Michel {Francois Boucher, p. 49) quotes the following from a letter of 27 October 1745 written by Berch, secretary to the Comte de Tessin, Swedish ambassador in Paris ; it relates to this picture (Le Matin) : — Les quatre tableaux sont promis poiu- la fin du mois de mars. Le prix restera un secret entre Votre Excellence et lui a cause de la coutume qu'il a etablie de se faire donner 600 livi'es pour ces grandeurs, quand il y a du fini. II ne veut de I'argent qu'a mesure que chaque piece sera livree ; mais il m'a conjure de faire en sorte que cela aille plus regulierement qu'aveo les precedentes .... qui I'ont bien fait languir I'ai communique a M. Boucher vos idees sur la disposition des sujets ; il ne les a pas desapprouvees et a, paru en §tre fort content. Le Matin sera une femme, qui a fini avec ses friseurs, gardant encore son peignoir et s'amusant si regarder les brimborions qu'une marchande de modes etale. Le Midi, ime conversation au Palais-Royal entre ame dame et un bel esprit qui fait la lecture de quelque mauvaise poesie, capable d'ennuyer la dame, qui fait voir I'heure a sa montre : le meridien dans I'eloignement. Jj' Apres Midi ou le Soir nous embarrasse le plus ; des billets apportes pour un rendez-vous, des mantelets, des gants, qu'une femme de chambre apporte a sa maltresse qui veut aller en visite. La Nuit pent 6tre representee par des foUes qui sont en habit de bal et se moquent de quelqu'un qui est endormi . . . . J'espere, par la suite du temps, avoir quelques croquis pour envoyer a Votre Excellence ; M. Boucher parait vouloir s'y prSter. Monsieur Michel adds : — Des quatre tableaux annonces, un seul se trouve aujourd'hui au musee de Stockholm : c'est la toilette (1746), qui correspond exactement au ]^atin tel que le decrit Berch. Les trois autres compositions, dont le secretaire soumettait le programme a son maltre, ont subi de legferes modifications revelees par les rapprochements de la lettre de Berch avec les gravures de Petit ; le Matin y est represente par une dame, assise a sa toilette, en peignoir, cherohant devant son miroir la meilleure place pour une mouohe qu'elle tient au bout du doigt ; pour le Midi, c'est une dame decolletee, charmante dans I'ombre legere de son parasol ouvert, reglant sa montie a un cadran solaire, avec ces vers : D'une belle. Amour seul doit Stre I'horloger, Et Ton n'a pas besoin d'avoir regie sa montre. Pour savoir celle du berger. Enfin, le Soir est symbolise par une dame en toilette de bal, sur le pas de la porte, un loup de velours a la main. It appears, then, that it had been arranged with Boucher to paint a series which we may call Four Times of the Day. This recalls the series painted and engraved by Hogarth in 1738. The subjects of these differed from Boucher's; but in the Mariage a la BOUCHER 29 Mode is a toilette scene that might have suggested Le Matin. The engravings of that series (" by the best Masters in Paris ") were issued in May 1745, so it is not impossible that Boucher, or his patron, was influenced by the vogue of those prints. 418 The Marc[uise de Fompadoar Gallery XVIII Canvas, 34^ x 26| (87 x 66-3). Inscribed on the seat to left : f. Boucher, 1759. Bethnal Green, 470. This portrait was com- missioned by Madame de Pompadour, and remained in her possession till her death in 1764. It then passed to her brother, the Marquis de Menars (formerly Marigny), and after his death was sold in February 1782, No. 25. It is thus described : — Le portrait d'une Dame a pied representant M""' de Pompadour, vetue d'une robe de taffetas gamie a gaze ; elle est dans un bosquet, le bras droit appuye sur un piedestal portant une figure de fenime assise, arretant I'Amour pret a I'embrasser. Toile, 3 pieds sur 2 de large (B.A.A.). It was purchased for 154 livres by the Due de Chaulnes, who had been engaged to Alexandrine, daughter of M™"* de Pompadour. Lady Dilke (" French Painters of the 18th Century," page 56, note) 418 gives the authority of Sir John Murray Scott for the purchase of this picture by Lord Hertford, at the Didier sale in 1868, for over 25,000 f. But neither in composition, dimensions, nor date, did the Didier picture (Soullie, 1072) agree with ours, of which Soullie, 1065, says, " II figure dans la vente du 19 avril 1869, oil il fit 15,435 f . (Dhios et George, experts). Une composition apeu pres semblable passait dans la vente du 15 mai 1768." From his description may be taken the note, " Ce costume est .... riche de ces ornements bouillonnes que, dans la mode du temps, on nommait de parfaits contei dements." It has been suggested by Mr. Bowyer Nichols that the marble group is intended to represent Pigalle's U Amour et VAmitie, projected in 1754 and executed for Madame de Pompadour in 1758, the year before our portrait, as a symbol of her changed relations with the King. It is now in . the Louvre. See La femme dans Voeuvre de J. B. Pigalle, by M. S. Rocheblave, Revue de VArt Ancien et Moderne, July 1905. The composition does not exactly correspond, but the motive is the same, and Boucher may have worked from a general recollection of the design, or another version of it. Other portraits of Madame 30 BOUCHER de Pompadour by Boucher, but of different composition, are the great full-length formerly in the Lonsdale collection, then at Waddesdon Manor, and afterwards in the collection of Baron de Rothschild at Vienna ; the paintings in the National G-allery of Scotland, in the Jones Collection at the Victoria and Albert Museum, in the collection of the Baroness Alphonse de Rothschild (identical in design with the last-named), and in that of Baron de Schlichting of Paris, bequeathed to the Louvre. A little full- length portrait of the Marquise, signed " P. Boucher," is No. 89 among the miniatures in this Collection. It differs entirely from any of the known portraits in oils. 411 Venus and Cupid with Doves Gallery XVIII Canvas, 31|x 54 (80"3x 137'1). Inscribed in lower left-hand corner : Boucher 1754. The subject is that of Soullie, 339 : " L'amour persuadant a Venus de quitter sa ceinture pour obtenir la pomme d'or," at one time in possession of the Prince de Conti, who had it reproduced in miniature by Charlier ; it was at the de Sireuil sale in 1781 (with pendant, 232/.— Mireur). This and No. 423 appear to be pendants. 423 The Birth of Venus (?) Gallery XVIII Canvas, 31| x 54 (80 x 137 • 1). Inscribed, on wave under dolphin, to left : Boucher 1754. Reproduced as Venus, in Dohme's Boucher. 431 Shepherd and Shepherdess Reposing Gallery XIX Canvas (oval), 30|x23| (77-2x60-3). Inscribed at bottom of the canvas : /. Boucher 1761. Probably No. 485 at Bethnal Green, " Shepherd and Shepherdess." Soullie, 1546, resembles our picture : — Villageoise assise a c6te d'un berger qui porte la main sur un panier de fleurs; une chevre et un mouton dans le fond du paysage. Toile 73x65, ovale. Ventes Bandon de Boisset, et Gamba, 1811. There is another version of this subject in the Karlsruhe Gallery, but of rectangular landscape shape, with some difference in accessories. 429 The Visit of Venus to Vulcan Gallery XIX Canvas, 64|x32| (163-8 x 82-5). Inscribed in lower right- hand corner : /. Boucher 1754. This picture, with Nos. 432, 438, and 444, was painted for the boudoir of Mme. de Pompadour at the II6tel de I'Arsenal. They were bought, arranged as a screen, by Lord Hertford at the Prousteau de Montlouis sale, Paris, 5-6 May 1851, No. 10, for 10,600 f. The description is as follows : — Quatre sujets mythologiques de la plus belle qualite du maitre, ayant fait partie de la decoration d'un boudoir sous Louis XV, peut-fetre celui BOUCHER 81 de Madame de Pompadour, dent les traits nous semblent repetes dans la figure de Venus, qui figure dans ces compositions. Ces sujets sont tires de la fable et representent les amours de Vulcain et de Venus, Venus et les Amours, Mars et Venus que surprend Vulcain, et le Jugement de Paris. Ces tableaux sont signes et dates 1754. Us ont ete arranges en forme de paravent, et il se trouve de re vers du chacun d'eux une composition pastorale de Lancret (B.A.A.) Possibly these last were the " Suite de quatre sujets champ^tres dessus de porte," No. 18 in Exposition de I'Art fran^ais, IBeaux Arts, 1888, lent by Sir R. Wallace. 432 Cupid a Captive Gallery XIX Canvas, 64ix32| (163-8 x 82-9). Inscribed at the bottom of the canvas : /. Boitcher. See No. 429. A picture of the same subiect, Les Graces et V Amour, but oval, 139 x 180, and with the figures on clouds, was bought by Lord Hertford at the sale of the Due de Morny, 1865, No. 91, for 19,000 f. It is no longer m the Collection. 438 Venus and Mars surprised by Vulcan Canvas, 64ix32f (163-8 x 83-2). See No. 429. Gallery XIX 32 BOUCHER 444 The Judgment of Paris Gallery XIX Canvas, 64^ x 32| (163-2 x 83-5). Inscribed in lower left-hand corner • /. Boucher 1754. See No. 429. 446 Jove, in the shape of Diana, surprises Calisto Grall>' XIX Canvas (oval), 61fx50 (156-8 x 127). Inscribed to left at bottom : /. Boucher 1769. No. 390, " Jupiter, disguised as Diana, for the love of Calisto," at Bethnal Green. Bought by 8ir Richard Wallace, February 1872, for £700 from Nieuwenhuys. (Note of Sir J. M. Scott.) The engraving of this subject by Gaillard, Soullie, 180, is of a different composition and shape. Another painting of the subject by Boucher is Soullie, 179, canvas, 160 x 130, oval, which agrees in description with ours, but the pedigree (Collections: Due de Caylus, 1772; D'Armagnac, 1857; Baron de Forest, 1873; Baron de Beurnonville, 1881) is incompatible with the fact that our picture was purchased in 1872, and exhibited at Bethnal Green. The De Beurnonville picture was engraved by Duvivier (B.A.A.) It is not unlikely that our picture is one which disappeared from the Louvre during the war in 1870. This was the original of a Gobelins tapestry executed in 1776-78, and in 1782 given to the Grand Duke of Russia, afterwards the Tsar Paul I, along with three others which were hung in the Palace of Pavlovsk. (See Maurice Fenaille, Etat generate des Twpisseries de la maruw- factv/re dex (roheUns, III, p. 287 : an illustration is given, which corresponds witli our picture.) There is another possibility. At the Prousteau de Montlouis sale, Paris, 5-6 May 1851, was a pair of pictures. No. 11 : — "Diana et Calinto ; Venus et Adonis, les deux gracieux tableaux sont de forme ovale et dans leurs bordures du temps; 3,250 f." (B.A.A. j It was perhaps the former of these (Soullie, 119) that passed from Nieuwenhuys to Sir R.Wallace. A smaller version, Jwpiter transforme en Diane pour swprendre Calisto, with its pendant Arujelique et Medor (oval, about 2 by 1\ feet), was at the Salon of the Louvre in 1765, " du cabinet de M. Bergeret de Grancourt " 445 Shepherdesses with Sporting Loves (Le Frintemps or La Toilette Pastorale) Gallery XIX Canvas (curved sides), longer measure, 38|x52f (97-8x133). Inscribed in lower left-hand corner : /. Boucher 1745. No. 388, "The Shepherdess's Toilet," at Bethnal Green. Soullie, 1834. This picture and No. 447 are pendants, and were bought by Lord Hertford at the sale of Theodore Patureau, Paris, 20-21 April 1857, Nos. 50, 51, for 14,500 f. (B.A.A..) They are thus described : — Le Printempg. — Charmant paysage, occupe a droite par des coUines couvertes d'arbrisseaux s'etendant a I'horizon, et a gauche par un massif d'arbres eleves faisant deviner I'entree d'un bois. Dans cette partie de la composition protegees des ardeurs du soleil par la fraicheur d'nn epais feuil- lage, deux jetmes nymphes se reposent. La premiere aux chereux chatains est assise sur tm banc de gazon que recouvre une ample draperie rouge ; elle est vetue d'une jupe jaune sur laquelle est jetee une echarpe grise et pose des fleurs dans la blonde chevelure de sa compagne. Celle-ci, le corps a demi cache sous une gaze blanche, tient les mains jointes et se repose mollement appuyee sur les genoux de I'autre nymphe. Deux amours places a droite, et tenant des fleurs dans leurs mains delicates, oompletent ce sujet allegorique, representant le printemps. Signe: F. Boucher, 1745. Toile, 91 • .50 X 12.5, forme medallion. L'Automne. — Dans ime plaine qui s'etend au loin et se perd dans un horizon montagneux, quelques mines de monuments sont encore debout, et BOUCHER 33 rerabellissent a gauche, tandis qu'un bois de haute futaie, occupe la droite. Au premier plan, et sous I'ombrage de quelques arbres eleves, deux nymphes se reposent. L'une est assise et soutient en partie sa compagne nonchalam- ment couchee et appuyee sur elle. Leurs jeunes et jolies figures sont agreablement ornees de cheveux blonds et boucles ; des draperies reoouvrent eu partie, dans leurs amples plis bouffants, un corps d'un modele gracieiix. Deux amours, dont I'un est assis a turc et tient entre ses petites mains d'enormes grappes de raisin, et I'autre tend a l'une des nymphes, qui la re tient, vine corbeille, pleine des memes fruits, embellissent cette compo- sition, qui n'est qu'une allegorie de I'automne. Signe : ^. Boucher, 1745. Toile, 91-50 x 175, forme medallion. No. 445 was engraved by Claude Duflos as La Toilette Pastorale, with the following verses : — Loin des oraements pretentieux Dont la coquette emprunte sa parure, Philis a la simple nature Doit tous les agrements qu'elle etale s\ nos yeux. O'est ainsi que semant des fleurs toujours nouvelles Agreable Boucher, Peintre cheri des Belles, Tu nous fais admirer dans ee charmant tableau Les attraits seduisants de ton brillant pinceau. The pendant is Les Confidences Pastorales. 445 447 i47 Shepherdesses with Sporting Loves (L'Automne or Erigone Vaincue) Gallery XIX Canvas, 38f x 52 (98-8x132). Inscribed in lower right-hand corner : /. Boucher 1745. Probably No. 392, " Autumnal Plea- sure," at Bethnal Green. If so, this picture (or No. 482) was mistaken by Lady Dilke for " Les Delices de I'Automne," engraved by Daulle, one of Four Seasons painted for Madame de Pompadour. Our picture appears in an engraving by Claude Duflos as Erigone Vai7icue (by Bacchus in the form of a nymph) with the following verses : — A Bacchus comme amant Erigone inflexible Ne repoud que par les mepris ; Mais en se transformant ce Dieu la rend sensible, Et de ses soins revolt le prix. En amour, comme en guerre, il faut de I'artifice ; De I'objet de ses feux qui veut etre vainqueur, Doit epouser ses gouts et flatter son caprice, C'est la le vrai chemin de coeur. Jeson The companion piece is a Betour de chasse de Diane. For history and description, see under No. 445. A version, Les Vendanges was No. 25 in Le Dart sale, Paris, April— May 1912. u 10931 ^ 34 BOUCHER 433 The Triumph of Amphitrite Gralleiy XVIII Canvas, 26|x46i (67-3x118). No. 379, "Amphitrite," at Bethnal G-reen, 1872. Adapted from the oval "Naissance de Venus," formerly in possession of Mr. A. de Rothschild (Salon of 433 1743). On the back, in chalk, is "June 22/57" and "90," i.e., ISTo. 90 in sale of Samuel Culley, Christie's, when it was bought by USTieuwenhuys for £21. 471 The Mtisical Contest Grallery XVIII (Formerly " A Group of Lovers ") Canvas, 27|x42 (69-8 x 106-7). The initials "f. B." can be doubtfully read in lower left-hand corner. Doubtless the picture sold anonymously 2 March 1839 for 529 f . . " Dans un pare, concours instrumental entre deux jeunes gens, en presence d'une jeune fille " (Mireur). Soullie, 1,151, gives this sale as George, 2 April. It appears again. No. 21 in sale of Vioomte d'Harcourt, Paris, 31 January 1842. Canvas, 71 x 109 (721 f.) It is said in 471 the sale catalogue (B.A.A.) to have been in the collections of Blondel de G-agny and Comte de Merle (1784), and is thus described : — Scene pastorale ; dans un lieu agreable at frais gami d'une belle fontaine avec eaux jaillissantes de vases et d'arbustes, deux jeunes bergers qui viennent de faire de la musique, I'un d'eux avec sa musette. I'autre avec son flageolet, attendent le prix du concours ; une jeune et jolie fille debout entre eux et dont la delicieuse tete est garantie du soleil par une ombrelle jaunatre qu'elle tient ouverte, deceme la couronne a celui qui a joue de la musette ; celui-ci la regarde amoureusement, mais I'autre, jalouse de cette faveur, se jette a genoux et la serre dans ses bras. Tin sujet ausei con- venable sous le rapport des attitudes et de la decence dans I'arrangement des costumes ne redoute pas I'investigation la plus severe des yeux les plus scrupuleux. Mireur places the picture also in a d'Harcourt sale in 1873, but it does not appear in the catalogue. BOLX'HEE 35 181 Nymph and Cupids 'with Musical Emblems Staircase Canvas, 39ix57| (99-6 x 145). This picture and Nu. 490 appear to be pendants. See under No. 490. 4.10 490 The Muse Clio Staircase (Formerly " Muse with Musical Emblems, and Cupid with Scroll ") Canvas, 39|x 57 (99-3 X 144-8). This is identical in composi- tion with " La Muse Clio," engraved by J. Daulle in 1756 from a picture in the possession of Madame de Pompadour, except for the lesser height of our picture in proportion to its width. The com- panion picture was La Muse Erato, and a picture with this title was, according to Lady Dilke, exhibited by Sir Eichard Wallace at the Ecole des Beaux- Arts in 1888. (It is not in the catalogue ; it appeared in the Magniac sale, London, 1892.) No. 481 is not the Erato of Daulle's engraving. No. 490 corresponds in subject with a picture. No. 15, in the sale of the Marquis de Cypierre, 10 March 1845 :— Euterpe, assise sur des nuages, appuyee sur im lyre; a ses pieds iin amour lit dans un cahier de musique. Ancienne copie, 257 f. (B.A.A.) The pendant was a Terpsichore, a variation on the elements of our 481 :— 14. Terpsichore, assise sur des nuages, demi-nu8, et tenant un tambour de basque ; un petit amour lui apporte des guirlandes de fleurs. 785 f . This was the picture exhibited by Sir Eichard Wallace at the Beaux-Arts, No. 2, as Venus a demi coucliee sur des nuages et tenant un tainbourin. Un amour lui presente des fleurs. Lady Dilke refers to this separately. Copies of Nos. 481 and 490 are among miniatures of the collection, XI, 330 and 322. 484 The Kape of Enropa Staircase Canvas, 80xl06| (228-6 x 271-2). This canvas and No. 487 are the Enlevement d'Europe and Naissance de Bacchus purchased by Lord Hertford at the Paul Perier sale, Paris, 16-17 March 1843, Nos. 56, 55, as by Boucher, for 2,820 f. (B.A.A. and de (xoncourt). They have hitherto been catalogued as by Le Moyne, but as les Groncourt state (L'Art da XVIIIm" Sircle, I, Boucher, p. 277-8) they were engraved by P. Aveline as works by Boucher. The date of the engravings is 1779, and a reference to the copies in the Bibliotheque Nationale proves that they reproduce our pictures. Confusion has more than once arisen from a close resemblance in the work of the two painters ; but a study of the Le Moynes and Bouchers in this Collection confirms the origmal attribution and the evidence of the prints. See also Soullie, 140 and C 2 36 BOUCHER 102, where it is stated tliat the pictures were exhibited by Sir Richard Wallace, " chez Martinet," in 1860 . Le Moyne painted an Enlevement d'Europe, engraved by Laurent Cars, but this wa,s of a different shape aud composition. Boucher painted other pictures of this subject, one of which is in the Louvre, No. 39. 487 Mercury Confiding the Infant Bacchus to bhe Nymphs Canvas, 90 xl06| (228- 6x271 -2). (See under 484.) Staircase 485 The Rising of the Sun (Le Lever du Soleil) Staircase Canvas, 124^ x 104| (316 ■ 4 x 265 • 4). Inscribed in lower left-hand corner : /. Boucher 1753. This painting and its pendant No. 486 were designs for t\\ii Manufacture Roy ale das Gohelins to be executed in tapestry by Cozette and Audran. They were substituted for designs ordered in 1748 (see Fernand Engerand : Inventaire des Tableaux coinmandcs et achetes par la direction des Bdtiments du Boi, 1709-1792, p. 68). Madame de Pompadour, having seen them begged them of the king, and purposed placing the tapestries in the Chateau of Bellevue. The tapestry reproducing Le Lever du Soleil was finished in 1753, that reproducing Le Coucher d-ii Soleil in 1754 (see Etat Gihu'ral des Tapisseries de la Manufacture des Gobelins, depuis son origine jusqu'a nos jours, 1600-1900, by M. Maurice Fenaille, 1907, pp. 173 to 187).* The pictures were exhibited at the Salon in 1753 and described as follows : — " Deux grands Tableaux en hauteur de onze pieds sur neuf de large, sous le meme N", dont I'un represente le Lever du Soleil et I'autre le Coucher. Ces Tableaux doivent s'executer en Tapisserie, a la Manufacture Royale des Gobelins, par les Sieurs Cozette et Audran." Edmond and Jules de Groncourt, in " L'Art du Dixhuitieme Siecle — Premiere Serie," say of this picture and No. 486 : " Elles (ces deux pages) sont le plus grand effort du peintre, les deux grandes machines de son CEuvre." In the catalogue of Madame de Pompadour's paintings and drawings prepared for the sale of her collection, 28 April 1766, the expert writes of these pictures, No. 16: " J'ai entendu plusieurs fois dire par I'auteur qu'ils etaient du nombre de ceux dont il etait le plus satisfait." The two pictures were thus described : " Le Lever d'Apolkm : ce dieu est pret a monter sur son char entoure de Naiades, dont I'une lui presente sa lyre. Le Coucher d'Apollon : ce dieu descend de son char dans le sein de Tethys." They were sold * Madame de Pompadour changed her iiiiiid, and the tapestries remained at the GoVjclins till 1768, when they were told probably to some wealthy Englishmaji, like the Duke oE Xoithuiiiberland ; but their I'atc remains obscure. EOUCHBE 37 together for 9,800 livres, and acquired by M. de Saincy. They were afterwards in the possession of the Chevalier d'Orlemont, and sold in 1833. They were bought by Lord Hertford at the sale of the Baron de Comailles 2 August 1855, No. 6, for 20,200 f . They are thus described : — Le Lever du Soleil — Apollon, sortant des bras de Thetis, re^oit sa lyre des bras d'une Nymphe avait de monter sur son char aerien, dont la premiei-e Heure du matin lui tend les renes, C'est en vaine qneles Amours, les Nymphes et les Tritons, se jouant au milieu des ondes, cherehent par leur seduction a le retenir dans Fhumide sejour ; I'lieure des voluptes a fui. L'Aurore aux doigts de rose ouvre deja les partes de V Orient et le Dieu du jour quitte a regret sa bien-aimee pour accepter sa celeste carrlere. Le Coucher du Soleil — Thetis, toute joyeuse de revoir son divin amant, le revolt doucement couohee sur une conque mariniere qu'entourent des Nymphes paresseuaement assises sur des flots argentes. Le Dieu n'arrive pas assez vite au gre des amours impatients qui volent au devant de lui pour I'atlirer aupres de sa maitresse, sur laquelle la Nuit planant dans les airs jette deja la voile mysterieuse qui doit cacher leur bonheur aux regards des simples mortels. The notice further draws attention to the resemblance in the traits of Thetis to Madame de Pompadour. Lord Hertford exhi- bited the pictures at Martinet's, Paris, in 1860. Soullie, 200. In the collection of M. Georges Deligand, of Paris, is a drawing in three chalks by Boucher for the group of two Naiads and a Triton in the foreground of this picture ; in the Louvre is a chalk drawing for the figure of the Naiad alone. 48.5 4SB 486 The Setting of the Sun (le Coucher du Soleil) Staircase S Canvas, 125|x 102 (318-9x259 -2). Liscribed in lower left-hand corner : /. Boucher 1753. See, for history and description, under No. 485. 489 A Summer Pastoral Staircase Canvas, 101^x771 (257-8 x 196-2). Inscribed on log of wood in lower left-hand corner : /. Boucher 1749. This must be Soullie, No. 1,514, Le Joueur de Micsette : — Une bergere appuyee contre une palissade ecoute, ainsi qu'vme jeune fille assise, un berger qui joue de la musette. Toile, 260 x 200. Signe : F. Boucher, 1749. Collection Stacpoole. Expose chez Martinet en 1860. 38 BOUCHER. The unusual size and the date, as well as the subject, agree, and the presence, at the same exhibition, of a picture corresponding to N(i. 482 confirms the identification. Nos. 489 and 482. are, therefore, the two " grands tableaux repr^sentant des Scenes Pastorales" a,t the sale of the Due de Stacpoole, 18o2, 12,600 f. (Mireur) ; "tableaux qui ornaientle grand salon du rez-de-chauss6e du chateau de Montigny-Laucoup, bati par Trudaine " (Les Goncourt, Boucher, p. 287). See No. 482. A version of No. 489 was at the Brussels Exhibition of French 18th century art, from the collection of Mme. Besnard, under the title La Berghre Econtee. 1 m mm ^^Jl^ 489 J 82 482 An Autumn Pastoral. Staircase Canvas, lOlf x 77^ (2.58 ■ o x 196 • 2). Inscribed on stone in lower left-hand corner : /. Bourlier 1749. This must be Soullie, 1566, Les Raisins : — Une bei-gere assise pres d'une fontaine, mord a la grappe que hii tend un jeune berger, tandis qu'un autre, couche pres de ses moutons, les observe en souriant. Toile, h. 260. Signe : F. Boucher, 1749. Grave par Pasquier sous le titre "Ella mord a la grappe." Expose chez Martinet, en 1860. -. •' A picture very like this, but without the second shepherdess, was engraved by E. (jaillard as Li' Berger Recompense (the sheplierdess m each case holds a wreath). The ' picture then belonged to Monsieur Perinet. This is, perhaps, -Soullie, 1513, 70 X 56. It is possible that Xos. 48:3, 488, GujAds at Play and Cti^pids Asleep, catalogued under the name of Pragonard, are also by Boucher. After Boucher 467 The Toilet of Venus Water-colour (oval), 4i x 4 (12 'S x 10" 1) ? Bethnal Green, 1777. 468 The Triumph of Amphitrite Water-colour(oval),4|x4 (12'3x 10-1) '( Bethnal Green, 1776. ihese are after the pictures formerly in the collection of Mr._ Alfred de Rothschild ( Venus ii sa toilette, sortant du bain and ISaissance de Venus, Salon of 1743). A variation of Lthe second subject is our No. 433. -l See also under Charlier in this Catalogue, and in that of Furniture Mmiatures, and Objects of Art. BOUCHER— BOURSSB 39 School of Boucher 766 Danae and the Crolden Bain Canvas on panel (oval),7jx8^ (18-2x20-5). In the Inventory of the Collection attributed, not improbably, to Callet. The con- ception, cast of drapery, &c., recall Boucher, but not the colour and soft touch. A miniature in the Collection, XI, D, 334, is founded either on the painting or on a common source ; it differs in in colour and in some details. Antoine Francois Callet (1741-1823) was born in Paris, was a pupil of A. Boizot, won the Prix de Rome in 1764, and was received into the Academy in 1780 on painting a Spring for the Galerie d'Apollon in the Louvre. He painted portraits as well as allegorical and mythological pieces ; Louis XVI was one of his sitters. ESAIAS BOUBSSE The only painter of this name of whose life anything is known is Esaias Boursse, who was born in Amsterdam 3 March 1631 and died at sea 16 November 1672. He was of the circle of Rembrandt. He visited Italy and painted there, without results in his known painting. He also entered the service of the East India Company and made several voyages to India. There are signed works by him in the Amsterdam and other galleries. In the judgment of Drs. Bode and Bredius, the painter of our picture is Esaias Boursse, the signature, however, is in the form L. Bmirsse. The resemblance of our picture to an undoubted work of E. Boursse, now in America, is so strong that there can be little doubt that he is its author. It should be noted, however, that Dr. Hofstede de Groot, in his Catalogue Raisonne of Dutch Painters (vol. i., .p. 473) and W. Martin, in a recent volume of Thieme and Becker's, Allgemeine Lexicon, take the view that L. Boursse and B. Boursse are separate artists. Dr. Schmidt-Degener, of the Boymans Museum, has made an ingenious suggestion, viz., that the L of our picture is a Dutch seventeenth century form of E, such as is to be found in a picture by Metsu at Buckingham Palace. In this E the top bar is formed like that of the letter L. To support this theory it would be necessary to suppose that the middle bar existed, under a small crack in the varnish at that point. The signature in the form L. Boursse is found upon other pictures than that in the Wallace Collection. 166 Interior: Woman Cooking Gallery XIII Canvas, 20 X 22^ (50 • 7 x 57 • 2). Inscribed in lower right corner : L. Boitrsse, 1656. Bethnal Green, 157, as " Interior of a Cottage." 40 BOURSSE— BROUWER Bought for Sir Richard Wallace at the sale of the Dowager Roell (wee Hodshon), Amsterdam, April 25, 1872, for 6,000 gulden. Its title then was " Interieur Rustique." Exhibited, Old Masters, 1889, No. 65. JACQUES-RAYMOND BRASCASSAT French School. Born at Bordeaux in 1804; died at Paris in 1867. He studied chiefly at the Ecole des Beaux- Arts in Paris ; practised landscape and history, but excelled chiefly in animal subjects. 363 Goat and Kid Canvas, 14f x 17f (37-1 x 45-1). Inscribed in lower left corner : Dal Vero — R. Brascassat. Bethnal Green, 559, as " Groat and Kid : Study from Life " ; perhaps the " Ohfevre et Chevreau dans un paysage" of Thibaudeau sale, 1857, 1,205 f. (Mireur) 721 Dogs attacking a Wolf Water-colour, 16| x 21| (41 •6x54-5). Inscribed in lower right corner: /. B. Brascassat' 1838. Bethnal Green, 637. This was No. 44, " Ghiens attaquant un Loup," at the Demidoif di San Donato sale, [? 13 Jan.] 1863, 10,100 f., bought by Lord Hertford, ANGELO DI COSIMO CALLED BBOZTZIIfO Elorentine School. Born at Montioelli, near Florence, 17 No- vember 1503; died at Florence, 23 November 1572. Pupil of RafEaellino del Garbo and Jaoopo da Pontormo, and influenced by Michelangelo. He practised at Florence, chiefly as a portrajt- painter. As such he is the greatest artist produced by Florence during the sixteenth century, with the exception of Andrea del Sarto. He is also the author of sacred works, and of decorative compositions deliberately sensuous in character, such as the " Venus, Cupid, Folly and Time " of the National Gallery. 555 Eleouora di Toledo, Grand Duchess of Tuscany Gall'' III Panel, 30^x23^ (77-4 x 59-1). Inscribed: Fallax gratia et Vana est pulchritudo. Bethnal Green, 268, "Portrait of an Italian Lady." Several variations and reductions exist of this picture and of its pendant, the portrait of the Grand Duke Cosimo I of Florence. The finest portraits of Eleonora di Toledo by Bronzino are those in the Uffizi, and the bust-portrait in the Kaiser-Friedrich Museum of Berlin. ADBIAEir BBOVWER Dutch-Flemish School. Born in 1605 or 1606, at Oudenarde ; buried at Antwerp, 1 February 1638. Pupil of Frans Hals at Haarlem; painted at Amsterdam, Haarlem, and after 1631 at Antwerp. Brouwer in the passion and vigour of his realism, as well as in the subtlety of his art, more than rivalled his contem- porary, David Teniers the younger. By far the most important collection of his paintings is to be found in the Alte Pinakothek at Munich. Our painting is of the highest quality, and in the audacity of its realism rises almost to grandeur. BROUWER— CAGNACCI 41 211 A Boor Asleep Gallery XIII Panel, 141 x lOf (35-8x27), Bethnal Green, 197. In the collection of Lord Hertford, 1857 (mentioned by Waagen, Supple- ment, p. 88, who says : " by far the finest example of this rare master I know "). De Groot, 64, who enumerates three copies : (1) In the former Hoogendijk Collection, the Hague, No. 428 ; (2) In the Bonn University Gallery, on loan from the Kaiser-Friedrich Museum, Berlin, No. 853g ; (3) In the Karlsruhe Gallery, No. 192, signed with monogram. The head of the sleeping Boor in this last is different in expression, and the background, with its group of carousing peasants, is somewhat more elaborately worked out. The inspiration in both cases, but especially in our picture, may have been the 211 famous Barherini Faun, now in the Glyptothek at Munich. De Groot enumerates the following sales in which pictures of this sui:)ject have appeared : — Anna van Lennep, widow of Pieter Roeters, Amsterdam, 30 Jan. 1759, No. 2 (50 florins, De Wolf van Lennep) ; Amsterdam, 15 July 1772, No. 17 (7 florins, Dayens) ; P. Locquet, Amsterdam, 22 Sept. 1783, No. 53 (100 florins, Delfos) ; P. A. J. Knyff, Antwerp, 18 July 1785, No. 31 (56 florins 10, Beekmans Leutzgen) ; Van Leyden, Paris, 10 Sept. 1804, No. 5 (300 f., Paillet) ; Van Dijl, Amsterdam, 10 Jan. 1814, No. 31 (13 florins). GUIDO CAGITACCI Bolognese School. Born at Castel Sant-Arcangelo near Rimini in 1601; died at Vienna in 1681. Pupil of Guido Reni, at Bologna, and afterwards Court-painter of the Emperor Leopold I at Vienna. 643 Tarquinius and Lucretia (Copy) Copper, 9ixllf (23-5x29). Bethnal Green, 257. This is a copy, on a much reduced scale, of the well-known picture by Cagnacci in the Accademia di San Luca at Rome. Probably the picture at the sale of Comte de Pourtales, 27 March 1865, No. 24. Copper, 24 x 30, 4,000 f . The description agrees. The Dresden Gallery possesses a copy on the scale of the original. 42 CAGNACCI— CALAMB A question arises in connection with this picture, viz., was there ever in the Collection a picture by Titian of the sanie subject? "Waagen, ii. 155, mentions a Tarquin and Lucretia by Titian in Lord Hertford's collection (1854), from the collections of Charles I and Joseph Bonaparte in Spain, " bought at the sale of Mr. Coningham's pictures for 520 guineas." He does not, however, describe it, and may not have seen it, though the asterisk to indicate that is not appended. Crowe and Cavalcaselle, Life of Titian, ii. 393-4, repeat this statement, probably borrowed from Waa,gen. They describe the picture as seen in Lord Northwiok's Collection, say it is patched all round, and measures 7 ft. 2 in. by 4 ft. 8 in. Titian's picture was sold to Philip II of Spain in 1571, having been engraved by Cornelius Cort in that year. It reappears in the collection of the Earl of Arundel, who gave it to Charles I (measurements, 6 ft. 3 in. by 4 ft. 3 in.). At the Whitehall sale Jabach bought it and sold it to Louis XIV. It is described in the Louvre catalogue of 1752-4 as a canvas 6 ft. by 5^ ft., and greatly injured. It is no longer in the Louvre, but reappeared apparently in the collection of Joseph Bonaparte, from whose collection, Crowe and Cavalcaselle say, it passed to Lord Northwick (No. 871 in his catalogue), then to Mr. Coningham, and at his sale to Lord Hertford for 250 guineas. -But this is a mistake. The picture was in Mr. J. Bates's sale, 1845, and was bought by Nieuwenhuys for £735; then in the sale of William Coningham, Christie's, 9 June 1849, bought in for £525 (73x56| in.). It was in 1859, subsequently to the Coningham sale, that Lord Northwick sold it (£414' 15,v., Nieu- wenhuys). It was in an anonymous sale in 1879, and bought in at £273, and in the sale of the executors of Nieuwenhuys, in 1886, as from the Coningham and Scarisbrick collections, bought by Mr. Fairfax Murray for £430 10.s. It was afterwards in the collection of Mr. Charles Butler, and at his sale, at Christie's, in 1911, was bought by Mr. Fairfax Murray for £2,730. By him it was given to the Fitzwilliam Museum, Cambridge. It measures 75 X 58 in., with the addition of 2 in. on left side, and 3 in. at the bottom. Lord Hertford, it appears from the records of Messrs. Christie, bid £500, but did not obtain the picture at the Coning- ham sale. It is conceivable that he bought it afterwards, and then disposed , of it, but the picture was obviously not in the Wallace Collection when Crowe and Cavalcaselle wrote. Their measure- ments are not those of the picture, and it is not unlikely they wrote upon a report of the existence in the Collection of a Titian, the Perseus and Andromeda. Waagen's statements probably arose from a confusion with the copy of Cagnacci and a report of Lord Hertford's bid, and they have been repeated in books on Titian down to Dr. Gronau's. ALEXANDRi: CALAME Swiss School. Born at Vevey, in Switzerland, 1810; died at Mentone in 1864. Pupil of Diday. Calame is represented in the Museum at Bale, and there is an example in the National Gallery. With Auguste Bonheur 588 A Waterfall near Roseulaui in. Switzerland. Gallery X Canvas, 31| x 25| (80x63-8). Signed in lower left corner: A. Calame. Bethnal Green, 496, as " Scene in Switzerland." On the back is the following inscription by the artist: "Souvenir des environs de Rosenlaui, Canton de Berne, peint pour Mr. Durand Ruel. Termine en juin 1860. Toile 81 cent, de haut., 65 c. de large. CALAMB— CAMPHUIJSBN 43 G-en^ve, 26 juin 1860. A. Calame." Bought by Lord Hertford at the sale of the Duo de Moray, Paris, 31 May I860, No. 4, as " Environs de Rosenlaui (Canton de Berne). JJn torrent descendant de la montagne et 'passant au milieu de sapins et de rochers. Deux daims et un chasseur a I'affut ont ete peints par Auguste Bonheur (80x65), annee 1860, 8,500 f." (B.A.A.) Fran9ois Auguste, a younger brother of Rosa Bonheur, was born at Bordeaux in 1824, and died in Paris, 21 February 1884. He was the pupil of his father and painted portraits, but \s best known by pictures of landscapes with cattle. [? ANTOINE FRAN9OIS CALLET See under BOUCHER (SCHOOL OF), No. 766] WILLIAM CALLOW British School. Born at Greenwich, 28 July 1812; died at Buxton, 20 February 1908. He studied in Paris, and was for seven years professor of water-colour painting to the family of King Louis-Philippe. He received the gold medal of the Paris Salon in 1835, and was for nearly 70 years associated with the Eoyal Society of Painters in Water-colours. His earlier water-colours and drawings are fine in style, in the later work he lost the sound convention with which he began. Two good examples are in the National G-allery, British Art. 746 Entering the Harbour Water-colour, 9 x 12|- (22-9 x 31-1). Inscribed in lower right corner : W. Callow 1842. Bethnal Green, 1874, No. 684, as " French Fishing Boats." This is also the title on the old mount. GOVEBT CAUXFHITIJSEN Dutch School. Bora at Gorkum in 1623 or 1624 ; buried at Amsterdam 4 July 1672. Probably the pupil of his elder brother Raphael Gamphuijsen, by whom there are in the Dresden Gallery two moonlight pieces, one of which is signed " R. Gamphuijsen." Govert Gamphuijsen was manifestly influenced by Paul Potter, as a comparison with " The Milkmaid," No. 219 in this Collection, serves to prove. He worked up to 1651 in Amsterdam ; then from 1653 to 1663 in Stockholm as Court-painter of King Charles X and the Queen Dowager, Marie-Bleonore ; then again in Amsterdam. A large landscape with figures and cattle by him is in the Cassel Gallery, where it was formerly ascribed to Potter. In the Hermitage at St. Petersburg are three examples, of which two bear his signature, while the third has the forged signature of Paul Potter. A "Landscape with Cattle," No. 471, in the Alte Pinakothek of Munich, and there ascribed to the same master, may be Camp- huijsen's. Broadly humorous genre pieces by him are in the State Gallery of Brussels, and in the collection there of the Prince d'Arenberg. He is also represented in the Dulwich Gallery. 132 A Dutch Farm at Sunset Gallery XVII Panel, 32| x 44f (82'9 x 112-8). Signed, on a fence to the left : G. Camphuijsen. Bethnal Green, 129, as " Landscape : Evening." Bought by Lord Hertford from Lord Northwick's sale, London, Phillips', July-August, 1859, No. 417, for £510. It is described at length, with the note : — " This fine work is regarded as the chef 44 CAMPHUIJSEN— CANALBTTO d'cPAi.i;rp. of the master: from the Solly Collection." A printed label on the back describing the picture under the title, View of a Dairy Farm, in Holland, adds "from Mons. Le Grand's collection." Our picture is probably the finest and most important example of the painter's art. GIOVANNI ANTONIO CANAL* KNOWN AS CANALETTO Venetian School, 18th century. Born at Venice, 18 October 1697 ; died there 20 April 1768. Pupil of his father, the decorative painter, Bernardo Canal, and influenced also by Luca Calevaris of Venice. Further developed during a sojourn in Rome in associa- tion with Panini. A remarkable " View of the Capitol and the Church of Ara Coeli," by him, is in the collection of Lord Lecon- field. He practised chiefly at Venice, but in the years 1746-7 was in London. Beside his nephew, Bernardo Bellotto, also known as Canaletto, Antonio had followers and imitators whose works, as well as those of precursors, have been classed under his name. The number and character of the pictures rightly to be attributed to Canaletto is a matter still obscure. The two magnificent works at the National Gallery, Nos. 127 and 9-39, differ so much from the ordinary " Canalettos " that there has been a tendency to transfer all those to Bellotto and other imitators. {See under our Nos. 506, 510.) But the real study of Canaletto must start from the collection at Windsor Castle, containing the collection of pictures and a vast number of drawings bought for George III. These belonged to the patron and perhaps partner of Canaletto, Smith, British Consul in Venice, and the pictures are of two distinct kinds. The smaller are of the kind usually assigned to Bellotto, tight, careful topo- graphical pieces, with black shadows and freely treated figures. The other kind is on a larger scale, of inventive design, painted with an even broader touch and freer brush than the National Gallery pieces. They were probably decorations for Smith's house, and remind us of Canaletto's training under his father, the scene painter. These are not a later development of his art, for one of them is dated, like one of the other series, ] 742. We may suppose that Canaletto furnished to Smith a series of " proofs," so to speak, of his views for tourists, and that the " Canalettos " to be found in the Wallace Collection and elsewhere are either versions turned out in his studio or imitations. Two or three different hands may be traced among the pictures in this Collection. * On a drawing at Berlin, Canaletto gives the name as " da Canal," but " Canal " is the usual form, not " Canale." CANALETTO 45 492 View of the Grand Canal Gallery XII Canvas, 18|x31 (46-7 x 78-7). At Bethnal Green, 267, 270, 279, 287, 311, 323 have this title and cannot be distinguished. The picture bought by Lord Hertford from the Casimir Perier collection in 1848 for £115 bears this title, but may be one of the other pictures in the collection. In the collection of Lord Hertford before 15th Feb. 1859, when there is a bill for framing it. 495 Santa Maria della Salute Gallery XII Canvas, 18^x301 (46 ■4x78-1). In the collection of Lord Hertford before 15 Feb. 1859, when there is a bill for framing it. 496 A r^te on the Grand Canal Gallery XII Canvas, 22| x 36^ (58x92-1). Bethnal Green, 280, as "Boat Race in Carnival on the Grand Canal." In the collection of Lord Hertford before 15 Feb. 1859, when there is a bill for framing it. 497 The Giudecca with the Doge's Palace Gallery XII Canvas, 50 x 74 (127 x 188). In the collection of Lord Hertford, 1857 (Waagen, Supplement, p. 80). This picture and No. 499 appear to be pendants. 499 The Giudecca with S. Giorgio Maggiore Gallery XII Canvas, 50 x 74 (127 x 188). Bethnal Green, 264, as " Venice : Church of S. Giorgio Maggiore and the Custom House." In the collection of Lord Hertford, 1857 (Waagen, Supplement, p. 80). ■198 498 The Grand Canal with S. Simeoue Piccolo Gallery XII Canvas, 37| x 57J (94-3 x 145-4). In the collection of Lord Hertford before 15 Feb. 1859, when there is a bill for framing it. 500 A F6te on the Piazzetta Gallery XII Canvas, 22fx36i (57-8x92-1). Bethnal Green, 283, as " Piazzetta of St. Marco with Carnaval Festivities." Inherited by Lord Hertford from the third Marquis (Waagen, ii. 154, and Supplement, 80. He says that this picture is "somewhat crude"). This picture afld No. 511 appear to be pendants. 46 CANALETTO 501 Old Northumberland House, Charing Cross Gralleiy IX Canvas, 28 x 43i (71 • 1 x 110 • 5). Bought of Messrs. Durlacher, 17 April 1873, by Sir Richard Wallace for £120 (Note by Sir J. Murray Scott). In an article by Mr. Walter H. Godfrey in the Architectural Review for December 1911 is reproduced an engraving giving the same view as our picture, with slight variations in the grouping of figures, recessed angles to the turrets, &c. This engraving dates from 1753, and is the reproduction of a drawing by Canaletto, apparently after his own painting, or in preparation for it ; for the engraving is inscribed : Canaletti pinx'. et delin'. In the collectinn of the Earl of Northumberland. Our picture seems to be a copy with variations by some English imitator, who has peculiar tricks of technique, such as dots of light to represent the ridges of tiles, and a corresponding manner in his figures. Northumberland House was built in 1605, from plans by one of a family of Smithsons, for Henry Howard, Earl of Northampton, son of the Earl of Surrey, the poet. Its name was changed on his death to " Suffolk House," and later to " Northumberland House," when it passed by marriage to the Percy family. It had been much altered when it was destroyed in 1874, to make way for Northumberland Avenue. Canaletto is said to have been in London from 1746 for two years. 505 The Piazza San Marco with the Campanile. Gallery XII Canvas, 22f x 49i (.57-8 x 125" 1). Bethnal Green, 286. Skilful .5Ufl architect's drawing with ruled line. Less spotty and broader than No. 513, but very mannered. 506 The Grand Canal, Venice (xallery XII Canvas, 17| x 29f (44 • 7 x 75 ■ 5). On the back of this picture and of 510 is written : " 490 C. Lady Bernard." They are thus probably two pictures in the sale of Sir T. Bernard, Christie's, 1855, ascribed to Canaletto, and described as " Companions." " Grand Canal, Venice (£194 5s., Edward)," and " Grand Canal, Venice (£204 15s., King)." Nos. 506 and 510 were originally catalogued as by Canaletto. In later editions of the catalogue they were attributed, on the authority of Mr. Simonson (Francesco Guardi, p. 70) to Bellotto. There seems, however, to be no reason to separate them from other works from the studio of Antonio Canal in this Collec- tion, resembling, as they do, the authentic examples at Windsor. Bernardo Bellotto (1720-1780) was the nephew and pupil of Antonio Canal, and shared with him the diminutive " Canaletto." But he worked for very few years of his life in Venice, left that city in 1740 for Rome and other places, and about 1745 departed for Munich, and was afterwards at Dresden, the chief scene of his activity till 1766, at Vienna, St. Petersburg and Warsaw, where he became Court-painter and died. 510 The Grand Canal, Venice Gallery XII Canvas, 17f x 29f (45x75-2). See under No. 506. CANALETTO 47 507 A Canal in Venice Gralleiy XII Canvas, 22i x 36^ (57 • 8 x 92 ■ 1). In the collection of Lord Hert- ford before 15 Feb. 1859, when there is a bill for framing it. 509 The Doge's Palace and Riva dei Schiavoni Gallery XII Canvas, 23 x 36| (58 ■ 5 x 92 • 7). Bethnal Green, 284. 511 The Rialto ^ Gallery XII Canvas, 22fx86| (57-8 X 92-3). Bethnal Green, 312. Inherited by Lord Hertford from the third Marquis (Waagen, ii., 155, and Supplement, p. 180). 512 The Grand Canal with Palazzo Corner della Ca G-rande Canvas, 18^ x 30f (46 • 3 x 78 • 1) Gallery XII 513 Water P6te from the Riva dei Schiavoni Gallery XII Canvas, 20|x31f (52x80-6). The figures are put in with a touch that recalls No. 501. 514 The Doge's Palace Gallery XII Canvas, 20| x 27 (51 ■7x68-5). Bethnal Green, 312, "The Doge's Palace, Piazzetta, and Great Bell Tower." This picture is identified by the date in chalk at the back, " June 2/55 " and the number " 54 " as the picture bought by Lord Hertford at the sale of Thomas Farrant (Christie's, June 2, 1855), ISTo. 54, Canaletto, 513 514 " Doge's Palace and Library, with Piazzetta of St. Mark and the Canal, and gondolas and figures. Highest quality, £104." The style resembles No. 505, but the architecture is more painted. 515 The Dogana from the Molo Gallery XII Canvas, 18f x 30| (47 - 3 x 78 - 1 ). Possibly Bethnal Green, 285, "The Custom House, and Church of the Madonna della Salute." 516 Santa IVEaria della Salute, from the Piazzetta Gall>' XII Canvas, 23 x 36| (58 - 5 x 93). "Waagen enumerates in 1857 four pictures inherited by Lord Hertford which, he says, with the exception of No. 511, are "re- markable for great power and freshness." His 3 and 4 are not described. He further mentions two other pictures, " about 4f ft. high by 6 ft. wide, which belong, for choice of subject and admirable keeping, to his chefs-d'oeuvre." These are identified by the approximate measurements with Nos. 497 and 499. Two others are his Nos. 7 and 8: "Two Views of Venice may finally be mentioned, in which buildings and figures are on an unusually small scale. These are of a delicacy of keeping and precision of rendering seldom observed in his pictures." Bedford gives, at the sale of Captain Pryce, Christie's, 1859, A Canal in Venice (Lord Hertford, £288 15s.). In Messrs. Christie's marked catalogue of the sale of Capt. Loveden Pryse, 12 March 1859, no such picture appears. The " Canalettos " at Bethnal Green were seventeen, including No. 493, now placed under " Venetian School," but not No. 501, bought in 1873. 48 CANO— CHAMPAIGNE ALONSO CANO Spanish School. Born at Granada 19 March 1601 ; died there 5 October 1667. He distinguished himself equally as painter and sculptor, and acquired fame also as an architect, meeting, however, with less general acceptance in this branch of art. He studied painting under Francesco Pacheco and Juan de Castillo at Seville, and sculpture under Juan Martinez Montanes. He practised at Seville, Madrid and Granada, and in the last-named place founded a school. His most important picture in England is a large altar-piece, " The Assumption of the Virgin," in the collection of Sir Frederick Cook at Richmond. A curious piece of his late time is the large " Adam and Eve after the Fall," in the collection of Sir John Stirling Maxwell. 15 The Vision of St. John the Evangelist Gallery XVI Canvas, 32ix 17 (81 -Ox 43 -2). Bethnal Green, 325. Bought by Laneuville for Lord Hertford at the sale of Marshal Soult (whose seal is on the back), 1852, for 12,100 f.. No. 43 : - Vision de St. Jean (85 x 45). Oe tableau et les deux suivants font partie d'une serie de compositions tirees de I'Apocalypse. loi St. Jean est repre- sente enleve sur une haute montagne par un ange qui lui montre la Jerusalem celeste. Grave au trait dans I'ouvrage de Reveil. The two other pictures in the series were the " Vision of the Lamb " and the " Vision of God." They were sold to the Due de Galliera. Lord Hertford, writing to Mawson before the sale, says : — As for M. Soult's pictures I am Lold they are to be put up at such price that it will be impossible to make a bid, and I rather think I shall do nothing in that quarter. Our picture is an example in the earlier and more masculine manner of the master, before he had adopted the afumato, or clouding of colours, which characterises most of his later paintings and notably those in the Prado Gallery at Madrid. PHILIPPE SE CHAMPAIGNE Flemish or French School. Born at Brussels in 1602; died in Paris, 1674. He came to Paris in 1621, and so acclimatised himself that he would perhaps be more correctly described as belonging to the French than to the Flemish -School. He has alluded to the double claim by painting in the background of his portrait, now at the Louvre, both the Church of Notre-Dame de Paris and the tower of the Brussels Town Hall. He became the accredited painter of Port Royal and the Jansenists, of many among whom he has left invaluable portraits. In sacred and historical art he is frigidly correct and conscientious, but he OHAMPAIGNB 49 attains to a high degree of merit as a portrait-painter ; and as such, in the gravity and quiet intensity of his characterisation, still reveals his Flemish origin. It is only in the Louvre that Philippe de Champaigna's power in this the main branch of his art can be fully appreciated. His masterpiece is the subtle and expressive portrait-group "La Mere Oatherine-Agnes Arnauld et Soeur Catherine de Sainte-Suzanne, fille du peintre." 119 The Marriage of the Virgin Gallery XVII Panel, 26|x55f (67 -ex 141-7). Signed on the steps in front : P. CHAMPAIGNK F. Bethnal Green, 119. Bought by Lord Hertford at the sale of Comte de Pourtales, Paris, 27 March 1865, No. 140, for 43,500 f. (B.A.A.) The sale-catalogue remarks that, in accordance with the custom of this master, some of the persons represented are portraits, including members of the Port Royal community, and adds that the picture formerly decorated the altar front of the Chapel of the Palais Royal. 127 Robert Arnauld d'AndUly Gallery XVII Canvas, 28 x 22| (71-2 x 57-2). Bethnal Green, 74, as " Portrait." It was at one time supposed to be a portrait of Fenelon, but the most certainly authentic portrait of Fenelon — by Joseph A'^ivien, No. 1,356 in the Alte Pinakothek, of Munich — does not agree wi';h this either in form or feature. Another likeness of the Archbishop, agreeing exactly in type and character with the Munich example, is in the collection of the Rev. Richard Hugh Cholmondeley. Yet another, by or after Vivien, is among the pictures at Bucking- ham Palace. Our picture appears to represent Robert Arnauld d'Andilly, a well-known Jansenist, brother of the still more famous Dr. Antoine Arnauld of Port Royal, and of the Mere Angelique (Catherine-Agnes Arnauld). La Fontaine describes his physical vigour, his " bright eyes, steady carriage, his voice of thunder, his white hair and red cheeks (at a somewhat later date, presumably, than that at which he appears in this portrait), his strong memory, prompt sense and sure hand." 129 The Adoration of the Shepherds Gallery VIII Canvas, 90f x 63 (230-5 x 160). No. 37 at Art Treasures Exhi- bition, Manchester, 1857. Bethnal Green, 86. Bought by liord u 1)931 50 OHAMPAIGNE— CIMA Hertford at the sale of the Marquis de Montcalm, of Mont- pellier, Christie's, 4-5 May 1849, No. 128, for £367 10s. It had been in the Bonnemaison Collection. Mireur gives : 1809, P. Grandpre, La Creche ou Nativite, 221 x 160, 3,001 f. : 1827, Chevalier de Bonnemaison, 4,900 f. The same composition is engraved by Carattoni, No. 24 in the Lucien Bonaparte Gallery, 1812, but described as " tableau de moyenne grandeur." Waagen, ii. 87. 134 The Annunciation Gallery VIII Canvas, 131 x 84 (.332-7 x 213-4). No. 67 in the collection of Cardinal Fesch, 1841 ; No. 36 in the sale, Rome, March-May 1845, 560 scudi, Laneuville for Lord Hertford (Note by Sir J. Murray Scott and marked sale catalogue). The dimensions are given as 124 X 79 inches. A note in the catalogue states — ■ Nous croyons que ce tableau appartenait autrefois a I'eglise Culture- Sainte-Catherine qui a etc demolie. II est grave par N. Pitau. These vast paintings, Nos. 129, 134, are among the most important sacred pictures by De Champaigne. JACQUES CHABLIER A French miniature painter, who practised in the second half of the eighteenth century, and is supposed to have been a pupil of Boucher, whose works he often repeated on a small scale in gouache, both with and without variation. He also painted portraits in miniature. Sometimes he describes himself as " peintre en miniature du roi." The Comte de Caylus, a famous French amateur of the time, possessed nearly a hundred examples of his art. He was also much protected by the Prince de Conti. The Miniatures Nos. 132, 138, 146, 195, 323, 331, 3-36, 339, 347, 348, 354, 356-361, 364, in the Catalogue of Furniture, Miniatures, and Objects of Art have been attributed to him, as well as the gouaches described below, but it is improbable that these inferior copies are from his hand. ATTPJBUTED TO CHARLIE R 474 Nymphs and Cupids (After Boucher) Gouache, 9 x6f (22-7x17). 475 The Birth of Venus (After Boucher) Gouache, 27 x 19f (68 - 5 x 49 • 2). 476 The Judgment of Paris (After Boucher) Gouache, 9 x 6f (22 - 7 x 17). GIOVANNI BATTISTA CIMA DA CONEGLIANO Venetian School. Year of birth unknown ; that of death believed to be about 1517. He practised at Venice and in the Venetian territory. Though of the Vivarini school, he was greatly influenced by Giovanni Bellini, but was not his pupil or even slavish imitator; in one instance, indeed, Bellini would appear to have borrowed from him. In Cima's earlier and more severe productions, such as the " Virgin and Child, with Saints," of the Vicenza Gallery (1489), and " St. John the Baptist, with Saints," in the church of the Madonna del Orto at Venice, the influence of his elder con- temporary, Bartoloinmeo Montagna, makes itself strongly felt. His chief works are in the churches and the Accademia of Venice, in the Brera at Milan, and the Gallery of Parma. ciMA— claudp: lorrain 51 1 St. Catherine of Alexandria Gallery XVI Panel, 59^ x 29i (150-5x75). Signed on the base of the pedestal : Jodnis Babtiste Cmieglanesis opus. No. 120 at Manchester Art Treasures Exhibition, 1857 ; Bethnal Green, 265. Bought by Lord Hertford at Lord Northwick's Sale, London, Phillips, July- August 1859, No. 555 (£840). This panel is one of the most important examples of Cima's work in England. The late Dr. G-. Ludwig discovered, from an eighteenth century print by Baratti, that it is the central portion of an altar-piece once in the church of S. Rocco at Mestre, near Venice. The wings, on which are the two " plague- saints," St. Sebastian and St. Roch,ai'e in the Museum of Strasburg. The lunette, The Virgin and Child hehveen St. Dominic and St. JVa?;*"/.?, was sold at Christie's, 8 July 1912, No. 17, from the collec- tion of the late J. E. Taylor, to Mr. Langton Douglas. Palma A^ecohio may have found a suggestion for his Santa Barbara in this St. Catherine, and in contemporary Venetian sculpture it is recalled, e.g., in the works of Alessandro Leopardi and Tullio Lombardo. But behind Cima is tlie St. Justiae of the Balgatti- Valsecchi Collection, now attributed to Giovanni Bellini by Mr. Berenson (G.B.A., 1913, p. 468). CLAUSE Z.OBKAIN (Claude Gellee, called Claude Lorrain or le Lorrain) French School. Born at Chamagne in Lorraine in 1600; died in Rome 21 November 1682. The pupil in Rome of Agostino Tassi, and through him influenced by the Carracci and Paul Bril, but still more by the imaginative Italo-German iandscapist Adam Elsheimer. He practised chiefly in Rome. Claude's finest works breathe a serene melancholy, evoked by Italy's decayed greatness and tempered to a new beauty by Nature. The greatest modern artists, and among them Turner and Corot, have come under his influence. Some of his best works are in England. 114 Italian Landscape Gallery XVII Canvas, 29x43^ (73-6 x 109-8). Inscribed to left on rocks above sheep-dog ; Claude en Roma, 1650 [sic]. Bethnal Green, 92. No. 152 of Claude's Liber Veritatis, a series of sketches of the composition of his pictures in bistre and white, in the collection D 2 52 CLAUDE LORRAIN— CLOUET of the Duke of Devonshire at Chatsworth. Smith, 152, thus described : — A Herdsman, seated, playing on a pipe. This elegant pastoral scene represents, on the right, a mass of rocky cliffs, the sides of which are richly clothed with bushy trees, extending to the opposite side, where they connect with a ruin, fonning a kind of boundaiy to the foreground. A stream flows at the base of the clifEs, and appears to pass along the bushy bank to the side of the ruins, and thence under a little bridge of a single arch. The more distant landscape is also watered by an extensive river, on the banks of which may be perceived a building, with a round tower. The scene may further be identified by a herdsman sitting at the foot of a tree on the left, playing on a pipe, while a het-d of goats browse in the surrounding meadow. The effect is that of a fine clear morning. Painted for the Signer Ducaal. 2 ft. 5 in. by 3 ft. 7 in. Canvas. The preceding picture was formerly in the Hesse-Cassel Gallery, afterwards in the collection at Malmaison and then in that of the Prince Talleyrand. Bought in 1817, with many other fine pictures, by Mr. Buchanan, and sold to Edward Gray, Esq., of Harengay House, for 1,200 guineas, from whom it passed into the collection of Bulkley Owen, Esq., at the sum of 1,500 guineas, and is now [1837] on sale at Mr. Yates's Gallery. Bought by Lord Hertford at the sale of the collection of Mr. E. Higginson of Saltmarshe Castle, Christie's, 6 June 1846, No. 205, for £1,470. The picture was stated in the sale catalogue to have been in the Hesse-Cassel, Malmaison, Talleyrand [it was No. 17 in Prince Talleyrand's sale, 7 July 1817, 18,000f.], Gray, and Owen Collections. A finished drawing for the composition, with an important variation in the disposition of the foreground figures, was in the collection of Mr. J. P. Heseltine. 125 Coast Scene with Classic Buildings Gallery XVII Canvas, 16fx21 (41 -6x53 -3). Bethnal Green, 127. Bought by Mawson for Lord Hertford at the sale of G. T. Braine, Christie's, 6 April 1857, £525, as " Italian Seaport, Vessel at Anchor " (No. 31, lAher Veritatis). No. 31 in the Liher Veritatis only resembles our Xo. 125 in a few particulars, and Smith, 71, which corresponds, is a different picture. CLOTTET (School of the Clouets) The two chief painters of this group were Jean Clouet (called Jehannet or Janet), who died in 1540 or 1541, and his more cele- brated son, Francois Clouet (also in some instances called Janet), who was born before 1522 and died in 1572. They evolved out of the Flemish method and tradition a genuinely French style in portraiture. To the former are attributed, among other pictures, '■ L'Homme au Petrarque " at Hampton Court; a supposed portrait of Claude d'Urf e, Sieur de Chateauneuf ; the large " Francois I " of the Louvre ; a small equestrian portrait of the same monarch there; a small " Fran9ois I" in the Museum of Lyons; a small CLOUBT 53 " Portrait of the Dauphin Pran9ois " (son of Franqois Premier) in the Antwerp Gallery, and a small " Portrait of Charlotte de France, daughter of Fran9ois Premier," which was in the Exposition des Primitifs Franfais of 1904. By the latter are believed to be the more than life-size fall-length " Charles IX " in the Imperial Gallery of Vienna (signed), and a smaller portrait of the same monarch in the same collection ; the " Elisabeth d'Autriche " and " Charles IX " in the Louvre ; a miniature, " Portrait of a Lady of High Rank," in the Wallace Collection (see Catalogue of Minia- tures, Nos. 104 and 107) ; a miniature of Catherine de Medicis in the Imperial Museum of Vienna which is authenticated by docu- mentary evidence ; the " Mary Stuart " in the Royal collection of miniatures at Windsor Castle (?) ; a small circular " Princess in White Mourning Robes " (?) in the Stadel Institut at Frankfort ; an important group of crayon drawings in the Bibliotheque Nationale, of Paris ; some other crayon portraits to be found in the large collection preserved in the Conde Museum at Chantilly; and several fine examples of the same class comprised in the bequest of drawings made by the late Mr. George Salting to the British Museum. More recently there have been identified as Francois Clouet's own, the life-size " Portrait of the Botanist, Pierre Quthe," (signed) in the Louvre, and the " Lady in a Bath " (signed) in the collection of Sir Frederick Cook at Richmond ; the latter being the original of the often-repeated subject which has variously been described as " Diane de Poitiers," " Gabrielle d'Bstrees," &c. A large group of portrait-painters and copyists, whose respective styles and productions have not yet been authoritatively differen- tiated from those of the chiefs of the school, flourished concurrently with these two masters and their contemporary, the acclimatised Netherlander, Corneille de Lyon, who represents a parallel, yet ea.sily distinguishable, phase of French Renaissance portraiture. .529 529 The Emperor Charles V, King of Spain Gallery III Panel, 5fx4| (14'5x 11" 1). By Jean Clouet, called Jehannet or Janet, or a painter of his time and school. This portrait corre- sponds absolutely in style and dimensions to that of Fran9ois I attributed to the same master in the Museum of Lyons. Both may possibly have been executed when Charles V passed through Paris in 1539. 530 Queen Mary Stuart (Le Deuil Blanc)' Gallery III Panel, 13|x9f (33-7 x 24- 8). Inscribed in Roman letters at the base of the portrait : MABIB • STUART - EEYNE ■ d'escosse I TBVFE • DE • FKAN9OIS • SECOND | ROY • DE • PRANCE. A label on the back, written in an old French hand, runs : " Marie Stuart reyne d'ecosse \ veufve de Francois second \ Roy de France \ numero 45 (or 4S1). Bethnal Green, 420, as "Portrait of Mary Queen of 54 CLOUET— COOPEE Scots by Artist unknown." Exhibited at Old Masters. The princess is in white (royal) mourning for her husband, Fran9ois II of France. The best known example of this type — itself not an undoubted original by the master — is in the Royal collection. A contemporary replica is in that of Mrs. Alfred Morrison. Yet another was sent by the Grand Duke of Hesse-Darmstadt to the Diisseldorf Exhibition of 1905 from Schloss Fischbach. The original drawing by Francois Clouet, which served as the foundation for these portraits, is in the Bibliotheque Nationale of Paris. 551 Francis I Gallery III Panel, 6j x 5| (15-9x13). School of Jean Clouet, called Jehannet, and probably the contemporary copy of a work by that master. The original is in the gallery of Lyons. A miniature portrait in oils of " Henry III, King of France," was bought by Lord Hertford at the sale of Lord Northwick, London, Phillips, July-August 1859, No. 645, for £8 8.s. This may have been No. 529 or 551. I.tON COGN^IET Modern French School. Born at Paris in 1794 ; died there in 1880. A pupil of Guerin, who was himself a disciple of David. He afterwards painted military and romantic subjects, and acquired great reputation as a teacher, among his pupils being Robert-Fleury, Meissonnier, and M. Bonnat. Cogniet's portrait in extreme old age, by the last, is in the Luxembourg. 279 Rebecca and Sir Brian de Bois Guilbert Canvas, 341x45^ (87-6 x 114-9). Inscribed in lower right corner : Leon Cogniet 1828. Bethnal Green, 345, as "Bois Guilbert carrying off Rebecca — Ivanhoe." At the sale of Jacques Laffitte, Paris, 15 December 1834, No. 41 was "Rebecca enlevee par le Templier, sujet tire d'lvanhoe," toile,- 30 x 36 pouces, tableau grave, 7,600 f., Silvera " (B.A.A.) Waagen, Supplement, p. 86, " the original of the masterly and well-known engraving of the Abduction." 681 The Defence of Faris, 1814 Water-colour, 9^x7 (23-5x17-7). Signed in lower right corner: Lmn Cogniet. Bethnal Green, 696, 1874 catalogue, as " The Polish Standard-Bearer, 1814." Title on old mount : " The Polish Standard-Bearer, 1814 " — on the flag, with some other words, may be read " Polonais." 685 The Retreat from Moscow Water-colour, 9^ x 7^ (24-3 x 18). Signed in lower left corner : Leon Cogniet. Bethnal Green, 689, 1874 catalogue, as "The Retreat from Moscow, 1812." THOMAS SIDNEY COOFBR, C.V.O., K.A. British School. Born at Canterbury, 26 September 1803; died 7 February 1902. He studied at the Academy Schools, and after- wards animal painting in the Netherlands, under the influence of Verboeckhoven ; thence, after a residence of some years, he was driven back to England by the Belgian revolution. He was^ elected .A..R.A. in 1845 and R.A. in 1867. His career was one of well-nigh unexampled duration and industry. Through his beneficence Canterbury received an Art Gallery and a School of Art. 309 Cattle Gallery XV Canvas, circular, 30 (76 -2). Inscribed to right below : T. Sidney Cooper R.A. 1852. Bethnal Green, 41, as " Group of Cattle." COQUES 55 GONZALES COQUES OB COCEX Flemish School. Born at Antwerp, 8 Dec.1614 ; died there 18 April 1684. A pupil of Pieter Breughel the Younger, and of the second David Eyckaert, who afterwards became his father-in-law. He was often, from his popularity as a painter of small portraits, called " the small Van Dyck." Perhaps the most perfect piece of this class is the small full-length "Portrait of a Spanish Gentleman" at Dorchester House. In 1641 he was elected a member of the G-uild of ■St. Luke, at Antwerp, and in 1664 he became president. He worked for the Princes of Orange, for Charles I of England, the Elector of Brandenburg, the Archduke Leopold, and other distinguished patrons. At the Chateau of Honslaerdyck, which no longer exists, was, in the last century, a series of life-size compositions by Coques, The History of Cupid and Psyche. This was a commission from the Stadhouder, Prince Frederick-Henry. 92 A Family Group in a Landscape (Le Bepos ChampStre) Gallery XVI With Prans Wouters Canvas, 455: X 68^ (115x173-3). Dated on the farther support of the fountain : 1647. Bethnal Green, 56 or 155, " a Family Group." Smith, 10 ; thus described : — Portraits of a Gentleman and a Lady. witTi their two sons and two daughters, tastefully grouped in a woody lands.^ape. The former, habited in a brown dress, is seated in the middle, holding the left hand of his lady, who sits on his right, and by whose side stands their eldest daughter, attired in white satin, holding a fan in one hand and a hat and feathers in the other ; in front of them is the second girl, with a bastet of fruit ; and the eldest boy, with a hare attached to a stick ; and by the side of the father is the youngest son, leading a dog by a string ; four other dogs of various species are in the composition. The landscape portion of this excellent picture is by the hand of Artois. Engraved by Moitte, in the Lebrun Gallery. 3 ft. 10 in. by 5 ft. 9 in. Canvas. Collection of M. Robit, 1801, 3,000 f. (£120); of M. Grand Pre. 1809, 1,500 f. (£60); of Lucien Buonaparte, 1816 (Mr. Stanley), 180 guineas. Now [1833] in the collection of the Prince of Orange [afterwards William II of Holland]. The picture was bought at the Robit sale as " Famille hoUan- daise de six personnes, 118x 192." At the sale of William II of Holland, The Hague, 12 August 1850, No. 80, as " Le Repos Cham- p^tre" (115x173), it fetched 7,200 florins (Le Roi). Bought by Lord Hertford at the Theodore Patureau sale, Paris, 20 April 1857, No. 4, as Famille hoUandaise for 45,000 f., measurements given as 116 X 175. Lord Hertford was present at the sale, and much excite- ment was caused by his competition with the authorities of the Louvre. (See Blanc, who says the picture came from the sale of the Montule Collection.) Engraved by Leonetti, as Riposo Campestre, 56 COQUES No. 95 in Gallery of Lucien Bonaparte, 1812, and also in Ch. Blanc's Histoire des Peintres de toutes les ccoles, with a notice by Paul Mantz, who cites a description by Theophie Gautier. Smith, it will be seen, attributes the landscape to Jacobus Van Artois (Jacques d'Arthois), but, as Mr. R. 0. Witt has pointed out, it is probably the work of Frans Wouters, the author of two pictures at Vienna (Nos. 1,005, 1106), formerly attributed to Gerard Seghers. Frans Wouters was born in Lierre, 12 October 1614, and died in Antwerp, 1659, where he had received his schooling under Rubens. He studied in the forest of Soignies, near Brussels, adding figures from history and fable to his landscapes. He also painted altar-pieces, and was court painter to the Emperor Ferdinand II, and after his death, in 1637, to Charles II as Prince of Wales. On the outbreak of the Civil War he returned to Belgium, and in 1648 was appointed Director of the Antwerp Academy. The "Neptune Fountain" is a favourite property of Coques, and reappears in No. 223, and also in the group of the Verbist Family at Buckingham Palace. 162 A Family Group (A Father with two Daughters) XIV Copper, 18f X 23f (47 -ex 60-3). Bethnal Green, 56 or 155, as "A Family Group." This closely corresponds in subject and dimen- sions with two pictures described by Smith — if, indeed, they are not the same — (1) No. 8, " Gonzales and his two daughters, one of whom is playing on a guitar. An oval portrait of his wife is in the composition. 18 x 22| inches. Copper. Collection of the Count de Vence, 1760, £6 ; of M. Beaujon, 1787, £29." (2) No. 29, "Portraits of a gentleman and his two daughters, in the open vestibule of a house. The former, apparently about 50 years of age, is seated at the side, holding the hand of his youngest child, while the eldest sits on his right, apparently playing an air on the guitar ; a yellow curtain is suspended at the side, against which is placed the portrait of a lady. Excellent. 20x24 inches. Copper. In the collection [1833] of M. Van Sas- seghem of Ghent. Worth, £300." This is the " Le9on de Musique," copper, 48 x 61, sold from the Van Saceghem collection at Brus- sels in 1851 for 10,000 f. Mireur also gives : 1865, Ghapuis, Bruxelles, Portrait de Gonzales Coques et de ses deux filles, cuivre (48 X 61), 50 f. The portrait in our picture is beside, not on, the yellow curtain. Waagen, ii., 158 (1854), " La Larson de Musique. One of the choicest specimens of the master. Formerly in the Saceghem Collection at Ghent." Descamps, II. 267, mentions the Comte de Vence's picture. 223 A Family Group (with Music by a Fountain) XIII Panel, 211x28 (54x71-1). Bethnal Green, 224, as "Family Portraits." Bought by Lord Hertford at the sale of Lord Northwick, London, Phillips, July-August 1859, No. 287, for £315, as " A Group of Family Portraits, very highly finished." This is Smith, Supplement, 10 : — Portraits of a Family of Distinction, consisting of a, gentleman, a lady, and their son and daughter ; represented on the terrace of a mansion, only the portico of which is introduced. The gentleman, habited in black silk, relieved with white sleeves and collar, is in the act of ascending a step of the portico, and at the same time turns his head to speak to the lady who is following him ; her dress consists of a black silk robe, relieved at the bosom with point lace, and an orange-coloured petticoat, bordered with silver ; her right hand, containing a fan, rests on her waist. A sculptured COQUBS— COROT 57 fountain adorns tte left [i.e., spectator's right] side, near whicli is a young lady in a white dress, sitting on part of the fountain, playing on a guitar ; the gentleman is behind her with a similar instrument, bending to hand the lady a piece of music. A greyhound in a playful attitude and another dog are introduced. This admirable production possesses all the taste and style of the finest works of Van Dyck. 1 ft. 94 in. by 2 ft. 4 in. Panel. Sold by Messrs. Smith to the Right Hon. Lord Northwick in 1841. CORXTEILLE DE I.TON French School. A native of The Hague but domiciled at Lyons at least in 1536; " Painter to the Dauphin," 1541 ; naturalised 1547, and " Painter to the King " (Henri II). A passage in Brantome describes the portraits which he painted of the Queen Mother, Catherine de Medicis, and her family. His portraits are to be found in the Galleries of Versailles and the Louvi-e, and in not a few private collections both in France and in the United Kingdom. They have only in recent years been distinguished from those of the Clouet School. Further study will probably reveal a group of painters who are at present included under this provisional desig- nation. A portrait by him is in the Salting Bequest at the National Gallery. 532 Portrait of a French Nobleman Gallery III Panel, 8| x 5| (20-9 x 13-6). Inscribed below : M. LB CoMTB DB Hertford; this is apparently an addition. Bethnal Green, 12, as " The Earl of Hertford, by Francois Clouet called Janet." 532 This must be No. 11 in the sale of the William Beckford (Fonthill Abbey) Collection at Christie's, 18 September 1822, described as: — A small portrait by Holbein, on a green ground, of Le Comte d' Hertford, afterwards the Protector, Duke of Somerset. Waagen, Supplement, p. 83, 1857, mentions this as one of the few genuine works of Francois Clouet. An inferior version is in the Louvre, with the false designation " Fran9ois I." Another was lent by M. George de Montbrison to the exhibition, " Les Primitifs Fran9ais," in 1904, as Jean de Bretagne, Due d'Btampes. The name of Bonnivet le Jeune has been put forward in connection with this panel, and M. Dimier (Les Arts, September 1905) groups it with the portrait of the Baron de Chateauneuf formerly in the possession of Mr. Charles Butler, and other works, as superior to the painting of Corneille. JEAN-BAPTISTE-CAMILLE COROT French School. Born in Paris, 20 July 1796 ; died there 22 February 1875. Pupil of Michallon and Victor Bertin. Corot went to Rome in 1826. His style combines a classic rhythm and 58 COROT— COURTOIS harmony, felicity in selection and generalisation, with profound and loving study of nature. Though for the sake of convenience classed with the " Barbizon School," he stands alone in modern French art, as Claude Lorrain does in the art of the seventeenth century. His charming little figure-pieces have recently won a wide appreciation, as well as the landscapes of the Italian period. 281 Macbeth and the Witches Gallery XV Canvas, 43 x 53 (109-2 x 134 '6). Signed in red in the left-hand bottom corner, and again in black in the right-hand bottom corner : Corot. Bethnal Green, 356, as "Macbeth and Banquo meeting the Witches." Salon, 1859, No. 689, and Exposition Universelle, 1867. 2«1 In the possession of Messrs. Durand Ruel, 1873 (D. C. Thomson, The Barhixdu School, p. 41). Etched by Laguillermie. Robaut, 1109. A sketch (Robaut, 121 2, 28 • 50 x S6j was given by Corot to Oudinot ; Macbeth is alone, unmounted, as originally, according to Oudinot, in the picture. JACQTTES COURTOIS (GIACOBXO COKTESE) CALLED IL BORGOGXOXE O.H LE BOURGUIGXOX French or Italian Scliool. Born at St. Hippolyte in Franche- Comte, 12 February 1621 ; died in Rome, 14 November 1675. Son of an obscure painter, Jean Courtois, he went to Milan at 15, and served for three yeais in the Spanish army, while still practising drawing among military scenes. Afterwards at Bologna he studied under Guido Rossi andAlbani; in Florence and Rome (1640) he underwent other influences, including those of Pieter van Laer f" Bamboccio") and Cerquozzi (" Michangehi delle Battaglie "). First and last he executed a number of religious works (he entered the Jesuit conimunity in 1657), but his fame depends on his battle pieces (Matthias dei Medici and the Doge Gagnolo were among his patrons), and most European galleries have samples of his spirited combats of cavalry (there are three in the Edinburgh Gallery). He also executed some battle pieces in etching. 769 The Buke of Parma dines on the Battlefield XI Drawing in sepia, pen and wash, 6 x 8| (15-3 x 20-6). Inscribed on the mount: Borgogncjne, and on the back : \_Peii\iiiere di Borgognone, per una stampa seolpita da lui con aqua forte, nell istoria di [Bella] Belgico — cioe, il Ditca di Parma il pranzare intrepidamentc sopra un tamhuro in I ] i tuW all' interna da lui ; also : Given me by COURTOIS— CRIVELLI 59 Mr. Pond. B. Houlditch. About 1747. The drawing also bears, to right, the collector's mark : T. H. (Thomas Hudson, the painter), and to left, R. H. (R,. Houlditch, whose mark is on a similar drawing by Jacques Courtois in the British Museum). Mr. Pond was probably Arthur Pond, the painter and engraver (1705-58). The drawing is a study for one of Courtois's illustrations to the Be Bello Belgico of the Jesuit Famianus Strada (Rome, 1640-47). At the siege of Oudenarde in 1587 the Dake (Alexander Parnese, governor of the Spanish Netherlands) was interrupted in his meal on a drum-head by a cannon ball which decapitated some of his staff and bespattered his table. He ordered a fresh cloth and victuals (Bk. V. of Decad II). THOMAS COUTURE French School. Born at Senlis in France in 1815; died in 1879. Pupil of Gros and Paul Delaroche. He won his first and greatest success with the well-known " Romains, de la Decadence," painted when he was thirty-two years of age, and now in the Louvre. He acquired considerable reputation as a teacher. 262 The Young Drummer Gallery XV Canvas, 10x7| (25-4xl9-9). Signed to right below: T. G. Bethnal Green, 566. A picture by Couture (145 x 112 c), " L'Enfant au Tambour," sold in Paris, 1857, was perhaps a larger version. 265 Timon of Athens Gallery XY Canvas, 7^x91 (18 '4x23 -5). Signed to left below: T. G. 1857. Bethnal Green, 532, as " Timon the Misanthrope." 288 Harlequin and Pierrot Gallery XV Canvas, 4| x 5| (11 "1 x 14'6). Signed, in upper right corner : T. G. Bethnal Green, 517, as " Masqueraders." 340 A Roman Feast Gallery XV Canvas, 14f x 17| (37-2 x 45-1). Signed to left: T. G. 1843.^ Bethnal Green, 493, as " Roman Luxury." This picture contains the first idea for the " Decadence des Romains," above mentioned. 370 The Duel after the Masked Ball Gallery XV Canvas, 9 x 12| (22 • 8 x 31 " 7). Inscribed in lower right corner : T. G. '57. Bethnal Green, 513, "Duel after the Masquerade." Doubtless the picture mentioned by Ch. Blanc : M. V. J., Paris, 1857, Une Affaire apres un Bal masque (24x32 c), 3,300 f. This picture, though different in composition, and representing an earlier moment in the drama, bears a striking resemblance to Gerome's more celebrated rendering of a similar subject, now at Chantilly. CARLO CRIVELLI Venetian School. Born in the Venetian territory about 1430 ; died after 1493. Crivelli issued, in all probability, from the school of Murano, but was in his earlier time, like so many of the Muranese, strongly influenced by that of Padua. He settled before 1468 at Ascoli, in the Marches of Ancona, and there spent the greater part of his life ; thus coming in contact with the Umbrian and Central Italian painters of his time. The latter half of the fifteenth century shows no art more intense in conviction than that of Crivelli or more brilliantly decorative after its peculiar fashion ; but also none more mannered and excessive in its mode of expres- sion. His earliest dated pictures are to be looked for in the 60 CRIVELLI— CUYP Marches of Ancona. The Brera G-allery at Milan and the National Gallery contain unsurpassed groups of altar-pieces and panels by him. 527 St. Roch Gallery III Panel, 17 x 4^ (43' 2 x 11 "3). This panel may have formed part of a triptych or polyptych. It is in the artist's finest style, and shows strong traces of Paduan influence, though the colour is deeper and more glowing than that of any artist issuing direct from the school of Squarcione. In the Poldi-Pezzoli Museum at Milan 527 is a panel, " St. Sebastian," of the same dimensions, which Dr. Gustavo Frizzoni believes to have formed part of the same altar- piece; but the treatment of the background, with its landscape distance, so difl^erent from the plain background of the St. Roch, affords evidence against the supposition. On the back are two seals : one bears the arms of the Barberini family (extinct in 1722) ; the other is fragmentary. AELBEBT CUYP Dutch School. Born in October 1620, at Dordrecht; buried there 15 November 1691. Pupil of his father Jacob Gerritsz Cuyp and strongly influenced by Jan van Goyen, as is conclusively proved by his earliest works. He lived and practised at Dordrecht, views of which picturesque town, all of them crowned with the thickset church-tower which asserts itself from every point of view, con- tinually reappear in his river scenes. Cuyp's masterly treatment of veiled sunlight and the golden glow of afternoon and evening is too well known from familiar examples to need new praise. He also painted horses and cattle, and on occasion still-life, interiors and portraits. The finest examples of his art are in England. 49 Shipping on the Maes a t Dordrecht Gallery XYI (Formerly " River Scene with Shipping ") Canvas, 38x58| (96-5 x 148-6). Signed on tender of ship in foreground : A. Cu/yp. Probably No. 54, Bethnal Green, as "River OUYP 61 Scene, Dort, Holland." Smith 25 and 175; the fuller description under 175 runs : — A view on the Biver Maes, with the church, and part of the tower of Dort seen on the left [i.e., spectator's right]. In front is a large passage boat, with her main and jib sails np, and eleven persons on board ; to the right [i.e., spectator's left] is a row-boat, full of figures ; and beyond it are a ship of war, and a coasting vessel lowering her sails ; other ships are in the distance. A fresh breeze agitates the water, and fills the sails. A gleam of sunshine bursts from a clouded sky. 3 ft. 3 in. by 4 ft. 11 in. Canvas. This picture, " in the collection of Baron Nagel, Hague, 1827, worth 600 guineas," Smith says corresponds with his 25, " sold in the collection of M. Vander L. V. Slingelandt, 1785, 1,300 florins (£117)," the width of which, however, he gives as 5 ft. 4 in. Our picture is De G-root, 639 ; he gives the following history : in the Slingeland collection, 1752 (Hoet, ii., 496) ; sale of L. van der Linden van Slingeland, Dordrecht, 22 August 1785, No. 84 (1,300 florins, 'Pouquet) ; in the Nagell van Ampsen collection, 1827 ; further sales : A. W. C. Baron Nagell van Ampsen, The Hague, 5 September 1851, No. 9 (9,000 florins, Etienne le Eoy) ; Theodore Patureau, Paris, 20 April 1857, No. 5 (26,000 f.), when it was bought by Lord Hertford. Described by Ch. Blanc. 51 The Avenue at Meerdervoort near Dordrecht (Formerly " Landscape with an Avenue ") G-allery XVII Canvas, 27^ x 38^- (69 • 8 x 97 • 8). Signed to right below : A. Cuyp, followed possibly by fct. Bethnal Green , 165, as " Avenue near Dort, Holland." Smith, 115, and Supplement 23; the fuller description, under 28, is as follows : — A view up an Alley of Trees, in the neighbourhood of Dort. The composition represents, on the right of the foreground [i.e. spectator's left], a gentleman, wearing a scarlet cloak, holding the reins of a cob pony and a black horse, apparently waiting for his companion, who is not visible ; near him are a light red cow, lying down, and another of a dark hue is descsnding a bank to enter the adjoining meadow, at the extremity of 62 CUYP whicli is a chateau, from whence a gentleman on horseback is coming, and is about to enter the avenue. On the opposite side the view opens over a canal to the Dort River, on the farther side of which is the town extending along its banks. Two men are angling in the canal. A fine evening effect. 2 ft. 4 in. by 3 ft. Sin. Canvas. [115] Collection of M. Sereville, 1811, 10,000 f. (£400). [Supplement, 23] Exhibited for private sale in the collection of the Duchesse de Berri, at Christie and Hanson's, 1834, price £800 ; no buyer appearing at that sum, it was put up at auction at Paris, 1837, and sold for 18,900 f. and 5 per cent. (£763). The measurements of 115 are given as 2 ft. 6 in. by 3 ffc. Mentioned by Ch. Blanc, ii. 425. De Groot, 168. Sales : P. de Smeth van Alphen, Amsterdam, 1 August 1810 (according to (DemidofE sale catalogue) ; Sereville. Paris, 21 January 1812 (10,000 f.) ; Duchesse de Berry^ Paris, 4 April 1837, No. 46, 18,900 f. Demidoff) ; previously offered for sale at Christie's, 1834, for £800 ; Demidoff of San Donato, Paris, 18 April 1868, No. 2, 140,000 f. (Mannheim for Lord Hertford). Exhibited, Old Masters, 1892, No. 53. A passage in the San Donato sale catalogue description runs : — Un petit chateau que Ton voit sur la gauche et qui, dit-on, etait I'habitation de Cuyp. 54 The Terry Boat on the Maes Gallery XVI (Formerly " River Scene, with Shipping and Figures ") Panel, 27| x 35 (69-8 x 88-9). Signed in lower right corner: A. Cuyp. Bethnal Green, 154, as "River Scene, with Shipping." Smith, 24, and Supplement 10 ; the latter description is as follows : — The FeiTy Boat. A view on the River Maes, represented under the appearance of moraing. On the left [i.e. spectator's right] is a portion of a jetty composed of piles, on which are a man and a woman, looking a( a row-boat containing nine persons which has just put off ; a fishing smack, carrymg a brown sail, lies alongside the pier. At some distance off, in the centre, is a feri-y-boat approaching the opposite shore, where persons with a waggon and horses are awaiting its arrival ; several small sailing vessels are seen in succession gliding over the water. The grey clouds of the mommg still veil a lai^e portion of the upper atmosphere, amidst which the vivid rays of the rising luminary are bursting, and flicker like gold along the surface of the npplmg element. This is a most beautiful work of the master. See No. 24, Vol. V. About 2 ft. 2 in by 3 ft 10 in Pane . [The measurements of 24 are given as 1 ft. lOi in. by 2 ft 4 in' Panel] Supp. 10 was the property of Sir Robert Priee,'Bart. [1842] and of^M vt^d? T V '^1 t"^7'/,^f ;'i.2^ '^ S^^^"^ ^' " - the collection of M. Vander L. V. Shngelandt, 1785, 850 florins (£76 10s ) " Mentioned by W. Biirger (Thoi-e), Tre.,or.s d'Art 'en Angleterre, 271. De Groot, 640. History: m the Slingeland Collection in 1752 CUYP 63 (Hoet, ii. 496) ; sale of L. Van der Linden van Slingeland, Dordrecht, 22 August 1785, No. 85 (850 florins, Beekman) ; in the col- lection of Sir Robert Price, Bart., 1837 (Smith). Sales : Sir Robert Price, London, 1854 (£510, Rutley) ; the Rev. P. Leicester, Christies, 18 May 1860, No. 150, as "The Ferry Boat" (£850 10s., Morrison). " Morrison " is doubtless a mistake for Mawson, since the picture was bought for Lord Hertford. On the back in chalk is " May 1860 " and the number " 150," and a receipted bill from Messrs. Christie, dated July 15, is in possession of the Trustees. Exhibited at the British Institution, 1837 ; at the Manchester Art Treasures Exhibition, 1857, by the Rev. F. Leicester, No. 721 ; at the British Institution, 1855, by the Rev. F. Leicester. On the back of the picture is pasted the following letter : — British Institution, 52, Pall Mall, Sir, Nov. 2nd, 1855. I am sorry I was not in when you called this morning. The two pictui'es by Teniers and Cuyp, which you kindly permitted to remain in the Gallery after the close of the Exhibition for the benefit of the Students in the School of Painting, will be ready to be returned any day after [rest missing'] . The Rev''. Frederick Leicester. There is also a printed notice, of 23 November 1855, stating that the picture had been numerously copied. At the Old Masters' Exhibition, 1872, No. 147, and 1895, No. 58. 138 River Scene with View of Dordrecht Gallery XVII Canvas, 391 x 53| (99 • 6 x 135 ■ 3). Bethnal Green, 68, as " Dort, Holland ; Man-of-War and Fishing Craft." Smith, 200, described as follows : — A View on a River, with the church and part of the city of Dort on the left [i.e. spectator's right]. On the same side and close to the front is a boat with five persons and sacks of goods in it ; and on the opposite side is a passage-boat with a great number of passengers on board, among whom may be noticed a man beating a drum to announce the departure of the vessel ; close alongside of this is a boat containing four men. Two vessels in full sail, and other small craft, are seen in the distance. The aspect exhibits early morning with a presage of a fine day. 3 ft. 4 in. by 4 ft. 5 in. Canvas. Now [1834] in the collection of the [third] Marquis of Hertford. Mentioned by Waagen, Supplement, p. 89. De Groot, 34, " The picture appears to have been somewhat overcleaned." This is probably the " View of Dordrecht " bought by the Earl of Yarmouth (afterwards third Marquis of Hertford), at the Dela- hante Sale, London, 1811, for £189 10.s. This is entered separately by De Groot under 1676. 172 Two Horsemen at a Tavern by a River Gallery XIV (Formerly " River Scene with Horsemen ") Panel, 15x21|- (38x53-9). Signed in lower left corner: A. Cuyp. Bethnal Green, 241, as " Horsemen at a Tavern." Title on the back : " Halte de Cavaliers," and seal, as on Coques, 162, probably that of Van Saceghem. Smith, 211, thus described : — Two gentlemen halting at a House, only a small part of which is seen. One of them, wearing a scarlet coat, a black belt, and a hat and feathers, is seen in a hinder position, mounted on a bay horse, while his companion stands on the farther side of his steed, which is held by a boy. A dog, a cock, and three hens are in the group. A river flows through the middle distance, on the farther bank of which is a town. Etched by S. Ireland. The engraver did the print after a pictui-e in his own possession {size. 1 ft. 8 in. by 1 ft. 8 in.). 1 ft. 6 in. by 1 ft. 11 in. Panel. Collection of M. Van Sasseghem, at Ghent. 64 CUYP De Groot, 512. Sale : Van Saceghem of Ghent, Brussels, 2 June 1851, No. 16 (7700 f.), Pe la Neuville for Lord Hertford. 180 Cattle on a River Bank (Formerly " Cattle ") Gallery XIV Panel, 13| x 20f (33-9 x 52-3). Signed to right : A. C. Bethnal Green, 231. De Groot, 207. Mentioned by De Groot, HoUandsche Kunst in Engelsche Verzamelingen. Etched by P. J. Avendzen. But probably also Smith, 16 (companion to 17, our No. 228), De Groot, 246 : and Smith, 99, De Groot, 247 (description and measure- ments slightly differ, but the second sale appears in both cases) : — A Landscape, represented under tlie aspect of a fine evening. On a verdant liill near the banks of a river are three oxen, two of them lying down and the third standing. High hills occupy the middle ground, and a tower, surrounded hy trees, is seen in the distance. Panel, 134 X 21 in. Sales : J. van der Linden van Slingeland, Dordrecht, 22 August 1785, No. 75, 401 florins (£36), Beekman : P. de Smeth van Alphen, Amsterdam, 1 August 1810, No. 20, 1,005 florins (£90), Spaan: L. B. Oockzers, Amsterdam, 7 August 1811, No. 10, 899 florins. Boos. 228 Halting at an Inn Gallery XIII Panel, 14|x22| (37-7x58). Signed in foreground: A. Cuyp. No. 203, " Watering Horses," at Bethnal Green. De Groot, 513. Bought by Lord Hertford at the Casimir Perier sale, London, 5 May 1848, No. 3, for £194 5s., as " Cavaliers watering horses at the door of a country inn," with note " M. Brard's Collection." In spite of some discrepancy in measurements, therefore, our picture is probably Smith, 17, and De Groot, 526 :— _ _ A Halt of Cavaliers. The composition consists of three horses and three cavaliers : one of the latter stands hy the side of a white horse while the animal drinks out of a pail ; a second holds the reins of a hay horse without a saddle ; and the remaining gentleman, mounted on a hrown steed, is quitting the entrance of a remise ; they are followed by two dogs. The opposite side exhibits a view of the distant country. Painted in the artist's finished manner. Panel, 134 X 21 in. Sales : J. van der Linden van Slingeland, Dordrecht, 22 August 1785, No. 76, 501 florins (£45). Beekman : Sebastian Brard, Paris, 23 April 1832, No. 73, 3,200 f. 232 Horses tied to a Tree Gallery XIII Panel, 17^ x 21i (44-4 x 53-9). Signed to left below : A. Cuyp. No. 228, " Group of Horses," at Bethnal Green. Smith, Suppt., 37 ; A G-rey and a Bay Horse standing together, with their bridles attached to a tree ; in the rear of them is a gentleman on a brown horse ; the whole are on the sandy foreground of a landscape, representing a flat country divided by a stream. 1 ft. 6 in. by 1 ft. 94 in. Panel. In the collection of Mons. Van der Schrieck, Louvain [1842]. De Groot, 552. Sale : D. van den Schrieck of Louvain, Brussels, 8th April 1861, No. 13 (6,100 f.), bought by Richard Wallace [? for Lord Hertford]. Title on the back : " Halte de Cavaliers — cheval gris selle." A signed drawing of this group is in the Albertina, Vienna ; the group recurs in another picture. 250 Boy holding a Horse Panel, 15^x12 (38-7 x 30-4). Signed to left: A. Cuyp. Bethnal Green, 250, "About to Mount." De Groot 553, corre- sponding with De Groot 542, the horizon and the figure on the right alone varying. Both pictures are genuine; 542 is also signed, 14 X 12| in., on panel ; mentioned by Waagen, Supplement 455 ; exhibited. Old Masters, 1878, No. 268 ; was in sale of Lord Dunmore, London, 1870, but bought in; in collection of Lord PowersoourL, 1878 ; in hands of Sedelmeyer, 1901, and in his " Catalogue of 100 Paintings," 1897, No. 3, " now in America " ; but probably No. 2548 at the National Gallery in the Salting Bequest. Our picture is mentioned by Waagen, ii., 160, and is probably identical with a CUYP— DECAMPS 65 picture numbered separately by De Grroot, viz., 584. This was in the sale of Baron de Varange, Paris, 26 May 1852, No. 7 : — Jeune garcjon tenant la hride d'lm cheral ; son maitre a quelqiie distance ; pres d'eux un chieu. Cabinet de Leick, a Londres. Bois, 39 x 31, 3,999 f., Lamme (B.A.A.) De G-root adds the sale of H. de Kat, Paris, 2 May 1866, No. 18 (3,900 f.). " Leick " was doubtless Edward Lake, at whose sale, Christie's, il July 1845, No. 43 (which is De Groot, 579), was : — A landscape, with a dappled grey horse and figures. In the foreground, and ander the bank of a mountainous scene, stands a dappled grey horse, saddled and bridled, and held by a boy ; to the left is a cavalier, who has dismounted ; and more in front sits a fine dog. Painted in the best time of the master, and of the choicest quality. Signed " A. Ouyp." 1 ft. 3^ in. by 1 ft. P. Bought by Nieuwenhuys. £100 16s. 253 Horsemen in a Landscape Gallery XIII Panel, 131x11(33-6 X 27-8). Signed to leit : A. Cuyp. No. 239, " Showing the Way," Bethnal G-reen. Smith, 204, "A Landscape, with three [sic] horses and their riders in the foreground." Smith calls this "the companion" of his 205 (our 255), "A Landscape, with a peasant attending sheep. 1ft. 1 in. x 10 in. (about). Panel. Collection of the [third] Marquis of Hertford [1834]." Mentioned by Waagen, ii., 160. De Groot, 489. 255 A Shepherd with his Flock Gallery XIII Panel, 13ixll| (33-6 x 28-2). Signed to right: A. Cuyp. No. 233, " Landscape with Sheep," Bethnal Green. Smith 205 (see under No. 253). In the collection of the third Marquis of Hertford, 1834. Mentioned by Waagen, ii., 160. De Groot, 208. ALEXAITBRE-GABKIEL DECAIKEFS French School. Born in Paris 3 March 1803 ; died at Fontaine 22 August 1860. Pupil of Abel de Pujol. He travelled in the South of France and Italy, and subsequently in the Bast, and was among the most renowned of the French Oriental painters. The collection of works by Decamps in the Wallace Collection is equalled only by those at Chantilly and in the Louvre. jSfote — The references below are to A. Moreau, Decamps et son CEuvre, 1869. 259 Arahs Reposing Gallery XV Canvas, 12|xl7|(31 •7x45-4). Signed to left : D. C. Bethnal Green, 487, as '" Arabs Resting." This must be Paysage de Syrie, 31x42; sales: 28 May 1852, Collot, 2,025 f. to G-aillard pere; 23 Feb. 1867, Gaillard pere, 20,000 f., to Lord Hertford (Moreau). 261 The Finding of Moses Gallery XV Canvas, 11^x171 (28-5x45-4). Inscribed on foreground; DECAMPS, 1837. Bethnal Green, 556. Salon of 1837 : Exposition Universelle, 1855, as Mo'ise sauvii des eaux. Sale : Joseph Fau, 16 March 1861, Moise et la fille de Fharaon, 29x46, 8,900 f., to Lord Hertford (Moreau). Mireur gives.: Moise sauve des eaux (9,400 f.), 2nd Decamps sale, 1861. 263 A Well in the East Gallery XV Canvas, llfx 16 (30x40-7). Inscribed on well-head to left: DECAMPS 47. Bethnal Green, 561. u 10931 ^' 66 DECAMPS 267 The Villa Doria-Panfili at Kome Gallery XV Canvas, 12|xl5| (32x40-3). Signed in red on foreground: DECAMPS. Bethnal Green, 562, as " Castel Fusano, 1»72, as " Villa Doria-Panfili," 1874. Salon of 1839, as Suuvenir d ime Villa (Villa Panfili). It belonged originally to M. Tedesco. Bought by Lord Hertford at the Thevenin sale, Paris, 27 Jan. 1851, for ,-5,600 f. (Moreau). 269 The Bookworm Gallery XV Canvas, 8| x 10 (21 •5x25-4). Signed on basket to left: DECAMPS 1856. Bethnal Green, 545, as " The Philosopher." Probably Philosophe dans son Cabinet, 22x28 (Moreau); bought by Lord Hertford at Collot sale, Paris, 28 May 1858, 9,000 f. 292 The Roman Campagna Gallery XV Panel, 9f x 15| (24-5x40). Signed in lower left corner: Decamps. Bethnal Green, 531. The title is given on the back as "Pifferari et Campagna de Rome." In Premiere Vente Decamps, 21-23 April 1853, No. 8, Pifferaro, 28 x 40; thus described :— Detout dans la campagne il a pres de lui un chien blanc ; a sa gauche un jeune gar^on assis a terra ; fond de montagnes. Signe a gauche en toutes lettres. Bought by Lord Hertford for 4,500 f. (Moreau). 294 The Miraculous Draught of Fishes Gallery XV Canvas, 10|xl8 (26-3x45-6). Signed in lower left corner: / . C. Bethnal Green, 495. At Exposition Universelle, 1855. Sales : Premiere Vente, Decamps, 1853, La Peche Miraculeuse, ebauche, 4,000 f. — Fau; Joseph Fau, 16 March 1861, La Peche Miraculeuse (27 x 46), 8,320 f ., bought by Lord Hertford (Moreau). 296 Joseph Sold by his Brethren Gallery XV Canvas, ll|xl6 (30x40-5). Inscribed to right below: Decamps 1838. Bethnal Green, 552, title corrected in text in 1874 from " Arabs Halting at a Well," which remains in index. Bought by Lord Hertford at the Dubois sale, 22 Feb. 1843, for 3,150 f. (Moreau). This is a reduction of Joseph vendu par ses freres, 94x129, in the Salon of 1839, which appears in the following sales: Duchesse d'Orleans, Paris, 18-20 January, 1853, No. 15, 37,000 f. (B.A.A.) ; Veron, 1858, 34,000 f., bought by Baron Selliere (Moreau) ; Secretan, 1889, 40,500 f . (Mireur). 302 Asses at Boulac (Anes d'Orient) Gallery XV Canvas, 16ix26| (41-9x67). Inscribed to right below: DECAMPS 1833. Bethnal Green, 555, as "Mules at Boulac." This is Anes d'Orient, signed and dated 1833 on the base of DECAMPS 67 column, at Exposition Universelle, 1855, belonging to Mme. Paturle. (Moreau). Anes cm repos : scene d' Orient, Paturle sale, 1872, 51,500 f. (Mireur); bought by Lord Hertford (Yriarte). Exhibited, Old Masters, 1896. 304 A Janissary (Un Janissaire) Gallery XV (Formerly " An Arab Soldier," catalogued as by J. L. Gerome) Canvas, 9^x7^ (23-5 x 18-4). This picture has been hitherto catalogued as An Arab Soldier by J. L. Gerome. There are only two pictures by Gerome in the Inventory of the Collection, and the catalogue of Bethnal Green, 301 and 306 ; but a picture by Decamps with the title " A Guard of the Seraglio " appears both in the Inventory and at Bethnal Green, 550, 1874 catalogue ; in 1872 its title was " Armed for an Expedition." Moreover on the back of No. 304 the name " Decamps " is written in ink, and the drawing and " fat " painting are more in accordance with his manner than with that of Gerome. The mistake doubtless arose by confusion of this title with Gerome's Guard of the Harem, No. 306. The above reasoning is confirmed by the following particulars in Moreau's Decamps et son (Euvre. (In Janissaire, exhibited in the Salon of 1823, 24 X 24, was in the following sales : Anonymous, 25 Dec. 1855, 1,925 f . ; Comte de Pourtales, 27 March 1865, as Soldat attache a la garde d'un Vizir, 8,000 f., bought by Lord Hertford. It was litho- graphed as Janissaire, Moreaa, No. 61, who gives the following description : — II est debout, un fusil en bandouliere, le sabre a la main ; pres de lui un casque et des armes poses sur uncofEre. Onaperi^oitaufond, parl'ouverture d'une porte, deux autres personnages qui sortent d'un jardin. En bas, a gauche : Decamps pmx. — Revue des Peintres. 305 The Watering-Place (Cavaliers tnrcs a I'Abreuvoir) XV Canvas, 30| x 45| (77-8 x 115-5). Signed on trough: DE- CAMPS. Bethnal Green, 337, as "A Troop Watering their Horses." Exhibited in the Salon of 1833 as Sujet turc : Cavaliers a I'Abreuvoir, 80x114. Lithographed in Revue des Peintres. Bought by Lord Hertford at the sale of M. d'Harcourt, Paris, 22 March 1851, for 5,800 f., as La Halte au Desert, ou Cavaliers turcs a I'Abreuvoir (Moreau). Exhibited, Old Masters, 1896. 307 The Turkish Patrol (La Patronille turque) Gallery XV (Formerly " The Night Watch (' La Eonde de Nuit ')•") Canvas, 44^x70 (113x177-7). Signed to right below: Decamps. Bethnal Green, 357, as " Patrol at Smyrna." This picture was in the Salon of 1831, with others, under the number 485, with the following title : Gadji-Bey, chef de la police de Smyrne, faisant sa ronde, ou La Patrouille turque. Signed in full on a step to the right. Lithographed by Decamps in L' Artiste as Une Patrou- ille a Smyrne. It belonged first to M. Abel Forme, but was in 1868 in the collection of Lord Hertford. A reminiscence of this picture, 75 x 93, was, on 9 March 1861, in the Wertheimberg sale, bought by Goldschmidt; in 1868 in possession of M. Boquet. (Moreau.) Mireur gives: 2 Vente Decamps, 1861, No. 39, La Patrouille twque, 25,000 f . 318 Eastern Women at a Well. Gallery XV Canvas (oval), 13j x 16| (33-6x42). Inscribed on well-head to right: Decamps 51. Bethnal Green, 482, as "Well in Syria." This is Femmes turques a la Fontaine, 32 x 42, oval, signed and E 2 68 DECAMPS dated "51," in the following sales: Bonnet, Paris, 18 Feb. 1853, 2,600 f.; 26 Api-il 1854, 2,125 f., bought by Lord Hertford (Moreau). 345 The Punishment of the Hooks (Le Supplies des Crochets) Gallery XV Canvas, 35| x 53 (89-7 x 134 •5). Inscribed on foreground to left : DECAMPS 1837. Bethnal Green, 328, as " An Execution in the East." Exhibited in the Salon of 1839 as Le Sttpplice des Crochets. Moreau gives the measurements as 115x170, and states that the picture had belonged to M. Stephens, but was in 1868 in the collection of Lord Hertford. At Manchester Art Treasures Exhibition, 1857, No. 43, as " Exterior." Mentioned by Waagen, Supplement, p. 85, as " a crowd of Arabian Horsemen and Pedes- trians, &c." 350 The Witches in Macbeth (Les Sorcidres) Gallery XV Canvas, ll|x lof (29"1 x39'9). Signed in lower right corner : DECAMPS. Bethnal Green, 52, as "The Witches' Cauldron." Sale : Paul Perier, Paris, 19 Dec. 1846, No. 3, as Les Sorcieres, 29 X 39, 2,455 f ., bought by Lord Hertford (Moreau) ; 3,000 f . (B.A.A.) 353 The Anchorage of Smsrrna (Iia Kade de Smyrne) XV Canvas, 17x261 (43-2 x 66-3). Signed on the sail of a boat: D.C. Bethnal Green, 498, as "Turkish Fortress, Smyrna." Sales : ■Joseph Fau, Paris, 7-8 January 1850, as La Bade de Smyrne, 45x65, 1,105 f.; Veron, Paris, 17 March 1858, L'Avant-rade de Smyrne, 11,200 f., bought by Lord Hertford (Moreau). A "reminiscence" of the picture, 35x55, was sold in Paris, 17 Feb. 18-59, to Baron T. (Moreau) ; perhaps the same picture as Mireur gives : Vente X, Paris, 11 mai 1892, La Bade de Smyrne (3,100 f.). 649 The Favourite of the Pasha Water-colour, 12^x10 (31 •1x25-2). Signed on the end of the divan: DECAMPS. This may have been Bethnal Green, 655, " Interior of a Harem " ; but see under No. 657. This is probably the water-colour described by Moreau as Interieur de Serail, 30 X 25, in the following sales : Comte de H., Paris, 27 March 1834, 520 f. ; Lord Henry Seymoor, Paris, 13-14 Feb. 1860, 1,480 f., bought by Lord Hertford. In the sale of L. Brown, Paris, 12- 17 May 1839, No. 21 was :— Une odalisque avec formes gracieuses et deJioates, etendue aux pieds de son maitre, lui prodigue des caresses. L'air froid et impassible de rSgyptien basane fait ressortir toute sa volupte et la grace qui regne dans la pose amoureuse de la femme. De riches etofEes d'une couleur brillante, DBC/LMPS 69 des tapis et acoessoires bien etales encadrent cette charmaiLte composition qui est la plus belle que nous avons vue de oet habile artiste (B.A.A.) At the San Donato sale, Paris, 1863, was Seigneur turc et sa favorite, 3,650 f. (Mireur). 655 Children Gathering Flowers Water-colour, lOf x 8|(26 ■ 3 x 20 • 6). Inscribed in lower right corner : DECAMPS 44. Probably Bethnal Green, 693, '" Summer Sports," in 1874 catalogue, and " Dessin de Decamps, petits enfants dans un champ " in an account of Lord Hertford's, 682 f . 50, 28 Jan. 1845. [657 See under BONINGTON, E. P.] 660 An Albanian Sentinel Water-colour, ll|x9i (28-3 x 23-3). Signed on the gun-car- riage to the left : Decamps. Title on old mount, " The Sentinel." This is the water-colour entitled by Moreau Gannonier Turc, 29 X 25. Sale : Webb, 9 March 1835, 220 f. In 1868 in the collection of Lord Hertford. 666 An Algerian Woman Water-colour, 17| x 14 (44-3 x 35-5). Signed on the steps: Decamps. Title on old mount, "Amusement in the Hareem." This is the water -ci^lour described by Moreaa as Odalisque, 43 x 36, exciting a parrot against a monkey. Sales: Dubois, 27 January 1840, 601 f. ; Prince Demidoff di San Donato, 13 January 1863, 1,420 f., bought by Lord Hertford. 670 The Beading of a Firman (Formerly " A Court of Justice in Turkey.") Water-colour, 111x171 (29 '3x43 -8). Signed on table to right : Decamps. Bethnal Green, 664, under former title. In the Salon of 1834 as Lecture d'un Firman chez I'Aga cl'une Bourgade, aquarelle, 30 x 45. It belonged to M. Abel Forme, was in the Pallard de B. sale, 18 Jane 1834 (475 f.), and was bought by Lord Hertford at the Paul Perier sale, 19 Dec. 1846, for 3,120 f .' (Moreau). 677 On the Hoof of an Oriental House (Famille albanese) Water-colour, 8| x 9 (22-1x22 •7). Inscribed in lower left corner : Decamps, 1830. Title on old mount, " Oriental Group." Bethnal Green, 680&, 1874 catalogue, as " Oriental Group." This, from Moreau's description, is Famille Albanese, a,qiia,relle, 2Sx2i. Sale: Yente J., Paris, 29 April 1857, 900 f.', bought l)y Lord Hertford. 682 Crossing the River (Cavalerie turqne traversant un Gue) Water-colour, 12|xl8| (31-5x46). Signed in lower right corner : DECAMPS. Bethnal Green, 672, as '' Fording a Stream." This is " Cavalerie turque traversant un gue, aquarelle, 30x46, signe en toutes lettres." Sale : Lord Henry Seymour, Paris, 13-14 Feb. 1860, 16,900 f., bought by Lord Hertford (Moreau). 692 Out of School (La Sortie de I'Ecole turque) Water-colour, 22| x 31f (58 x 79 - 7). Inscribed on wall to left : DECAMPS 1841. Bethnal Green, 678, as " Let out from School, Egypt." This was La Sortie de I'Ecole (Turquie d'Asie), aquarelle, 57 X 78, in the Salon of 1842. Sales : Paul Perier, Paris, 19 Decem- 70 DECAMPS ber 1846, No. 49, 7,500 f. ; Comtesse Le Hon, Paris, 2 April, 1861 (57 X 78), 34,000 f., bought by Lord Hertford (Moreau). (In the same sale was a water-colour " Le Marquis d'Hertford," by Decamps.) A larger version in oils is now in the Moreau Nelaton Collection (Musee des Arts DIcoratifs, Louvre). It was bought by M. Moreau at the Decamps sale in 1853 (8,120 f.). The first idea (sepia, touched with colour, probably the sketch now at Bayonne) was at a sale in Paris, 1865 (940 f .). " L'Bcole turque," a different picture by Decamps is at Chantilly, No. 478, from the Thevenin sale, 1851. 699 Albanians Water-colour, 10x7| (25-3 X 19-1). Signed in lower right corner : Decamps. Title on old mount, " Sentinels in the Bast." This is the water-colour described by Moreau : Soldats, 26 x 20. Sale : Pallard de B., 17 June ] 834, 200 f . In the collection of Lord Hertford before 1868. 706 Arabs Fording a River (Le Passage du Gu^) Pastel, 19x33 (48x83' 5). Inscribed in lower left corner: Decamps 45. Bethnal Green, 668, as " Arabs Fording a Stream." A " drawing touched with colour " of this title was at the Veron sale, Paris, 1858 (15,600 f.). This must be Gavalerie .asiatique traversant un gue, pastel, in the Salon of 1850, thus described : " Des Arnauts guident et maintiennent le cheval du Seraskier sur le gue." It belonged to the Marquis Maison, and to the Due d'Aumale in 1868 (Moreau). A later version in oils, with different illumina- tion, was completed in 1853, and is now in the Moreau Nelaton Collection of the Louvre. 717 Cart Horses Water-colour, 8|xl2| (21 •3x30-7). Inscribed in shadow under pent-roof : Decamps 1830. Bethnal (5-reen, 1874 catalogue, 686. Ghevaux de Halage (Moreau), bought by Lord Hertford at the Le Hon sale, 2 April 1861, for 2,200 f. 722 The Watering- Place Water-colour, 9|xll| (24-2 x 29-1). Signed in lower right corner : DECamps. Title on old mount, " A Well in the East." Bethnal (Jreen, 1874 catalogue, 687, as "A Well in the Bast." This must be L'Abreuvoir, water colour, 25 x 30, in sale 7 March 1842, 295 f. ; in collection of Lord Hertford, 1868 (Moreau). The following works by Decamps, no longer in the Collection, are enumerated by Moreau as belonging to Lord Hertford in 1868 : — La Halte dans le Desert, aquarelle, 21 x 28, sale of Joseph Fau, 7-8 January 1850, 500 f., bought by Lord Hertford (No. 680c at Bethnal Green, No. 20 in Murray Scott sale, 8| x Ufin.); Des Baigneuses, water-colour, 26 x 39, ex coll. Abel Forme (Bethnal Green, 661 ; sale of Sir John Murray Scott, Christie's, 27 June 1913, No. 17) ; Constantinople — Interieur de Pare, 33 x 46, ex coll. Van Isaker, 1852, Gaillard pere, 1867, 5,050 f . ; Turc fumant son chibouque, 22 x 28, ex coll. Baron Michel, 1854, and Mme. 0. D., 1861, 5,600 f. (No. 59 in Murray Scott sale). The following were in the Eichard_ Wallace sale, 1857 -.—La marguerite effeuillee, pastel ; Fumeur d'Opium; Les Muletiers, water-colour. In addition to The Bathers, already mentioned, the following water-colours were at Bethnal Green, but are no longer in the collection : — The Astronomer, 638 (No. 22 in Murray Scott sale); M. le Cure at dinner, 640 (1874) ; Combat of Greeks and Turks, 677 (possibly 19, Banditti, in Murray Scott sale) ; Burning of a Greek Village, 679 (No. 18 in Murray Scott sale). DELACROIX 71 FERDINAND-VICTOR-EUGENE DELACROIX Frencli School. Born at Charenton-Saint-Maurice 26 April 1798 ; died at Paris in 1863. Pupil of Guerin, of whose artificial style he soon became intolerant. Making a great success at the Salon, first with " La Barque de Dante," in 1822, then with the " Massacre de Scio," in 1824, he came to be regarded as leader of the Romantic painters, whose aim was the substitution of colour, life and poetry for the frigid Grasco-Roman classicality of David's school. Ingres, who sought above all to revive the traditions of Raphael and the Ginquecento, and to express classicality of a truer and more suave type than that of David and his school, was the great rival and detractor of the Romantic painter. His dictum, levelled against Delacroix and his followers, " Le dessin c'est la probite de I'art," is famous. Both of these great painters may now be admired in their strongly contrasting qualities, and both may be accepted as among the most commanding and individual masters of the nineteenth century. Delacroix executed ceiling and wall paintings in the Galerie d'Apollon at the Louvre, the Salon du Roi of the Palais Bourbon, the Library of the Luxembourg, and the Church of Saint- Sulpice in Paris. He also lithographed subjects from Shakespeare's " Hamlet " and Goethe's " Faust." 282 The Execution of the Doge Mariuo Ealiero Gallery XV Canvas, 56| x 441 (144 • 5 x 112 ■ 6). Inscribed : Pax tibt Marce EVAXGELISTA Mbus. Signed in the lower left corner : Eiig Delacroix P''- Painted in 1826. Exhibited at the Salon of 1827, No. 294, as Le Doge 3£arino Faliero decapite. In Exposition Uni- verselle, 1855, No. 292. Bethnal Green, 371, as " The Death of Marino Faliero, Doge of Venice, A.D. 1355 ; a sketch." Exhibited, Old Masters, 1896. Bought by Lord Hertford from M. Isaac Pereire (in 1868, for £4,000, according to Mr. Spielmann). Delacroix had difficulty in disposing of this picture. He sold it for 1,800 f. and bought it back for 3,000 f . He brought it to London in 1855 without result, and in 1856 sold it to M. Bouruet-Aubertot for 12,000 f . The 72 DELACROIX— DBLAROCHE picture was a great favourite with its author. M. Lassalle Bordes, in a note communicated to Burty, says : — Je voulais savoir quel etait celui de ses tableaux auquel il donnait la preference. II me repondit que celui pour lequel il avait toujours un petit faible etait la Decapitation du doge Marino Paliero a I'Escalier des Geants. In his letters of candidature for the Academy he always cited it (Letter 21 to Soulie). After exhibiting it at the Salon he sent it to London. " Mon tableau de Marino Faliero est au British Gallery [i.e., British Institution, 1828, No. 102 : Delacroix' address was 8 Somerset Street, Manchester Square] et que les journaux anglais en ont fait des eloges magnifiques ! " (Letter to Soulie). A sketch for it on paper (161 Robaut) 35 x 27, fetched 420 f. in the Vente Villot, 11 Feb. 1865, and there were some studies for the heads in the posthumous sale of Delacroix. These details are taken from the work of Alfred Robaut, L'CEuvre complet de Etcgene Delacroix, 1885, in which our picture is No. 160, and the Catalogue of Adolphe Moreau, pp. 94, 168, 169. The picture has been etched by L. Flameng. Marino Faliero (1274-1355) became doge after a distinguished career as a soldier. An insult to his wife or one of her ladies by a patrician, and its merely nominal punishment by " The Forty," led him to conspire with the plebeians ; but the plot was discovered, and the doge executed. The scene is the Giants' Staircase of the Ducal Palace; the chief of the Council of Ten holds aloft the bloody sword of the executioner. The source for Delacroix was Byron's tragedy, written and published in 1820 and performed in 1821. 324 Faust and Mephistopheles Gallery XV Canvas, 17| X 14| (44'5x36-8). Signed in lower left corner: Eug Delacroix. Bethnal Green, 589. Exhibited in the Salon of 1827, as Mephisto apparaissajit a Faust, Robaut, 226, who gives the measurements as 48x40. Moreau, No. 1631. Delacroix painted this picture for M. Motte, the lithographic printer, who sold it to the painter Deveria. Mireur gives, under 1869 : Vente X, 23 Mars. — Apparition de Mephistopheles a Faust (48 x 49), 7,600 f. Motte published in 1828 the series of seventeen lithographs by Delacroix on the suliject of Faust above-mentioned. The subject of our picture is there rendered with a higher dramatic intensity. Goethe himself in the last years of his life expressed admiration for those lithographed designs. This piece is a good example of the influence of Bonington on Delacroix. HIPPOLYTE, CALLED PAUL DELAROCHE French School. Born in Paris 17 July 1797; died there, 4 November 1856. Pupil of Gros. He formed a style midway between the re-vitalised classicism and suave Italianism of Ingres and the fiery Romanticism of Delacroix. He exercised a disastrous influence upon modern art by introducing the stage-dramatic painting Avhich overran Europe, especially England and Germany. His chief work in monumental decoration is the " Hemicycle " at the Ecole des Beaux-Arts. The most important examples in England are ''Charles I. insulted by the Parliamentary Soldiers," at Bridge- water House, and " Stafford going to the Scaffold," at Stafford House. The National Gallery contains the "Execution of Lady Jane Grey." DELAROCHB 73 276 Edward V and the Duke of York in the Tower (Les Enfants d'Edouard) Canvas, 16|xl9f (42-2 x 50-1). Inscribed in lower right corner : Paul de la Roche 1831, and on bed : King Edivard V. Betlinal Green, 520. For 662, another version, see note at top of p. 76. Probably from the Mainnemare sale, Paris, 1843 — Les Enfants d'Edoitard, reduction, 14,500 f. (Mireur). Our picture is a reduced version of the canvas in tlie Louvre, 178 x 214. This was a commission from the Minister of Public Works and was finished and exhibited in the Salon, 1831. A group of the Princes in plaster was modelled in 1828. The composition was originally higher than it was broad, and 65 c. of canvas were stitched on at each side when the scheme was altered. It was engraved by H. Prudhomme, and lithographed by Leon Noel in L' Artiste of 1831. [L'GSiivre de Paul Delaroche, introduction by H. Delaborde, photo- graphs by Bingham, catalogue raisonne by Grodde, No. 14.) 286 The Virgin and Child (La Vierge au Lezard) Canvas, 57^ x 33f (145 -4x85 '7). Inscribed in lower left corner : Paul de la Roche Rome 1844. Bethnal Green, 365, as " The Bepose in Egypt." Lent by Lord Hertford to the Manchester Art Treasures Exhibition, 1857, as Mother and Child, No. 40. Waagen, 28f) Supplement, p. 85 : " A woman, with a child asleep on her lap. The background landscape. Full length figures, three-quarter life- size. Signed; dated ' Rome, 1844.' Whether the painter intended to depict Hagar and Ishmael, or some other biblical work, I know not, &c." COO Joan of Arc in Prison Canvas, 17^ x 14 (44-4 x 35-6). Inscribed to left below : De la Roche 1823. "Bethnal Green, 544. This has been erroneously supposed by Mr. Spielmann and Mr. A. G. Temple to be the original picture. In that the figures were life-size, and the picture Jeanne d'Arc, nialade, est interrogee dans sa -prison par le cardinal de Winchester, 376 x 218, signed Delaroche jeune, was painted in 1829 and exhibited in the Salon of that year. It belonged to the Duo de Padoue, and was engraved by S. W. Reynolds, and 74 DELA.ROCH.B lithograplied by Delaroche in L' Artiste et le PMlosophe, 1824. M. Mainnemare, who died in 1842, had a " painted sketch " given him by the painter (Godde, op. cit. No. 5). This is doubtless our No. 300 or else No. 604. 1843, Mainnemare, ie Cardinal Wiiichester inter- rogeant Jeanne d'Arc en prison, petite esquisse, 545 f. (Mireur). No. 300 cannot properly be described as a "sketch"; it is a careful reduction. 311 The Temptation of St. Anthony- Panel, 7fx6 (19-7 X 15-2). Bethnal Green, 523. Doubtless La Tentatiun de St. Antoine, le saint entoure de cinq jeunes femmes qui I'enlacent de leurs bras, leve les mains au ciel ; bois (20 X 16), sale of Comte de Pourtales, Paris, 27 March 1865, No. 251, 10,200 f. (B.A.A.) 314 Cardinal Mazarin's last Sickness Canvas, 22x38 (55-8 x 96-5). Inscribed in lower left corner: Paul De la Roche 1830. Bethnal Green, 483. The picture was at the Salon of 1831. The Comte de Pourtales-Gorgier gave 1,500 f. for it, and the same sum for No. 320, and refused to part with either for 40,000 f . Engraved by Fran9ois Girard ; aquatint by Gautier ; lithographic sketch by Eugene Lami in L' Artiste (Godde, op. cit. No. 12). At the sale of Comte de Pourtales, Paris, 27 March 1866, No. 249, thus described : — Le Cardinal Mazarin mourant, au milieu d'un cerole nombreux et brillaut de grands seigneurs et de dames de la cour, se fait montrer les cartes par une de ses nieces, qui les tient pour lui a une table de jeu placee pres de son lit. — Memoires de Brienne. (56x97). Sold, with. No. 320, for 80,200 f. (B.A.A.) A sketch, Le Cardinal Mazarin mourant, given to him by the painter, was sold for 165 f. at M. Mainnemare's sale, 1843. 320 The State Barge of Cardinal Richelieu on the Rhone. Canvas, 22 x 38|(55 ■ 8 x 96 ■ 8). Inscribed to left below : Paul De la Roche 1829. Bethnal Green, 489. Exhibited in the Salon of 1831. See under No. 314. At the sale of Comte de Pourtales, Paris, 27 March 1865, No. 248 ; thus described :— Le Cardinal de Richelieu, affaibli par la maladie qui le conduisit au tombeau, remonte le Rhone, de Tarascon a Lyon, trainant a sa suite Oinq- Mars et de Thou, qu'il veut conduire lui-meme a Lyon, pour les faire decapiter. — Voltaire, Essai sur les Mceurs. (56 x 97). Sold, with No. 314, for 80,200 f. (B.A.A.) Engraved as No. 314. Godde, No. 11. Exhibited, Old Masters, 1890. In the Louvre is a drawing of this subject. No. 2074, from the Coutan Collection, signed and dated 1826. 355 A BCother and Children (Les Joies d'une M^re) Panel (circular), 5 (12-8). Bethnal Green, 572. This is a sketch for, or reduced version of, a picture reproduced in Godde's catalogue. No. 36, Les Joies d'une Mere, 90 x 90. It was painted in 1843, commissioned by William II of Holland, bought by M. Pescatore at the King's sale [1850, U Amour maternel, 15,380 f. (Mireur)], and bequeathed by him to the Luxembourg. It was still in 1858 in possession of his widow. M. Labouchere had a study for the head of the mother, and a pencil study for the children belonged (1858) to M. d'Eichtal. Engraved by Alphonse Fran9ais. DELAROCHE 75 358 A Child learning to Bead Panel (circular), of (13 -6). Inscribed to right below: Paid de la Roche 1848. Bethnal Green, 579, as " An Idle Scholar : on panel. Known as La Jeunesse de Pic, de ilirandole." It appears under this last title in the Inventory of the Collection. This, however, results from a confusion with the picture of that name now in the Museum of Nantes (Gierke de Feltre gift). This is a different composition and shape, 105 x 77. The mother has the child on her knee. See reproduction in Godde's catalogue. No. 33. It belongs, hoAvever, to the same set of ideas and manner of the Italian time, and it is possible that " Une groupe d'etude, tire de ce tableau, lithographiee par Emile Lassalle, ou L' Education maternelle," may be our picture. L'Enfance de Pic ds Mirandole was painted in 1842 for le Comte Alphonse de Feltre. Another picture closely resem- bling No. 358 in style is Le Petit Mendiant (109, circular), painted in Rome in 1844 ; an Italian girl with two children. 596 The Saviour on the Steps of the Temple Panel (lunette),7| x 16| (18 x 41). Bethnal Green, 551, as " Our Saviour Preaching," with note : " This is a sketch for a wall paint- mg." It is wrongly described as " on carton." A seal on the back bears the words " Vente Paul Delaroche." The picture was, there- fore, at that sale in 1857 and might be No. 13, Le Christ Protecteur des Affliges, 7,400 f. (Mireur). But Godde identifies that work with his No. 78, Le Christ Espoir et Soutien des Affliges (panel, 2G'5 x 16). a different composition, which suits the title better. 604 Joan of Arc in Prison (vSmaller version) Canvas, 8j x 6| (20'9xl7"4). Signed in lower left corner: Paul De la Roche. Bethnal Green, 533, as " Joan of Arc in Prison : a sketch." This is possibly Le Cardinal Winchester interrogeant Jeanne d'Arc en prison : petite esquisse (545 f .) at the Mainnemare sale, Paris, 1843 (Mireur). But see under No. 300. This work is clearly a preliminary sketch for the picture. It is much broader in treatment, the cardinal is bearded, and there are numerous other variations in pose and detail. 735 The Alchemist Water-colour, 6 x 4f (15"2xl2). Signed: Paiol de la Roche. Bethnal Green, 1874 catalogue, 697. 738 Death of the Due de Guise Water-colour, 51 x 9| (13 • 9 x 23 ■ 8). Inscribed to left : P. de la Roche 1832. Bethnal Green, 1874 catalogue, 684a, as " The Murder of the Due de Guise : a sketch for the picture in oil." Doubtless the water-colour, L'assassinat du due de Cruise, San Donato sale, 1863, 6,200 f. (Mireur). The picture of this subject at Chantilly differs in many details. (Assassinat du due de Guise an chateau de Blois. Canvas, 565 x 955.) It was commissioned by the Due d'Orleans and painted in 1834 and exhibited in the salon of 1835. The history of the Yalois kings had at that time become a popular subject with painters. Delaroche had made a water-colour " some years before " that had been stolen (doubtless our water- colour, which is dated 1832). He had given up any idea of painting the picture, but one night the scene appeared afresh to him in a dream, and he set to work. He was paid 10,000 f. for the picture, which fetched 52,500 f. at the sale of the Duchesse d'Orleans in 1853, purchased by the Due d'Aumale. 76 DELAROCHE— DERBY The following water-colours by Delaroche were at Bethnal Green, but are no longer in the collection : — Tales of the Queen of Navarre, No. 642 ; Beading the Bible, No. 658 ; Young Princes in the Tower, No. 662. These were probably the following, in the sale of Sir John Murray Scott's Collection, Christie's, 27 June 1913 : 26, Scandal; 27, The Story Booh ; 25, The Princes in the Tower (8| x 10 in.). STEFHEir FOYNTZ DENNING English school. Born 1795, died at Dulwich College 1864. He was a pupil of John Wright, painted miniature and other portraits, exhibiting at the Royal Academy from 1814 to 1851, but chiefly copied the works of other artists. In 1821 he became curator of Dulwich College, and lived there till his death. The National Portrait Gallery has a water-colour sketch by him of James Hogg, the Ettrick Shepherd. After Thomas Sully 765 Queen Victoria in Robes of State Water-colour, 151 X llf (.38-4 x 29 -9). Bethnal Green, 615, as " Her Majesty the Queen ; reduced water-colour copy, after Thomas Sully." 'A copy of No. 564. See under SULLY (THOMAS.) This water-colour has hitherto been catalogued as by Sully himself. But it appears, from a catalogue of the sale of the Duke of Buckingham at Stowe (August 15th and following days, 1848), priced and annotated by H. R. Foster, to have been Lot A17 (page 163), Portrait of the Queen, in water-colours, after Sully (Denning). Redfern, £33 12.s. "This is a very beautiful water- colour after Sully's (the American artist) portrait of the Queen. It formerly hung in the' Shakspeare Closet. It is now added to the Marquis of Hertford's collection." WILLIAXX DERBY British School. Born at Birmingham 10 January 1786 ; died in London 1 January 1847. He first studied under J. Barber (who was chiefly a portrait and miniature painter), and came to London in 1806. He copied paintings in the Stafl'ord Gallery, and made drawings for " Lodge's- Portraits of Illustrious Personages." He also executed portraits of the house of Stanley from the reign of Henry VII. After Sir Thomas Lawrence and " William " Evans 709 The Duke of Wellington. Water-colour, 7 x 5^ (17 -ex 13-5). Bethnal Green, 622, en- tered as enamel })y Henry Bone, 1872; as water-colour by Derby, 1874. This is the water-colour made for Lodge's Historical Por- traits. The reproduction is inscribed : From the original by William Evans, Esq. Praini by Wm. Derby. Engraved by H. F. Ryall, June 1, 1834. The index gives: "Sir Thomas Lawrence. The Figure by Evans. Collection of Mr. Joseph Harding." This was probably Richard, not William, Evans, who aided Law- rence with draperies (died 1871). Bought by E. Bicknell at sale of George Knott, Christie's, 26 April 1845, No. ] , £15 15s., and by Wells for Lord Hertford at E. Bicknell sale, Christie's, 29 April 1863, No. 51, £25. After Sir Godfrey Kneller 713 Sarah Jennings, Duchess of Marlborough. Water-colour, 7x5f (17-6 x 13-7). Inscribed at the top: W. Derby 1823. Bethnal Green, 621, where it is entered as an enamel, DERBY— DIAZ 77 1872 ; as water-colour, 1874. This is also a water-colour made for Lodge's Historical Pnrtraits. On the reproduction is : From the original of Sir Peter Lelij /», the collectian of His Grace the Duke of Marlborough. Draicn hij Wm. Derby and engraved by S. Freeman, June 1, 1834 (op. cit., vol. iii.). The portrait is by Kneller, engraved also by Smith. Bought by Wells for Lord Hertford at B. Bicknell sale, Christie's, 29 April 1863, No. 571, £22 Is. After Sir Thomas Lawrence 725 The First Lady Lyndhurst Water-colour, 10| x 8f (27-5 x 22' 7). Bethnal Green, 608, as enamel by Henry Bone, 1872 ; as water-colour by Derby, 1874. Bought by Wells for Lord Hertford at B. Bicknell sale, Christie's, 29 April 1863, No. 66, £12 12s. ALEXANDRE-FKAITCOIS DESFOBTES French School. Born at Champigneul, in Champagne, 24 Feb- ruary 1661 ; died in Paris 20 April 1743. Pupil of an obscure Fleming, Nicasius. He first established himself at Warsaw, and painted Johann Sobieski, King of Poland, and his Court ; then returned to France and obtained the highest success at the Court of Louis XIV. He was received by the Acade'mie Eoyale de Peintiire on the 1st August 1699. He excelled chiefly in the rendering of domestic and wild animals, of landscape, fruit and flowers. He also practised as a portrait-painter, a fine example being his own portrait in shooting costume, painted for the Academie Royale as his morceau de reception, and now in the Louvre. 594 Dogs, Dead Game, and Fruit Gallery X Canvas, 50| x 63| (127 ■6x161). Inscribed in centre : Desportes, 1715. Bethnal Green, 354, as " Dead Game and Fruit." Bought for Lord Hertford at the Theodore Patureau Sale, Paris, 20, 21 April 1857, with No. 628, as Deux Sujets de Chasse, lots 65 and 66 (125 x 158) : together 10,700 f. (B.A.A.) A manuscript note in the sale catalogue adds, "payes 4,000 f. par Patureau." 628 Classic Buins, with Flowers and Dead Game Gallery XI Canvas, 50j x 63j (127'6x 160'6). Inscribed in upper right corner : Desportes. Bethnal Green, 359, as " Dead Game and Dog." For purchase, see under No. 594. DIAZ (NARCISSE-VIRGILE DIAZ DE LA PENA) French School. Born at Bordeaux in 1808; died in 1876. He was to a great extent self-taught, but influenced by Delacroix in figure painting and Theodore Rousseau in landscape. Diaz became a prominent member of the so-called Barbizon School of Landscape, and lived in close companionship and sympathy with ■Jean-Franfois Millet and Rousseau. Though he repeated himself somewhat too much in his Fontainebleau forest scenes, and is more superficial than Rousseau, he is at his best one of the most powerful and effective landscape painters of his time. 266 Venus disarming Cupid Gallery XV Panel, 7ix4| (18-5 x 10-5). Signed to right below: N. Diaz. Bethnal Green, 453, described as " A Sketch." U Amour de'sarme, No. 2, premiere vente Diaz, Paris, 1857, fetched 4,700 f. Ve'nus 78 DIAZ— DOLCI desarmant V Amour, sale of Richard Wallace, Paris, 1857, fetched 610 f. U Amour desarme (23x17), sale of J. Fau, Paris, 1861, fetched 325 f. Perhaps the first was a larger version. 268 The Education of Cupid Gallery XV Panel, 7j x 4| (18-5 x 10-8). Signed in lower right corner: N. Diaz. Bethnal Green, 461, as "Nymphs and Cupid; a Sketch." L' Education de V Amour, No. 4, premiere vente Diaz, Paris, 1857, fetched 3,500 f. A picture of the same title, sale of Richard Wallace, Paris, 1857, fetched 500 f. Perhaps tlie former was a larger version. A third sketch on panel, " Venus and Cupid," Bethnal Green, 441, is no longer in the Collection. 312 A Fountain at Constantinople Gallery XV Canvas, 10|xl6 (27 "4x40 -6). Signed in lower left corner: N. Diaz. Bethnal Green, 504. CHBISTIAN WILHELM EKNST DIETRICH German School. Born at Weimar 30 October 1712; died at Dresden 23 April 1774. Pupil of the landscape painter Alexander Thiele. He played a great part at Dresden ; became Court Painter, then Inspec1}or of the Gallery, Director of the Manufactory of Porcelain, and finally Professor at the Academy. He was chiefly remarkable for his imitations of Rembrandt and other old masters. By him is " The Itinerant Musicians," in the National Gallery. 153 The Circumcision Gallery XIV Canvas, 17j x 24| (43 "8 x 62 '2). This is the Ceremonie dans un temple Israelite (44x65), Paul Perier sale, Paris, 16-17 March 1843, No. 9 (1,861 f.); "from sale of Casimir Perier" (B.A.A.) CARLO DOLCI Florentine School of seventeenth century. Born in Florence 25 May 1616; died there 17 January 1686. Pupil of Jacopo Vignali. He painted with unfailing accomplishment in a smooth and self- conscious style, with a calculated sweetness and affectation of spirituality, and won great renown in his own and the succeeding century. His reputation has in modern times steadily declined. School of Carlo Dolci 562 Saint Catherine Gallery I (Formerly " A Saint Reading ") Canvas, 29|x41f (75-2 x 106-1). Bethnal Green, 254, as " Sacred Studies." Bought by Lord Hertford for 27,000 f. at the sale of Comte de Pourtal&s, Paris, March, 1865, No. 46 (B.A.A. ), thus described : — fSainte Catherine, vierge et martyre, assise sur una chaise ornee de broderies et de orepines d'or, est accoudee sur une table couverte d'lm tapis de couleur rouge, et parait absorbee dans la lecture d'nn livre place devant elle sur un coussin de velours bleu. La meme table supporte un autre volume et la couronne d'or qui rappelle I'origine royale de la sainte ; pres de cette demiei-e se voit la roue dentee qui fut Tinstrument de son martyre. La princesse est representee dans I'interieur d'un palais; son costume consiste en une robe de sole a reflets changeants doublee de jaune, et sa chevelure est ornee de perles. Collection du due de Praslin. Toile, T.'lxns (B.A.A.) DOMBOTCHINO 79 DOMENICO ZAMFIEIM, CALLED DOMENICHINO Bolognese School. Born at Bologna 21 October 1581 ; died at Naples 15 April 1641. Pupil first of Dionysius Calvert and after- wards of the Carracci. Domenichino counts as one of the chief painters of the Carracci group, among his most important works being " The Communion of St. Jerome," in the Pinacotheca of the Vatican ; " Diana and her Nymphs," in the Borghese Gallery ; and the decoration of the Cappella del Tesoro, in the Cathedral of Naples. During the execution of this last task he was persistently persecuted and threatened by the notorious triumvirate known as " The Cabal of Naples." He died there, not without suspicion of poison. 131 A Sibyl (SibyUa Persica) Gallery XVII Canvas, 29| x 26^ (74-5 x 66-6). Bethnal Green, 252, as " Woman in Eastern Costume," with note, see below. This picture 131 was in the Orleans Collection with seven other Domenichinos and is described in La Galerie du Palais-Royal, where it is engraved by Foscilleux : — Une Sibylle (Le Domininquin) : tableau peint svu- toile, hant de deux pieds quatre pouoes, large de deux pieds un pouce. Figure de grandeur naturelle. Ce tableau passa du cabinet de M. d'Hautefeuille dans celui du duo d'Orleans. II f ut porte a 400 guinees dans I'estimation qui servait de base a la vente des tableaux italiens du Palais-Royal exposes a Londres en 1798. Le comte de Temple en fit alors I'acquisition, et on le voit encore aujourd'hui a Stowe, chez ce seigneur, devenu due de Buckingham. It was No. 432, " Sibylla Persica, from the Orleans Gallery," in the catalogue of the Duke of Buckingham's collection in August, 1848, and was purchased by Mawson, for Lord Hertford, at 690 guineas. Lord Hertford, writing to Mawson from Boulogne, Sept. 10, 1848, says :— " I am also very anxious to have the Sybilla by Domenichino No. 432 as much for the frame as for the picture. So I hope you will purchase it for me. . . . The Rembrandt and the Domenichino are my favourites, and I depend upon you for doing the best." Again on Sept. 12 : — "I am very anxious to have the Domenichino Sybilla, with the frame, of ccm-se, so I hope you will secure her and it." The frame was replaced subsequently by the present one, which is quite ordinary. There is a record of this in 1859. 80 DOMBNICHINO— DOU The original is said to have been a fine piece of Venetian carving and to have come from the Doge's palace. Possibly it was adapted to the North Italian portrait, No. 541, which has a fine carved frame, dated 1543. A note in the Bethnal Green catalogue says that our picture resembles the " Cumsean Sibyl " of the painter in the Tribune at Florence. The picture is actually in the Borghese Gallery, Rome ; differs in type, adjustment, and colouring, and has a decorative architectural background ; but has a certain family resemblance to our Sibyl. Mentioned by "Waagen, ii. 155, 490, and Supplement, 80; i. 101, hyBnchLanajn, Memoirs of Painting. Reynolds, in his notes at Bologna in 1752 mentions, in the Palazzo Ratta, " A Sibyl by Domenichino. The very same figure as our St. Cecilia in the Borghese at Rome, only instead of music this has tablets." There is, or was, a version of our picture at Knole. GERARD (GERRIT) DOU Dutch School. Born at Leyden 7 April 1613; buried there 9 February 1675. Pupil of his father, the glass-painter, then of Bartholomeus Dolendo, and others ; afterwards the pupil and com- panion of the youthful Rembrandt (1628-1631). Dou is celebrated for the extraordinary finish of his execution, combined, nevertheless, in his finer work, with a certain vigour of accent which his pupils did not possess in the same degree. The school of which he was the acknowledged head included such painters as Frans van Mieris, Slingeland, Schalcken, De Pape, and Van Staveren. In 1901 Dr. W. Martin, of The Hague, published a detailed biography of this master with a catalogue raisonne of his works. In collections formed in the eighteenth century and in the earlier years of the nineteenth Gerard Dou is most copiously represented. It is in his small portraits, such as the very attractive one of himself in the National Gallery, and in the numerous studies and portraits of the father and mother of Rembrandt, that he attains to his highest level, though these are less prized by galleries and collectors than the elaborate genre-scenes, of which the " Femme Hydropique " in the Louvre is the most celebrated. 168 A Girl Watering Plants Gallery XIV Panel, 12x8 (30-5 x 20-4). This picture was formerly cata- logued as by Godfried Schalcken, and passed under that name at Bethnal Green, No. 121, as " Candlelight Effect." But it is a version of No. 1,712 in the Dresden Gallery Die Gdrtnerin — Nachtstiick, a signed work by Gerard Dou (Martin, 338). Bought by Williams for Lord Hertford at the sale of the Marquis de Montcalm, Christie's, 4-5 May 1349, No. 103, £52 lis.; " an exquisite work, worthy of G. Dou." De Groot, 209, under Schalcken. 170 A Hermit Gallery XIV Panel, rounded top, 12 x 9 (30-5 x 22-9). Signed on the bottom of a sort of basket supporting the book : G Dou (the G combined with D). No. 193 at Bethnal Green, as "A Monk reading by candle-light." Martin 310 and 312a; De Groot, 201. In the In- ventory of the Elector of Hesse-Cassel's Collection, Schloss Alstadt, 1783, No. 112; enclosed in a case furnished with doors painted with still-life groups (Decamps, II, 226, mentions it there in 1754). UErmite, bois (30x22), in the Paul Perier sale, Paris, 16-17 March 1843, No. 10 (9,000 f.), " from the Galerie de L'Elys6e Bourbon " (B.A.A.), was our picture, bought by Lord Hertford>^(de Ricci). DOU— DOWNMAN 81 It was No. 60 in the sale of the Elysee Bourbon (Duchesse de Berry's) Collection, Paris, 4 April 1837, as UErmiU en meditation, bois, cintre, 12x9 ponces; 8,250 f. (B.A.A.) The description 170 agrees. The De Berry picture is Smith, Supplement, 39, and De G-root, 24 d., which therefore appears to be identical with De Grnot 201. In this picture may be traced a faint echo of Kembrandt's art. It was on Gerard Dou's night-pieces of this kind that the art of Godfried Schalcken was based. 177 A Hermit at Prayer Gallery XIV Panel, ISfxlli (39-4x28-5). Bethnal Green, 125, as "St. Anthony in Prayer." Martin, 23 and 39; De Groot, 18. The chapter in the folio on the table begins : "am funften sont[ag]." Sales: P. 0. Hasselaer, Amsterdam, November 28, 1797, No. 1 (1,310 florins) ; Amsterdam, August 6, 1810, No. 27 (95 florins, Roelfsma). On the back is the number " 285 " in chalk, and a seal with the arms of Rausch von Traubenberg. In the Alte Pinakothek of Munich (No. 408) is a picture by Gerard Dou, which is as nearly as possible identical with this work in design and rendering. The subject is a favourite with Dou. JOHlf DOWNMAN A.R.A. British School. Born in 1750, probably at Ruabon, in North Wales ; died at Wrexham, in Denbighshire, 24 December 1824. He studied under Benjamin West, and in the Schools of the Royal Academy, of which he became an Associate in 1795. He practised successively at Cambridge, London, Plymouth, Exeter, Chester, and at Wrexham, where he died. Downman, although, like many of his contemporaries, he attempted subjects coming within the category of what was called " high art," is chiefly known by his skilful and charming portraits in crayons slightly heightened with colour, of the class to which the four examples in this collection belong. In these he shows something of the charm and distinction which mark the portraits of Sir Joshua Reynolds, by whose art he was, no doubt, greatly influenced. 751 Portrait of a Young Lady Gallery XI Tinted drawing, oval, 8J x 6| (21x16-5). Inscribed to left: / D. 1781. Bethnal Green, 1874 catalogue, 718 or 719, " Portrait of a Lady. Dated 1781." u 10931 F 82 DOWNMAN— DROST 752 Portrait of a Child Gallery XT Tinted drawing, oval, 8j x 6| (21x16-5). Inscribed to left: /. D. 1781. Bethnal Green, 1874, 717, "A Little Girl. Dated 1781." 753 Portrait of a Young Lady Gallery XI Tinted drawing, oval, 8^ x 6| (21x16-5). Inscribed to left: J. Downman : P-. 1783. Bethnal Green, 1874, 716, as " Female Portrait. Dated 1783." 754 Portrait of a Young Lady Gallery XI Tinted drawing, oval, 8^ x 6| (21x16-5). Inscribed to left: J. D. 1781. This appears to have been copied from the original signature, under the mount. Bethnal Green, 1874, 719 or 718, "Portrait of a Lady. Dated 1781." The drawings were originally executed to a rectangular shape, and afterwards mounted as ovals. No. 752 has been retouched in gouache, and the sky stippled, probably by a later hand. WILHEM DBOST Dutch School. Years of birth and death unknown. His name has till recently been wrongly given as Cornelis. Pupil of Rembrandt towards the year 1638. Later on he is said to have visited Italy, and to have had close artistic relations at Rome with Jan van der Meer of Utrecht and Karel Loth. There exists con- siderable confusion as regards the works ascribed to this painter. In the Rijks-Museum at Amsterdam a large canvas " Herodias receiving the Head of St. John the Baptist " is catalogued in the name of Drost ; but this picture has by some critics been ascribed to the scarce and imperfectly known Karel Fabritius. In the Picture Gallery, Gassel, is a " Noli Me Tangere " signed " Drost, f." In the Dresden Gallery a " Mercury putting Argus to Sleep " is catalogued as by Jacob van Dorsten, who may, as is suggested, prove to be identical with Drost. A "Bathsheba," signed by Drost, and dated 1654, is now in the Louvre. 61 Portrait of a Young Woman Canvas, 24^x191 (61-6x48-9). Liscrilied to right above the arm : Remhrant ? ft. There is some abrasion aljove this, so it is DROST— \^AN DYCK 83 possible that the origmal signature has been effaced. Bought by Lord Hertford in May 1872, from Nieuwenhuys for £100 (Note by Sir J. Murray Scott). The attribution to Drost is confirmed by a marked resemblance to the signed worlc in the Louvre. JULES BUFR£ French School. Born at Nantes in 1811; died at I'lsle-Adam in October 1889. Inspired by the works of Ruisdael and Hobbema, and also by Constable. He became one of the most remarkable landscape-painters of the so-called " Romantic " School in France. 299 Crossing the Bridge Gallery XV Canvas, 18| x 25 (48x63-5). Inscribed to right below: Jula Dupre 1838. Bethnal G-reen, 595. Exhibited at the Old Masters, 1896. Mr. Spielmann, p. 73, says this is " a scene on the river du A 299 Pay." Le Pont (60x50) was at the D'Aquila sale, Paris, 1868, 15,000 f. (Mireur) The measurements are possibly reversed. An example of the painter's earlier style. Sir ANTHONY VAN DYCK Flemish School. Born at Antwerp 22 March 1599 ; died in London 9 December 1641 ; buried in Old St. Paul's Cathedral. He was at first the pupil of Hendrik van Balen, then for four years the assistant of Rubens. In 1620-1621 he resided for some months in England, and received a salary of £100 as painter to King James I. On the advice of Rubens he went to Italy in 1621 (or, as some hold, one or even two years later), and worked much at Grenoa, Rome and Venice, returning to Antwerp some time previous to 1628. M. Max Rooses has recently brought forward evidence to prove that he returned from Italy a first time in 1622, in consequence of the illness of his father, and then, on the death of the latter, journeyed back again. This would account for the Italian influence already visible in some few works belonging to the first Flemish period. After the Italian sojourn Van Dyck established himself again in Antwerp, painting there a series of vast sacred works for the churches of Flanders, and also a long succession of portraits. In 1632, at the express desire of Charles I, he established himself in England, and almost immediately after his arrival was appointed Principal Painter in Ordinary to their Majesties. He remained in England till his death in 1641, but went for a visit to Antwerp in 1634. In 1639 or 1640 he married Mary Ruthven, granddaughter of the Earl of Growrie. His career as a painter may be roughly divided into four periods : — -The years of youthful work in Antwerp, the Italian period, the second Flemish manner, and the English r 2 84 VAN DYGK manner. Included in this last division is another subsection, com- prising the group of magnificent works produced during the visit to Antwerp in 1634. These are technically in the English style, but are superior to the English portraits of the same late period. 16 Isabella WaerTjeke, Wife of Paul de Vos Crallery XVI (Formerly " Portrait of a Flemish Lady ") Canvas, 46^x361 (118x93-3). Bethnal Green, 116, as "The Wife of Cornelius de Vos, Painter." This picture is described by an inscription on the back, as " Portrait of the Wife of Simon de Vos, the painter, by Vandyke." But it is identical with Smith, 356, and Supplement, 56 ; thus described : — Portrait of the wife of [Paul] de Vos, when about 30 years of age, of a fair complexion and dai-k hair ; she is habited in black figured silk, and a beautiful lace tippet ; one hand rests on the arm of the chair in which she is seated, the other is placed in her lap. This is one of the artist's matured productions, painted at a period when fame alone was the object of his portrait. 4 ft. by 3 ft. 1^ in. Canvas. The portrait of Paul de Vos is Smith, 355, and was, like the former picture, in the Hope and Watson Taylor collections, engraved by Lommelin and etched by Van Dyck and Bolswert. It was burned in 1890 in the Palace of Laeken, near Brussels. A repetition was lent by Sir Edmund Verney to the Grosvenor Gallery Exhibition in 1887. Our picture was in the following sales : Henry Hope, Christie's, 27 June 1816, No. 79, 100 guineas, bought, with Paul de Vos, by Lord Yarmouth, afterwards third Marquis of Hertford. He must have sold it, for it appears in the G. W. Taylor sale, Christie's, 13 June 1823, No. 54, 340 guineas (Wells), the Paul de Vos going to Baron Stockmar ; William Wells of Eedleaf, Christie's, 12 May 1848, No. 102, when it was bought by Lord Hertford for £787 10s. Smith says : " A portrait, said to be a likeness of the same person, was sold in the collection of John Knight, Esq., 1819, for 165 guineas." Exhibited at the British Institution, 1822, 1836 ; No. 8, at Art Treasures Exhibition, Manchester, 1857, Waagen, ii., 158 and Supplement, p. 86. VAN DYCK 85 53 A young Italian Nobleman Gallery XVI Canvas, 79f x 52i (202 ■ 6 x 133 • 3). Bethnal Green, 91, as " Pull- length, Male." No. 9 at Art Treasures Exhibition, Manchester, 1857, as " Male Portrait, full-length, stand ing, in black dress." Mentioned by Waagen, Supplement, p. 86. Mr. Lionel Gust {Anthony Van Dych, 1900, pp. 43 and 245, No. 141) suggests, from a family resemblance to the group in the Scottish National Gallery, that our portrait may represent a member of the Lomellini family. Pro- bably the Portrait of Gaston, Duke of Orleans, whole length, in the Henry Hope sale, Christie's, ,27 June 1816, No. 84, bought by Lord Yarmouth, afterwards third Marquis of Hertford, for £409 10.s. 94 Philippe le Boy, Seigneur de Ravels Gallery XVI Canvas, 84x471 (213-4 x 120-7). Inscribed at the bottom of the canvas : A. VAN DYCK . F.- at the top : ^TATIS SVJH | 34 A° 1630. This is one of the relatively few pictures signed by the artist. Bethnal Green, 63. Smith, 369, thus described :~- A full-length portrait of the Ohevaher Roy, Counsellor to Prince Ferdinand, Governor of the Low Countries, etc., etc. He appears to be about 40 years of age, and his fine expressive countenance is seen in a three-quarter view, with dark hair, a tuft of beard, and mustachios ; his dress is composed of a black silk vest with slashed sleeves, a pendent frill and ruffles, and a full mantle over his left shoulder ; he is represented standing erect, with the left hand on the hilt of his sword and caressing a grey- hound with the other. Signed: A. V. Dyck. A portrait of this gentleman is etched in an oval by Van Dyck, and engraved half-length by P. Pontius. 6 ft. 8 in. by 3 ft. 11 in. Canvas. Collection of M. Stier[s] d'Aertselaer, Antwerp, 1822, 5,200 florins and 10 per cent, opgelt, 5,720 florins (£515). Since purchased with 370 [om- 79] at £1,500 by the Prince of Orange [afterwards William II], in whose collection they now [1831] are. 86 VAN DYCK Bought by Mawson for Lord Hertford at the sale of William II of Holland, The Hague, 12 August 1850, lot 71, along with our No. 79 (lot 72), for 63,600 florins (B.A.A.) Mentioned by Waagen, ii. 157. No. 6, at Manchester Art Treasures Exhibition, 1857. R.A., 1888. There is a repetition, half length, in the Imperial Gallery, Vienna, and another in the Duke of Bedford's Collection at Woburn (Cust, Anthony Van Dyck, 1890, p. 256, No. 64). Mr. W. Roberts has kindly communicated the following description of a drawing of the subject, from the sale of Henri Duval, of Liege (G-. F. Muller & Co.), at Amsterdam, June 22-23, 1910, Lot 106 :— " A. Van Dyck. Portrait de Philippe le Boy, Seigneur de Bavels. A. mi-oorps, de trois quarts a gauche, regardant le spectateur, la main gauche tient la poignee de son epee. Pierre noir, 26 x 19 c. Tres beau et important dessin, provenant de la collection Mariette." A note of the editors of the " Abecedaire " states that Mariette had a sketch of the head of Philippe le Roy in black chalk, No. 905 of his catalogue, bought for 48 livres by S. Hubert. Mariette states that the engraved half-length portrait was begun by L. Yorsterman, and finished by Paul Pontius. Our portrait and its companion are among the masterpieces of Van Dyck's second Flemish period. 79 The Wife of Philippe le Roy Gallery XVI Canvas, 83fx47f (212-7x121 -3). Inscribed at top to right: ^T. SVJij 16. A. 1631. Bethnal Green, 59. Smith, 370, thrjis described : — j The companion [of 369 above], a full-length Portrait of the Chevalier's Wife, a lady about twenty-seven years of age, fair complexion and round face, seen in a three-quarter view, light hair, dressed in bushy curls and decked with a feather ; she is attii-ed in a black striped silk robe with full sleeve, girt i-ound the arms with white ribands ; a double lace frill covers the neck and shoulders, and a, triple collar of pearls and a plated brooch adorn her bosom ; the left hand holds a fan of feathers, and the right is placed on the waist ; a little dog is playing at her feet. 6 ft. 8 in. by 3 ft. 11 in. These portraits were painted about the year 1628 ; they are of the highest excellence and beauty, in the artist's Flemish manner. Collection of Mr. Stier[s] d'Aertselaer, 1822, 6,000 florins, and 10 per cent. (£594). Purchased with 369 [our No. 94] at £1,500 by the Prince of Orange [afterwards William II], in whose collection they now [1831] are. Etched by Gaujean in Guiffrey's Sir Anthony Van Dyck, his Life and Work, English translation, 1896. M. Guiffrey says, p. 146, that the lady was in 1631 only 16 and newly married. Van Dyck was an intimate friend of the husband. Another version was in Lord C. Townshend's sale, 1854 (£131, Smith). '■ 85 The Artist as the Shepherd Paris Gallery XVI Canvas, 40x34^ (101-6 x 87-6). Bethnal Green, 117, as "A Male Figure, called Paris," with note : " This picture has been engraved by Schiavonetti with the above title." Smith, 359, thus described : — Portrait of the Artist, when about twenty-seven years of age, represented in the character of Paris. The face is seen in a three-quarter view, looking towards the left shoulder, which is bare, and the arm on that side is raised across the breast ; the rest of the body is covered with a loose mantle, from under which the right hand appears, holding the apple of discord. The figure is seen to the knees. An exceedingly fine picttu-e. 3 ft. 3 in. by 2 ft. 10 in. Canvas. Engraved by Schiavonetti. [The engraving is No. 3, in Foster's British Gallery, 1807. The picture had then " been a considerable time in VAN DYCK 87 Mr. Hope's Collection."] Colleotion of Hem-y Hope, 1816, 360 guineas, now worth double that sum. Exhibited in the British Gallery in 1818. Now [1831] in the collection of the [third] Marquis of Hertford. Bedford, i. 117, says that at the Henry Hope sale, Christie's, June 27-30, 1816, this picture was sold to Lord Yarmouth "for the Prince Regent," but this is doubtless a mistake. It was bought by Lord Yarmouth, No. 88, for £37y. He bequeathed it, however, to Greorge IV. " as a mark of his humble attachment." The King predeceased him. Oust, pp. 46 and 241, suggests that this may be the " Donna Bruna " as " Paris," painted for Sir Kenelm Digby, mentioned by Bellori; but the picture described by Bellori is a Pallas in armour and helmet (Waagen, iii., 191, in Mr. Harford's Colleotion). It may well be, however, the picture meiitioned by Descamps (Vie des Peintres flamands, 1754, II. 23) : " Chez M. le Marquis de Voyer, le Berger Paris." Of the Italian period, under the direct influence of Titian. After Van Dyck 112 King Charles I Canvas, 47| x 37f (121'3 x 95*5). Waagen, Supplement, p. 87, says that this picture and its pendant. No. 1 18, were inherited by Lord Hertford from his father, the third Marquis. It is possible they go still farther back as family possessions. After Van Dyck 118 Queen Henrietta Maria Canvas, 48x38 (121 '8 x 96-5). After Van Dyck 123 The Virgin and Child. Gallery XVII Canvas, 41f x 32^ (106 x 81 • 9). Bethnal Green, 96. From the Cardinal Fesch sale, April 7, 1845, No. 65, £420 (Note by Sir J. Murray Scott). The original is at Buckingham Palace; another copy of it is at Hampton Court. 88 EVERDINGEN— EWORTH ALIART VAN EVERDINGElf Dutch School. Born in 1621, at Alkmaar ; died at Amsterdam 8 November 1675. Younger brother of Csesar van Everdingen ; pupil of Roelant Savery at Utrecht, and of P. Molyn at Haarlem. He travelled between 1640 and 1644 in Norway, lived between 1645 and 1652 at Haarlem, and later on was domiciled at Amsterdam. Everdingen's picturesque renderings of Norwegian scenery, with its foaming cascades, inspired Jacob van Ruisdael, who is believed never to have seen that country. 113 Landscape with Waterfall Gallery XVII Canvas, 31| x 25| (79 x 64-5). Bethnal Green, 102, as " Land- scape." Bought by Sir Richard "Wallace from Nieuwenhuys, February, 1872, for £200 (Note by Sir J. Murray Scott). 113 HANS EWOBTH (OR JAN EUWOUTS) Flemish School. Born in Antwerp; flourished 1540-1574. Mr. Lionel Gust, in the Annual Volume of the Walpole Society for 1912-13, has, with a high degree of probability, included our portrait. No. 535, among the works of this Antwerp painter, em- ployed from about 1543 for many years in England. He has been known hitherto by the monogram HE, which appears on numerous portraits in English collections, and was once thought to stand for Lucas d'Heere. But in an inventory of pictures and other property of John, Lord Lumley, dated 1590, several portraits are ascribed to " Haunce Eworth," and another of the group bears the monogram HE. There is further evidence to confirm the identification thus suggested. It appears from the inventory that " Eworth " was a Netherlander. Now in the list of members of the Guild of St. Luke at Antwerp one Jan Eeuwouts occurs as freeman of the Guild in 1.540. The same name appears in various transformations in London parish assessments from 1549 to 1571 ; in the latest he is described as " Hans Heward " and " Haunce Evance, pictorer, a denizen, borne in Anwarpe (Antwerp), came into the realm about xxviij yeres past, Douch j." Mr. Barclay Squire has traced EWORTH— FAUVELET 89 him later still, employed by the Office of the Revels up to 1574. The general character of his portraits suggests the influence of Antonio Moro, but certain symbolical and allegorical pieces recall the Italianised School of Fontainebleau. In the article referred to will be found reproductions of a large number of signed portraits and of others that may reasonably be grouped with them. 535 Portrait of an English Nobleman Gallery XVII (Formerly catalogued under Flemish (or English) School, 16th Century) Panel, 33f x 24j (85-7x61-5). Inscribed under coronet: MTATI8 54 \ 1572 \ Eohertus Go : Leic.edriw. Bethnal Green, 94, as " Robert Dudley, Earl of Leicester," ascribed to Sir Antonio More. In the Inventory of the Collection ascribed to Pourbus. On the evidence of the inscription, which appears, however, to be partly of later date — the genuine portion being the " ^tatis 54, 1572 " — the portrait has been described as that of Robert Dudley, Earl of Leicester. Elizabeth's favourite, born in 1531 or 1532, would in the year 1572 have been not 54, but 41 or 40. A paper removed from the back bears an inscription too faint to decipher. JEAN-BAFTISTE FAUVELET French School. Born at Bordeaux in 1819; died 1890. A follower of Meissonier, he often chose for representation subjects similar to those of his master, and executed them with remarkable skill. In the Museum of the Luxembourg is a small canvas, " Ascanio," by this painter. 374 Pheasants Panel, 6| x 8H15"5 x 20-9). Signed to left : Fauvelet. Bethnal Green, 524. Probably Faisan dore, No. 254, in sale of Comte de Pourtales, Paris, 27 March 1865 (bois, 16x21 c), 520 f. (B.A.A.) 90 PBERARESB SCHOOL FEBBARESE SCHOOL (15th Century) 536 The Annunciation Gallery III Plaster, two pictures, each IVxSy (43-2 X 13-3). These pieces appear in the Inventory of the Collection as by Grirolamo Benaglio, who was a fifteenth century painter of Verona. An altar-piece dated 536 1487 and several panels by him are in the Verona Gallery. It looks as if the two panels were fragments of a single composition, of which the middle has been lost. 539 Portrait of an Italian Gentleman Gallery III Panel, 14x10 (35-5 x 25-4). This is apparently the Portrait of a Cardinal in a carved frame, by Giuliano Pesello, in the Inventory of the Collection. Giuliano Gionochi, called Pesello (1367-1446), was a Florentine sculptor and architect, who occasionally painted. Possibly his grandson Francesco was intended. Perhaps " Un portrait italien sur bois " (290 f .), bought by Nieuwerkerke, 10 March 1866, from the firm of Malinet, and sold to Lord Hertford ; but this was more probably one of the portraits of the North Italian 539 School, Nos. 541 and 542. Written in pencil at the back is " Leonello Duca d'Urbino | figlio di Guido Baldo." But there was no Duke of Urbino or son of Guidobaldo of that name. The style is that of the Ferrarese master, Francesco Cossa, but the modelling appears too weak for his own hand. Dr. Gustavo Frizzoni, of Milan, has put forward the name of the Veronese painter Bonsignori as the author of this portrait, which is, however, far less incisive in style and character than are his best works, such as the " Portrait of a Venetian Senator " in the National Gallery. FIELDING 91 ANTHOITT VANDTEE COFLET FIELDING British School. Born at East Sowerby in 1788; died at Worthing 3 Ma.rch 1855. Developed under the influence of John Varley. Associate of the Royal Society of Painters in Water-colours in 1810, a full member in 1812, and President in 1847. Best known for his inky storms at sea with contrasts of livid light, and the Susse.x Downs half -veiled in sunlit mist. 690 Langdale Flkes, Westmorland Water-colour, 18x24| (45"7x61"3). Inscribed at bottom of drawing : Copley Fielding 1839. Bethnal Green, 602, as "A Land- scape." A picture with this title fetched £367 1 Os. at the E. Bicknell sale, Christie's, 29 April 1863, and was doubtless bought, with the other four water-colours, for Lord Hertford. Another " Langdale Pikes," 20 x 28, fetched £86 2s. in the L. B. Mozley sale of the same year. 691 Bridlington Harbour Water-colour, 18* x 30| (47 x 78 • 1). Inscribed to left- below : Copley Fielding 1837. No. 604, " Making for Harbour," Bethnal Green. Bought by Wells for Lord Hertford at B. Bicknell sale, «sw» 691 Christie's, 29 April 1863, No. 108, for £556 10s. Bought by Mr. Bicknell from the Artist. Mentioned by Waagen, ii., 351, in Mr. Bicknell's collection, as Burlivgton Quay. 715 Crowborough Hill, Sussex Water-colour, 16| x 23f (41 • 9 x 59 • 4). Inscribed in lower right corner : Copley Fielding 1838. No. 651, " Weald of Sussex," at Bethnal Green. Bought by Wells for Lord Hertford at E. Bicknell sale, Christie's, 29 April 1863, No. 266, for £798. Bought by Mr. Bicknell from the artist. 716 Loch Katrine Water-colour, 12x16 (30-5 x 40-6). Inscribed in lower left corner : Copley Fielding 1839. No. 655, " Scottish Lake," at Bethnal Green. Bought by Wells for Lord Hertford at E. Bicknell sale, Christie's, 29 April 1863, No. 128, £273. Bought by Mr. Bicknell from the artist. 718 Traetb Mawr, Nortli Wales Water-colour, 16| X 23| (42-2 x 59-4). Inscribed in lower left corner : Copley Fielding 1838. No. 647, " View in the Highlands," Bethnal Green. Bought by Wells for Lord Hertford at E. Bicknell sale, Christie's, 29 April 1863, No. 126, for £441. Bought by Mr. Bicknell from the artist. 92 FLEMISH SCHOOL FLEMISH SCHOOL (Second Half of 15th Century) 528 528 St. Michael Gallery 111 Panel, 14f x 6| (37 • 1 x 16 • 2). In the Inventory as A. Saint with a drawn Sword, by T. Stuerbout, i.e. Thierry or Dirk Bouts (1400- 1475; born in Haarlem, worked in Louvain). 548 The Virgin and Child Gallery III Panel, 7fx5| (19-3x13). The style is a subsequent develop- ment of that of Roger van der Weyden, though the period is 5J8 much later than his. Dr. Max Friedlander has ascribed this little panel to the " Master of the Magdalen-Legend." It belongs to the last years of the fifteenth or the first of the sixteenth century. FLEMISH (OK ENGLISH) SCHOOL (16th Century) 534 Supposed Portrait of Amhrose Dudley, Earl of Warwick Gallery XVII Panel, 351 x 27H90"2 X 70-2). Eethnal Green, 95, as " Ambrose Dudley, Earl of Warwick," ascribed to Frans Pourbus. The same ascription is in the Inventory of the Collection. The style approaches more nearly to that of Frans Floris and Lucas de Heere. It is possible, however, that we may have here the work of an English painter under Netherlandish influence, or of a Netherlander FLEMISH (OR BNGLISIi) SCHOOL— FLINCK 93 painting in England. Ambrose Dudley (1528 ? 1590) was third son of the Duke of Northumberland, and brother to Robert, Earl of Leicester, whose portrait in the National tlallery closely resembles No. 534. .584 GOVEBT FLINCK Dutch School. Born 25 January 1615, at Cleves ; died 2 February 1660, at Amsterdam. Pupil at Leeuwarde of Lambert Jacobz, then at Amsterdam of Rembrandt. Flinck became one of the ablest painters of the Rembrandt school, and his pictures were not infrequently, in former days, mistaken for those of his master. He worked for Frederick William, Elector of Brandenburg, and for Prince John Maurice of Nassau, but had his chief domicile at Amsterdam. He is liberally represented in the Rijks-Museum. 78 Portrait of a Young Woman Canvas, oval, 31 X 25 (78-7 x 63-5). signature above the left shoulder, There has possibly been a 94 FLORBNTmB SCHOOL— FOPPA FLORENTINE SCHOOL (14th Cbntuey) 549 The Nativity Gallery III Panel, 5x4 (12 "Vx 10-2). This seems to be the fragmentary wing of a triptych. On the back is part of the figure of a saint or marl yr, holding a palm- branch. Dr. Siren has pointed out that there is a strong resemblance to the works of Bernardo Daddi. (LATE 15th Century) 556 A Trinmpli Gallery III (Formerly " The Triumph of Venus ") Panel, 24 x 29^ (61 x 74 ■ 3). In the Inventory of the Collection as Venus in a Chariot by Piero di Cosimo. The name of his master, Cosimo Edsselli, has also been suggested, but the picture is a mere shop-piece. Compare the somewhat similar " Combat of Love and Chastity," No. 1196, in the National Gallery, which shows more finish of execution and a landscape background of a different type. The composition of our picture is exactly the same as that on the reverse of a bronze medal ascribed to Bertoldo di Giovanni, except that in the medal are two men at the horses' heads. There is an " Allegory of Despised Love " by the same hand in the collec- tion of Mr. Otto Beit at Tewin Water. (See Portfolio of Arundel Club for 1909.) The picture has hitherto been entitled The Triumph of Venus, but the figure of Love is bound and committed to the flames. It is, therefore, more probably a Triumph of Chastity. 768 Virgin and Child. Gallery III Panel (circular) 6 (15*5). On the back is written " Ghirlandaio.'' VINCENZO FOFPA Milanese School. Born, probably at Brescia, 14 — (?) ; died there after 1515 (?). He is said to have studied in the school of Squarcione at Padua, and he shows certain affinities to that school, although he cannot be said to have actually belonged to it. He developed a very personal style, and must be looked upon as the founder of the true Milanese School of the later fifteenth century, afterwards completely overshadowed and transformed by Leonardo da Vinci. Probably the earliest extant work of the master is the naive and beautiful " Virgin and Child with Angels " in the collection of Cav. Aide Noseda at Milan. In Foppa's first picture with a date, the small " Crucifixion " (1466) in the Carrara Gallery at Bergamo, painted to some extent under the influence of Jacopo Bellini, he is seen to have reached a degree of excellence which he never surpassed, Most of his frescoes have disappeared ; but some FOPPA 95 admirable fragments and detached subjects are preserved in the galleries of the Brera and the Castello Sforzesco of Milan respec- tively. To him and his scholars may be ascribed the " Four Doctors of the Church " and some other frescoes among those adorning the apsidal chapel in S. Bustorgio at Milan. Among the most important altar-pieces from his hand is the "Adoration of the Magi " in the National Gallery (long ascribed to Bramantino) ; the great "Pieta" in the Kaiser-Friedrich-Museum ; the polyptych in the Brera; the elaborate polyptych in S. Maria di Castello at Savona, executed with the collaboration of Brea di Nizza ; and the " Martyi-dom of St. Sebastian " in the Castello Sforzesco, greatly inferior to the fresco by Foppa of the same subject in the Brera. 538 A Boy Beading, known as The Tonthful Gian Galeazzo Sforza reading Cicero Gallery III Fresco on plaster, 37|x51f (95 '7 x 131-5). On the panel to the left of the child is inscribed : M. T. CICERO. This charming work was originally catalogued as by Bramantino, but further study of its style and history confirms the attribution to Foppa in Eugene Miintz's Leonardo da Vinci. The modelling of the head, the treatment of the architecture and landscape are points which strongly recall his style. The fresco escaped the destruction of the palace in the Via de' Bossi at Milan (Banco Mediceo), was cut from the wall (not transferred to 538 canvas) and passed into the hands of a collector in Paris, said by Signor Frizzoni to be the Vicomte de Tauzia. In that case it was no doubt purchased from him by Sir Richard Wallace with the Beccafumi, No. 525, in 1872. A full study of the history of this piece will be found in Vincenzo Foppa, 1909, by Constance J. Pfoulkes and R. Maiocchi. The Banco Mediceo was built and decorated by Cosimo de' Medici on the site of a house given him by Francesco Sforza in 1455 ; it is described by Filarete, Trattato (1460-4, last chapter), and was not finished till 1460. Foppa was commissioned to execute frescoes and carried out the " Image of Trajan," about 1463, for which a drawing exists. Our fresco was in another part of the building and probably a good deal later. It is doubtless the subject referred to by De Pagave in his description of the palace in 1808. He says there is only one fresco in the cortile, which might be the remains of the original decorations, or "of paintings ordered by Miohelozzo," who was credited with the architecture. It represents a business man in his office sitting astride, and apparently reading, though whether a letter or a book is not clear ; and this painting shows that Cosimo had his bank here as stated by Vasari. Oassina ("Fabbriche di Milano "), writing in 1840, also refers to this as the sole surviving fresco in the courtyard, and it was still 96 POPPA— PRAG-ONARD existing in 1862, when it was mentioned by Mongeri as a youth seated surrounded by books, commonly called Pico della Mirandola, though it might also, he thought, be a figure having some reference to the bank (Perseveranza, 5 December 1862). Here Mongeri evidently adopted De Pagave's view that it must represent "a business man " connected with the bank. The fresco was high up, and probably dusty, so that the discrepancy in the description is explained. Further evidence is the article and reconstruction by Signor Caravati in Arte Decorativa, 1895, pp. 21-31. The material for this was sketches made, at the time the fresco was removed, by Professor Bertini, and information from him transmitted by Professor Pogliaghi. In the reconstruction of the oortile of the palace there appears on the outer side of the parapet over the arcade a version of our subject, differing in details and reversed ; but our fresco is reproduced below, without comment. The reconstruction was the work of pupils from notes and sketches — a fact which accounts for these discrepancies. Our fresco was, no doubt, originally one of a series. Filarete speaks of a projected series of the Cardinal Virtues on this parapet, but it is not one of them. Miss Ffoulkes remarks that there is no more authority for the present title than for the earlier one Pico della Mirandola, which arose naturally from a picture of a young child studying. The " reading Cicero " comes from the inscription, and the " Grian Galeazzo Sforza " probably from the erroneous idea that when Lorenzo the Magnificent disposed of the bank it was sold to Lodovico Sforza. She overlooked, however, the fact that Filarete says — Thus he [Foppa] is to paint all this part with figures, with the effigies of Roman Emperors, eight in number, and with the portraits of the Duke Francesco Sforza, of his illustrious consort and their sons. It is true that " all this part " means a different part of the building ; but the scheme may have been altered ; it is just possible, therefore, that this is one of the Sforzas, whether or not Gian Galeazzo ; but it is more likely that it is emblematic of education or eloquence ; it recalls illustrations of lecture-rooms in early printed Venetian books. The background, Miss Ffoulkes suggests, may represent the garden of the palace. If the child is Gian Galeazzo, the latest date for the fresco is 1481, for he was born in 1469. He succeeded his father Galeazzo Maria (for whom see under Cristoforo de Predis, No. 759) under the regency of his mother. Bona of Savoy, but she was supplanted by his uncle, Lodovico the Moor. He married Isabella of Aragon, granddaughter of the King of Naples ; he is supposed to have been poisoned by the Regent. In an appendix Mrs. Herringham carefully describes the condition of the fresco, which is remarkably good, considering its age and exposure. She notes that it is fine work of the best quality on rough plaster, that the hand on the book is much damaged, and the outlines of the right hand blurred, with an injury to the first finger. JEAN HOirOBf FBAGONABS French School. Born at Grasse in 1732 ; died in Paris 22 August, 1806. Pupil for a few months of Chardin, then of Boucher. Having carried off the Prix de Rome in 1752, he proceeded to Italy, and there studied the masters of the seventeenth and eighteenth centuries, above all Tiepolo. He travelled through Southern Italy and Sicily with the Abb6 de Saint-Non and the painter Hubert Robert, drawing all the sites and monuments as he went. Saint- Non afterwards etched many of these subjects, and published them FRAGONARD 97 as " Voyages de Naples et de Sicile." Pi-agonard on his return made a success with his vast canvas, " Le grand pretre Coresus se sacrifie pour sauver Callirrhoe," at the Salon oi: 1765, and now in the Louvre ; but returned no more to this style of com- position. He identified himself with a brilliant and audacious phase of gallant and sentimental genre, illustrative of the eighteenth century and its manners, and by the masterly frankness of his execution as well as by the spontaneity and passion of his mode of conception, easily obtained pardon for any overboldness of which he might be guilty. Edmund and Jules de Gonoourt have, not without reason, styled Watteau and Fragonard the only two poet-painters in the French School of the eighteenth century. Like Greuze, Houdon, and many other artists of this late period in the eighteenth century, the master had to endure comparative oblivion and an approach to absolute want during the last years of his career. His chief works are in the Wallace Col- lection, the Louvre, in the Hermitage of St. Petersburg, at the Banque de France, where is the large " Foire de St. Cloud " ; and, since the sale of M. Jacques Doucet's Collection, in those of the late Leopold Goldschmidt, the late Camille Groult, the Comtesse de Beam, and the late Baron de Schlichting; and in that of Mr. Pierpont Morgan, who possessed the famous decorative canvasses from the Villa Malvilain at Grasse. These had been painted for, but were finally declined by, Madame Du Barry. They were taken by Fragonard many years later (about 1795) to Grasse, there com- pleted and added to, and then presented by the master to his frieni and host, M. Maubert. The National Gallery has, with the Salting Bequest, acquired a brilliant little sketch-like Fragonard, " The Happy Mother." Fragonard also painted in miniature, preserving his breadth and ease of style. (See Catalogue of Furniture, &c., Gallery XL, Case B, No. 183.) His drawings are among the most coveted possessions of the collector. 379 Tte Gardens of tlie ViUa d'Este at Tivoli Gallery XVITI (Formerly " The Gardens of a Roman Villa ") Canvas, 14 x 17f (35-6 x 45). Bethnal Green, 481, as " Garden of the Chateau de Fontainebleau." A drawing by Fragonard of 379 the subject was in the collection of M. Jacques Doucet, dispersed in 1912; reproduced in Les Arts, No. 86, p. 14. It was etched by Fragonard's companion at Tivoli, the Abbe de Saint-Non, as " Le Petit Pare." Fragonard, Hubert Robert, and Saint-Non lived for a summer at Tivoli. u 10931 ^ 98 FRAGONAED 382 The Souvenir (Le Souvenir or Le Chiifre d' Amour) Gallery XVIII (Formerly " A Lady Carving Her Name ") Panel, 9f x 7| (24-5xl8-7). Signed on stone bench: fragnnnrrj. Bethnal Green, 570. The lady has acfcnally carved the letter 8, or possibly the/ of Fragonard's signature. Bought by Lord Hertford at the sale of the Due de Morny, Paris, 31 May 1865, No. 99, for 35,000 f. 5 It is thus described : — Le Souvenir, Une jeune femme grave un chiffre sur le trono d'un arbre. Son mantelet est dispose sur un banc de pierre, oil se tient assis un petit chien. TTne lettre ouverte est tombee a ten-e. Grave par [Nicolas] Delaunay. Bois, 2.5 X 16 (B.A.A.) 394 The Fountain of Love (La Fontaine d' Amour) XVIII V ^.Canvas, 2-i] x 20^ (61 -6 x 51-4). Signed in lower right corner : 39-t FRAGONARD 99 Fragonard."^- Bethnal Green, 344, as "The Fountain of Pleasure." Bought by Lord Hertford at the Demidoff di San Donato sale, Paris, March 1870, No. 106, for 31,500 f . Previous sales : Duclos- Dufresnoy, 1795, and Villeminot, 1807. A smaller repetition appears in the sale lists, and is now in the collection of Mme. Paillard. Engraved by N. F. Regnault. A version was in the J. R. HoUond sale, Christie's, 11 April 1913, No. 50 ; it is now in America. In this picture Fragonard anticipates Prud'hon. 404 The Schoolmistress Gallery XVIII [rCanvas, 10|^ x 14 (26 " 7 x 35 • 7). Prettily signed with the alphabet on the blackboard: ABODE Fragonard. No. 445 at Bethnal Green. Bought by Lord Hertford at the Perregaux sale, Paris, 1841, for 385 f. Another version, oval, with considerable variations, was engraved by N. de Launay as " Dites done, s'il vous plait." 404 This appears in the Muhlbacher sale, Paris, 13-15 May 1907, No. 25, 28 X 37 c. ; a study for it, from the De Goncourt Collection, was sold in Paris in 1897. There is a tradition that the painter's son Alexandre was the child in the picture; in that case it was painted after 1780 (LadyDilke, French Painters of the 18th Century, ii., 68). 412 Portrait of a Boy as Pierrot Gallery XVIII (Formerly " The Fair-haired Child— L'Enfant Blond ") 412 Canvas, 23| x IH (59 • 7 x 49 ■ 5). Sir John Murray Scott's note on this picture is : " Pierrot. From collection of Mr. C. Cope. Bought at Christie's, through C. Davis, for £913 10s." The picture was sold G 2 100 FEAGONARD as a Boucher, " Portrait of a Boy as Pierrot," No. 34, 8 June 1872. It was formerly called in the catalogue of this Collection " The Fair-haired Child (L'Enfant Blond)," but " L'Bnfant Blond " was in the Walferdin sale in 1880, and is in the collection of the Princesse de Poix (nee De Courval). It was etched by Janzinski for De Portalis's Fragonard. Our picture is described in the Inventory of the Collection as " A Youth in white hat and dress, holding some Flowers." 430 The Swing (Les Hazards heurenx de I'Escarpolette) XIX Canvas, 31| x 25| (81 x 64 ■ 5). Bought by Lord Hertford at the sale of the Duo de Morny, Paris, 31 May 1865, No. 98, 30,200 f. (B.A.A.) From the collection of Baron de St. Julien, 1788, for whom it was painted in 1768 or 1769, according to Baron Roger de Portalis; more recently stated to have been painted in 1766. From a passage in the Journal et Memoires o£ Colle, 1748-72, it appears that the subject was first proposed to Doyen : — " Oroh-ait-on," me disait Doyen, " que peu de jours apres I'exposition au Salon de mon tableau de Ste. Genevieve des Ardents, un homme de la Coux- [Le Baron de St. Julien, for whom Fragonard painted also La Main Chaude and Le Cheval Fondu] m'a envoye oherclier pour m'en com- mander un dans le genre que je vais vous dire. Ce Seigneur etait a sa petite maison aveo sa maltresse lorsque je me pi-esentai a lui pour savoir oe qu'il me voulait. II m'acoablait d'aboi-d de politesses et d'eloges, et flnit par m'avouer qu'il se mourrait d'envie d'avoir de ma fa9on, le tableau dont il allait me tracer I'idee. ' Je desirerais,' continua-t-il, ' que vous peignis- siez Madame (en me montrant sa maltresse) sur une escai-polette qu'un eveque mettrait en branle. Vous me plaoerez, moi, que je sois a portee de voir les jambes de cette belle enfant.' .... J'avoue," me dit Doyen, " que cette proposition, a laquelle je n'aurais jamais du m'attendre, vu la nature du tableau d'oii 11 partait pour me la faire, me oonfondit et me petrifia d'abord. Je me remis pourtant assez pour' lui dire presque sur le champ : ' Ah ! Monsieur, il faut ajouter au fond de I'idee de votre tableau, en faisant voler en I'air les pantoufles de Madame et que les amours les retiennent.' — Mais comme j'etais bien eloigne de vouloir traiter un pareil sujet, si oppose au genre dans lequel je travaille, j'ai adresse oe Seigneur a M. Fagonat [sic] qui I'a entrepris et fait actuellement cet ouvrage singulier." 430 A picture, called "La Balan9oire," was in the' sale of the Mar- quis Cypierre, 1845 (751 f .), A repetition of our picture, of less merit, belongs to Baron Edmond de Rothschild ; a smaller one is now in KRAGONARD 101 the collection of the Due de Polignac (see Virgile Josz, Fragonard) . Another " Escarpolette " by Fragonard, different in conception and design, was in the Rodolphe Kann collection, and is now in that of the Comtesse de Beam. The romantic and ornate character of this last suggests some scene in a ballet of the period. Our picture was engraved by Islicolas Delaunay. 455 A Young Scholar Gallery XX (Formerly " Study of a Young Girl ") Canvas, 17 x 14| (43 ■ 2 x 36 • 8). Signed on book in right corner : frago, with marks following that may be the continuation of the name. Presumably 491, "A Young Scholar," at Bethnal Green. In previous editions this title was identified with No. 412; and Ladj- Dilke gives No. 491 at Bethnal Green as Le Jeune Ecolier. But No. 455 appears in the Inventory under the title now restored. 483 Cupids at Play (Amours roia.trant) Staircase (Formerly " Cupids Sporting ") Canvas, 371 x 55f (94 • 6 x 141 • 7). Lady Dilke gives the title as Amours Joueurs. Nos. 483 and 488 were at one time ascribed to Boucher, " the imprint of whose style they bear, although with un- mistakable differences, both in the type of the Amorini and in the colouring, which, as is generally the case in Fragonard's decorative work, is more vaporous, and of a more silvery transparency " (Sir Claude Phillips). They are so close, however, to the manner of Boucher that some doubt must attacli to this attribution. 483 102 FllAClONARD- FRENCH SCHOOL 488 Cupids Asleep (Amours Eudormis) Staircase (Formerly " Cupids Reposing ") Canvas, 37| x 55 (95 x 139 -7). At the sale of the Marquis de la Roche, 1873, was " Amours eudormis sur des Roses " (3,320 f.), but described as a grisaille. De Portalis mentions a picture of this title at the Exposition Alsatiens-Lorrains in 1874, but it does not appear in the Catalogue. PRANS FRANCKEIf THE YoUNGER [See under Neeffs, Peter, No. 152] FRENCH SCHOOL (17th Century) (;45 645 Jea,u du Verger de Hauranne, Abb6 de St. Cirau XI Canvas, 6^ x 41(16 ' 5 x 10 • 8). Inscribed at bottom : M'''= Iean • Dv Verger de Havranne | Abbe da S' Ciran decede I' 11 d'oct'-i 1643 agp. de \ 62 cms. A portrait of " Duvergier de Hauranne, abbe de St. Cyran " appears at the following sales : — Madame Craufurt, 1834 (400 f.) ; Prince Paul de Wiirtemburg, 1852 (600 f.) ; Marcille, 1857 (821 f.). Reduction of a life-size portrait in the (jallery of Rouen, in the manner of Philippe de Champaigne, but catalogued " Ecole Fran^aise, XVII Siecle." A more elaborate portrait by Philippe de Champaigne is No. 1821 in the Museum of Versailles, and there is a drawing from memory by Du Monstiei-, No. 2089 in the Louvre. Jean duVergerde Hauranne, Abbe of St. Cyran (1581-1643) was a friend of Jansen, and the father of the Jansenist movement in France. (18th or early 19th Century) 599 The Prince de Ligue Gallery X Canvas, 7| x 5f (19-1 x 14-6). No. 16 at Bethnal Green, as " Prince de Ligne, a Sketch, by artist unknown." Ostensibly the sketch for a larger portrait, painted by a French artist of the second half of the eighteenth century ; more probably a nineteenth century adaptation. An inscription on the back runs : " Le Prince de Ligne. Esquisse peinte au Chateau de Beloeil par [ ] " The name (formerly read as " Greuze," but illegible) has been obliterated and " Gainsborough " substituted. Charles Joseph, Prince de Ligne (1735-1814), fought on the Austrian side in the Seven Years' War, became a Field Marshal, and the friend of Joseph II, and later of FYT— GAlNSBOROUdH 103 Catherine 11 of Russia. His later years were given to vast literary labours, on military and other subjects. The Cliateau of Beloeil, near Mens, was his seat. JAN PYT Flemish School. Born at Antwerp in March 1611 ; died there 11 September 1661. Pupil of Prans Snyders. Fyt travelled in France and Italy, and on his return joined the Guild of " Romanists," at Antwerp. He surpassed his master in the breadth and richness of his touch and the harmonious depth of his colour, if he did not equal the incisiveness of his drawing or the force of his design. 101 101 Still life and Youthful Male Figure Gallery XVI Canvas, 47i x 80 (120-6 x 203-3). Inscribed on leg of table : Joannes Fvt 1644. 297, Bethnal Green, 1872, as _" Still Life, with a Page and Parrot," attributed to Snyders; in 18/4 attributed to Fyt. THOlVtAS GAINSBOROUGH E.A. British School. Born at Sudbury, Suffolk, in 1727; died in London 2 August 1788. Pupil of Francis Hayman, and influenced by the French draughtsman and engraver Gravelot. Gainsborough first set up as a portrait and landscape painter in Hatton Garden, but without success. Returning to his native place, he married Margaret Burr, a young lady of some fortune, and settled at Ipswich. He removed to Bath in 1760, and in that fashionable centre found a wider field for his unsurpassed powers in portraiture and landscape. In 1774 he migrated to London, and rented a portion of Schomberg House, Pall Mall, maintaining from that time to the date of his death a rivalry in portraiture with Sir Joshua Reynolds, which has endured undiminished down to our own time. He was one of the original members of the Royal Academy, and exhibited from the first exhibition in 1769 to 1772, and again from 1777 to 1783, from which date, in consequence of a misunder- standing connected with the hanging of his pictures, he ceased to contribute. 42 Mrs. Robinson (" Perdita ") Gallery XVI Canvas, 90 x 58|- (228 • 7 x 148). Bethnal Green, 5, as " Portrait of a Lady " ; No. 42 at Manchester Art Treasures Exhibition, 1857, as " Full-length portrait of a Young Lady holding a miniature, seated on a bank, a dog at her side." At Old Masters, 1894. This ranks among the masterpieces of the artist, to whose fullest maturity it belongs. It was painted in 1781, and was to have been exhibited at the Academy of 1782 with portraits of the Prince and a later admirer, Colonel Tarleton, but did not appear. It was in the possession of Mrs. Robinson in 1785, when it was sold for 32 guineas 104 GAINSBOROUGH at an auction of her effects by Hutchins, Boulton and Phillips, pre- sumably to an agent of the Prince; he owned it in 1790. (W. T. Whitley, Thomas Gainsborough, 1915, pp. 180-3.) After the acces- sion of King Edward VII there was discovered at Windsor Castle a much smaller and paler version of the "Perdita" (30x25), which is an original from the brush of Gainsborough, done either as a finished sketch or as a reminiscence of the larger work. According to information supplied by Mr. Lionel Oust, Keeper of the Royal Collection, and derived from one of the day-books of Old Carlton House, the "Perdita" (Mrs. Robinson) of the Wallace Collection was sent to the third Marquis of Hertford by order of the Prince Regent, on 13 April 1818. This information is of high importance, as conclusively identifying the sitter. The " Perdita " of Windsor Castle is referred to in the Carlton House Inventories as follows ; — 1816. No. 329. An unfinished sketch for tlie large portrait of Mrs. Robinson with a Dog. 1819. No. 319. Portrait of Mrs. Robinson with a white fox- dog — a sketch for a large picture, valued at £26 5s. Mary Darby, afterwards Mrs. Robinson (1758-1800), was born at Bristol. In 1776 she appeared on the stage as Juliet and took the town by storm. On 3 December 1779 she appeared as Perdita and attracted the admiration of the Prince of Wales, afterwards George IV, whose mistress she became. His affection was short- lived, and by 1782 he had abandoned her. In 1783 her friends obtained for her, from the Prince, a pension of £500 a year. She holds in our picture a miniature of the Prince. She wore this when she went to le grand convert of Marie Antoinette about 1783, and it excited the curiosity of the Queen. Her own story is told in the Memoirs of Mary Robinson, with a continuation by her daughter. See also under Reynolds, No. 45, and Romney, No. 37. A portrait by Gainsborough of Mrs. Robinson (oval, to the waist, 29x24) was at South Kensington in 1868, lent by Mr. Isaac Espinasse; another was in the collection of Baron Ferdinand de Rothschild. GAINSBOROUGH— GALLAIT 105 44 Miss Haverfield Gallery X^'I Canvas, 49^x39 (125x99). Betlinal Gi-een, 2, as "Miss Boothby." Bought by Holmes for Lord Hertford at a miscel- laneous sale at Christie's in 1859, No. 72, for £756 ; sold by the family for whom it was painted. The title in the sale was " The H Morning Walk, portrait of Miss Haverfield." On the back, in chalk, is the date of the sale, March 26/59, and number, 'j-. Exhibited, Old Masters, 1894. This picture belongs to the same ripe period of the artist as No. 42. LOUIS GALLAIT Belgian School. Born at Tournai, Belgium, 1810; died in Brussels 1887. He studied at Antwerp and Paris, and adopted in historical painting the style made popular by Paul Delaroche, Avhom he at least equalled on his own ground. A.mong his chief works are " The Abdication of Charles V," in the Gallery of Modern Art at Brussels ; " The Last Moments of Count Egmont," in the National Gallery of Berlin, and "After the Execution of Egmont and Horn," in the Museum of Tournai. 3C8 The Duke of Alva admimstering an Oath. (Le Due d'Albe recevant le serment de Jean de Vargas) Canvas, 39x31^(99x80). Inscribed in lower right corner: Louis Gallait 1833. Bethnal Green, 361, as " The Duke of Alva, Spanish Governor of the Netherlands 1567-73; the Oath." Our picture is: Le Due d'Albe dans les Pays-Bas,l^o. 5 in sale of Prince Paul Demidoif di San Donato, Paris, 26 Feb. 1863, 100 x 80, bought by Lord Hertford for 15,500 f. (B.A.A.) The description may be quoted : — Le due d'Albe, envoye en Flandre par le roi Philippe II d'Espagne en 1566 pour J apaiser les troubles, institua un tribunal destine a poursuivre avec la derniere rigueur les auteurs de la rebellion dans les Pays Bas. Ce Conseil de Sang, comme le nommerent bientot les opprimes, f ut dirige par Jean de Vargas, qui possedait toute la confiance du due d'Albe. Vargas, la main sur son epee, et I'autre etendue sur le livre des Evangiles, prete le serment d'iriflexibilite auquel semble le soUiciter vivement un moine au geste fanatique, levant en I'air un cnieifix. Le due d'Albe, revetu de ses armes, est assis devant la table de conseil, dans une attitude de meditation profonde. Derriere lui un moine ecrivant et d'autres debont. lOG GALLAIT— GERICAQLT Another version, dated 1857, on wood, 65x81, was No. 43 in tlie Demidoff di San Donato sale, 21-2 Feb. 1870 (Mireur). He also notes that a picture with the same title was in the Mendel sale, London, 1875, and a water-colour of the subject in the Du Val de Beaulieu sale, 1895, 38 x 28. jz:an-louis-andb£-th£odore g£bicault French School. Born at Rouen 26 September 1791 ; died 18 January 1824. The pupil first of Carle Vernet and afterwards of Guerin. Gericault early revolted against the tyrannj' of David and his school. He was one of the precursors of Romanticism in French art, and strongly influenced Delacroix. His art, with the element of passionate revolt which distinguishes it, is founded rather on Michael Angelo than on "<5lassic" models: witness his treatment of the nude. In 1819 he sent to the Salon his great work, " Le Radeau de la Meduse," which there met with an indifferent reception. He afterwards exhibited it with much success and profit in London. It is now in the Louvre. Gericault's chief works are to be found in the Louvre and the provincial museums of France. 274 A Cavalry Skirmish Gallery XV Canvas, 14f x 18 (37 • 5 x 45 • 7). Bethnal Green, 535. Probably Charge de Cuirassierx de la Garde impi'rlale at the sale of Richard Wallace, Paris, 1857 (5,550 f.). Charles Clement, in the catalogue raisonne of his (rericauU, 1879, describes that picture : — 63. Charge de Cuirassiers. Oe tableau, dont j'ai perdu toute trace, a appai-tenu a M. Richard Wallace. O'est celui qui a ete lithographie par Volmar. Yente R. Wallace, 18.57, adjuge pour le prix de .5, -550 f. ii I'expert M. Ferdinand Laneuville. This expert was one of the agents of Lord Hertford. Clement dates the picture between 1812 and 1816. Volmar"s title is Cnirassiin-s 3 : mgi l"*^ 274 I'liJerant un drapeau a des Rufsssen, which agi-ees with our subject. His lithograph was executed in 1824, from a picture belonging to M.^ Duchesne. Another picture by Gericault, 528 at Bethnal Green, " Sketch of a Horse," is no longer in the Collection. 755 Equestrian Portrait of the Prince Regent Gallery IX Water-colour, n|x9i (29-9 x 24-5). Bethnal Green, 1874 catalogue, 622/^, Tlie Prince Regent as Colonel of the 10th Hus.mrs. A_ label on the back indicates that the drawing was lent by Sir Richard Wallace to some exhibition, and partly covers another, witli the name "Gericault" and the words "The Prince [ ] Hussars." (xERMAN SCHOOL 107 CrERMAir SCHOOL (16th Century) 533 Portrait of a Boy Gallery III Panel, 14 x 10 (35-6 x 25-4). Inscribed in gold to the left of the head : A° • DNI • 1560. Described in the Inventory of the Collection as P IX Canvas, 49^ x 39|- (125 ■ 8 x 99 ■ 3). Bethnal Green, ] 8. (There was also 19, " Portrait of a Lady," no longer in the Collection.) According to information supplied by Mr. Lionel Cust, Keeper of the Royal Collections, this portrait was, with several others, pur- chased by the Prince Regent from Hoppner's widow in 1810, and thereupon presented by him to the Earl of Yarmouth (afterwards 140 HOPPNBR— HOVE third Marquess of Hertford). Messrs. W. Maokay and W. Eoberts, in their John Eoppner, R.A., 1909, pp. 94-5, surmise that our picture may be the one exhibited at the Academy in 1796, and adversely criticised by " Anthony Pasquin." A whole length of the Prince by Hoppner was engraved by W. Say, 1 January 1812, from a picture in the possession of the third Marquis of Hertford. It is no longer in the Collection. Some letters from Lord Hertford toMawson in 1855 probably relate to this picture, though it is called a "Northcote." He writes from 2 Eue Laffitte, Paris, July 6, 1855 ;— There are a few things I should like to have at the sale of my Father's Yilla in the Regent's Park on the 9th inst Paris, July 6, 1855. In anticipation that you will have the kindness to attend the sale at the Regent's Park for me, and having no time to spare I send you the list of things I wish to have and that I hope you will have the kindness to buy for me Pictures. 118. P. Veronese — not more than £40 or £50. 120. Ruysdael — What you think it is worth and a little more. ] 22. Northcote — Portrait of Geoi'ge I'V when Prince of Wales. I am anxious to have it. Paris, July 20th, 1865. I am extremely obliged to you for having had the kindness to buy my caprices at the Regents Park sale. You did it all beautifully, and just what I wished .... I depend on your usual kindness for having the Prince of Wales portrait repaired for me [i.e., our No. 563]. I rather regret the landscape [i.e., the Ruysdael], tho' an indifferent picture, because it was in my room when I was a boy, a few years ago. What prices people give now for all these old affairs ! It is ridiculous. The villa was " St. Dunstan's," in Regent's Park. A life-interest in it was left, under the will of the third Marquis, their guardian, to the Countess of Zichy and her two sisters, daughters of Admiral Sir Richard Strahan. From inventories taken by Messrs. Philips and Neale at the beginning of the tenancy in 1842 (it ended ten years later) it appears the Veronese was the Vision of St. Helena, i.e., the picture now in the National Glallery ; the Ruysdael was by Solomon Ruysdael, River Scene with Boats and Buildings, and the " Portrait of the Prince Regent " is presumed to be by Northcote, as also a Portrait of Lady W. Gordon, which may be the Hoppner that Avas atBethnal Grreen. There were also portraits of George III and Queen Charlotte, by Gainsborough; a Battle Piece, withLouis XIV and Staff, by Vandermeulen or Hondecoeter ; a Portrait of the Countess by Grant ; a Portrait of a Baroness, by Reynolds ; /. W. Croker and Loi-d Hertford, and an " oval ditto in crayons " by Lawrence ; a View of the Palace at Naples, by Ochiali, and a few prints, including three by Bromley, of Lord Hertford, Madame Grisi and Mdlle. Rachel. HUBERTUS VAN HOVE Modern Dutch or Belgian School. Born at The Hague in 1814 ; died in Antwerp, 1865. Son of Bartolomeus Johannes van Hove, a Dutch painter of interiors ; pupil of his father and of Van de Sande Bakhuizen. Hubertus painted the interiors of churches, architectural and perspective views, and afterwards kitchen pieces, imitating de Hooch. He was at The Hague till 1854; afterwards at Antwerp. There is a View on the Seashore, near Rotterdam, by him in the Rotterdam Museum, and works at Haarlem, The Hague, Munich and Courtrai. HOVE— ISABEY 141 736 A Doorway at Antwerp Water-colour, 6| x 4| (15 • 5 x 11 " 3). Signed to left below with two monograms made up of the letters HVH and BJZ respectively. This water-colour had formerly passed as a work of Baron Leys, and was No. 691 at Bethnal G-reen, 1874 catalogue, under that name. In manner it is not unlike the work of Leys, but the monograms did not seem to have any connection with him. The puzzle was solved by the existence, in the Museum of Courtrai, of a picture in which Leys and Van Hove collaborated, and which bears both their signatures. The second monogram stands for " Bartholomeus Johannes' Zohn," i.e., son of Bartholomeus Johannes van Hove. Mr. M. G. Caullet, of the Courtrai Gallery, informs us that the collaboration of Leys and Van Hove dates our water-colour about 1845. JAW VAN HUYSUM Dutch School. Born at Amsterdam 15 April 1682 ; died there 7 February 1749. Pupil of his father Justus. Practised chiefly at Amsterdam. In his day lie was called " The Phoenix of Flower and Fruit Painters." His works are remarkable for finish of detail and decorative effectiveness. 149 riowers in a Vase Gallery XIV Panel, Slf x 23| (79 • 4 x 59 • 4). Inscribed in lower right corner : Jan Van Euysum fecit 1726. Bethnal Green, 247, as " Flowers." On a label on the back is the title Bouquet aux Papillons. A picture, " Flowers," was bought by Sir Richard Wallace from Nieuwenhuys in 1872, according to Sir J. Murray Scott. 207 Fruit and Plowers Gallery XIV Panel, 31| x 23| (80x59-4). Inscribed to left below: Jan Van Euysum, fecit. Bethnal Green, 124. JEAN-AUGUSTE-DOMINIQUE INGRES French School. Born at Montauban, 29 August 1780 ; died at Paris in 1867. A pupil of David. Carried off the Grand Prix de Eome in 1801. Elected to the Institut in 1825. After Raphael 767 Hope and Charity Gallery XI Pencil, 14xl4j (35'5x36"2). Inscribed: Ingres a son ami Calamatta. Pencil drawing on one sheet after the separate predella paintings in grisaille by Raphael now in the Pinacotheca of the Vatican. These belonged originally to the great Borghese " Entomb- ment." Probably among the drawings in the Calamatta sale, 1871. Luigi Calamatta (1802-1869) was an Italian engraver who came to Paris in 1822, became a follower of Ingres, and executed several plates after his pictures. EUCrENE-GABRIEI. ISABET French School. Born at Paris in 1803; died there in 1886. Son of the celebrated miniature-painter Jean-Baptiste Isabey. He first painted Romantic genre, and then took up marine painting, which he practised for more than half a century. 271 Court Reception at a Chateau Gallery XV Canvas, 24f x 35 (6^ • 9 x 88 • 9) . Inscribed in lower left corner : K Isabey 1851. Bethnal Green, 557, "Scene in the Garden of a Palace," and Inventory, " Garden of a Palace." It was possibly another version that appeared as Reception dans un Chateau, Verde-Delisle sale, 1879, 11,000 f. 142 ISABBY \^ 335 The Young IVEother Canvas, 16|xll| (40-9x29-2). Inscribed corner : E. Isahey 52. Betlinal Green, 548. Gallery XV lower right / 360 A Promenade by the Sea Gallery XV Canvas, 19i x 261 (48-9 x 66-7). Inscribed in lower right corner : E. Isabey 46. Bethnal Green, 560. Perhaps the picture bought by Lord Hertford for 551 f . 25, February 10, 1848 (Account). 3fi0 579 Ships on the Seashore (at Calais) Canvas, 24ix35| (61 •6x90-2). Inscribed to left below: E. Isabey 1851. Bethnal Green, 363, " Fishing Boats on the Shore." Bought by Lord Hertford at Davin sale, Paris, 14 March 1863 3,240 f. (de Ricci). See also under SCHEFFEB, A., No. 298. ISABEY— JARDIN 143 570 CLAUDIUS JACQUAND French School. Born at Lyons in 1805 ; died in Paris, 1878. He studied in the Lyons Academy, and was a pupil of Fleury Richard, a genre and history painter of that place. He first exhibited at the Salon in 1824, practised as a portrait painter, and executed frescoes in the Church of St. Philippe-du-B,oule in Paris. There are historical paintings by him at Versailles, at St. Ferdinand, Neuilly (Death of the Due d'Orleans), and in the museums of Lyons and Amiens ; La Vierge du Travail is in the Cambrai Museum, and a genre piece in that of Moulins. 648 Soldiers Gambling Canvas, 20| x 27 j (51 • 1 x 69 ■ 3). Liscribed in lower left corner : Claudius Jacquand 1856. Bethnal Green, 459. This picture was probably judged by Sir John Murray Scott not sufficiently important to become part of the Collection, and was among his pictures at 5 Connaught Place ; but it appears in the Liventory of the Collection, and was accordingly handed over by the executors of Sir John Murray Scott in 1913. It is mentioned in Bryan's Dictionary, where the date is wrongly given as 1857. The number, 459, of the Bethnal Green Exhibition, which is still on the back, completes its identification. KAREL DU JARDIN Dutch School. Born in 1622 at Amsterdam; died at ^'enice 20 November 1678. Pupil of Claas Pietersz Berchem at The Hague; afterwards developed under the influence of Paul Potter. Made a lengthy sojourn in Italy, and afterwards practised at The Hague and Amsterdam. He is a genial humourist, and a vigorous painter of portraits ; but his colouring is hard and the quality of his painting far from pleasant. 222 The Smithy Gallery XIII Canvas, 18|x20 (47 x 50-8). Inscribed to left: K. die Jardin fee. 1658. Bethnal Green, 194, as "The Smithy: Shoeing Pack Mules." This is Smith No. 77 ; thus described : — The Country Fai-rier. The view represents a high road, at the side of which is the shop and residence of the smith, built on a rock, from the side of which a high wall, having a door at the end of it, extends across the picture. Two laden mules, decked with abundance of trappings, one of a bay, the other of a grayish colour, stand in front of the shop, and the latter is having one of its hind feet shod : a man holds up the f iiot while the smith fits on the shoe ; his box of tools lies on the ground by his side, and a 144 JARDIN dog is close to it. Two children are near the door of the shop, within which is seen a man working a,t the anvil. The summits of the rooks are clothed with bushes ; and above the wall, on the right [i.e., spectator's left], are some distant meadows enclcsed by hedges. A few flickering clouds float over the brilliant azure, and the scene is gilded by the glowing warmth of a fine summer's raorning. This superlative production is painted in the artist's free and sparkling manner. Signed and dated 1658. 1 ft. 5 in. by 1 ft. 6 in. Canvas on Panel. Purchased in Italy of M. Sitteveau by the Count Poui'tales, from whom it was bought, with many other fine pictures, by the writer, in conjunction with Thomas Emmerson, Esq., and sold in Paris to M. Boursault for 20,000 florins (£800). Bought by Theobald for Lord Hertford at the sale of B. Higgin- son of Saltmarshe Castle, 6 June 1846, No. 225, for £1,417 10s., as " The Farrier, purchased in Italy of Monsieur Siteveau by Count Pourtales; Boursault Collection." Waagen, Supp. p, 89. 241 Portrait of a Gentleman Gallery XIII Copper, 121x91(30- 8x23 -5). Bethnal Green, 196, as "Male Portrait." 1848, sale of Sir T. Baring, Portrait of a man in red cloak leaning on a table, £50 (Lord Hertford). Waagen, Supp. p. 89. 641 The StroUing Ballad-Singers Gallery XIII (Formerly " Boors Merrymaking ") Panel (circular), 9 (22-9). Bethnal Green, 122, as "Boors Merrymaking." The picture is Smith, 19, thus described : — • The Mendicant Songsters. A group of nine persons assembled in front of a building ; among them is a stout man holding ballads in his hands and apparently singing ; at the same time his comrade is giving efPect to the chorus of the song by a dance, in the performance of which his hat has fallen off. In front of the former is a boy standing with his back to the spectators. Engraved, No. 46, in the Poullain Gallery. 85 in. (round). Panel. Collection of M. le Brun, 1773, 1400 f. (£56) ; of M. de Poullain, 1780, 1700 f. (£68). In a sale by Mr. Christie, 1822, £40. Smith has omitted the sale of the Marquis de M^nars (Marigiiy), Paris. February 1782, when our picture was No. 49 : — Un sujet agreable et tres gai, compose de 10 figures de paysans qui s'amusent ^ chanter et danser ; sur le devant est un enfant, vu par le dos, et pres de lui un homme vetu d'un veste rouge dans une attitude dansante. Cuivre \_sie\, 8 pouces de diametre. Ce tableau sort du cabinet de M. Poullain, et se trouve dans le Recueil compose de 120 planches qui vient d'en faire graver le pere Basan, et qui fait suite au volume du cabinet de M. le Due de Choiseul, 1,350 livres, Handry (? Aubrey). "Waagen, Supplement,p.89,"from the Duval [of Geneva] Collection." It was No. 107, and fetched £283 10s. in the sale of that collection JARDEN— JORDA.BNS 145 (Phillips, 12-13 May 1846), bub it appears later in the sale of the Comte de Moruy, London (Phillips), 20-1 June 1848, No. 47 :— At the head of a baud of wandering musicians a man in a red jacket, his stooliings about his heels, and all his dress in the greatest disorder, is dancing in a grotesque manner ; behind him a man and some women are singing to the accompaniment of a hurdy-gurdy ; a boy, with his hands in his pockets, his back tamed to the spectator, is looking on. Engraved by Gutenberg. Prom the collection of M. PouUain and M. Aubrey of Orleans. Copper [sic] circular, 9.5: in. ; £157 10s. TOWY JOHAiril^OT French School. Born at Mannheim 9 November 1803 ; died at Paris 3 August 1852. Chiefly famous as a vignettist, aquafortist, and engraver of works of the Romantic epoch. He was the youngest and best known of three brothers, the elder being Charles and Alfred. He worked at first in collaboration with Alfred, with whom he illustrated Walter Scott and Fenimore Cooper. He also illustrated alone Moliere's plays, as well as " Gil Bias " and " Don Quixote." 693 Miana and Brenda (From " The Pirate " by Sir Walter Scott) Water-colour, 16| x 131 (42x33-3). Signed in lower right corner : Tony Johaniiot. Bethnal Green, 667. 739 Tonng Girl Asleep Water-colour, 4| x 2| (10-5 x 7-3). Signed : Tony Johannot. JACOB JOBDAENS Flemish School. Born at Antwerp 19 May 1593 ; died there 18 October 1678. Pupil of his father-in-law, Adam Van Noort, but mainly developed under the influence of Rubens ; Jordaens has been wrongly counted among his actual pupils. Although he constantly recalls him both in types and general mode of con- ception, his style shows the most exuberant individuality, and is easily distinguished from that of any contemporary. 120 120 The Riches of Autumn Gallery XVII (The Still-life is by Snjrders) Canvas, 77^ x 88f (196 ■ 8 x 225 • 4). Bethnal Green, 61. Bought by Sir Richard Wallace from Nieuwenhuys, March 1872, for £2,150 (Note by Sir John Murray Scott ; the reference to this picture, however, is not quite certain). This is one of the richest and most It 10931 ^ 146 JORDAENS— LAMI important compositions of Jordaens in the class to which it belongs, namely, the second period of the artist, in which he approaches more closely to Rubens ; it was probably painted between 1625 and 1628. It very closely resembles " La Pecondit^ " in the Brussels Gallery, but differs from that work in the main figure and some others, and appears to be somewhat later in style. Our painting must be a subsequent variant carried out by the artist himself ; the nymph, half-draped, fronting the spectator, replacing the admirable back view in the Brussels picture, which was its chief motive. Our figure, finely decorative in itself, is less dramatically apt, and does not naturally support the great horn of plenty, which in the earlier version is borne by a satyr. A second child is introduced, beside the one plucking an iris ; a double flute is given to the negro, and goat legs to the crouching satyr on the left, and a satyr takes the place of a woman reaching for the grapes, with the same action. The fruit, vegetables and foliage are, in both instances, painted by Snyders. Max Rooses (Jacob Jordmns, 1908) gives the history of the two pictures. The Brussels version. The Fertility of the Earth, or Abundance, No. 310, canvas, 178 x 240, was in the following sales :— 1730, Delia Faille, The Hague ; 1759, Hendrik van Lim- burg. The Hague ; in 1764 belonged to the Confrerie of Painters in that town ; 1814, J. F. de Vinck de Wesel, Antwerp ; 1827, Vinck d'Orp, bought for the Brussels Museum. A drawing for it was in the collection of Mr. J. P. Heseltine. Mr. G-eorge Queston, Brussels, has a painted study for the nymph, with fruit in her lap. Our picture was in the sale of the Schonborn von Pommersfelden Collection, Paris, May 17-28, 1867, and is thus described : — 190. Bacchanale. — Bacchants et bacchantes, faunesses et enfants. C'est la riche composition qui est au musee de Bruxelles, No. 217, sous le titre de La Fecondite. Porte au catalogue 1857, No. 413, comme originate de Jordaens et de Snyders. 193 x 278. 300 f. (B.A.A.) A sketch from it, 28 x 36, was in the De Beurnonville sale, 1884. LOTTIS-EUGZiNE LAMI French School. Born in Paris, 12 January 1800 ; died there in 1894. Pupil of Gros and Horace Vernet. His reputation was chiefly acquired as a water-colour painter, in a style marked by richness of colour and a piquant vivacity recalling somewhat the art of the eighteenth century. His most interesting works, how- ever, are scenes in contemporary Court history, f^tes given to Queen Victoria by Louis Philippe, the Orleans family at Clare- mont, the opening of the Crystal Palace. The Victoria and Albert Museum contains an extensive series of his water-colours com- prised partly in the Bequest of the Rev. Chauncy Hare Townshend (1868), partly in that of Mr. Bryan (1880). 653 L'Escalier des Amliassadeiirs at Versailles Gallery XXI (Formerly "The Great Staircase at Versailles") Water-colour, 12| x 19| (31-5x50). Inscribed in lower left corner : E. L. in pencil, E. L. 1866, with brush. Bethnal Green, 660. M. P. A. Lemoisne has pointed out that this is the staircase built under Louis XIV and demolished under Louis XV in 1752. Lami's drawing is therefore a reconstitution from the engraving by Surugue. There are two repetitions by Lami of the same subject. 1. A water-colour with many variations, signed E LAMI MDCCCLXXVI Paris, 32 x 50, belonging to M. Bruigaant, Paris. 2. A painting, 66 x 104, signed E Lami 1858 [or 3], belonging to M. Felix Doistan ; this also has many variations. LAMI— LANCRpyr U7 663 Before the Great Revolution Gallery XXI Water-colour, 14j x 25^ (37 "o x 6o- 1). Signed in lower right corner : EUGENE LAMl 1854. Bethnal G-reen, 666, as " The Revel: Eve of the French Revolution." 702 The Court of Louis XIV in Flanders Gallery XXI Water-colour, 7i x 131 (IS "2 x 33-. 5). Signed in lower right corner: E.L. Bethnal Green, 670, as "Royal Drive: Time of Loius XI\ " Perhaps the " Aquarelle par Eug. Lami " in a bill of Pillet for purchases at the San Donato sale, 8 March 1870, No. 375, 200 f. There is a water-colour resembling this in the possession of il. Frederic Mallet. An oil painting by Lami, Le (^alop an Bal de POprra, 68x91, was bought by Lord Hertford through Mannheim at the San Donato sale, 21 February 1870, No. o-t, for 2,000 f. (Receipted account). It had lieen acquired from the artist in 1854.. 710 The Royal Procession at the Opening of Parliament, 1855 Gallery XXI ^^ater-colour, 5| x 12^ (14-4x31-l). Inscribed in lower right corner : Eug. Lami, 1855. Bethnal Green, 674. Bought by Lord Hertford through Mannheim at the San Donato sale, 1870, No. 277, as Le Cortege de la Reine Victoria passant dans St. James Park et se rendant a IVestminster, 4,900 f. (Receipted account) 723 British Horse Artillery Marching Past Gallery XXI Water-colour, 11^ x 19| (28 • 7 x 48 • 5). Signed to right of centre below : EUG. LAML Bethnal Green, 673. This is doubtless " Revue du regiment du Royal Horse Artillerj- et du 17' Lanciers a, Woolwich, 14 Mai 1851 " ; San Donato sale, Paris, 8 March 1870, No. 296, 5,100 f. (Pillet, receipted account). NICOLAS LAirCRET French School. Born in Paris 22 Januarj- 1690 j died there 14 September 1743. His first master was Dulin. Then, attracted by the style developed bj' A\'atteau, he entered the atelier of Gillot, whose pupil the former had been, and worked there for several years. A close friendship had sprung up between Watteau and Lancret, but the latter followed the manner of his senior so closelj- and deliberately that some of his productions were actnallj- attri- buted to Watteau, who took offence and withdrew from the intimacy. Two paintings in this collection, Nos. 422 and 448, are instances of this close imitation, which Lancret later on exchanged for a more spontaneous and individual manner. He was received at the Academie Royale, 24 March 1719, as a painter of Fetes Galantes. He might fittingly be called the Mari\'aux of painting. The most notable examples of Lancret's work are to be found in K2 \y 148 LANORBT the Royal Palaces at and near Potsdam, in the Wallace Collection, the Dresden Gallery, the Conde Museum at Chantilly, the Museum of Angers, the Hermitage at St. Petersburg, the National Museum of Stockholm, the Louvre, and the National Gallery ; in the collec- tions of Lady Wantage, Mr. Alfred de Rothschild, Mr. Pierpont Morgan, and some others. The reference, " Bocher," is to Les gravures frauQaises duXVIIB siecle ; Lancret, by E. Bocher. 378 Girl in a Kitchen Gallery XVIII Panel, llix9| (28-7 x 24-7). Bethnal Green, 439. The pic- ture was in Lord Hertford's Collection in 1859, when a frame was ~made for it. "The attribution is open to doubt, the crisp, sharply- accented touch in the utensils of the kitchen interior not being such as we associate with Lancret " (Sir Claude Phillips). But a com- parison of the still-life with that in such a picture as the Louvre L'Automne, proves that the attribution is not unreasonable, and the colour is characteristic of Lancret. A small scene of this character (Cuisine de Campagne) was in the sale after Madame Lancret's death. In the Hermitage are two kitchen-pieces ascribed to Lancret, Une Cuisine and Le Valet Galant. In 1811 at the De Silvestre sale, Un Interieur de Cuisine (14x11 pouces, 8 lignes) attributed to Lancret, was sold for 20 f. (Mireur). This was on canvas, but our picture appears to be identical with No. 625 in the sale of Robert de St. Victor of Rouen, Paris, 26 November 1822 and 7 January 1823, thus described (B.A.A.) :— Une servante dans sa cuisine, enti''ouvrant son corset ponr chercher une puce qui I'incommode. Ce joli tableau est meuble de buffet, casseroUes et autres ustensils de cuisine. Bois, 10 x 9 pouces, 152 f. 393 Kademoiselle Camargo Dancing (La Camargo essaye nn nouveau pas) Gallery XVIII Canvas, 16i x 21| (41 • 3 x 54 • 3). Bethnal Green, 433, as " The Dancer (Mdlle. Camargo)." Bought, through Deliere, by Sir Richard Wallace, at the sale of Isaac Pereire, 7 March 1872, as Portrait de la Camargo (42x54 c), No. 65, for 9,900 f. (Re- ceipted bill). Bocher gives a previous sale : Cottin, Paris, 27 November 1752, No. 368, " Mesdemoiselles Camargo et Salle dansant dans un jardin accompagnees par plusieurs figures. Deux compositions connues par les estampes de Laurent Cars ; 16 pouces — 20, 452 livres, a M. Le Brun." The companion picture LANCRET 149 of Mademoiselle Salle was also in the Pereii-e sale. She appeared in ballet costume (as Venus ?) Avith three female dancers in the background (as Three Grraces ?), and a small band of musicians. The Pereire sale catalogue (B.A.A.) gives the following history of the two pictures : they were brought to Frederick the Great at the Castle of Rheinsberg when he was Crown Prince ; he gave them later to his brother, Pi'ince August of Prussia, who in 1813 gave them to Mile, de V. ; they were afterwards in a pubJic sale and bought by M. Pereire in 1869. The engraving of the picture by Laurent Cars is accompanied by the verses : — Fidele aux lois de la cadence Je forme, au gre de I'ai-t, les pas les phis hardis. Originale dans ma danse Je puis le disputer aux Balons, aux Blondes. 393 A notice of the engraving (quoted byjM. E. Bocher, " Les Graveurs fran9ais du XVIIP Siecle ") in the Mercure de France, July 1731, says : — Le portrait a ete psiat par le sieur Lancret, peiutre del' Academic Royale de Peinture. Le talent que tovit le monde lui connoit, surtout pour les sujets de bals et fetes galants et champetres, a ete ingenieusement employe a faire un tableau des plus agreables. II a si bien S(ju saisir ce qu'un aussi excellent modele a d'inimitable, que jamais figure n'a paru plus dansante. Les accompagnements sont traites avec gout et discernement ; on voit des spectateurs et des symphonistes places natui-ellement, et \xa tres beau fond de paysage. A more critical article, from the technical dancer's point of view, appeared in the same journal, April 1732, and an obituary notice of the dancer. A drawing for the figure of the dancer is in the Louvre, sanguine No. 27,542. There is an original repetition of this picture, with a marked variation in the colour-scheme, as regards the dress of the dancer, in the Hermitage Gallery at St. Petersburg. Another original, with fewer figures in the background, is in the Museum of Nantes, No. 127, " Portrait de M. A. Cuppi, dit ' La Camargo ' " (Collection Cacault, bought by the Municipality, 1810). In the Neues Palais at Potsdam is " La Camargo avec son Danseur," showing the famous ballerina in the same costume and the same attitude as in this picture, but in the act of executing a pas de deucV with a male dancer. Voltaire, adroitly balancing the beauty and skill of this dancer with the equal attractions of her rival. Mile. Salle, wrote the following lines : — Ah ! Camargo, que vous etes brillante ! Mais que Salle, grands dieux, est ravissante ! Que vos pas sont legers, et que les siens sont doux ! Elle est inimitable, et vous toujoui-s nouvelle. Les Nymphes sautent comme vous, Et les Graces danserit, comme elle. 150 LANORBT Marie Anne de Cupis de Camargo (1710-1770), of Spanish descent, was born in Brussels, and was trained for the stage by her father, a violinist and dancing master, and also by Mile. Fran9oise Prevost ; she at once obtained an engagement as premiere danseuse, first at Brussels, then at Rouen. She made her debut in Paris in 1726 under her grandmother's family name, and became the rage. " Every new fashion bore her name ; her manner of doing her hair was copied by all at Court ; her shoemaker — she had a tiny foot — made his fortune." She had many titled adorers, among others Louis de Bourbon, Comte de Clermont. She was the first ballet dancer to shorten the skirt to what became the regulation length. She appeared successfully in seventy-eight ballets or operas. 401 An Italian Comedy Scene G-allery XIX Canvas, 11 x 14| (28x35-8). Probably 444 or 449, Bethnal Green, as " Group of Masquers." This would seem to be a picture in the sale of M. Prault, Paris, 27 November 1780 (Bocher) :— No. 10, Lanoret. Deux paysages frais et agreables. On remarque Anns Tun une scene comique rendiie par six personages, dont I'un est sous un masque d'arlequin, et I'autre sous un habit de poliohinelle. H. 10 pouces, 6 lignes ; L. 14 pouces. Toile. Perhaps " Comediens italiens dans un Pare," Devere sale, Paris, 1855, 695 f. (Mireur) A copy of our picture is No. 369 in the Gallery at Strassburg, where it is catalogued as an original. ^ For the Italian Comedy, see note following the Life of Watteau. 408 Girls Bathing Gallery XVIII LANCRBT 151 Canvas, 9^ x 12| (24-2 x 32-7). Bethnal Green, 450, as " Group of Bathers." Bought by Lord Hertford at the sale of Comte de Pourtal&s, Paris, 27 March 1865, No. 276 :^ Trois jeunes femmes presque nues et a demi plongees dans I'eau limpide, prenant le plaisii" du bain, tandis qu'une de leur compagnes, assise pres de la sur un tertre et devant un bocage epais, denoue son corsage oil elle semble voir una chose qui attire son attention : a ses pieds est un chien couche, toile (23 x 32), 7,300 f. Of. miniature, No. 149, Case B. 409 A Tale from La Fontaine (Le petit chien <»r^'*i x-ZTj^M-it^A 328 roses. The keeper offers them wine on a tray. (Period of Louis XA'l.) The foremost of the two is dressed in red, and is shown in profile, on a white horse. The other rides a black horse, and wears a grey coat, long boots, and a three-cornered hat. Sunbeams shine through the trees. 329 Colonel F^lix Massue Gallery XV Panel, 4|x4| (12'5x 10'5). Inscribed in upper right corner; Au Gi)lonel Filie Masnue, souvenir affectueua-. EMeissonier 1867 329 (^ikf combined). Mireur gives the sale of another portrait : li 23 March, Baron X, Portrait du colonel Fi'Ux Massue, panneau, 14x14, 1,2.55 f. MEISSONIER 177 Galleiy XV 330 The Iiost Game (La Fartie perdue) (Formerly " Soldiers G-ambling ") Panel, 8| x lOJ (20-7x26). Inscribed in lower left corner: EMeissonier 1838 (EM comhinei). Bethnal Green, 585, as "The G-amblers." Perhaps " Soldats jouant aux des," Thevenin sale, Paris, 1851, 8,025 f. ; and " Soldats jouant aux cartes," Wertheim- 330 Greard describes our berg sale, Paris, 1861 (21x27), 28,000 f. picture as follows : — 1858. The Lod Game (20 X 27). A guard-room. Two players seated, comrades standing or sitting round them, some, glass in hand. Four soldiers near the fire-place, a standard by the window. (Lady Wallace's Collection, London.) The companion piece, of the same year, was "The Winning Game." The title, " The Lost Game," is also given in Greard's book to a picture closely resembling in composition No. 330 and of the same date in the collection of Mr. Steengracht van Duivenvoorde at The Hague (reproduced, Greard, p. 33). This, from the number of figures (eleven), appears to be the picture sold from the San Donato Collection in 1864, No. 7. 331 A Cavalier: Time of Louis XIV Gallery XV Panel, 5|x3| (13x9). Inscribed in lower right corner: EM. (combined) 1856. Bethnal Green, 549. u 10931 M 178 MBISSONIER 332 A BXusketeer: Time of Louis XIII Panel, llx6| (28x17 ■2). Inscribed to left; (^M combined) 1856. Bethnal Green, 581. Gallery XV EMeissonier 337 PolichineUe Gallery XV Panel, 21| x 14j (54' 6 x 36 '2). Inscribed in lower left corner ; J71f (combined) 1860. Bethnal Green, 521. " PolichineUe " was painted on the panel of a door in the apartment of Madame Sabatier, " La Presidente " of a circle which included Meissonier with Baudelaire and many others, and in which Richard Wallace was an intimate. It fetched at the sale during her lifetime, Paris, 1861, 13,000 f. under the title " Monsieur PolichineUe." Exhibited, Old Masters, 1896. Grgard describes it in his list under 1860. 369 Dutch Burghers Gallery XV Canvas, 6| x 9^ (17'5x23'2). Signed in lower left corner: EMeissonier {EM combined). It has always been stated in the Catalogue that this is supposed to be Meissonier's first picture. In any case it is very early. It corresponds closely with the first picture in Gr^ard's chronological list : " Two Flemish Burghers (19 X 24, canvas) ; exhibited in 1834. Two Flemish burghers pay- ing a visit to the burgomaster ; on a table, covered with a green MEISSONIER— METSU 179 cloth; three glasses and a stone-ware jar " but the " jar " is a glass decanter. It is probably No. 547, "Visitors," at Bethnal G-reen, to which is attached the note : " This was the first picture exhibited by the artist " ; but, if so, it is wrongly described as being on copper. :!B9 H71 371 The Guard Room Gallery XV Panel, 6 x 7| (15-3 x 18 'S). Inscribed in lower left corner: EMeissonier {EM combined) 1857. Bethnal Green, 537, as " Throwing Dice : on panel." HUGHES MEIM.I: French School. Born in 1823 at St. Marcelin ; died in 1880. Pupil of Iieon Cogniet. He achieved in his day a considerable reputation as a painter of romantic and sentimental genre. The picture " line Mendiante " by him is, or was, in the Luxembourg ; other of his works are " Hagar and Ishmael," " Charlotte Corday," " Beatrice," " Ophelia." 597 Reading the Bible Canvas, 8i x lOf (21 -7x26 -3). H. Merle. Bethnal Green, 541. Signed in upper, left corner GABRIEL METSU Dutch School. Born at Leyden in 1629 or 1630; buried at Amsterdam on 24 October 1667. Son of the painter Jacob Metsu, and believed to have been the pupil of Gerard Don at Leyden. He developed his art under various influences, including especially that of Rembrandt, and at one moment of his career was, as majr fairly be assumed from several of his works, strongly attracted by a slightly younger contemporary, A^ermeer of Delft, Metsu prac- tised at Leyden, and afterwards at Amsterdam. He ranks as one of the greatest of the Dutch " small masters " of the 17th century. Leaving out of the question Pieter de Hooch and Yermeer of Delft, he has only one equal, Terborch. The latter had a rarer charm of colour and chiaroscuro and a more subtle power of observation, but he has a less forcible dramatic instinct and power of invention. 206 A Lady at her Toilet Gallery XIY Panel, 75:x6j- (18'4xl5"8). Signed in upper right corner: G. Metsu. Bethnal Green, 158, as " Woman at a Mirror." Smith 44, De Groot, 87, thus described : — The Toilet. A lady, wearing a white cap and a tippet, sitting at her toilet, which is covered with a carpet and on it are a looking-glass, a towel and a brush. 6i inches by 7i inches. Panel. Sale: Jan Tak, Leyden, 5 September 1781, No. 17, 340 florins (£30), Delfos. 180 METSU Described by Waagen, Supplement, p. 87 (1857), in the collection of Lord Hertford. It is doubtless the " Lady at her Toilet," from the collection of the Elector Palatine, of Lord Yarmouth (after- wards third Marquis of Hertford) at Christie's, 4 July 1807, No. 87, bought in at the sale for 50 guineas. This is separately entered by Smith under 36 (De Groot, 91), doubtfully associated with an engraving by Levesque. Mr. Spielmann, p. 105, states that our picture was said to have been bought by Lord Hertford at the sale of the Marquise de Rhodes (Paris, 1868, Jeune dame a sa Toilette). But this was a different picture, with a second figure, and measured 64 x 57. 234 An Old Woman Selling Pish Gallery XIII Panel, 18fxl4f (47 -3x37 "8). Signed above the door: G. Metsu. Bethnal Green, 238, as " Bargaining for Fish." Described by Waagen, Supplement, p. 87, in the collection of Lord Hertford (1857). Identified by De Groot, 33, with Smith, 50 :— The Fruit and Yegetable Girl. A young woman, in a scarlet jacket and a brown skirt, standing before a house, with a basket of grapes on her arm ; her attention is directed to an old woman, who is leaning on the half door of the house, holding out a piece of money in payment for what she has bought. A basket of fruit is on the ground, and a barrow of vegetables stands on the right. This excellent picture is well engraved in mezzotinto by Hodges. 1 ft, 6 in. by 1 ft. 2J in. Panel. Collection of M. Danser Nyman, Leyden, 1797 (750 florins, £67) ; of — . Crawford, Esq., 1806 (£252). At a sale by Mr. Christie, 1807 (180 guineas). It was sub- sequently in tbe possession of the [third] Marquis of Hertford, and is now [1833] in tbe cohection of His Majesty William IV. But Smith's description does not agree with our picture, in which the girl has no basket of grapes and is buying fish from an old woman seated, not selling fruit to a woman standing. Smith, 50, seems to be the picture ascribed to Dou at Buckingham Palace, No. 141 (De Groot, Dou, 127) and he probably confused it in memory with our Metsu, which is doubtless an early work, showing traces of Don's influence. Our picture is probably Mireur's " 1774, Comte de Dubarry — Une marchande de poisscnis ; a la ports une fille qui tient vm, hareng (17 pouces 15); 2,400 f." Smith's sale of [G.] Crawford, Esq., was 26 April 1806, No. 24, and the description agrees with our picture. Smith's sales, therefore,^ probably apply to our picture ; moreover, the seal of Crawford of Drumsey is on the back. Exhibited at the Old Masters, 1892, No. 91. METSU 181 240 The Letter-Writer surprised Gallery XIII Panel, 17f x 15 (45 •2x38-1). Signed on the paper by tlie inkstand: Gabriel Metm (the last letters of "Gabriel" not very clear). Bethnal Green, 214, as " Looking over a Letter." This picture has been identified with Smith, 88 : — The Compulsory Epistle. A young lady, dressed in a red jacket bordered with ermine, seated at a table, -writing a letter, the matter of which appears to be the compulsory dictates of her offended father, who stands behind her chair, looking sternly over her. A violonceUo is placed against a chair at the side, and a basket, containing a cushion and other objects, stands close to the lady. 1 ft. 4 in. by 1 ft. 6 in. Panel. This picture is mentioned by Descamps in La Vie des Peintres : it was then in the collection of M. Bierens, 1754 [Bisschop, not Bierens]. Now [1833] in the collection of Henry Philip Hope, Esq. 240 But this picture, also described byHoet (ii. 527) in the Bisschop collection, Rotterdam, which passed to the Hopes, and by Waagen (ii., 116) who, like Smith, regarded it as genuine, was sold with the Hope collection from Deepdene, in 1898, to Messrs. Wertheimer and P. and D. Colnaghi. It was at the Old Masters in 1881, No. 130. See De Groot, 186. Our picture, as is proved by a notice from the sale catalogue pasted on the back, was No. 79 in the sale of Schonborn of Pommersfelden, Paris, 17-24 May 1867, when, like others in the collection, it was bought by Lord Hertford as La Lettrei" 'No. 82 of 1857 catalogue") for 45,500 f. (B.A.A.) The notice on the back refers to Smith, 88, and adds : — Metsu a done repete deux fois cette composition, puisque le tableau de Pommersfelden est inscrit dans les catalogues de 1719 et de 1746. II y a, du reste, une difference dans les mesures. Le tableau catalogue par Smith est un pen plus large que haut. Celui de Pommersfelden, egalement sur bois, a 0,45 de haut et 0,40 de large. It is more probable that Smith inverted the measurements, as he sometimes does. The Pommersfelden catalogue describes the lady as " une jeune fille." De Groot entitles the picture " The Letter- Writer surprised by her Husband." Husband and wife is a more reasonable reading than father and daughter. It was noted by Sir Claude Phillips that a repetition or old copy of the picture is in the gallery of Count Schonborn-Buchheim at Vienna. " The comparison sometimes attempted with the picture in this collection cannot be sustained." Lt might be thought that the version was 182 METSU likely, from the family connection, to be the Schonborn of Pommers- felden picture. But a final link in the story is supplied by Dr. Theodor von Frimmel in his Kleine Galeriestudien, iii., Die (rrafliche Schonborn-Buchheim'sche Gemdldesammlung in Wieii, 1896. He recognises that the Schonborn-Buchheim example (No. 43 of the collection, signed on the paper :(?.... METSV) is not an original ; it has been in the collection since 1820 at least. And he goes on to say that Waagen, in his book on Viennese Collections, mentions, as well as this example, one that he had seen in the Pommersfelden Gallery. Of this last, Dr. von Frimmel had lost all trace; it is obviously the picture in our Collection. De Groot gives a sale : Van den Brocke, Dordrecht, 17 June 1717, No. 4 (405 florins) which apparently refers to our picture. The bust of a girl, a cast from the antique, on the cupboard, also occurs in De Groot, 208, supposed to contain a portrait of the artist. No. 13 in the Royal Collection at Buckingham Palace. 242 An Old Woman Asleep or The Tabby Cat. Gallery XIII Canvas, 16^x181 (41-3x35). Signed, under the table: G.Metsu. Bethnal Green, 210, as " Mistress and Maid." Smith, 103, thus described : — ■H2 The Tabby Cat. A young woman, dressed in a scarlet jacket, blue skirt, and a white apron, standing at a table, cleaning flsh. A little retired, on the opposite side, is seated an elderly female, with a book lying open on her lap, during the perusal of which sleep has overcome her, and her spectacles are nearly falling from her relaxed Angers. Close to the front is a tine tabby cat, creeping with wily caution to a dish containing three haddocks ; various other objects contiibute to the picturesque effect of this highly studied and beautiful production. 1 ft. 4 in. by 1 ft. 2 in. Canvas. Now [1833] in the choice collection of Jeremiah Harman, Esq. De Groot, 122. Sales : Jeremiah Harman, Christie's, 17-18 May 1844, No. 103 (£273, Nieuwenhuys) ; Casimir Perier, London, 5 May 1848, No. 8, as " Dutch Kitchen, Cook and Old Woman Asleep ; called also ' The Tabby Cat ' " ; bought by Lord Hertford for £252. Exhibited, Old Masters, 1892, No. 79. 251 The Sleeping Sportsman Gallery XIII Canvas, 16 x 13| (40-7x35). Signed on stone slab in fore- ground to right : G. Metsu. Bethnal Green, 234, as " The Sportsman asleep: on copper [sic~\. Knoivn under the title of ' Le Gha.iseur Endormi.' From the collection of Cardinal Fesch.'' Smith, 64, thus described : — The Weary Sportsman. The scene exhibits an inn of a picturesque appearance, near the door of which sits the weary sportsman fast asleep. METSU— MIBEEVELT 183 A dead pheasant and a gun lie on some brickwork at his right ; above which is seen a man detaching a dead cock from a branch of a tree, apparently with the intention of exchanging it for the pheasant. At the same time the landlady is seen descending the steps of the house, with a glass of liquor in her hand. A fine setter is close to his master. Engraved by Pelletier. 1 ft. 3 in. by 1 ft. 1 in. Canvas. Collection of M. Helsleuter,, 1802 (12,001 f.). Mentioned by Waageiijii., 159. DeGroot, 199. Sales: D'Orvielle, Amsterdam, 15 July 1705, No. 53 (210 florins) ; Amsterdam, 23 November 1729 (91 florins); L. Th. de Vogel, Amsterdam,, 20 October 1794, No. 1 ; Van Helsleuter (Van Eyl Sluiter ?), Paris, 25 January 1802 (12,001 f.) ; collection of Cardinal Fesch, 1841, No. 184 ; sale of Cardinal Fesch, Rome, 17 March 1845, No. 135, when it was bought by Lord Hertford for 13,850 scudi (Note by Sir J. Murray Scott and B.A.A.) " En condition si parfaite qu'il se trouve encore sur la toile vierge " (sale catalogue). Exhibited Old Masters, 1892, No. 95. MICHIEL JANSZ IIIIIEREVELT Dutch School. Born at Delft 1 May 1567 ; died there 27 July 1641. Pupil of Willem Willemsz, and of Augustyn at Delft, and 184 MIBREVBLT— MIBRIS later of Antony van Montfoort at Utrecht. He practised liis art chiefly at Delft, where he had a host of followers and imitators, His most distinguished pupil was Paulus Moreelse. He was the Court-painter of the House of Orange, and as such painted also at The Hague. His sober and concentrated style in portraiture has its own reserve and dignity. It is based on that of the elder Netherlandish School. 66 Portrait of a Dutch Lady Gallery XVI Panel, 26 x 21| (66- 1 x 53-7). Inscribed to right beside ruff : ^tatis 24 (" 4 " a little doubtful) A". 1628. Bethnal Green, 229, as " Portrait of a Lady." This -portrait has much of the ingenuous charm of Paulus Moreelse's work, such as the so-called " Petite Princesse " of the Rijks-Museum at Amsterdam ;; yet it has more of sedateness. FBAirS VAN miERIS Dutch School. Born at Leyden 12 April 1635; died there 1681. Pupil first of the glass-painter Torenvliet at Leyden, and afterwards of Gerard Dou. Frans van Mieris painted with great skill and a certain quiet humour genre pieces which might be called the " Conversations Galantes " of Dutch seventeenth century art. His exactness of finish rivalled that of his master Dou and he throws considerable light upon the manners of the higher Dutch society of his time. Among the best collections of his works are those at Munich, Dresden, the Hermitage, and the Louvre. 639 639 Venus with Cupid aud two Amorini Panel, 5^x6f (13'3xl7'2). Inscribed in lower right corner : F. van Mieris, A" 1665 (the "5" is rather doubtful). Bethnal Green, 176, as " Venus Eeposing ; on panel," attributed to W. van Mieris. A notice pasted on the back identifies this picture as No. 80, in a sale which, from the form of the notice, was that of Count Schonborn of Pommersfelden, Paris, 17 May 1867. The price paid was 2,020 f. (B.A.A.) The notice runs : 80. Repos de Venus. La deesse toute nue est assise au pied d'un arbre, sur draperies blanches et bleues. Devant elle jouent de petits Amours, et derriere elle se bequetent des colombes. Tres fin. Note dans le Oat. ed. 1719, No. 389 d^i Oat. 1867. [Signature and measurements are given.] The picture was therefore in that collection as far back as 1719. In the sale of M. de Chatillon, Paris, February 1809, No. 46, was W. Mieris. Charmant tableau representant Venus et deux Amours, fond /pay sage. Bois (catalogue in British Museum). Smith (under 60) mentions that F. van Mieris's " L'Bnfileuse de Perles," was bought by the third Marquis of Hertford, and afterwards exchanged for another with M. La Fontaine. MIERIS 185 JAN VAN MIERIS Dutch School. Born at Leyden 17 June 1660 ; died in Rome 17 March 1690. Son of Frans van Mieris the Elder, and elder brother of Willem van Mieris. Pupil of his father and of Gerard de Lairesse. He went to Italy and lived chiefly at Florence, but, fearing persecution on account of his religion, left for Rome. It is said that he painted chiefly life-size compositions, but none of them are extant. The very few cabinet pictures which have been recognised as his are to be found at Amsterdam, Gotha, Hamburg, Hanover, Cologne and St. Petersburg. 176 Lady and Cavalier Gallery XIV Panel, 11 x 8j (28 x 21). Signed on chimney piece to- right : / V Mieris f. Bethnal Green, 134, as "Dutch Courtship," attributed to W. van Mieris ; to whom it was also attributed in early editions of this catalogue. Smith, 42, describes a picture by F. van Mieris that resembles it — A genbleman, richly di'essed, sitting in a chair with a pipe in his right hand, and laughing with a pretty woman, who stands behind him, holding a jug or glass. Collection of Van Slingelandt, Dort, 1785, 376 florins. Panel. But the size, 8j- x 6f in., dilfers. WILLEM VAN MIEIMS Dutch School. Born at Leyden in 1662 ; died there 27 January 1747. Pupil of his father, Frans van Mieris the Elder. Practised chiefly at Leyden. His style is marked by an excessive and mechanical polish, his colour by coldness. He has little of the power of observation, the humour or the vigorous characterisation which distinguish his father. 155 The Lute-Player Gallery XIV Panel, 19|x ]5| (48 "6x40). Inscribed on extreme top edge to left, beneath the slip : W. Van Mieris Fc'. Anno 1711. Bethnal Green, 123, as " The Musician Refreshed." This picture, like ISTo. 639 by F. Van Mieris, is identified by the form of a notice on the back as having been No. 81 in the sale of Count Schonborn of Pommersfelden, Paris, 17 May 1867. The price paid was 9,000 f . (B.A.A.) The notice runs : — 81. La G-uitariste. Jeune at charmante femme, en robe couleui- safran, assise pres d'une table couverte d'un brillant tapis sur lequel tm riolon et 186 MIERIS des cahiers de musique ; a ses pieds un petit epagneul. EUe accorde sa guitare pendant qu'un jeiine homme lui offlre un verre de vin, pris sur un plateau que presente un petit page en habit vert-pomme et en bas rouges. A droite, au second plan, une dame en robe bleue, et un homme aperruque. Au fond, des statues dans des niches. A Tangle gauche du bas, tout a fait en avant, un plat d'huitres. C'est un des tableaux les plus fins de ce maitre miniaturiste. Decrit dans le catalogue de 1719 ; No. 81 du cat. 1857. The instrument seems to be a lute of the bass variety called a theorbo or chitarrone. 163 Antony and Cleopatra Gallery XIV (Formerly " Joseph and Potiphar's Wife ") Panel, _18|xl4J (47x36-9). Inscribed at top to right: W. Van Mieris Fc' 1691. Bethnal Green, 164. On the frame behind in pencil is written " Anthony and Cleopatra. Mieris " ; and the same title is given in a bill for framing the picture 1 5 February 1859. The picture was, therefore, by that date, in the collection of Lord Hertford. The subject is on the whole more probably Antony and Cleopatra than Joseph and Potiphar's Wife. A somewhat similar composition is Smith, Supplement, 30, perhaps intended for Tarquin and Lucretia ; the " Roman warrior " in this is drawing his sword, Smith, Supplement, 13 (in the Hermitage collection) is undoubtedly Joseph and Potiphar's Wife, and also Supplement, 40 (signed and dated, Amst. 1694, and about the same size as our picture). On the back of our picture is, in chalk, " June 15/49 " and the number "117." This identifies our picture with No. 117 at the sale of William Williams Hope, Christie's, 14-16 June 1849 :— Francis [sic] Mieris. Antony and Cleopatra, in a richly decorated classical apartment. Cleopatra, who is half draped in a loose yellow mantle, is appealing to Antony, who is in a blue toga ; on a table, covered with a Persian cai-pet, are gold vessels and fruits, and a spaniel in front ; a sculptured vase and a drapery on the left ; Roman statues, in niches, are seen in the background. An exquisite " chef d'ceuvre," £110, Lord Hertford. On the back is also a seal showing a figure holding a heart with links of a chain, and the motto " L'Amour les tient enchatn^s." A second seal bears a monogram. We have here the same golden- haired rather mature model as in No. 155, and the little spaniel. MIBRIS 187 178 Boy with a Drum Grallery XIV Panel, 13|- x 9f (33 ■ 7 x 24 • 8). Inscribed on upper border of the frieze below the window : W. Van Mieria fV An" 1702. Bethnal Grreen, 202, as " The Drummer : on Copper" \_sic]. Smith, 51, and Supplement 45, thus described : — A drummer, richly dx-essed, standing at a window, with one hand upon a dram, and holding the sticks in the other ; near him are a pretty girl, and a young man bearing a flag ; the under part of the window is enriched with a bas-relief. Collection of Mviilman, 1813, 480 florins (£42). Now [1829] in the collection of the Duchess de Berri. 134 in. by 11 in. Panel. Exhibited for sale by private hand in the collection of the Duchess de Ben-i, Chi-istie's, 1834. Price £280. Not sold. Put up at auction in the same collection, Paris, 1837 [No. 89], and sold [to Paul Perier] for 4,305 f. [4,100 f., B.A.A.] Smith, 60, if not the same picture, was another version ; or closely resemlDled 51 — A group of children ; consisting of a boy richly dressed, and with a blue scarf round him, leaning upon a drum ; a girl playing with a doll, and another cai-rying a flag. Collection of Brentano, Amsterdam, 1822, 545 florins and 6 per cent. (£50). 124 in. by 10 in. Panel. The Duchesse de Berry's picture was No. 25, Le Petit Tambour, at the sale of Paul Perier, Paris, 16-17 March 1843, " G-alerie de I'Blysee Bourbon ; bois, 33 x 27," 6,300 f. (B.A;A.) : bought by Lord Hertford (de Ricci) . At the sale of Baron de Varange, Paris, 26-7 May 1852, No. 28, purchased by Richard Wallace (B.A.A.), is thus described : — Mieris (W.) Le Tambour. Un jeuoie gargon bat de la caisse, un autre, au fond, joue du fifre. Bois, 18 x 15, 1,205 f. This, from the description and measurements, was evidently another picture. This picture and No. 220 are examples of the " niche-piece " (Dutch, " nisstuk ") developed by Dou on hints from Rembrandt. The figures are seen through an arched window, with a vine or pot of pinks, &c. outside, and beneath is frequently the relief of boys playing with a goat, from a cast after Frans Duquesnoy, " II Fiammingo." From Dou the motive spread to other painters of the Leyden School. 179 Paris and (Enone Gallery XIV (Formerly " Venus and Cupid ") Canvas, 5^x7| (13'3xl9-4). Inscribed on stone in left fore- ground : W. Van Mieris Fc' An" 1698 (the " W " is a little doubt- ful). Bethnal Green, 175, as "Paris and CBnone." Paris, from behind the tree, points with his right hand to an inscription on the bark: OENONE BEMINNI (the last stroke is part of an E further round the trunk), i.e., " ffinone — Love." This picture is doubtless a pendant to No. 181. They are of the same date, both on canvas, of the same size and scale, and with similar landscapes. 181 Venus with the Apple, and Cupid Gallery XIV (Formerly " Venus Reposing ") Canvas, 5^ x7| (13 -3 x 19-1). Inscribed in lower left corner: W Van Mieris Fc' An" 1698 (the "W" is doubtful). Bethnal Green, 179, as "Venus and Cupid." See under No. 179. The apple near the knee of Venus relates this picture to the story of Paris and Glnone ; it is probably a pendant. 188 Nymph and Satyr Gallery XIV Copper, 10|x8-J (26-6x21 -6). Inscribed at bottom to left (under slip): W. Van Mieris Fc Anno 1700 (the last "0" is 188 MIERIS— MIKBEL drawn with slight tail, and is just possibly a " 9 "). Bethnal Gri-een, 162. Smith, 56 :— A landscape witli a Bacchante and a Satyr. Engraved in the Orleans Gallery. Sale at Mr. Christie's, 1818 ; 48 guineas. Now [1829] in the collection of [the third] Marquis of Hertford. lOJ in. by 85 in. Copper. 220 The Greengrocer Gallery XIII (Formerly " An Old Woman Selling Vegetables ") Panel, 15^x13 (39'4x33'l). Inscribed in yellow in upper right corner : W. Van Mieris Fc' Anno 1731. Bethnal Green, 132, as " The Vegetable Seller " ; on copper [sic]. Smith, Supplement, 24, described as follows : — The Greengrocer. The subject is represented at an arched window ; and the mistress of the shop, an elderly woman, dressed in a tawny cloak, and holding a cauliflower in her hand, appears to be recommending her goods to a young woman who stands on her left, in the act of taking a melon from a basket, which stands on the sill, on which are also bunches of carrots, parsnips, endive, cauliflowers, and a basket containing radishes. A bas- relief of boys playing with a goat adorns the under part of the windoiv. A curtain is suspended on one side of it, and ropes of onions on the other. Signed and dated 1731. 15i in. by 12f in. Panel. In the collection [1842] of Edmund Higginson, Esq. Sales : Edmund Higginson, of Saltmarshe Castle, Christie's, 6 June 1846, No. 199, £152 Is., Gritten ; Rev. Frederic Leicester, Christie's, 18 May 1860, No. 154 (£267 15s.), when it was bought by Lord Hertford (Bill of Messrs. Christie endorsed by Lord Hertford). On the back is the Leicester de Tabley seal. Exhibited at the British Institution, 1852, and at the Manchester Art Treasures Exhibition, 1857, No. 1,070; the figures were then said to be portraits of the artist's mother and wife. See for the design under No. 178. MILANESE SCHOOL (EARLY 16th Centuey) 544 Head of a Youthful Saint Gallery III Plaster, 111 x9i (28-6 x 23-5). This head has been variously attributed to Luini and to Sodoma, but is not with any certainty to be ascribed to either master. The style of the curiously frizzled hair is against the former attribution, and, of the two, the latter is to be preferred. The painting has been made up round the fragmentary head. MADAME DE MIRBEL BEFORE MARRIAGE MDLLE. LIZIXKA RUE French School. Born at Cherbourg, 1796; died in Paris 1849. Pupil of Augustin; chiefly renowned as a miniature painter. Madame de Mirbel practised her art during the Restoration and the reign of Louis Philippe, more than rivalling in merit and success her contemporary Daniel Saint (by whom are several miniatures in this collection). She played a great part at the Court of Louis XVIII, and again after the reign of Charles X at that of Louis Philippe. She was, as Mile. Lizinka Rue, appointed in 1818 " peintre en miniatures de la Chambre de sa Majeste," after having executed, more or less surreptitiously, a highly successful portrait of Louis XVIII — not, however, the carefully studied miniature No. 259 in this collection, which is dated 1819. The chief per- sonages of the Restoration — princes, courtiers, soldiers, men of science and artists— were portrayed by her with universal acceptance. Among the miniatures in the Wallace Collection are three fine MIRBEL— MOKLAND 189 examples of her art (Gallery XI, Case 0, Nos. 259 and 272, and Case D, No. 309). 763 J. Feuimore Cooper Gallery XI Water-colour, 5i X 3| (13-3 x 8-9). Bethnal Green, 1874 cata- logue, 1779, " on vellum." The material is paper. See under No. 764. 764 Sir Walter Scott Gallery XI Water-colour, 5|- x 3| (13-3x8 '9). Signed at bottom below mount : Walter Scott. Inscribed on back : This portrait in after nature by M'". de Mirihel, 6 NoV 1826. Bethnal Green, 1874 catalogue, 1778. These two drawings appear (Mireur) in the Allegre sale, Paris, 1872, as " Walter Scott et Cooper," 500 f . ; and a bill of Charles Fillet confirms that they were bought by Sir Richard Wallace, 13 May 1872, No. 295, " 2 miniatures, W. Scott, Cooper, 500 f." There are references in Scott's Journal to this drawing and that of Cooper (Lockhart's Life of Sir Walter Scott, ix, 32-37). Paris, 1826. November 3. — Sat to Mad. Mirbel. . . Visited . . Cooper, the Amei-ioan novelist. This man, who has shown so much genius, has a good deal of the maimers, or want of manners, peculiar to his countrymen. He proposed to me a mode of publishing in America, by entering the book as the property of a citizen. I will think of this. Every little helps, as the tod says, when, etc. November 4. — After this, gave Mad. Mirbel a sitting, where I encountered a general officer, her uncle, who was chef de I'etat major to Buonaparte. He was very communicative, and seemed an interesting person, by no means over much prepossessed in favour of his late master, whom he judged impartially, though with aifection. November 5. — We breakfasted with Mad. Mirbel, where were the Dukes of Pitz-James and Duras, &c., &o. ; goodly company — but all's one for that. I made rather an impatient sitter, wishing to talk much more than was agreeable to Madame. November 6. — Cooper came to breakfast, but we were obsedes partout. Such a number of Frenchmen bounced in successively, and exploded (I mean discharged) their compliments, that I could hardly find an opportunity to speak a word , or entertain Mr. Cooper at all. After this we sat again for oui- portraits. Mad. Mirbel took care not to have any one to divert my attention, but I contrived to amuse myself with some masons iinishing a facade opposite to me, who placed their stones, not like Inigo Jones, but in the most lubberly way in the world, with the help of a large wheel, and the application of strength of hand. John Smith of Darnick, and two of his men, would have done more with a block and pulley than the whole score of them. The French seem far behind in machinery. We are almost eaten up with kindness, but that will have its end. I have had to parry several presents of busts, and so forth. The funny thing was the airs of my little friend. We had a most affectionate parting — wet, wet cheeks on the lady's side. Pebble-heai-ted, and shed as few tears as Crab of doggish memory. In the evening to Pi-incess Galitzin, . . . Cooper was there, so the Scotch and American lions took the iield together. GEORGE MORLAND British School. Born 26 June 1763; died in London 29 October 1804. Pupil of his father, Henry Robert Morland, a painter and engraver of distinction, who is represented in the National Galler3^ Morland married the sister of James Ward, R.A., who was after- wards united to Maria Morland, the painter's sister. His career as an artist was greatly marred by dissipation, which hastened his 190 MORLAND— MORTON death. He died in a spunging-house in Byre Street, Coldbath Fields, in his forty-first year. Morland, though his art at its worst betrays much of superficiality and perfunotoriness, shows extra- ordinary natural gifts as a painter. His rustic scenes and genre subjects are composed with a felicity which seems instinctive. He expresses the pictorial element of rusticity with a more naive simplicity and truth than Grainsborough, and with something, too, of his easy mastery and exquisiteness of touch. His colour, within his own self-imposed limits, is ever fresh and harmonious, and his treatment of English landscape of great facility and charm. 57i 574 A Visit to the Boarding School Canvas, 23|x28| (60x73). Signed in lower right corner: G. Morland. Engraved by W. Ward, coloured mezzotint, 1789. The pendant was A Visit to the Child at Nurse, 1788. ANBBEW MORTOir British School. Born at Newcastle-on-Tyne in 1802 ; died in 1845. He came to London, and entered the schools of the Royal Academy. Later on he attracted the attention of the Royal Family, from whom he received several commissions, William IV sitting to him for a portrait which is now in Greenwich Hospital. Several portraits by Morton were included in the bequest made by Marianna Augusta, Lady Hamilton, to the Nation, and these were, between 1892 and 1900, exhibited at the National Gallery. They have since been removed. 632 The Duke of Wellington with his Secretary, Colonel Giirwood Old Board Room Canvas, 93f x 70f (237 • 2 x 179 ■ 8). Bethnal Green, 23. Bought by Lord Hertford from the sale of Lord Northwick, London, Phillips, -Ji-ly-August, 1859, for £210, thus described :— 380. A. Morton. A scene at Apsley House. The Duke of Wellington describing to Colonel Gurwood (the compiler of his despatches) the date of that which gives the details of the Battle of "Waterloo. Colonel Gurwood is taking from a file marked " June 1816, A to E," a despatch endorsed "Bruxelles | Wednesday, June 19, 1815 | Lord Bathurst | Report of the Operations | Battle of Waterloo," and the Duke has in his hands a printed proof, apparently of the despatch, headed "Waterloo." At his feet are other despatches and letters addressed to him, and a volume of the " Life of Marl- borough." MORTON— MURILLO 191 Jolin Gurwood (1790-1845) served with Wellington's army in the earlier Peninsular campaigns, and was severely wounded in a forlorn hope at Ciudad Rodrigo (1812). At Waterloo, as Captain, he was severely wounded for the third time ; in 1841 he was pro- moted brevet-colonel. For many years he was the Duke's private secretary, and was entrusted with i3he collection and editing of the Wellington Despatches, which occupied him from 1837. His health broke down from overwork and the effects of his wounds, and he died by his own hand. He was O.B. and deputy-lieutenant of the Tower. He was an intimate friend of Lord Hertford, and shared his interests as a collector. CHABLES-LOUIS ]VIUI.I.EI{, French School. Born in Paris 1818; died in 1892. Pupil of Leon Cogniet and Baron Grros. A painter of historical and romantic subjects, of which the best-known is " The Roll-call of the Con- demned in the Reign of Terror," a vast canvas formerly exhibited at the Luxembourg. 605 An Eastern Woman at her Toilet Canvas, llf x 10^ (29x26). Signed to right below: C. L. Mailer. No. 522 at Bethnal Green, as " Looking into the Mirror." BARTOIiOMf ESTfBAN MUBILLO Spanish School. Born at Seville and baptised 1 January 1618 ; died there 3 April 1682. Pupil of Juan del Castillo. In 1641 he proceeded to Madrid, and was there kindly received by his fellow townsman Velazquez. Disinclined to follow the advice of the latter that he should make the usual tour in Italy, he returned in 1645 to Seville, where, in 1648, he married. Having become the acknow- ledged head of the Sevillian School, he founded there in 1660 the Academy of Painting. Murillo's finest works are executed in the realistic style proper to the Spanish School of the seventeenth century, tempered, however, by a peculiar ingenuousness and a charm almost feminine. He had an unerring instinct for graceful and finely balanced composition of the more academic type, but, even in his famous sfumato or vaporous style, he cannot be ranked high among the true colourists. His finest works are at Seville, and in the Academy of San Fernando and the G-allery of the Prado at Madrid. The references below are to Velazquez and Murillo ; a descriptive and historical Catalogue, by Charles B. Curtis, 1883. 3 The Virgin in Glory with Saints Adoring Gallery XVI Canvas, 27 x 19f (68 -ex 50-2). Bethnal G-reen, 310, "The Virgin and Child in (xlory with Saints. From the Collection of tloe Marquis Aguado." This " sketch " was bought by Lord Hertford at the sale of the Marquis Aguado de las Marismas, Paris, March 20-28, 1843, No. 39, as Madone dans une Gloire (70x51) for 17,900 f. Mentioned by Waagen, ii., 156, in the collection of Lord Hertford, 1854. The Saints are St. John Baptist, standing, and SS. Justina, Rufina and Francis, kneeling. Engraved by Nargeot in Galerie Agimdo. Curtis, 116. 13 The Virgin and Child Gallery XVI Canvas, 64|x43 (163-5 x 109-2). Bethnal Green, 303, "from the collection of Colonel Hugh Baillie." Bought by Lord Hertford 192 MURILLO at the Hugh Baillie sale, 15 May 1858, for £1,575 ; described as " from the Altamira Gallery." British Institution, 1823. Perhaps tho picture engraved in the eighteenth century by Esteven Boix from a picture belonging to the Conde de Trastamora. Curtis, 92. 14 The Marriage of the Virgin Gallery XVII Canvas, 29^x221(74- 3x56 -5). Bethnal Green, 318. Waagen, Supplement, 82. Curtis, 59, who says that a small picture of this subject, formerly in the Royal Palace, Madrid, is mentioned by Ponz, vi., 34, and Cean Bermudez, Die, ii. 63. It vs^as praised by Raphael Mengs as displaying the sweetness of Murillo's second manner. Bought by Lord Hertford, 5 Oct. 1848, for 25,000 f. from P. Laneuville, who certified that it had been taken from the Palace Collection by King Joseph, given by him to the Duke of Belluna, bought from the heirs of the latter by M. Reiset, and acquired from him by Laneuville (Receipt). 34 The Adoration of the Shepherds Gallery XVI Canvas, 57^x851 (145-4x 217-2). Signed on rocks to right below; Bar"" Murillo, f. Bethnal Green, 294. Bought by Theobald for Lord Hertford at the Higginson of Saltmarshe sale, Christie's, 4 June 1846, No. 228, for £3,018 15s.; described as "from the Boursault Collection." It was one of five pictures by Murillo in the Capuchin Convent at Genoa which were brought over to England in 1805 by Buchanan the dealer, Major Irvine and Champernowne (see " Memoirs of Painting," ii., 164, 171). These pictures were (1) The MUKILLO 193 Charity of 8t. Thomas (our No. 97) ; (2) The Flight into Egypt ; (3) The Adoration of the Shepherds (oar No. 34) ; (4) Joseph and his Brethren (our No. 46); (5) A Magdalen in the Desert; (6) A Virgin in the Clouds surrounded hy Angels. The Adoration of the Shepherds was assigned to Mr. Champernowne for his private collection at £800, and sold in 1820. It appears later at the Bonnemaison sale, 1827 (21,C00 f.), and Bonrsanlt sale, 1838, when it was bought by Mr. Artaria for Edmund Higginson. Curtis, 123, who thinks No. 364 at the Hermitage, 43x61, is a sketch for our picture. British Institution, 1819. Mentioned by Waagen, Supple- ment, p. 82. No. 1 at Manchester Art Treasures Exhibition, 1857. 46 Joseph and his Brethren Gallery XVI Canvas, 59 x 88i (149-8x 224-7). Signed on the well-head: Bar^^ MuriUo, f. Bethnal Green, 298, " Joseph lowered into the Well by his Brethren. This p-icture is described in Stirling's Annals of the Artists of Spain, vol. III., p. 1416." This was No. 4 in the list given under No. 34, and was regarded as the companion of that picture. It was valued at £800, and was in the possession of John Cave, of " Brintree " near Bristol. It was offered for sale at Christie's, 1846, and bought in at £1,310 (Stirling;, p. 1416). At the sale of W. M. Cave, of Brentry House near Bristol, Christie's, 29 June 1854, it was bought by Mawson for Lord Hertford at £1,764 Os. Od. Mawson, in a letter to Lord Hertford of 14 July 1856, refers to the purchase as "a creation of my own," and reports that George Jones, R.A., had approved. Mentioned by Waagen, Supplement, p. 83. No. 3 at Manchester Art Treasures Exhibition^ 1857. Curtis, 13. 58 The Holy Family and St. John the Baptist Gallery XVI (Formerly " The Holy Family ") Canvas, 651x501 (166-4x 127-7). Bethnal Green, 302, " The Holy Family and St. John the Baptist." Bought by Lord Hertford for £819, as Riposo of the Holy Family, No. 125, at the sale of W. Williams Hope, Christie's, 15 June 1849. It is thus described : — The Virgin, in a pink aiid blue drapery, kneeling before the Infant, who' is presenting the scroll, the end of which is held by St. John ; St. Joseph is standing ■with his hand upon an open book which rests on a bank, at the loot of which is a lamb. A beautiful landscape background completes the composition of this superb chef d'wuvre, which is of the very highest quality, Waagen, Supplement, p. 82, says it was formerly in the Casimir Perier collection, but in ii. 156 he speaks of two pictures from the Hope Collection in Paris without giving names. Manchester Ar t Treasures Exhibition, 1857, No. 5. Curtis, 152. 08 The Annunciation Gallery XVI Canvas, 74^x521 (188-8x133-4). Bethnal Green, 295, " The Annunciation. From the Collection of the Marquis Aguado." Mentioned by Waagen, ii. p. 156, in the collection of Lord Hertford (1854), and Supplement, p. 81. Manchester Art Treasures Exhibi- tion, 1857, No. 4. Stirling, p. 1417. Curtis, 68, who states that it was brought from Spain by M. Rayueval, formerly French Ambassador to Madrid, and at his sale, 16 April 1838, fetched 15,000 f . ; at the Aguado sale, 1843, it was bought by Lord Hertford for 27,000 f . In previous editions of the Catalogue it was stated, in error, to have been also in the Stowe Collection. Engraved by A. Lefevre, in Galerie Aguado ; by J. Eogers, and W. Hulland. Lithographed by- Andre Lafosse and Bliimner. u 10931 N 194 MURILLO 97 The Charity of St. Thomas of Villaimeva Gallery XVI Canvas, 581x59(148 -5x149 -9). Bethnal Green, 305, "from the collection of Mr. Wells, of Redleaf." Bought by Lord Hertford at the W. Wells sale, 12 May 1848, No. 125, for £2,992 10s. as St. Thomas distributing Alms to the Poor. Waagen,ii. 156, who says the picture was formerly in the Church of the Franciscans at Genoa. 97 He means -the Capuchin Convent (see under No. 34). This picture was sold by the importers to Mr. Wells for £1,000. Manchester Art Treasures Exhibition, No. 2; British Institution, 1823 and 1835 ; Old Masters, 1872. Stirling, p. 1438. Curtis, 399. The same subject was treated by Murillo in a picture that he called " his own " for the Capuchin Church of Seville, now No. 84 in the Seville Museum. 105 The Assumption of the Virgin Gallery XVI Canvas, 25|x 15| (65x40-3). Bethnal Green, 317, may have been this picture or No. 7. Waagen,' ii., 156, mentions an "Ascension of the Virgin" in Lord Hertford's collection (1854), which he had not seen, but says came from Stowe. The picture bought by Mawson for Lord Hertford at £58 16.s., at the sale of the Duke of Buckingham's collection at Stowe, 1848, No. 390, was then called "The Conception of the Virgin, with Infant Angels," but was a small picture, and was actually No. 105. It is referred to in Lord Hertford's letters to Mawson as follows : — Hotel des Bains, Boulogne-sur-Mer, September lOtli, 1848. If tlie little Murillo, No. 390, the Conception of the Virgin, were sold at a reasonable price I should like to have it. Sunday Evening. I do not think I shall avail myseH of your kindness respecting the Murillo as I do not think the price it will be allowed to go for wiU suit me, after the tremendous sales I have undergone lately. The picture, however, was bought for the small price mentioned. Behind the sarcophagus are the three Maries, kneeling ; five Apostles are to the left, seven to the right. Curtis, 53. SCHOOL OF MUEILLO 7 The Assumption of the Virgin Gallery XVI Canvas, 65^x421 (165-7x108-5). Possibly Bethnal Green, 317. Bought by Lord Hertford at the sale of John Brackenbury, Christie's, 1848, as " The Virgin of the Assumption," for £892 10s. Exhibited by Sir J. M. Brackenbury, at British Institution, 1836. He had purchased it from a picture dealer named Casanova, at Cadiz (Stirling, Annals of the Artists of Spain, p. 1420). Curtis, p. 50. MURILLO— NATTIER 195 104 The Virgin and Child with (?) St. Rosalie GallJ. XVII Canvas, 26f x 32^ (67 • 7 x 81 ■ 9). Curtis, 115, who suggests that the saint is St. Rosalie (from the roses in her hand). This picture was in possession of Lord Hertford before 15 Feb. 1859, when there is a bill for cleaning it. 133 The Virgin and Child (in an Oval) Gallery XVII Canvas (the subject is within a painted oval), 41| x 30f (104-8 X 78). Bethnal Green, 300 or 308. Mentioned by Waagen, Supplement, p. 82 (1857) :— 4. Tlie Yirgin, holdlBg the Child. Life-size to the knees, of oval form. I know few pictures by the master where the draperies are treated so finely, and where the colours are of such luminous transparency. At the same time the treatment is very careful. From the collection of Oasimir Perier. The picture does not, however, appear in the Casimir Perier sale-list of 18 April 1838. It is probably one of the two pictures Waagen did not see in 1854 (ii., 156), but mentioned as being in Lord Hertford's Collection, " from the Hope Collection in Paris " (the other being No. 58). No. 102 at the W. Williams Hope sale, 14-16 June 1849, " The Virgin in a pink and blue drapery, holding the Infant in her lap, a lovely work of the highest quality, oval," brought £609 (Mawson). Curtis, 109. 136 The Virgin and Child (with Rosary) Gallery XVII Canvas, 42| x 30f (107-9x78). Bethnal Green, 300 or 308. Waagen, Supplement, p. 82, mentions in the collection of Lord Hertford (1857). 5. The Virgin and Child. Half-length figures. A good pictm-e, thoiigh not so important as the foregoing [i.e., No. 133]. Manchester Art Treasures Exhibition, 1857, No. 5. Curtis, 88. JEAN-MAKC NATTIER French School. Born in Paris 17 March 1685; died there 7 November 1766. Pupil of his father. Marc Nattier, and probably of his godfather, Jean Jouvenet. After the death of Louis XFV in 1715 Nattier proceeded to The Hague, there painted Peter the Great and several personages of the Russian Court, produced a picture on the subject of the Battle of Pultava, and began the portrait of the Empress Catherine I, which however remained unfinished. He was received at the Aoademie Royale 29 October 1718. Having been ruined in 1720 by speculation in the shares of Law's Bank, he devoted himself exclusively to portraiture, and became one of the favourite artists of the Court and the Painter-in-Ordinary of the Royal Prin- cesses, especially of the daughters of Louis XV, whom he repre- sented in all sorts of mythological disguises. He depicted also in the same fashion the Duchesse de Chateauroux, chief favourite of Louis XV in the earlier years of his reign, and many other ladies of the Court. He occasionally excelled in the portraiture of men, a noble example of his style in this branch being the full-length "Comte Maurice de Saxe " in the Dresden Gallery and another, the " Buffon," in the collection of M. Cahen d'Anvers. His wholly superficial yet of its kind brilliant and accomplished art proved to be exactly suited to the Court and society of his time. He is well represented in the Louvre, but most extensively at Versailles, where one entire gallery is filled with portraits of Princesses of the House of France. N 2 196 NATTIER 414 A Prince of the House of Prance Gallery XVIII (? With Tocque, or copied by him) Canvas, 32 x 23f (81-2 x 60). Bethnal Green, 466, as "Duke of Penthievre. (Painted in conjunction with Tocque)." In pencil on the back is "Due de Penthievre" and "Par Tocque" The page holds the robes of the very exclusive order of the Saint 414 437 Esprit. In the Cypierre sale, Paris 1845, was Le Due de Penthievre adolescent, 231 f. (Mireur). In the Prousteau de Montlouis sale, Paris, 5-6 May 1851, from which various pictures in the Wallace Collection are derived, No. 175, entered as by Tocque and Lancret [sic], is thus described : — Portrait en pied de M. le due de Penthievre, grand amiral de France. II va ae revetir du manteau de ohevalier de I'ordre du Saint Esprit, qu'un page dispose a cat effet. Oe portrait est peint en 1742 ; le prince avait seize ans. Tres ton tableaux. 530 f. (B.A.A.) This was doubtless our picture, which was formerly catalogued as the Due de Penthievre, son of the Comte de Toulouse ; but a life-size original, identical with it in composition, which is in the collection of Mrs. H. L. Bischoffsheim, bears on the back, with the signature of Nattier, the date 1732. In that year the Due de Penthievi-e was but seven years old. The subject of our picture looks older than sixteen. In a small painting of the interior of the H6tel de Toulouse (now Banque de France), by Garneray (Collection of Comte de Lariboisiere), this same portrait, identical in every particular, is introduced, the scale being, however, that of a large miniature. M. de Nolhao (Nattier, 1910, pp. 61-2) argues that the subject is Lous Due d'Orleans, at the age of 29. There are portraits of him by Belle and Coypel. This prince, son of the Eegent, and born in 1703, whs of a religious and scholarly temper. On the death of his wife in 1726 he retired almost wholly from Court and public affairs, and in 1730 took up his abode in the Abbey of 8te. Genevieve. His studies included natural science. Oriental tongues, and theology, and he left in MS. a translation of the Psalms from the Hebrew. He died in 1752. Louis Tocque (1696-1772) was a pupil of Nicolas Bertin and of Hyacinthe Rigaud, and. was received by the Academy in 1734. He painted at the Russian Court and at Copenhagen. He married the daughter of Nattier. 437 Marie-Leczinska, Queen of Prance Gallery XIX Canvas, 21| x 17| (54-3 x 44-2), Bethnal Green, 412, as " Maria Leczinska, Queen of Louis XV (1713-68). Engraved by NATTIEJi 197 J. Tardieu." Bought by Sir Richard Wallace in Paris, 1872, along with No. 456, "The Bath." Possibly the Portrait de Marie Leczinnka (56x44), 1,300 f. at the sale of Dr. G-audinot, Paris, 1869 (Mireur). On the open Bible can be read on one side [ ? EVANG]ILE, on the other CHAP. IX. This is the repetition, on a much-reduced scale, of the life-size, three-quarter length portrait, of which one original (popularised by the fine engraving of J. Tardieu) is in the museum of Dijon. Better known is the almost exactly similar full-length in the Palace of Versailles, in the right-hand corner of which, however, a royal crown and robe are added as accessories ; this last is apparently an atelier work touched by the master. ■ Another original, however, held to be the finest of all, was in 1909 unearthed in the grammar school at Versailles, and this is now, with the other Nattiers, in the Palace there. Tardieu's engraving bears the statement that it was presented to the Queen by Nattier in 1755, and under Chap. ix. 233 (?) Gette Beine adoree \ de la France, a pretty testimonial. 453 The Comtesse de Tillieres Gallery XX (Formerly " Portrait of a Lady in Blue ") 453 LH Canvas, 31f x 25 (71^7 x 63-5). Inscribed to right above the arm : Nattier Pnx', 1760. Probably Bethnal Green, 476, " Portrait of a Lady." This portrait must at some time have exchanged titles with No. 461. The mistake has been rectified by the discovery on the back of the following label, in ink, written in an old French hand : — Ce portrait, .peiiit par Nattier, fanieux peintre du regne de Louis XV, est celxii de Miohelli Julie Frau^oise d'Esparbes [de] Lussard d'Au- beterrc de Jonzao, c'"-^= de Dilheres, morte le 2 Fevrier 1757 agee depres de 42 a us. Apves avoir vpcu si saintemeut un grand nombre^ de ses demieres anuces, que sa posterite a lieu d'esperer qu'elle intercede pour elle au ciel. Le Marquis de Lasteyrie, at the request of Mrs. Fortescue, was kind enough to make inquiries as to the Comtesse de " Dillieres." No such nam.e appears in the history of France, but the lady was evidently not de Dillieres, but de Tillieres. She was the fourth 198 NATTIER child (with three elder brothers) of her father, particulars of ■whom are given in the Bictionnaire de la Noblesse by M. de Lachenaye Desbois, 1773, vi., 101 :— Louis Piene Joseph Bouchard d'Esparbez de Ijussan, Comte de Jonzac, Marquis d'Ozillao de Ohampagnac etc., Capitaine-Lieutenant des gendai-mes Dauphins, Lieutenant general de Saintonge et Angoumois, Chevalier de St. Louis, Brigadier des Armees du Roi le 7 Mars 1734, et Marechal de Camp le 24 Pevrier 1738, mourut a Bordeaux le 3 Juin, 1750, age de 59 ans ou il vivait dans una grande piete. II avait Spouse en Mars 1713 Marie Fran9oise, fille de . . Henaut, secretaire du Roi, fermier general, morte 1727. De ce mariage sont sortis : — 1° Francois Pierre Charles, nee 1714, qui epousa Elizabeth Pauline Gabrielle Colbert, fille du C" de Seignelay. 2° Louis Henri Theophile, nel716, tue a la bataille de Lawfeldt, 1747. 3" Batiste Charles Hubert, ne 1718, tue au siege de Bruxelles, 1746. 4° Michelle Praufoise Julie, nee le 27 Mars 1715, morte en 1757, femme le 14 Aout 1730 de Jacques Tannegui Le Veneur Marquis de Tillieres, sous-lieutenant des Chevaux Legers et gendarmes de la Reine, puis Capitaine-Lieutenant des Chevaux Legers de Bretagne en Mars 1734, Capitaine-Lieutenant de gendarmes Dauphins en Avril 1788, Brigadier des armees du Roi 15 Mars 1740 et Marechal de Camp le 2 Mai 1744. II a eu plusieurs enfants de son mariage. 456 The Bath (Mademoiselle de Clermont) Canvas, 42J-x40| (107-4x103). Inscribed under bottom step: Nattifir pimxit 1733. Bethnal Green, 389, "The Bath: A 456 Portrait of Madame de Ghdteauroux, a mistress of Louis XV." Bought by Sir Richard Wallace in Paris, 1872, along with No. 437. Exhibited at the Salon of 1742 as— Ko. 63, par M. Nattier, academician. Un tableau representant le portrait de feiie Mademoiselle de Clermont, Princesse du Sang, Surintendante de la Maison de la Reine, representee en Sultane sortant du Bain, servie par ses Esclaves. A larger picture by Nattier of this class, representing in a quasi- allegorical fashion the same lady, is the Mademoiselle dr Clermont aux eaux de Chantilly, No. 375 in the Museum of Chantilly. Our picture is one of the " Turqueries " in fashion during the 18th century (compare No. 451, "The G-rand Turk giving a concert to his Mistress," and " Le Turc Amoureux," pendant to our Lancret, No. 450, " La Belle Grecque." The occasion was the embassy from the NATTIEU— NEBFFS 199 Porte, whose costumes touched the fancy of society and its artists. See catalogue of " Exposition de la Turquerie au XVIII'-" Siecle," May-October 1911, at the Musee des Arts Decoratifs in Paris. Our picture, according to M. de Nolhac, is mentioned by Palissot in the possession of the Due de Saint- Aignan. Mile, de Clermont (Marie Anne de Bourbon) was born in Paris, 16 October 1697, youngest child of Louis III de Bourbon, Prince de Conde, and of Louise-Fran^oise de Bourbon (Mile, de Nantes). The romance of her life passed at Chantilly. The Chantilly portrait is of 1729. 461 Mademoiselle de Chateaurenaud Grallery XX (Formerly " Portrait of the Comtesse de Dillieres ") Canvas, 31^x25 J (80 X 64-2). Inscribed to left over the arm : Nattier pnx' 1755. Probably Bethnal Green, 480, " Portrait of the Countess de Dillieres." This picture and No. 453 had at some time exchanged titles, but the identity of the subject has been determined by the discovery of a printed label on the back, part of which is wanting — Nattier (Jean Marc) Signe et date 1755 Portrait ii mi-corps de Mile, de Ohateau-Renaud, premiere femme du marquis de Belesta, mestre du camp sons Lonis XY. Chef d'oenvre du maitre expose au salon tonlousain au capitole The Marquis de Lasteyi'ie was good enough to obtain the following reference from M. de Nolhac, the learned keeper of the Versailles Museum : — M. de Chateaurenaud presenta ici a Versailles vendredi dernier Mme. de Belestat, sa seconde fille. Elle n'avait pu etre presentee avant a Compiegne s'etant trouvee incomniodee, comme je I'ai marque. Elle a la place de dame de Mesdames. Memoirs du due de Luynes, xii,, 140. Mademoiselle de Chateaurenaud was therefore lady in waiting to the daughters of Louis XV. (For illustration see p. 197) PETER NEEFFS THE ELDER Flemish School. Born at Antwerp shortly after 1-577 ; died there between 1657 and 1661. Pupil of the elder Steenwyck. The two Francks, Teniers, Jan Breughel and Van Thulden painted the figures in his interiors. Neeifs was, notwithstanding the extreme formality of his style, one of the most distinguished architectural painters of the Netherlands. In finesse and sureness of execution he is, however, surpassed by Steenwyck the Younger. (Figures by Fkans Francken THE YoUNGEE) 152 Interior of Antwerp Cathedral Gallery XIV (Formerly " Interior of a Gothic Church ") Panel, 19^ x 25 (48 • 8 x 63 • 5). Signed : Peeter Neeffs. Bethnal Green, 153. This is possibly the picture in the sale of Count Schonborn von Pommersfelden, Paris, 17-24 May 1867, thus described : — 197. Interieure d'une eglise d'Anvers ; figurines par Trans Franck le jeune. Signe Pieter Neefs. No. 235, 1857, 46 x 62, 400 f. (B.A.A.) There was a Neeffs, however, in the Collection of Lord Hertford before 15 February 1859, when there is a bill for varnishing it. The subject was often repeated by Neeffs, with variations in the composition and authorship of the figures. Thus there is a 200 NEBFFS-NEER version at Ham Hoi^se, and more than one in the gallery at Cassel. Frans Francken II, or the Younger, a son of the elder of that name, was born at Antwerp 6 May 1581, and died there 6 May 1642. He was a pupil of his father, painted historical, Biblical, mythological, and masquerade pieces, and furnished small figures for pictures by the elder Neeffs and other masters. AERT OB AEBirOUT VAN DEB, NEEB Dutch School. Born at Amsterdam in 1603 ; died there 9 November 1677. He practised at Amsterdam, but met with little appreciation during his lifetime, and died very poor. In the romantic character, the lyrical pathos of his landscapes, especially the sunsets and night-scenes. Van der Neer stands apart among the Dutch masters of the seventeenth century. The Wallace Collection contains a representative series of his works on a small scale. An example on a much larger scale is the " Landscape with Figures and Cattle," No. 152 in the National Gallery^ 157 A River Scene by Moonliglit Gallery XIV Canvas, 19|x28H49 -2x71 -8). Signed to right below : 4 FDiV" (in monogram). Bethnal Green, 135 or 205. Bought by Lord Hertford, No. 29 at the sale of Paul Perier, Paris, 16-17 March 1843, for 4,400 f. 159 A Winter Scene Gallery XIII Canvas, 24x291(61x74-3). Signed to right below: AVBN (in monogram). Bethnal Green, 98, " Winter Scene, with Skaters." A seal on the back (a tiny dog sejant, apparently a crest) proves this picture to have been at one time in the same collection as Berghem, 218. NEER 201 161 A Canal Scene by Moonlight Galleiy XIV Canvas, 23| x 28H58 • 7 x 71 ' 8). Signed to right below : AVN (monogram). Probably 205, " River Scene, Moonlight " at Bethnal Green. Mawson writes to Lord Hertford from Paris, 27 March 1850 :— I . . . feel assured, if you had been in Paris, you would have secui-ed two or three more of the Montcalm pictures. There is one picture sold which I regret much did not enter your lordship's splendid collection, viz., the " Moonlight," by Vandaneer. This picture, after I had cleaned it, turned out wonderfully well, so much so that no one would have known it again. There was a spirited competition for it and it was knocked down at 8,100 frs. All the judges and amateurs considered it a chef d'oeuvre. If Mawson had acquired this picture, as seems probable, it is possible Lord Hertford bought it from him. Mireur gives the dimensions as 65 x 55, width coming probably before height, since it is unlikely that the picture was an upright. It is, therefore, possible that No. 161 is the Montcalm picture. 184 Scene on a Canal Gallery XIV Panel, 51 x QJ (13-3 x 23-5). Probably 217, "A River Scene," at Bethnal Green. A notice is on the back from a French sale catalogue not identified ; the title is Clair de Lune. 200 A River Scene : Afternoon Gallery XIV Panel, 8f x 14^ (22 • 3 x 36 • 9). Signed to right below : A VDN 200 (in monogram). No. 208, "A River Scene: Evening," on panel, at Bethnal Green. 217 A Skating Scene Gallery XIV Canvas, 21 X 26| (53-8x67-6). Signed to left below : AVDN (in monogram). Bethnal Green, 106. Probably "Frozen River Scene : Sunset," bought by Mawson, Lord Hertford's agent, at the C. Brind sale, Christie's, 12 May 1849, No. 59, for £325:— A River Scene — frost -piece — sunset with sledges and many figures on the ice. Exhibited in 1832 and 1835. This is probably the picture described by Waagen, Supplement, p. 90, as in Lord Hertford's Collection, 1857 : — Artus van der Neer. A warm sunset over a Dutch canal, with houses and trees along it. Inscribed with the monogram of the master. The 202 NEER mai-vellous warmtli and transparency, and the precise yet soft execution, render this one of the finest works of the painter. 217 It has been suggested that the figures are by Albert Cuyp. A Soleil levant by Van der Neer was bought for 3,000 f. by Richard Wallace at the Van der Sohrieck sale, Louvain, 1861, No. 60 (de Ricci). EGLON HENDBIK VAIT DER NUER Dutch School. Born 1635 or 1636 at Amsterdam; died at Diisseldorf 3 May 1708. Pupil of his father, the landscape painter Aertvan der Neer, and of Jacob van Loo at Amsterdam. Practised his art first at Rotterdam and The Hague, then in Brussels, and lastly at Diisseldorf as Court-painter to the Elector Johann Wilhelm of the Palatinate. He followed in genre painting the style of which Prans van Mieris the Elder is the most prominent representative. (lallery XIV 243 A Lady in Red, Drawing (Formerly " Lady in a Red Dress ") Panel, ]l|x9i (29-5 x 28-5). No. 137, "The Drawing," Bethnal Green. This is doubtless Smith, Supplement, No. 7 : — The Dilettante. A lady attired in red, seated at a table drawing ; a bust and the figure of a gladiator on the table, and a curtain of richly worked at tapestry is suspended behind the lady. 11| in. by 9f in. Panel. In the collection [1842] of Edmund Higginson, Esq., of Saltmarsh Castle. NBER— NETSGHBR 203 At the Higginson sale, London, 6 June 1846, Xo. 185, it was bought by Goldsmith for £81 18s. (No. 57 of the 1842 catalogue). De Groot, 32, gives also C. Scarisbrick sale, London, 11 May 1861 (£162 10s., Colman), and previously to those sales, F. Kamermans, Rotterdam, 3 October 1825, No. 21 (905 florins, Lamme). Mireur gives the following sales for "L'Artiste Feminin" by our artist: — 1754, Tonneman (1,265 f.)"; 1765, Lindert de Neuville (2,685 f.); 1780, Poullain (5,090 f.) ; 1783, De Merle (4,808 f.) ; 1827, Galitzine (6,600 f.). WILLIAM ANBBEWS NESFIELD British School. Born at Chester-le-Street 19 February 1793; died 2 March 1881. Entered the army in 1809 and served through- out the Peninsular War as well as in Canada. Member of the Royal Society of Painters in Water-colours He practised not only as a water-colour painter, but as a landscape gardener, and attained celebrity, his co-operation and advice being extensively sought for throughout the country. 703 Kilchurn Castle, Loch Awe Water-colour, 10| x 14| (25-7 x 35- 7). Signed in lower right corner : W.A.N. Bought by Lord Hertford at the E. Bicknell sale, Christie's, 1863, for £63. Described on old mount as " Loch Awe and Ben Cruachan " by W. A. Nasmyth, and exhibited as such at Bethnal Green, No. 649. CASFAK ITETSCHER Dutch School. Born at Heidelberg in 1639; died at The Hague 15 January 1684. He came as a child to Holland, and was at Arnheim the pupil of H. Coster, and later on at Deventer of Gerard Terborch. He was domiciled at The Hague, but resided between 1659 and 1662 at Bordeaux. Netscher lacked the strong personality, the mastery and variety of the greatest among the " Small Masters " of Holland, yet showed a finesse and elegance of his own in the treatment of genre and portraiture. The most complete collection of his works is that in the Dresden Gallery. 167 Lady with an Orange Gallery XIV (Formerly " Portrait of a Lady ") Canvas, 17^ x 14| (44 ■ 5 x 37 • 8). Inscribed in lower left corner : G Netucher 1681{GN combined). Bethnal Green, 131, as "Lady 167 holding an Orange"; this and the orange-tree at her side may possibly have some significance. De Groot, No. 377. 204 NETSCHBE 204 Lady with a Watch Gallery XIV (Formerly " A Dutch Lady ") Panel, 61 x 5^ (15 ' 6 x 13 • 3). She holds to her ear with her left hand what looks like a crystal watch ; her right hand is on her heart, under her jacket. On the back in ink is inscribed : A ? 379 (the doubtful part something like a " K"). Below this " MH" and " pal," and the fragment of a seal. De (Iroot, No. 378. 212 Portrait of a Child Plucking a Rose Gallery XIII (Formerly " Portrait of a Child ") Panel, 13| x lOf (35 x 27 -4). Bethnal Green, 143, as " A Young Lady with Flowers." She plucks a rose from a small tree in a pot, and holds others in her pinafore. De Groot, No. 454. This picture and No. 214 are pendants, and are almost certainly the two pictures sold at the H. de Kat of Dordrecht sale, Paris, 2 May 1866. This would be No. 58 at the sale (6,150 f.), and No. 214 would be No. 57 (5,500 f.). This is confirmed by the existence of the numbers 58 and 57 on the backs in chalk. Thus De Groot's 454 and 457 would be one picture, and also his 58 and 59. A seal on the back of both pictures is that of the Counts of Homes (Hoorn near Liege) ; it is of 1700 or a little later, and hence belongs to either the Counts of Hautekercke, or of Baussignies, the younger branches. 214 A Lady playing the Guitar Gallery XIII (Formerly " A Lady playing the Lute ") Panel, 13f x lOf (35x27 "7). Inscribed on guitar-case on the floor to left : G Netscher 1669. Bethnal Green, 142, as " A Young Lady with a Guitar." Pendant to No. 21 2, which see for further particulars. No. 58, De Groot, and also No. 59. In addition to the De Kat sale, this picture figures at that of Pieck-Le Leu de Wilhem, The Hague, 28 May 1777, No. 72 (114 florins, Tencate). 237 The Lace-Maker Gallery XIII Canvas, 13xl0| (33x26 "6). Inscribed on the mount of the engraving hung against the wall : G Netscher 1664. Bethnal Green, 187. Smith, 21; thus described: — The Lace-Maker. A pretty young woman dressed in a red corset and a gi-een petticoat, seated in a profile view, making lace. The figure, which NBTSCHBR— NEWTON 205 is seen to the knees, is opposed to the white walls of the i-oom. Signed and dated 1662 [sic] . 1 ft. 1 in. by 11 in. Canvas. Collection of M. J. Pompe Van Merdervooi-t, 1780, 700 florins (£63); of M. Van Leyden, Paris, 1804, 7,000 f. (£280) ; Anonymous, 1807 (Mr. Christie's, 190 guineas). Exhibited in the British Gallery in 1818. Now [1833] in the collection of the [third] Marquis of Hertford. The sale at Christie's, 4 July 1807, included a number of pictures belonging to Lord Yarmouth, afterwards third Marquis of Hert- ford. Our picture was one of these (lot 86) and he bought it in for 190 guineas. De G-root, 48, who corrects and simplifies the sale list : J. D. Pompe van Meerdervoort. Soeterwoude, 19 May 1780, No. 5 (700 florins, Delfos) ; M. Van Leyden, Paris, 10 September 1804 (7,000 florins, Paillet), see Ch. Blanc, ii. 221 ; Anonymous, Christie's, 1807 (£199 10s.). Engraved by " P de M.," see under No. 773 below. The picture may be compared with two genre pieces by Netscher, Die Spinnerin, No. 1,352, and Die Nclherin, No. 1,353, in the Dresden (xallery. A fine, solidly painted genre piece. Lady taking fruit from an Attendant, is, or was at Belvoir Castle, and shows much the same technique. After Netscher 773 The Lacemaker Board Room Etching, 8|x6i (22-50 x 16-50). Signed on the margin in right-hand lower corner : P. de M. f. Numbered on the margin in upper right-hand corner : 39. The painter's signature and the date are reproduced on the margin of the print hanging on the wall : G. NETSCHER 1664. P. de M. is Pieter de Mare, born at Leyden 1757, died there 1796, a scholar of A. Delfos. GII.BERT STUART NEWTON K.A. British School. Born at Halifax in Nova Scotia in 1794 ; died at Chelsea 5 August 1835. A.R.A. in _ 1828, R.A. in 1832. Among his better known Avorks are " Captain Macheath," exhibited in 1826, and " Abelard in his Study," exhibited in 1833. 617 Portrait of a Lady (The Gentle Stadent) Gallery XV Panel, 12 x 9f (30-5x24-8). Liscribed in lower left corner: G. 8. Newton 1829. Bethnal Green, 27, as "Lady Theresa Lewis." At one time catalogued as " Lady Theresa Lewis," but this has been questioned by the family of that lady. Engraved by Charles 617 Rolls as " The (lentle Student," and originally the property of General the Hon. Edmund Phipps, M.P., at the sale of whose collection, Christie's, 25 June 1859, it was No. 82, purchased for 206 NOORDT £210 by Mawson for Lord Hertford. It then bore the title of the engraving. JOANNES VAN NOOBD OU NOOBDT Dutch School. Born about 1620 in Amsterdam ; living after 1675. He belongs to the circle of Rembrandt's followers, closely- approaching Maes at times, but his pictures have also been ascribed to Flinck, J. B. Weenix, Pieter Janssens Elinga, Ochterveldt, and even Hobbema. There is an article on his work by Hofstede de Grroot in Oiui Holland, 1892, p. 216 and following, and another by J. 0. Koenig in L'Art Flamand et Rollandais. There are two portraits by him in the Amsterdam Gallery of Dionys Wynands, one of them, No. 1710, signed and dated 1664; the other, No. 1761, dated 1644 ; also No. 1762, The Continence of Scipio, signed and dated 1672. Other works by him, mythological and genre pieces, are known. The two pictures that concern us most are portraits of boys at Brussels and Lyons. The former is The Tam- bourine-playei; a boy with a plumed hat in his right hand and a tambourine slung about his body ; the latter is Portrait en pied d'un jeune Seigneur. The close resemblance of these portraits with our Nos. 20 and 96, particularly the former, has been pointed out by Dr. De Groot, and independently by Mr. B. W. P. van Riemsdijk of the Rijks-Museum, Amsterdam. There is the same treatment of the features, type of costume with tags and tassels, black shadows, and other resemblances. 20 Boy with a Hawk and Leash Gallery XYI Canvas, 31|x25 (79- 7x63-5). Bethnal Green, 82 or 181; both " Boy with Hawk." At Bethnal Green and in previous editions of the Catalogue Nos. 20 and 96 were attributed to Maes, from their obvious resemblance to his work. The boy with his left hand holds a leash, which passes out of the picture. To the extreme right is the back part of a coach, followed by two figures. 96 Boy with a Hawk Gallery XVI Canvas, 24ix20| (62 '3x52 -7). Bethnal Green, 82 or 181. Smith, Supplement 15, thus described : — The Page. A handsome youth, habited in a red dress adorned with gold lace, and girt round the body with a belt, and relieved by a white collar tied with cords, to which are appended tassels ; a couteau de chasse is suspended by a belt at his side, and a bunch of ribands is attached to his right shoulder ; his right hand is placed on his hip, and the left supports a falcon, whose wings are extended by the rapidity with which he appears to be tripping along. 2 ft. li in. by 1 ft. 8f in. Canvas. Sold in the coUec- NOORDT— NORTH ITALIAN SCHOOL 207 tion of the late Count Perregaxix, 1841 [No. 17], 4,000 f. and 5 per cent. (£168). [the Index adds] : "In Collection of Baron Delessert [1842]." Oh. Blanc gives at the sale of Count Perregaux, 1841 : — Maes. — J eune Page vu de face, habit rouge galonne d'or, avec des noeuds de ruban sur I'epaule droite, et le couteau de chasse au cote, le faucon sur le poing gauche. 64 x 63, 4,000 f . On the back is the seal of the Keiths, Earls Marischal, and there is little doubt that the picture belonged to George 10th Earl Marischal (1694-1778), Governor of Neufchatel for Frederick the Great, since the Perregaux family belonged to that district. NORTH ITALIAN SCHOOL (16th CENTUEY) 541 Portrait of a Gentleman Gallery XVI Panel, 32| x 25 (82 • 8 x 63 • 5). This picture has been tentatively assigned by Mr. Bernhard Berenson, in his " North Italian Painters," to the Cremonese, Giulio Campi. A Portrait of a Musician, No. 2511 541 in the National Gallery (Salting Bequest), is also attributed to Giulio Campi on no better grounds : its style is quite different from that of our portrait, which has also been attributed to the Cremonese Paolo Morando (Cavazzola), 1486-1522. The frame is a fine carved 208 NORTH ITALIAN SCHOOL one, dated 1548 ; see under Domenichino, No. 13L A seal on the back shows a ducal coronet and the arms of Adolphe de Seigli&re de Boisfranc, calling himself Marquis of Soyecourt, who died, a fugitive from justice, at Venice in 1738. He had married a rich heiress. Saint-Simon gives him a bad character (Memoires xvi, 442, &c.). He doubtless bought the picture in Italy. 542 Toung Man Holding a Lute Gallery XVI Panel, 36|x26i (93x66-7). Possibly the " Portrait, unknown ; on panel," Bethnal Green, 266, ascribed to " School of Raphael." On the shelf to the right, behind the young man, is a fruit like a large lemon or citron. It is probably put there as a rebus on the name of the sitter. This fruit (as Mrs. Wickham Flower has been .5-12 \ good enough to ascertain) is described in the " Histoire naturelle des Grangers," by Risso, and illustrated pp. 96 and 98. It is one of the varieties of the Citrus Medica Vulgaris, perhaps that called Lima Gitrata ohlonga sive scabiosa et monstruosa, measuring 8 by 6 inches. It is a Chinese plant, which was grown in Italy. In Italian it would be Gedro. Now there was a North Italian sculptor, Marino di Marco Gedrini (or Gitrinus), avIio worked in "Venice and the Marches in the last quarter of the fifteenth century. There are signed works by him at Ravenna" and Rocca Brancaleone. His chief work was the door of St. Mercuriale in Forli, inscribed Marinus Gitrinus Venetus cnnstruxit prid. Kal. Aprilis anno 1 pontificatus Pauli II. teaos. (See Thieme and Becker, "Kiinstler- lexicon," vol. vi.) He is heard of as late as 1475. On a pilaster of the Capella dei Ferri in the Cathedral at Forli is an inscription 0[pus] Iach[obi] Venet[i]. This probably refers to Jacopo Veneto, a sculptor mentioned in 1536 in Forli, who has been taken for a hypothetical son or nephew. The subject of our picture is a sculptor or a connoisseur of sculpture, as is shown by the pieces on the shelf to his right. He is, therefore, very probably of the family of Marinus Citrinus, in the first half of the sixteenth century. The fact that he holds the lute with his right hand suggests the possibility that he painted himself and that the left hand was reversed in a mirror ; the lute, however, is not reversed, for the single string, the chanterelle, that gives the melody, is in its proper position to the right. NUYEN— OSTADE 209 WYNAND JAIT JOSEPH WUYEN Modern Dutch School. Born at The Hague 4 March 1813 ; died 2 June 1839. Pupil of Andreas Schelfhout. Painted land- scape, views of towns, and sea-pieces with considerable success. He was a member of the Academies of Antwerp and Amsterdam. 310 River Scene (Le Coup de Canon) Canvas, 34|x45 (88-5 x 114-3). Inscribed in lower right corner : W. J. J. Nuyen f. 38. Bethnal Green, 55, as " River Scene ; Calm." Bought by E. Leroy for Lord Hertford at the sale of Baron G-. van Brienen van de G-roote Lind, 3 May 1870, No. 54, asie Coup de Canon, for 11,000 f. (Letter and receipt of B. Leroy.)' The picture was bought for 4,500 florins by Weenink for Baron van Brienen at the sale of William II of Holland, The Hague, 12 August 1850, No. 83 (B.A.A.) Amsterdam is seen in the back- ground. ADRIAHN VAN OSTABE Dutch School. Baptised at Haarlem 10 December 1610; buried there 2 May 1685. Pupil of Prans Hals, but strongly influenced after 1640 by Rembrandt, and perhaps also by Brouwer. He practised at Haarlem. The quality of his painting, in the period of his maturity, when under the influence of Rembrandt his technique was developed to a rare perfection, is hardly surpassed by that of any painter of his age and nationality. His genre becomes, never- theless, to a great extent mechanical, from persistent repetition of a few types, often bordering upon caricature, and monotony in choice of motives. 169 Interior with Peasants Gallery XIV Panel, 13| x 15^ (33-3 x 38-7). Inscribed in left foreground: A. V. Ostade 1663. Bethnal Green, 128. Smith, 27, described as " one of a pair " with 28. One represents the interior of a cottage, with a large window at the side, near which is seated a woman, feeding a child in her lap ; several other figures are in the back part of the room, and amongst a variety of cuUnary and other objects distributed about the apartment is a plate of mussel-shells placed on the floor in the front. Signed and dated 1663. 13 in. by 15 in. Panel. This excellent picture was sold, with the following one, in the collection of M. de la Live de Jully, 1769, 4,105 f. (£164). Now [1829] in the collection of the [third] Marquis of Hertford, and worth £400. The companion piece was " The Interior of an Alchymist's Room," which finally pa.ssed with the Sir Robert Peel Collection to the National Gallery, and is No. 846, " The Alchymist." Our picture is mentioned by Ch. Blanc, ii. 225. De Groot, 464 : " a good picture." Sales : La Live de Jully, Paris, 5 March 1770, 4,105 f., with pendant ; Dutartre, Paris, 19 March 1804, 7,000 f .— Delastre. Exhibited, Old Masters, 1889, No. 131. On the back in ink are the initials " L.D.J." (? Live de Jully), and a seal with the arms of that family (La Live de Bellegarde, de Prunoy, d'Epinay, de Jully). 202 Buying Pish Gallery XIV Canvas, 15fxl3| (40x34 •9). Inscribed on the retiring face of the block: A Ostade 1661. No. 218 at Bethnal Green, as " The Fishmonger." Mentioned by Waagen, Supplement, p. 88 (1857). De Groot, 502; "The figures are rather large; a « 10931 210 OSTADE work of the late period, dating about 1675." (This was before the date had been noted.) De Groot adds — Compare 504 c., whose details and size agree with 502 [i.e. our 202] in the Wallace Collection, but the two pictures can hardly be identical, as 502 was in the collection of the Marquis of Hertford in 1857. Sale : E. B. Rubens and others, Amsterdam, 11 August 1857, No. 84. Panel. 16 x 12^. De Groot, moreover, supposed our picture to be on panel. It is probably Smith, 180, and Supplement, 84 (De Groot, 119). A woman buying fish at the door of a cottage. The composition consists of a female with a child in her arms, whose attention is directed towards a man occupied cleaning a haddock on a form, another fish of the same kind lies near him, and on the farther side of the bench are a youth and a child looking on. The figures are seen to the knees. This picture is distinguished for its breadth of efEect and brilliancy of colour. Dated 1669. It is pro- bably the one noticed in the sale of the Leendoi-t de Neufville's Collection, 1765. 15| in. by 13 in. Canvas. Now [1829] in the collection of W. D. Acraman, Esq., Bristol. [In Supplement, 84, he adds] Collection of M. Zachary, Esq., 1838, by Messrs. Christie and Manson , £175. [March 30-1, No. 44, sold to Nieuwenhuys for £196 7s. The picture refeiTcd to above is Smith, 22, " Collection of Leendort de Neufville, 1765, 495 florins (£45)." But it is said to be on panel. De Gx'oot gives full particulars of the sale : P. Leendort de Neufville, Amsterdam, 19 June 1765, No. 70, or 72 of the original catalogue, 495 florins — Nieuwenhoven.] This agrees in every respect with No. 202, except the date, which Smith no doubt misread. Our picture was LeMarcliand de Poissons, toile, 40x35, No. 30 in the sale of Paul Perier, Paris, 16-17 March 1843; 11,011 f., bought by Lord Hertford (de Eicci). On the back, in chalk, is " 254." Exhibited, Old Masters, 1893, No. 78. 756 Interior : Boors Carousing (? Copy) Canvas, 17| x 15 (44-5 x 38-1). Inscribed on flags in lower right corner : AV (combined) Ostade 1656. Bethnal Green, 140, as "The Tavern." Bought by Lord Hertford at the sale of Earl Granville, London, 21 June 1845, No. 16, for 290 guineas, as " Interior of a Cabaret." Mentioned by Waagen, ii., 159, and Supplement, p. 88. Exhibited, Old Masters, 1893, No. 87. De Groot mentions our picture as a copy of his 628, which is No. 1,396 in the Dresden Gallery. This is on panel, 18 x 15| in., signed and with a date which has been read 1639, " but only the other reading ' 1660 ' can possibly accord with the style of the painting " ; the signature and OSTADE 211 date are " on the paint-box to the right." This is identified with Smith, 1 and 210, dated by Smith 1662. His measurements are 15| X 13 in. and 15 x 13 in. (about). " Probably sold in thecollec- tion of M; Hasselaar, Amsterdam, 1742, for 430 florins (£38)." The picture in this sale was No. 8 ; our picture has a large " 8 " in ink on the frame (as well as the name " Leveson " (i.e. Leveson- G-ower = Lord Granville) and the figures - and 283 F. in chalk). ISACK VAN OSTADE Dutch School. Baptised at Haarlem 2 June 1621 ; died there 16 October 1649. Pupil of his brother Adriaen. He practised at Haarlem. Isack was wonderfully productive during his short life of twenty-eight years. Many of his best works are in England. His genre is in conception but not in execution an echo of that of his brother, but his landscape is quite personal, and easily recog- nisable by the sparkling touch, the golden-brown tone and the concentrated illumination. He is also highly successful in his winter scenes, one of the most remarkable of which is No. 73 in this Collection. 17 A Market Place Gallery XVI Panel, 22fx 311 (57-8x79). Bethnal Green, 136. There may at one time have been an inscription under the arch, now obliterated. De Groot, 128. This Avas Le Marche, No. 32 in the sale of Paul Perier, Paris, 16-17 March 1843; bois, .56x8i), 17,500 f., bought by Lord Hertford (de Ricci). 73 A Winter Scene Gallery XVII Canvas, 33} x 42 (84 • 5 x 106 • 7). Signed on boat to left : Isack van Ostade. Bethnal Green, 173, as " Landscape with Figures." De Groot, 255. The picture bought from Lord Rendlesham's collection (see under No. 21) bore the same title as was given to this picture at Bethnal Green. It is Smith, 42, "A landscape, with Figures; collection of Lord Rendlesham, 1807, 58 guineas." At the 1810 sale the height is given as 32f, the width being omitted. It was, therefore, probably our No. 73. A picture corresponding in description and measurements was bought by Messrs. Agnew at the sale of William Crerie of Manchester, 1871 (" Smith, Supple- ment, 27 "), sold to Mr. Kirkman Hodgson, and probably sold again 1890-1900. 21 A Village Scene (? Copy) Panel, 25f X 32| (65 -3x82 -6). Bethnal Green, 146, as "Halt at a Tavern." Bought, according to De Groot, by the third Marquess of Hertford, at the sale of Lord Rendlesham, London, 1810, for £78 15,s. ; but see under No. 73. Mentioned by Waagen, 2 212 OSTADE— OUDRY Supplement, p. 88, in the collection of Lord Hertford (1857). De Groot, 23. This picture " corresponds in detail to De Groot, 37 ; it may be either an original replica or an old copy of that picture." De Groot, 87, is on canvas, 19| x 25 in., signed in full and dated 1645 ; it is Smith, Supplement, 17, from the Duchesse de Berry, de Morny, and Lyne Stephens' Collections; Sedelmeyer, " Catalogue of 100 Paintings," 1875, No. 28 ; now in the collection of P. A. B. Widener, Philadelphia, No. 235. De Groot's conjecture that our picture may be a copy is to some extent confirmed by the dis- covery, in the shadow behind the seat to the right, of what appears to be initials, of which the last is more. like a " B " than an " 0." JEAN-BAPTIST OUDBY French School. Born in Paris 17 March 1686 ; died at Beauvais 30 April 1755. Pupil first of his father Jacques Oudry, afterwards of De Serre, and finally of Largilliere, who watched over him with paternal care. That painter advised him to relinquish portraiture for animals and still-life. Oudry was received at the Academie Royale 25 February 1719. He became one of the favourite painters of Louis XV. Among his appointments were those of Director of the Beauvais Tapestry Works and Inspector-in-Chief of the Gobelins. Of the Beauvais manufacture he effected a complete regeneration. He supplied cartoons for some of the most celebrated series of furniture-tapestries, and among them those for the Fables de La Fontaine (see the furniture in Galleries I and II of this Collection), for the Amusements Champetres, the Ghasses, and the Comedies de Molirre. He further designed for the Gobelins in 1733 onwards Les Ghasses de Louis XV, the piece in which the artist has repre- sented himself in the act of drawing being signed " Peint par J. B. Oudry, 1738." This represents the highest level of Oudry's achieve- ment in decora.tive composition. There is a set at Fontainebleau, and one, finer and more complete, was in the Bargello at Florence His favourite subjects for oil paintings were incidents in connection with sport, hounds and still-life. It was the fashion to call him the " La Fontaine of Painting." In closeness of observation and thoroughness he was often inferior to the Dutch painters, but as often surpassed them In breadth and freshness. As a painter of still-life, he showed much of the power and richness of touch which afterwards distinguished Chardin. The Louvre and this Collection contain remarkable examples of his proficiency, but the most complete series is that painted for the Duke of Mecklenburg- Schwerin, now in the Museum at Schwerin. 623 Dogs and Dead Game Gallery XI Canvas, 76^ x 50^ (193 • 7 x 128 ■ 3). This and 624 are probably pendants. 624 A Hawk Attacking Wild Duck Gallery XI Canvas, 76|x50 (194-3x127). Possibly No. 40 in sale of Baron de Comailles, Paris, 2 August 1855, Oiseau de proie fondant sur des canards, 195 x 129 (B.A.A.) 625 Dog and Pheasants Gallery XI Canvas, 46|x59| (118 -5 x 151-8). Inscribed to right: /. B. Oudry 1748. Bethnal Green, 897. This picture and Nos. 629 and 631 are of the same size and date; No. 627 is of the same size and of the previous year ; probably painted as pendants. OUDRY— PAFETY 213 627 A Hawk Attacking Partridgesi Gallery XI Canvas, 46| x 59f (117-8 x 151-8). Inscribed in centre: /. B. Oudry 1747. Bethnal Green, 404, "Hawk and Partridges." See under No. 625. 629 A Pox in the Farmyardj Gallery XI Canvas, 46 x 59^ (116 • 9 x 151 • 2). Inscribed in lower left corner : J. B. Oudry 1748. Bethnal Green, 401, " The Fox." See under No. 625. 631 "Wild Dnck Aroused Gallery XI Canvas, 46| x 60 (117-8x152-4). Inscribed in lower right corner : /. B. Oudry 1748. Bethnal Green, 400, " Wild Duck Hunting." See under No. 625. 626 Dogs and Still-life Gallery XI Canvas, 75 x 100| (190-5 x 255-3). Inscribed in lower right corner : Feint 'par J. B. Oudry 1721. One of the masterpieces of the painter. This and 630 are probably pendants ; they are of the same size and date. B26 630 630 A Terrace -with Bogs and Dead Game Gallery Xi Canvas, 75 x 100| (190-5 x 255-3). Inscribed on the stone slab in lower right corner : Peint par J. B. Oudry 1721. See under No. 626. DOMZIVIQUE-XOUIS-PEBfOI. PAPPTT French School. Born at Marseilles in 1815; died in 1849. He painted historical, romantic, and genre subjects. 567 An Italian Contadina Panel, 12fx9| (32-4x23-9). Signed in lower left corner: DOM. PAPETY. Bethnal Green, 511, as " Autumn." Inventory of the Collection : "Autumn : Girl with Grapes." 600 " He Loves me. Loves me not " Panel, 12| x 9f (32-4 x 23-9). Inscribed in lower left corner: PAPETY 48. Bethnal Green, 503, as " Spring." Inventory of the Collection : " Spring : Girl with a Flower." 611 The Temptation of St. Hilariou Panel, 18|x23i (47-3x59-8). Signed in lower right corner: PAPETY. Bethnal Green, 497. 673 Roman Contadina and Child Water-colour, 9ix7f (24-2x18-8). Signed in lower right corner : DOM. PAPETY. Bethnal Green, 625, as " Outside the Walls of Rome : water-colour." Inventory of the Collection : " Italian Mother and Child." 214 PAPETY— PATER 711 A Japanese Girl Water-colour, 8^x101 (21-6 x 26" 7). Signed to left: DOM. PAPETY. Bethnal Gfreen, 1874 catalogue, 681, "Japanese Woman." A picture by Papety at Bethnal Green, 515, "Neapolitan Peasants," is no longer in the Collection. ? SCHOOL or FARMA (16th CbntuRY) AND OTHER DOUBTFUL WORKS 552 The Holy Family Gallery III Panel, 8i:x5i (21x14). "This little piece is in the style of Parmigianino, yet too smooth in touch and too cold in feelingto be from his hand. It may be by his relative Girolamo Bedolli, also called Girolamo Mazzola" (Sir Claude Phillips). It has also been suggested that the painter was a Spaniard of the school of Morales. 774 Study (? Our Lady of Pity) Red chalk, 9i x 6| (24 x 17). Written in ink at the bottom is : Ma este donnii par le Prince Dom Livio ! Carlo Marato, and the number 58. The drawing, which seems to be a study for a Virgin " della Misericordia," might be by Carlo Maratti, but that would not agree with the puzzling inscription. 775 Study (? Saints or Apostles) Red chalk, 4| x Q\ (11 x 15-75). Inscribed in right-hand lower corner: RAPAELLE 106; to the left is an obliterated name or collector's mark. On the frame is PERINO DEL VAGA. 776 Study (Amoretti) Red chalk, 7 x 6f (17 • 8 x 16 • 8). One of the little figures carries a torch. This is apparently copied from a picture. This and the other two studies are provisionally grouped together, pending closer identification, if that should be possible. JEAN-BAFTISTE-JOSEFH FATFR French School. Born at Valenciennes in 1696 ; died in Paris, 25 July 1736. Pupil of his fellow-townsman Watteau, whose impatient and irritable disposition was the cause that Pater did not remain long with him. Watteau in the last moments of his life repented of his injustice, frankly owning that he had feared the possible development of his pupil's ability; sent for him, and as long as his strength endured continued to give him lessons. Pater subsequently declared that this was the only fruitful teaching that he had ever received. Like that of Watteau, though in another fashion, the character of this painter was strangely at variance with his work. He lived under the constant apprehension that his health might give way before he had secured a competency, and laboured day and night to amass wealth. The result was that he died, worn-out, at the age of forty. He was received at the Academie Royale 31 December 1728, on presentation of a Rejouis- nanc.e de Soldats. Although high rank has been accorded to him as a painter of Fetes Galantes, his art cannot be regarded as more than a faint echo of that of his master. By far the most remarkable series of Pater's paintings is in the Royal Prussian palaces, in and near Potsdam. The Wallace Collection comes next, but with a wide interval. PATBR 215 380 Conversation Galante (with a Couple Dancing) XVIII Canvas, 20i x 24f (52- 1x62-8). On the back is the date " June 9/55 " in chalk, and the number " 53." This is, therefore, the picture catalogued as by Watteau in the sale of Charles Meigh, of 'U Grove House, Shelton, Christie's, 9 June 1855, No. 53, A Fete Champetre from Boccaccio, £68 5.v., bought by S. Caw, who bought the portrait of Queen Victoria by Sully in the same sale for Lord Hertford. 383 A Concert (Le Concert Amoureux) Q-allery I (Formerly " Fete Champetre ") _ Canvas, 221 X 18 (56-5 x 45" 7). At the De Choiseul sale, 1772, Mireur gives: Concert de personnes galainment vetues and Socie'te pareille : on voit une halanqoire attachee a des arhren, 19 x 22 ponces, 1,800 f., ensemble. These were probably our picture and No. 386, which have the same dimensions, and are pendants. At the Patureau sale, 1857, were variations on these themes, Le Concert Champetre and La Balancoire (both 51 x 61), which Avere purchased for the Emperor (B.A.A.) A third variant on our Fete Champetre is in the Jones Collection at South Kensington (25|x24). The lady in the lower right-hand corner is nearly identical. The little girl and dog in the other corner agree with the description of the Patureau picture. Our picture, and three following, Nos. 386, 397, 400, were'engraved as a series by Filloeuil. A Concert was No. 2, 216 PATER engraved in 1739 as Le Concert Amoureux, " fcire du Cabinet de M'' le President de Segiir," and accompanied by the following verses : — Du lutliet de la voix les sons melodieux Se dissipent dans Fair d'une extreme vitesse ; Les fleurs perdent bientot leur eolat precieux ; De meme, chers enfants, s'eclipse la jeunesse. Pour Tous en consoler, en I'honneiir des amours, Redoublez vos chansons, cueillez des fleurs nouvelles ; S'ils ne vous donnent pas de favenrs etemelles Du moins ils vous feront jouir de vos beaux jours. MOKAINB 386 The Swing (La Conversation Int^ressante) Gallery I Canvas, 22^ x 17| (56-5 x 46-4). See above, under No. 383. At the De Conti sale, Paris, 8 April 1777, No. 673 was Les Amusements de la Campagne ; une femme sur une balan9oire attachee a des arbres ; toile, 19 X 22 pouces ; 1,250 f. ; bought by Peuillet (B.A.A.) Mireur gives : 1846, Wellesley, La Bala7iQoire, 13,500 f. Our picture, in the series of four engraved by Fillceuil (see above), is No. 3, La Conversation Interessante, " tire du Cabinet de M. le President de Segur," with the following verses : — Assis sur un gazon qu'on se plait quand on s'aime A se eommuniquer les secrets de son oceur ! Un pareil entretien a certaine douceur Qui paroist egaler la jouissance meme. Aminte neanmoins pense tout autrement ; A tout autre plaisir la follette est encline ; Et suivant son humeur enjouee et badine, Elle aime mieux en Fair trouver du mouvement. MOEAJNB The swing-motive and general disposition of the picture are taken from Watteau's Plaisirs Champetres at Chantilly, a variant is Les Bergers at Potsdam, but Pater took care to transfer Watteau's dancing couple to his companion picture (No. 397), reversing them and making a few modifications. 397 The Dance (La Danse) (jrallery I Canvas, 22i x 18 (56 -6x45 -7). Bethnal Green, 435. Our picture, in the series engraved by FillcEuil {see under No. 383) is 397 400 PATER 217 No. 4, 1738, La Danxe, " tire du Cabinet de M. le President de Segnr," with the following verses : — Danse aimablo, ou la grace est jointe avec I'adi'esse, Ou dans tout son eclat triomphe la beaute, Tu parois i'aite expres par I'heureuse jeunesse Et ton art par I'anionr fut sans doute invente. A I'un et I'autre sexe il montra la cadence, II leur fit observer vin ju5te mou\ement, Et sachant las tenir en bonne intelligence, Leur union forma ton plus belle ornement. 400 Blind Man's Buff (Le Colin Maillard or Les Flaisirs de la Jeunesse) Gallery I Canvas, 22^x171 (56-5x45-4). Bethnal Green, 437. This resembles the picture in the Music Room of the Altes Schloss, Potsdam. Engraved by Pilloeul, 1738, as No. 1, Le Colin Maillard in a series of four (see under No. 383). This number is missing at the Bibliotheque Nationale. A version, Le Colin Maillard, was in the sale of the Roussel Collection, Brussels, May 1893 (60 x 50). A larger picture with the title Le Colin Maillard appears in several sales. 405 The Boudoir Gallery XXI 405 Canvas, 12^ x 15f (31 "8 x 40). Bethnal Green, 569, " The Visit." 406 Conversation Galante (with a Fountain) Gallery XVIII 40fi Canvas, 25| x 31| (63 • 8 x 79 ■ 7). Pater approaches more nearly to Watteau's fullness of tone in this piece than in any other of the Collection. 218 PATBll (After Watteau) 420 The Ball (Les Plaisirs du Bal) Gallery XXI Canvas, 21i x 26| (54x67). Bethnal areen, 424, as "A Court Festival " ; "A Court Festival, figures on a terrace " in the Inventory of the Collection. Bought by Lord Hertford as a Watteau at the sale of the Due de Morny, Paris, 21 May 1865, No. 11.3, for 37,000 f. (B.A.A.) Watteau's picture, Les Plaidrs du Bal, or Bal soiis une Colonnade, of which this is one of several copies attributed to Pater, is in the Dulwich Gallery. One version was in the sale of De Selle, Tresorier General de la Marine, Paris, 1761, " Les Plaisirs du Bal, grave sous ce titre par Scotin, imitation libre de Watteau, 24x30 peaces, 1,051 livres " (Charles Blanc). In the Blondel de Gagny sale, Paris, 10 December 1776, No. 223, attributed to Pater, was : — Le Bal. Ce tableau est richement compose ; c'est un des plus oapitaux quo Ton connaisse de Pater ; il est peint sur toile, 1 pied 10 par 2 pieds, 1 pouce, 3 lignes ; 2,000 f., Le Brun (B.A.A.) Mireur mentions also Le Bal in the De Gagny sale, 1762 (2,000 f .) ; but this is perhaps a confusion ; also 1775, De Grammont, Le Bal, " grand nombre de figures dans une Galerie tres ornee " (1,500 f. — " livres," Ch. Blanc) ; 1782,Nogaret,-Le ^aZ,-22 x 29 pouces (1,500 f. — " livres." Ch. Blanc) ; 1784, Langraff, Le Bal ChampStre, composition de plus de cinquante figures, 55 x 80i (3,700 f . — "livres," Ch. Blanc); 1789, Hubert Robert, Le Bal (160 f.). Mr. Spielmann, p. 60, mentions versions of Watteau's picture in the Blenheim sale, at Wroxton Abbey, and in the collection of Mr. Yerkes of Chicago. Yet another is at Apsley House, and there was one in the collection of the late Sir Charles Robinson. The scene of Watteau's picture was probably suggested by the architecture and gardens of the Luxembourg. It is doubtful whether our copy is from Pater's hand. 420 424 424 r6te in a Park Gallery XXI Canvas, 20|x25 (52-4 x 63-5). Bought by Lord Hertford at the Duo de Morny's sale, Paris, 31 May 1865, No. 107, thus described — Amusements Ohampetres. Dans un pare, groupes de personnages ; les uns oausent, d'autres se pi-omenent ; a gauche un jeune homme aocompagne sur sa flute les chants des deux dames ; des enfants joueut avec un chien. A gauche une fontaine, ornee d'une statue de nymphe. Dans le fond un groupe qui se repose a I'ombre des arbres. Toile, 52 x 64, 29,000 f. (B.A.A.) A picture is described by Waagen, Supplement, p. 84, in Lord Hertford's Collection (1857) :— Pater. A landscape, with a party of ladies and gentlemen resting in the foreground under trees. One of the figui'es, dressed in white silk, quite in PATBti 219 front, is very remarkable, and strongly relieved by another figure in black. On the right [probably right of picture, not of spectator] is the recumbent figure of a Venus on a pedestal, at the base of which are three children. On the same side in the background is a distant view. In every respect — composition, power, clearness of colouring and finish — this is the finest picture I know by the master. It was at the Manchester Art Treasures Exhibition, 1857, No. 29, " F^te ChampStre — a party resting under trees. Very striking in effect, very warm in colouring, and highly finished. Quite first rate." Waagen's description closely agrees with No. 424, but the date proves that this was not the De Morny picture. The puzzle is solved by the appearance, at the sale of Sir John Murray Scott's Collection, Christie's, 27 June 1913, No. 134, of a repetition, with variations. It is reproduced in the illustrated catalogue, is on panel, and measures 18f x 24| inches. Lord Hertford, as in some other cases, bought a second version, and one of them passed to Sir J. M. Scott. 426 Bathing Party in a Park Gallery XXI Canvas, 24^ x 32| (62 ■ 3 x 82 ■ 9). Probably Bethnal Green, 436, " Pleasure Seekers," though Lady Dilke gives its number as 430, " The Bath." See No. 472. Inscribed on the back in ink— Un Bain de Femmes dans tin lieu champetre, composition capitale et gracieuse. L'on y compte seize figures, tant femmes que hommes. There are many variations on the subject by Pater, e.g. : 1783, Blondel Dazincourt, Quatorze figures dans un paysage, onze femmes 426 dont plusieurs se baignent, 17|x21| peaces (B.A.A.) Mireur also gives : 1855, Deverre, Jeunes femmes au hain, 395 f. Compare the good early work, the Ladies Bathmg, of the Scottish National Gallery ; the Baigneuses dans un pare, bought by Count Tessin for the National Gallery at Stockholm ; Bas Bad and Biidende Mddchen at Potsdam ; the Bain Rustique, engraved by Cardon ; the Baigneuses at Grenoble, from the collection of M. de Mereuil, at Gap, 1750, and the sketch for it in the museum at Angers. 452 A Camp Scene (Les Vivandieres de Brest) Gallery XX Canvas, 18 x 22| (45 • 7 x 57 • 8). Bethnal Green, 438, " Soldiers Halting." Bought by Sir R. Wallace at the sale of Isaac Pereire, Paris, 7 March 1872, No. 71, for 18,400 f. (Bill of Deli^re). Under the title, Les Vivandieres de Brest, it is thus described (B.A.A.) :— Au milieu d'un camp, devant les tentes qui s'etendent a gauche et a droite, une femme vetue de blanc et de rose est assise au milieu d'une nombreuse societe ; elle tient un verre a la main. Un officier, etendu a ses pieds, lui porta un toast. Des femmes. des enfants, des soldats de toutes 220 PATER sortes d'attitudes animent cette scene joyeuse pleine de fantaisie. Grave par Le Bas. Toile, 47 X 60. The central group of this picture, or another version, is en- graved as an upright by Le Bas, under the same title, with the following verses : — Hatez-vous, belles "Vivandieres De servir du dieu Mars les braves Nourissons Apres de longs travaux marmites et chaudrieres Doivent leur plaire mieux que mortiers et canons. Par M. Moraine 452 An etching by Courdry accompanies the notice in the Pereire sale catalogue. The scene is possibly a tradition of the affair at Brest in 1694, when an English squadron under Lord Berkeley attacked the corsairs of Brest, and landed a party under Thomas Talmash, which was beaten back to the ships, and then bombarded with great loss. Vauban had hurriedly defended the coast with two hundred cannon and mortars ; perhaps there is a reference to this in the verses. The main group and that to the left are suggested by Watteau's Scene militaire, formerly in the Rudolf Kann Collection. 458 Conversation Galante (Upright) Gallery XX 458 Canvas, 17^x141 (44-5x37-8). PATER 221 460 P6te Galante Gallery XX Canvas, 20f x 24| (51 "8 x 62-9). Bethiial Green, 426, " Seaside View, with Figures." The same scene, with variations in the 460 figures, and a landscape distance, is the " Party near the Wall of a Park," in the possession of the German Emperor. 472 The Bath (Le Plaisir de V£u) Gallery XX Canvas, 17^ x 13f (44-5 x 35). Bethnal Green, 430, '•• The Bath." Engraved by L. Surugue as Le Plaisir de I'Ete, as pendant to Le Desir de Plaire. Bought by Lord Hertford from F. Laneuville, Paris, 23 July 1852, for 3,500 f. (Receipt). A replica, somewhat lighter in tone, from the collection of Mr. Arthur James, is reproduced in the catalogue of the Exhibition of French eighteenth century painting at the Burlington Fine Arts Club, 1913, plate XII. A third version was in the Pischhof sale, Paris, 14 June 1913, No. 38, 44"1 X 36, "from the collection of the Marquis de Grammont." A variant in shape and in the action of the Lady and one of the attendants is in the collection of the Due d'Aremberg, Brussels. The number of Paters at Bethnal Green, omitting the Lancret, No. 376, was the same as that now in the Collection ; but the titles of Nos. 382, "Pastoral Group"; 428, "Landscape with Pastoral Group"; 432, "Pastoral Group"; 464, "Complimentary Con- versation"; 469 and 471, "Pastoral Landscape," render them 222 PETTENKOFEJN difficult to identify. A Pater from the Collot Collection appears in an account of Lord Hertford's, 13 April 1845, 6,800 f. ; and M. de Rioci states that he bought a Pater for 17,800 f. in the San Donate sale of 1863. AUGUST EABL VON FETTENEOFEN Austrian School. Born at Vienna in 1822 ; died in 1889. The name was originally Pettenkoffer. His early works, of which No. 621 is an example, were influenced by the French military draughtsmen and lithographers, Charlet, Raffet and Horace Vernet. He himself worked at lithography and brought out Das haiserliche und konigliche Militar and Sceyien aus der Ehretihalle der h. k. Militdr-Fuhrwesenkorps aus dem Jahre 1849 (published 1851). One of his earliest paintings was Heimkehr eines Wieners nach der Revolution. In these his term of service as a cadet helped him. He then found subjects among the Hungarian revolutionaries. In 1852 he paid a first visit to Paris, and came under the influence of Meissonier's miniature art. Prom this time onwards he painted country genre-pieces in Hungary. 338 Bobbers in a Cornfield Panel, 11| x 9| (29-2 x 23-2). Inscribed in lower right corner : Pettenkofer 1852. Bethnal Green, 583. Bought by Lord Hertford, 1863, San Donato sale, Le partage du hutin, scene de guerre, 5,000 f. In an article by M. Alfred de Lostalot, Gazette des Beaux-Arts, 2nd series, xv., p. 410, Pettenkofen is said to have finished, in 338 Paris, two pictures which he had brought from Vienna in 1851 in the state of sketches, Maraudeurs dans un champ de hie, partageant leur hutin (in the collection of Lord Hertford) and Soldats quetant un esplon a la parte d'une chaumiere. The first, which is evidently No. 338, had been commissioned by an amateur in Vienna. The second was probably No. 621, begun at an earlier date. 621 The Ambuscade Carton, 7fx9f (18 •8x24-8). Inscribed in lower left corner: A.P. 1846. This picture has hitherto been catalogued as " The Surprise" by A. A. I. Pils. But no picture of the sort by Pils appears either at Bethnal Green or in the Inventory of the Collection. On the other hand, " The Ambuscade " by Pettenkofen appears at Bethnal Green, No. 543, and in the Inventory. The order of Pils's names is properly " Isidore Alexandre Auguste " and he signs our PETTENKOFEN— PLATZBR 223 water-coloui- accordingly " I. P." He painted religious subiects till 1852. Since the picture was restored to Pettenkofen, correspondence with Dr. Arpad Weixlgartner, who is preparing an official work on Pettenkofen, reveals the fact that a picture by that artist, ''K^ 621 giving the elements of No. 621 in reverse, signed in full and dated 1846, is in the collection of Commercialrat Franz Xaver Mayer in Vienna. Dr. Weixlgartner is inclined to think, from the character of the signature on our picture and its general style, that it is one of many forgeries passing under Pettenkofen's name ; but see under No. 338. ISIDORE ALEXANSRE AUGUSTE FILS French School. Born in Paris, 1813; died in 1875. Pupil of Picot. Pils obtained the G-rand Prix de Rome in 1838. He began by attempting sacred art, but after a visit to the Crimea devoted himself to Eastern and military subjects. [621 The Surprise See under PETTENKOFEN (A. K. VON), "An Ambuscade." 665 An Arab Encampment Water-colour, 9| x 13| (23'8x3o). Signed in lower right corner : I. Pils. Bethnal Green, 639, along with three other water- colours, no longer in the Collection, viz., "Arab Horseman,'' " Chasseur de Vincennes" and " Camp of Zouaves." The last was in the sale of Sir John Murray Scott, Christie's, 27 June 1913, No. 34. No. 665 is probably Campement d'Arabes a Alger, 300 f., in sale of M. B., Paris, 25 April 1868 (Mireur). johanh^ geobg flatzeb or flazeb Austrian School. Born at Eppan in the Tyrol, 1702 ; died at St. Michael in the Tyrol 1760. He received his artistic education and development in Vienna, where he continued to practise. He painted mythological and historical subjects with extreme finish in a turgid style, arraying his personages in the strange pseudo-classic costumes affected by painters of the Baroque period. He painted almost invariably on copper. Two remarkable specimens of his extravagance and his extreme elaboration are " The Battle of Actium " and " The Death of Cleopatra," in the collection of the Duke of Wellington at Apsley House. Examples are also to be found in the Victoria and Albert Museum. 221. PLATZBR— POT 634 The Kape of Helen Copper, 15jx23 (38-8 x 58-4). Signed in lower right corner: /. 6r. Plazer. Bethnal Green, 1874 catalogue, 381. Bought by Sir Richard Wallace from A. Beurdeley, 5 March 1872, with other purchases, the whole costing 160,000 f. (Receipted bill). ANTONIO FOLLAIUOLO OB DEL POIiIiAIUOLO Florentine School. Born in Florence about 1429 ; died in Rome 4 February 1498. Pupil in the first place of the goldsmith Bar- toluccio, but influenced in painting by Andrea del Gastagno. PoUaiuolo was in the first place a sculptor, goldsmith, draughtsman and engraver, though he practised also as a painter, in some few instances alone, but chiefly in collaboration with his brother Piero. Antonio represents with absolute authority the austere and passionate side of Florentine Quattrocento art, and is thus to be grouped in his proper order with Donatello, Paolo Uccello, Andrea del Castagno and Andrea Verrocchio. (COPY) 762 Lamentation over a Bead Hero or Martyred Saint (?) Gallery III Drawing, pen and bistre, 10| x 17f (27 • 7 x 43 • 8). Inventory of the Collection, " Figures mourning over a Dead Corpse." The pen outlines of the figures have apparently been traced, or retraced by an inferior hand, not that of a master, with the result that the beauty and firmness of the drawing are greatly impaired. The attribution to the master himself cannot be maintained, though the conception and composition are in his manner, and the invention is assuredly his. This drawing, or one identical in design, has been engraved in reverse by Jacopo Francia (?), or by A. PoUaiuolo, but no copy of this print is extant in the original. This engraving was copied by Allart Claessen in 1535, with an added architectural background. The subject has been popularly, though no doubt erroneously, described as " Le peuple pleurant sur le corps de Gattamelata." In the Catalogue of Drawings in the Louvre (Deuxieme notice Supplementaire, 1888), the Vicomte Both de Tauzia mentions our drawing, giving the following notice : — Collection de Sir Richard Wallace — Grand dessin de rancienne col- lection Praun de Nuremberg, grave en fac-simile par Prestel, dans le recueil de oette collection, sous le nom d'A Mantegna, representant, dit I'inscription, la mort de Gattamelata, flls du celebre condottiere, et con- dottiere lui aussi : son tombeau se tvouve dans I'une des chapelles de Saint- Antoine a Padoue. La legende du dessin ne presente aucune certitude. Dans le dessin, le cadavre nn de Gattamelata, etendu, est entoure d'hommes et de femmes, la plupart nus, exprimant par leurs gestes et leur cris la plus violente douleur. Avant d'appartenir a sir Richard Wallace, ce dessin faisait partie de la petite collection d'un amateur de Paris, qui I'avait acquis en 1868. Une copie ancienne se trouve au cabinet des estampes du Munich. Probably the " amateur de Paris " was the vicomte himself : see under Beccafumi, No. 525. HENDBICE GEBRITSZ POT Dutch School. Born at Haarlem about 1585 ; died at Amster- dam in October 1657. Probably a fellow- student of Frans Hals in the atelier of Karel van Mander, Pot developed under the influence of the former master. He was for a short time in London about POT— POTTER 225 1632, but pi-actised chiefly in Haarlem and Amsterdam. He is some- times known as " The Monogrammist HP " (see Bode, " HoUand- ische Malerei," p. 157, ed. 1883). There is a small full-length portrait of Charles I by Hendrick Pot in the Louvre (dated 1632), adapted from a .life-size full-length by Daniel Mytens, now at Buckingham Palace. The Royal Gallery at Hampton Court contains (No. 634) a humorous genre picture by him catalogued as " A Startling Introduction." 192 Ladies and Cavaliers at Cards Galleiy XIV Panel, 22| x 31^ (58 • 1 x 79 • 5). Signed over fireplace, to right : HP (in monogram). Bethnal Green, 245, as " Ladies and Cavaliers Card-playing," ascribed to Jan Le Ducq. It appears under the same ascription in the Inventory. FAULUS POTTER Dutch School. Baptized 20 November 1625 at Enkhuizen ; buried at Amsterdam 17 January 1654. Pupil of his father Pieter in Amsterdam, and of Jacob de Wet at Haarlem. Potter, during his short life, practised his art at Delft, The Hague and Amsterdam. He is unrivalled among the masters of the seventeenth century in the precision, finesse, and dramatic force with which he characterises cattle and other animals. As a landscape painter he excels in rendering clear skies and the lurid approach of storm. 189 Herdsmen with their Cattle Gallery XIV Panel, 14| X 16f (37'2 x41"6). Inscribed on highest plank in wall of shed : Paulus Potter f. 1648. Bethnal Green, 166, as 189 " Homestead with Cattle." This picture has been further described as " from the Kalkbrenner collection, 1850." Lord Hertford bought a picture agreeing in description, according to De Groot, with No. 189 u 1C931 P •226 POTTEE at the sale of that collection : Frederic Kalkbreniier, Paris, 14 January 1850 (19,500 f.), previously in the sale of the Due de Caraman, Paris, 10 May 1830. Charles Blanc describes it : Birhe Paturage, bois, 36x45 cent. He adds that several of the most expert judges regarded the picture as doubtful. This is Westrheene, 55, De Groot, 112. Fifteen years later Lord Hertford bought the picture now in the Collection at the sale of Gr. Th. A. M. Baron van Brienen van de Groote Lindt, of The Hague, Paris, 8 May 1865, No. 27 (44,100 f.) This is Smith, 9, thus described :— Herdsmen at their Repast. The place appears to represent the straw- yard of a farm, having on the right a shed and sheep-cot, near which are two peasants sitting on the ground taking their repast, and a httle dog "begging for a morsel ; on their right are a ram and a ewe standing together, and behind them lies a sheep under the cot. On the opposite side are a yellow and white cow lying down, a red one standing by, and an old horse close to them. A few slight trees rise behind the hut, and beyond a sort of fence, which bounds the yard, is seen the distant country. The appear- ance of a fine evening adds a charm to the scene. Signed and dated 1648. A beautiful example. 1 ft. 2f in. by 1 ft. 44 in. Panel. Collection of M. Oauwerwin, Leyden, 1768, 670 florins (£60). Now [1834] in the collection of the Baron Van Brienen Vande Grootelinde, Amsterdam. Worth 400 guineas. De Groot f 73) identifies the former sale as that of Pieter Caauw, Leyden, 24 August 1768 (Terwesten, 666) No. 1 (670 florins) ; but the sale catalogue describes it briefly as " Two cows lying down and one standing in a landscape." The reasonable inference from the second purchase is that Lord Hertford had decided that the first was a copy, and tliat he got rid of it, for only one picture is now in the Collection. The quality of the picture is a further argument, which is clinched by the existence on its back of the number " 27 " in chalk, the sale number of the Van Brienen picture, and an impres- sion of the Baron's seal. De Groot's 73, therefore, not his 112, should be identified with our 189. 219 The Milkmaid Gallery XIII Panel, l^xl^ (87-5x48'9). Inscribed to right below: PauUs Potter f. A" (in monogram) 1646. No. 213 or 236, Bethnal Green, both described as " Cattle." Described on the back as " Yaches et Brebis : une Porteuse d'eau." Smith, 35, thus described : Cattle and a Milkmaid in a field. The view exhibits an open country with a hilly foreground, on which are a yellowish coloured cow with a white face, lying d.ov.n\, and a bull standing near an old tree at the side ; beyond 219 these is a sheep, and still farther is a woman with a yoke of pails. A cottage is seen in the distance. This pleasing and clever work of the master is dated 1646. 1 ft. Sin. by 1 ft. 9 in. Panel. Collection of M. Braamcamp, 1771, 910 florins (£82) ; of M. Danser Nyman, 1797, 520 florins (£47). Now [1834] POTTER 227 in the collection of Madame Hoffman, Haarlem. A picture correspondlno. with the preceding, a,nd perhaps the same, was sold in the collection of m" Oremer, Rotterdam, 1816, 5,100 florins (£460) ; collection of M. Schimmel' pennick, 1819, 4,125 florins (£347). Wesfcrheene, ii. 10. De G-root, 93. Bought by Lord Hertford at .a m?°?,^r ^f"' ?,''^^' ^^^^' ^'"i" ^^04, according to Mr. Spielmann ( ihe Wallace Collection," p. 105) ; but the picture does not appear in the catalogue either of the London sale in 181.9 or the Paris sale m 18o8 ; moreover, £804 is the price of No. 252, Cattle In Stormij IV eat tier, ^ at the latter sale; there has probably, therefore, been a^ confusion of the two pictures. De (iroot gives the following history: Sale of Gei'ard Braamcamp, Amsterdam, 31 July 1771 No. ]71 (910 florins, Dirk Sens) ; of J. Danser Nijman, Amsterdam' 16 August 1/97, No. 207 (520 florins, Cremer) ; of Thomas Theodor Gremer, Rotterdam, 16 April 1816, No. 95 (5,100 florins) ; of Jurri- aans, Amsterdam, 28 August 1817, No. 47 (3,800 florins, De Vries) ; of G-. Schimmelpennick, Amsterdam, 12 July 1819, No. 90 (4,12-5 florins, Van der Willigen). In the collection of Madame Hoofman, Haarlem, 1834 (Smith). A picture (De Groot 98a) in the sale of the Marquis de Menars, Paris, February 1782, No. 84 (Robit, 1199-19 livres, B.A.A.), agrees in description and size with our picture, except that the sheep is beside the standing cow. " A very early and hard picture, recalling the early work at Niirnberg, ' Abraham setting out for Canaan,' 1642 " (De Groot). 252 Cattle in Stormy Weather XIII Panel, 14f x 13_ (37-5x33). Inscribed to left below: Pcudus Potter f. 1653. It is thus one of his latest works. Bethnal Green, 213, or 235, as " Cattle." Title on back, " Vaches et Taureaux." De Groot, 40, identifies with Smith, 40, thus described — '\^ Hi 1 ■r* ' , %| 1^ ^H_' ^ 0^1^ '^^^ . ^-i 25a Thi-ee Cows in a Meadow ; two of which are standing, and seen in nearly side views : the nearest of them to the spectator is of a dull dun colour, and the other of a reddish brown ; the remaining animal is white, patched with brown, and is lying down ruminating. A small clump of trees at the side completes the composition. Signed, and dated 1651. 1 ft. 3J in. by 1 ft. 2 in. Panel. Collection of M. Beaujon, 1787, 3,900 francs (£156) ; of the Chevalier Erard, 1832, 13,000 francs (£520, bought in) ; same collection, London, 1833, 310 guineas [now in H. de Rothschild Collei-tion (de Ricoi)]. This is Westrheene, 27, of which the history is : Sale of Beaujon, Paris, 25 April 1787 (3,900) ; of Sebastian Erard, Paris, 23 April 1832, No. Ill ( 13,000 £, bought in; Ch. Blanc, ii. 396) ; of Sebastian Erard, London, 22 June 1833 (£325 10s.) ; in the Durand collection, according to Higginson catalogue ; sale of Edmund Higginson, p 2 228 POTTER Saltinarshe Castle, 6 June 1846, No. 189 — 1842 catalogue No. 66 (£976 10s., Mawson for Lord Hertford). De Groot points out that, although the Higginson catalogue identifies the picture in that collection with Smith, 40, our picture differs in description, size and date. (The Higginson picture " from the Erard and Durand Collection," is said, moreover, in the catalogue to be dated 1654.) Lord Hertford must have got rid of his purchase, and acquired No. 2-52 elsewhere. Now our picture agrees in size, date, and more nearly in description with Smith, 5, and Supplement, 2, thus described — Four Oxen in a Meadow. The view represents the usual pasture lands peculiar to Holland, with a clump of low trees on the right, near which are three oxen ; one of them, of a whitish colour, stands in a side view with its head towards the spectator ; a second, of a dark colour, is close by its side in a reverse position ; and the third is reposing beyond them ; the remaining beast stands near the middle of the field, in rather a fore -shortened attitude, the head being the most distant from the view. A fai-mhouse is visible among trees in the distance. Dated 1653. 1 ft. 24 in. by 1 ft. J in. Canvas. Collection of M. Van Wassenaar Opdam, The Hague, 1750, 280 florins (£25) ; of Madame Bandville, 1787, 4,002 francs (£160) ; of M. Tolozan, 1801, 4,853 francs (£194); of M. Solirene, 1812, 8,001 francs (£320). Now [1834] in the collection of the late l)uke de Berri. [Supplement, 2. adds] Exhibited for private sale in the collection of the Duchess de Berri, by Messrs. Christie and Manson, 1834, price £400. Not meeting with a buyer at that sum, it was put up to auction at Paris, 1837, and sold for 12,705 f. and 5 per cent. (£508). This picture, according to De Grroot (41), is now in the collection of M. Albert Lehmann in Paris. Another picture (De Groot, 44a), " Four Oxen in front of a Farm — three stand and one is lying down, signed and dated 1653," would seem to resemble ours. This was in the sale of W.Williams Hope, London, 14-16 June 1849 (£617). On the back of our picture is the date " June 15/4-" in chalk (a figure is concealed) and "No. 111." Lord Hertford refers to a Potter in a letter to Mawson, undated — The mistake about the Paul Potter was, I have little doubt, much more my mistake than yours. I certainly did not intend purchasing, so I must have ill expressed myself respecting this picture. I am, however, very glad Messrs. Christie and Manson have cancelled the bargain and appreciate their handsome conduct as you do. A search in the marked catalogues at Messrs. Christie's reveals the fact that the Williams Hope picture was the Potter referred to in this letter. It is No. Ill — " Three oxen : one of them white with spots ; one of grey colour, and a third red, standing in a meadow near a, pine tree, at the foot of which a fourth beast is reposing ; a, farmhouse among trees is seen in the distance. This fine work is signed and dated 1653." The picture had been bought by Mawson tor £588, but this entry has been scored through. The actual day of the sale of the picture was June 16, but the sale began on the 14th and continued on the 15th. Lord Hertford, then, changed his mind and it was later that he acquired the picture. De Groot, 40 and 44a, are one picture. Moreover, De Groot is wrong in supposing that the Albert Lehmann picture, is the Duchesse de Berry's Potter. That was our picture, as is proved by the description, size and shape (higher than broad). It was No. 39, La Prairie, bois, 14x12 pouces, and bought by " Hoppe," i.e., Hope (B.A.A.) De Groot was misled by the Adrian Hope sale catalogue, in which the 15 x 28 inches picture POTTER— POURBUS i:!29 was said to have been acquired at the de Berry sale. The purchaser was "W. Williams Hope. This is confirmed by information kindly communicated since the last issue of this catalogue by Mr. CI. H. Tite, and another link in the evidence is supplied. He possesses a sale catalogue of pictures " provenant de la galerie de M. W. Hope, Paris, 1858," apparently, from the preface by Charles Blanc, upon Mr. Hope's death. Our picture was then still in Mr. Hope's pos- session : it is described as " achete par M. Hope a la vente de M™" la Duchesse de Berri," and a marginal note gives the Marquis of Hertford as the buyer [for the second time, in 1858] for 20,100 f . The delay had cost him 5,800 f. To sum up, De Groot 40, 41, 44« all = Smith, 5, and Supplement, 2, and = our No. 252. In another letter, of 24 August 1851, Lord Hertford speaks of possibly going to see a private collection at The Hagu.e. " The Paul Potter is very small, hutl hear good." He bought, at the Patureau sale, Paris, 1857, a Potter, No. 23, Smith, 64, Animaux an Paturage, panel, 34x39, for 15,050 f. (B.A.A.) ; but must have disposed of it, for the picture is now, according to De Groot, 87, in the collection of Marcus Kappel, Berlin. FKAirS FOUKBUS THE ELDER Flemish School. Born at Bruges in 1545 ; died at Antwerp 19 September 1581. Pupil of his father, Pieter Pourbus, and of Frans Floris, whose niece he married. He excelled in the painting of portraits and practised also historical art. 26 Portrait of a Gentleman Gallery X^'ll Canvas, 38f x 27| (97 ■ 5 x 70 ■ 5). Inscribed in upper left porner in modern hand : D : of Alencon. 1574. Above this in black is : AN" DNI-1574. To right, near left forearm of sitter is : (in gold) F.POVBJBVS, (in black) F. POVRBVS. In the Inventory of the Collection it appears as "Portrait of the^^Duke of Alencon." The Duke would have been only twenty in 1574. 230 POURBUS FIETEB FOUBBUS Flemisli School. Born at Gouda between 1510 and 1513; died at Bruges 30 Januai-y 1584. Pourbus established himself at Bruges, where he painted historical and allegorical subjects and portraits. He chiefly excelled as a portrait-painter in the severe and sharply characterised Netherlandish style of the sixteenth century. This painting in the Wallace Collection is his most remarkable effort in a style combining allegory with idealised portraiture. His works are chiefly at Bruges, Antwerp, and Brussels, and in the Imperial Gallery at Vienna. A. " Resurrection of Christ," signed, and dated 1566, has been catalogued as in the Louvre, but is not at present hung there. 531 An Allegorical Love-Feast or The Fower of Love III Panel, 5H x 80 j ( 130 • 8 x 204). Signed to right, near base of tree : Petrutt Pourhus Faciebat, and again with cipher. Bethnal Green, 120, as " Allegoric Picture : the Power of Love." Sale : William II of Holland, The Hague, 12 August 1850, No. 42, as — Siijet alUgorique ; les diverses phases de V amour ; pour demontrer comine le dit tres bien Nieiiwenhuys dans son catalogue, que le seul amour raison- able et durable est eelui qui nous attache dans I'age niur a la femme legitime, dont la fidelite eprouvee a determinee notre confiance. 1,060 florins. Nieuwenhuys (B.A.A.) The picture was bought by Lord Hertford from Nieuwenhuys ; a note by Sir J. Murray Scott runs : " Porbus, Poiver of Love, £650, Nieuwenhuys, March/72." The persons represented are (according to the names affixed to them by the painter) Pasithea, Aglaia and Buphrosyne, i.r. the Three Graces, but Pasithea is Aglaia and should therefore be Thalia ; Afl'ectio, Cordialitas, Fidutia (still young and comely, but more fully clotlied and sedate than the rest), and Reverentia ; Adonis, Daphnis, Sajjiens and Acontius. In the left corner lies Cupid, in the right is shown the Fool with his bauble. The allegory may be interpreted as teaching that Love and Folly are for Youth, but that the greybeard (Sapiens) must content himself with loyalty rather than love. On the marble table in the centre, near the figure of Daphnis, is a sheet of music, showing the tenor part of a four-part chanson by Thomas Crecquillon, first published at Antwerp in 1-543 by Tylman Susato, Prenvwr Livre des Chansons. It is No. 8 in Tom. xii. of F. Commer's CoUcctio Operum Musirorum Batavorvm Hircnli fvL POURBUS— POUSSIN 23] (we are indebted for the reference to Mr. Barclaj- Squire). The first four lines are quoted — Ung gai bergier prioit line Lergiere En luy faisant du jeu d'amom-s reqtieste. Alley, diet elle, tirez vous arriere Vostre parler je trouve deslionneste. GASFARB DUaHET, CALLED GASFARD POUSSIN, OR "LE GUASFRE" French School. Born at Rome of French parents in 1613; died there 25 May 1675. Pupil of his brother-in-law, Nicolas Poussiu, upon whose style in landscape his art was based. Gaspard was second only to that great master and to Claude Lorrain as the poetic interpreter of Italian scenery. Fine and numerous groups of his works are to be found at the Church of San Martino al Monte at Rome, in the Doria and Colonna Palaces in that city, and at the National Grallery. 139 The FaUs of Tivoli Gallery XA^ll Canvas, 38|x32 (98 -5x81 -4). Signature indecipherable. Bethnal Green, 407, as " Landscape, Tivoli." Bought by Mawson for Lord Hertford at the sale of Lord Ashburnham, 1850, as View of Tivoli, u-ith Figures, for £480. From the Waldegrave and Fleming collections. Mentioned by Waagen, ii. 155.'; Manchester,, 1857, No. 36. NICOLAS FOVSSIN French School. Born at Les Andelys in Normandy June 1594; died in Rome 19 November 1665. Pupil of Quentin Yarin, L'Allemand and others, but further developed through the study of Raphael and Titian. He visited Rome in 1624, and there formed an intimacy with Du Quesnoy (IlFiammingo). He also frequented the academy of Domenichino. His first period of maturity was marked by the production of classic and biblical subjects, treated with great severity and gi-andeur. colour being whollj' subordinated to design, and harsh in its schemes of sharply contrasting tints. He went to Paris in 1640 with M. de Chantelou, and was there graciously received and employed by Louis XIII and Cardinal Richelieu. But his return to Italy was accelerated by the intrigues of Simon Vouet, Feuquieres, and the architect Mercier, the memory of which he has perpetuated in the ceiling-picture " Le Temps 232 POUSSIN ^oustrait la Vei'ite aux atteintes de I'Euvie et de la Disoorde " <(Louvre). Poussin's colouring became softer and his capacity for -suggesting atmosphere greater after his return from Paris, and he ihen produced such masterpieces as the " Echo et Narcisse " and •" Les Bergers d'Arcadie," in the Louvre. Finest of all his works in grandeur and imaginativeness of design, if not always in realisa- tion, are the solemn conceptions of his last years. Noticeable •iimong these are the series of four canvasses " The Seasons " and the beautiful unfinished composition " Apollo and Daphne " — all of them in the Louvre. A great number of Poussin's most important works are in England, most of them, however, belonging to the earlier time. 1I1.S 108 A Dance to the Music of Time Gallery XVII (Formerly " The Dance of the Seasons to the Music of Time ") Canvas, 32^x41^ (82-5 x 105'4). Signature indecipherable; Bethnal Green, 386, as " The Dance of the Seasons." Bought, by Laneuville for Lord Hertford at the sale of Cardinal Fesch, Rome, 1845, No. 397, as La Danse de» Saisons, or Vlmage de la Vie HuvMine, for -5,970 soudi (Note by Sir J. Murray Scott, and marked catalogue). No. 1,056 in catalogue of 1841. On the back is No. 116 dii, (^[atalogue ?]. Smith, 279, thus described : — An Allegory of Human Life. This picture, as well as the two preceding [the Arcadian Shepherds in the Louvre and another version in the collec- tion of the Duke of Devonshire] and also many othei's noticed in the work, prove that the mind of the painter was strongly imbued with en- larged feelings of moral philosophy. In the subject now under consi- deration he evidently intends to inter that, whatever may be the conditions of man, pleasure is his object ; and in the attainment of this, every class of persons must in some measure contribute. This lesson of instruction is strikingly illustrated by four females, personifying Riches, Pleasure, Labour, a,nd Poverty, with theii' hands entwined, dancing in a ring to the sound of a lyre, played by Time, who is represented under the figure of an old man with wings, seated on the left, with the instrument on his knees, and his attention directed to the dancers, whose movements Lead in swift round the months and years. By the side of Time is seated an infant holding up an hour-glass, and as an object of amusement watching the moving sand ; a second infant sits on the opposite side blowing bubbles, and close to him stands a Terminus with a double face, in allusion to the Past and the Future. The period indicated is the morning of life; and in accordance with this Phoebus is seen in the heavens, mounted in his golden car, drawn by his fiery coursers, attended by the Hours, and preceded by Aurora. This admirable picture has been engraved by Volpato, Raphael Morghen, B. Picart, and Dughet. POUSSIN— PREDIS 233 OE the " four feuuiles. " one seems to be a youth, whose head is crowned with laurel. Of the three nyuiphs one is crowned with roses, one with pearls, the third has a plain linen headdress. They are, therefore, probably Pleasure, Fame, Wealth, and Poverty, and not the Seasons. Wealth, it may be noted, deigns only to touch the hand of Poverty. The sale catalogue of Cardinal Pesch makes the figures Seasons, but also L'Opulence, la Pauvrete, le Plaisir, la (iloire. B. Picart, on his plate, entitled L' Image de la Vie Huiiiaine, gives tlie following elucidation : — Les differens etats de la vie humaine, representes par qiiatre femmes, qui d^signent le Plaisir, la Richesse, la Paavreto. et le Travail, se dounent mutuellement la main et forment une danse au son d'uiie lyre touchee par le Temps. Les deux premieres, qui ropi-esentent le Plaisir est la Richesse. sont magnitiquement ornees, I'une d'ane guirlande de fleurs, dont elle est couroiinee, et I'autre d'habits pvccieux oli Ton voit eclater I'or et les perles. Mais la Pauvrete a demi couverte de mauvais vetements, est seulement cou- ronnee de feuilles seohes. Et le Travail, las et accable de fatigue, semble ue se remuer qu'avec peine, et regarde tristement la Richesse, dont il paroit implorer tristement le secours. Deux petits Enfants, dont I'un tient une fiorloge de sable et I'autre se joue avec des BouUes de Savon, font sentir le -pew. de duree de la vie humaine, et de combien de vanite elle est remplie. Et un terme a double face pose sur le devant represente le passe et I'avenir. Le Soleil, precede de I'Aurore, et suivi des Heures, paroit dans le ciel et fait contiuuellement son cours, pendant que la vie s'ecoiile. The plate by Raphael Morghen is inscribed " Nicolas Pousin pinx^ Stephanus Tofanelli delin. Raph. Morghen sculp'. Romae. LudimiiK. Intrrea celeri nos ludlmuv hora. Ferdinando III Austriaco Magno Hetruriic Daci Johannes Volpato et Raphael Morghen D.D.D. (Hdibus Rospigliosiis." The picture was painted for Giulio Rospigliosi, afterwards Clement IX, and the mscription on Jean Dughet's plate attributes the scheme of the picture to him : — Sisto ad pedes Tuos B'"' Pater typum humanae vitae a Te olim inventum, tauqLiam munus Te prorsus dignum ex ea parte, quam. contraxit a Te. Expressum in hoc videbis, quod in Te semper impressum fuit, vitae scilicet bonum non in statibus ejus, non in spatio ponendum, sed in usu. Tu enim uuUam vitae particulam sine actu labi permittis, qui ad hoc tantuni Te vivere putas, ut omnibus prosis. A. Andersen in his catalogue of engravings after Poussin, No. 400, adopts Smith's title, and adds " nach den Traumen des Poly- philus," but nothing in the Hypnerotomachia seems preciselj^ to correspond. Mentioned by Waagen, ii. 156, Manchester Art Treasures Exhibition, 1857, No. 35. No. 278 in Emile Magne's Nicolas Poussin, 1914, as Ballet de la Vie Humaine or Danse des Saisons. The subject is said to be taken from the Confessions of vSt. Augustine, but this seems to be a mistake. The picture was in the collection of Francois Quesnel, 1697, and was engraved by A. JMassai'd. A drawing for it was in the Belinard sale, 1783. CRISTOFOBO DE FBEDIS Milanese School. A miniature painter, born at Modena, but belonging, by his style, to the elder branch of the Milanese School. He flourished in the latter half of the fifteenth century, and is believed to have been the elder brother of Ambrogio de Predis. There is a very fine miniature by Cristoforo, dated 1474, in the Royal Library at Turin ; others are in the Church of the Madonna del Monte above Varese and in the love romance '■ Paolo e Daria, amanti," by Gasparo Visconti, and the " Libro d'Ore Borromeo " in the Ambrosian Library at Milan. He is believed to have been deaf and dumb; sometimes he included in his signature " Mt " read as " mutus " ; but more probably " Mutinensis " (of Modena). 234 PREDIS 759 Galeazzo Maria Sforza, Duke of Milan, praying for Victory txallery XI Illumination on vellum. Two separate pieces have been cut out and pasted on a sheet measuring 14|x9f (36'9x23-5). On the gold ground at the base of the first is an inscription of which the following reading is given on the back of the frame : OPVS ii XPSTOFORI DE PREDI.S VII DIE APRILIS, 1475. The parts legible are OPVS XP[" C " follows, which may be part of " "] PEEDIS MVT[I] DIB 7 APR[ ] 147 . On the trappings of the horse from which the Duke has dismounted may be read : GALEAZ MARIA, and on the upper band: RM. In the centre of the lower fragment round the arms of Sforza and Visconti is the inscription: GALBAZ • MARIA ■ SFORTI A' VICE [space for 739 a single letter follows which may have been " C " combined with "0"] MES [DJVX-MEDIOLANI-QVINTVS, ie. "(Jaleazzo Maria Sforza Visconti, fifth Duke of Milan." In the centre of the lower fragment are the arms of the Dukes of ^lilan : the imperial eagle quartering the Visconti viper ("assumed in turn by the Sforzas), accompanied by the ducal device of burning staves and pails. At the top of the princii^al fragment, on the left, and somewhat obliterated, is the device of the helmed and crested lion sejant among flames, holding a brand, as figured on a medal of Galeazzo Maria, dated 1470. Below are the arms of France, probably in allusion to the French intermarriages of the Msconti Dukes ; the banner of Milan (gules a cross argent) is held by tlie dexter supporter. On the right are seen the insignia of the Counts of Pavia, the ducal heirs apparent (the viper of Milan PREDIS— PRUD'HON i:^.) impaled with tliree imperial eagles) ; and the same arms quHrliTly. In the lower tier of the avchitectural framework upon this side, is the cognisance of Sforza of Cotignola : azure a quince-tree vert. The tents in the background of the miniature bear the escutcheon : gules a bend or. The kneeling Sforza's crests are the vijier azure and a tree gules fruited or. Reproduced, but without elucidation of the incident depicted, with the legend Galeazza Murki In orazionc —London, (Tallcfia Nazionale. Miniatiora neJla coll. Vallacc Ijy Count F. Malagnzzi Valeri, La carte dl Lodovico II Moro, 1918, page 3. Galeazzo Maria was grandson of Giacomo Attendola, a leader of condottieri, who took the name of Sforza in the field (1369-1424), and son of Francesco, (1401-1466), who served the Visconti and married in 1441 Bianca, only daughter of Filippo Maria A'isconti, duke of Milan. He received as dowry Pontremoli and Cremona, and the promise of succession in Milan. He overthrew the republic estab- lished in Milan on the death of Visconti (1447) and entered Milan 25 March 1450. He extended his authority over Lombardy and dis- tricts south of the Po, and even Genoa ; his court became a splendid resort for art and letters. Galeazzo Maria, born 1444, was also a lover of art and gifted with eloquence, but notorious also for cruelty and debauch. He was assassinated at the porch of the Cathedral, 26 December 1476, by three young nobles. His si:)n was the Gian Galeazzo avIio has been associated with Foppa's fresco. No. 588 in this Collection. H the date on our illumination has been rightly deciphered it commemorates an event in the year Ijefore Galeazzo Maria's death. FIERRE-FAUI. FRUD'HON French School. Born at Cluny 4 April 1758; died in Paris 16 February 1828. Pupil of Devosges at Dijon. He travelled in Italy, and received from the works of Leonardo da Vinci, Raphael, Andrea del Sarto, and particularly from Correggio an indelible impression. In an age dominated by the art of Jacques-Louis David and his school, Prnd'hon remained true to his ideals, based upon those of great Italian Art, retaining the magic of chiaroscuro and adding to it the flexibility of life. Among his most celebrated works are " La Justice et la A'engeance divine poursuivant le Crime," " L'Assomption de la Vierge," " Le Christ en Croix," the "Portrait de Madame Jarre," and the ceiling "Diane implorant Jupiter " — all of them in the Louvre. The Museum of Dijon contains a fine series of male portraits b}^ him, as well as a great ceiling, adapted from one by Pietro da Cortona in the Barberini Palace at Rome. Outside the Wallace Collection Prud'hon is almost unrepresented in England. Nowhere does he show himself a greater master than in his drawings, magnificent groups of which are in the Louvre and at Cha,ntillj'. 264 Puppies (Oh. ! les jolis petits chiens !) Gallerj- XV Panel, canvas, 8 x 6f (20-8 x 15-9). Bethnal Green, 558. On the back is written in ink " G. Constantin." Probablj- " Petits enfants jouant avec des chiens," Thevenin sale, Paris, 1851, 5,000 f . (Blanc). Engraved by Roger. An early w(jrk. Mireur gives : 1850, Thevenin, Petits enfants jouant avec des enfants [? petits chiens], 2,000 f . ; 1867, Laperlier, Oh! les jolis petits chiens (22x16), 6,300 f.; 1868, Didier Henry, Oh! les jolis -petits chiens (65x54) [a larger work], 800 f.; 1872, Canot, Ali. ! les jolis -petits chiens, 980 f . 236 PRUD'HON 272 The Assumption of the Virgin Gallery XV Canvas, 12|x8i (31 •4x20-7). Bethnal Green, 341. Finished sketch for the picture exhibited at the Salon of 1819, No. 922, and now in the Louvre. Bought by Lord Hertford at the Paul Perier sale, Paris, 16-17 March 1843, No. 33 ; Assom/ption, esquisse, toile, 33 x 21, 12,000 f. (B.A.A.) A similar sketch is in the Marquand section of the Metropolitan Museum of New York. At the Lafontaine sale, Paris, 1821, was a sketch of this subject on canvas, 11 inches by 7, sold to " M. Henry " for 956 f . This is now in the Cherbourg Museum. Charles Clement, in his work on Prud'hon, gives some particulars of the picture and sketches. The Assumption was commissioned in 1816 by the Administration for the high altar of the Chapel of the Tuileries. Many drawings were made and two or three sketches, and M. Marcille had or has a little " maquette " for the composition. Prud'hon, in a letter to M. de Forbin, Directeur des Musees, 17 August 1816, says that his sketch is finished, and asks for a third of the payment, which was 6,000 francs. The picture remained in the Chapel till 1848. One of the sketches was acquatinted by Debucourt. 295 The Zephyr (Jeune Zephyr se balan^ant au-dessns de I'eau) Gallery XV Canvas, 8^ x 6| (21 x 15 • 5). Bethnal Green, 563, as " The Ycung Bather." The life-size picture was in the Salon of 1814 as the property of M. de Sommariva. At his sale, 19 February 1839, it was bought by M. Guenin, who bequeathed it to M. Valpinson, to whom it still belonged in 1872 (Ch. Clement). It was engraved by Laugier, and on a small scale by Pitaux, and lithographed by Grevedon. The subject was suggested to Prud'hon while M. Lezay Marnezia was sitting for his portrait. He was accompanied by his little boy, who amused himself by swinging on two cords that hnng from the 2'jr, ceiling of the studio. Prud'hon made a sketch, or rather reduction, and offered it to the Comte de Forbin. It belonged, for a long time, to the Comte d'Espagnac, and is the version now in this Collection. Clement, p. 394, prints the letter which Prud'hon addressed to the Count (in possession of M. Boutron) — Paris, ce o aout 1818. Monsieur le comte, j'ai eii bien du regi-et de n'avoir jDas eu le bonheur de vous trouver ohez vous ce matin. Je voulais repondre de vive voix aux expressions affectueuses que vous me prodiguez dans votre gracieuse lettre, avec une effusion si tranche et si amicale que j'en suis vivement penetre. Je voulais vous dire de plus que le prix que PRUD'HON 237 j'attaclie surtout au modeste don que vous avez bieii voiilu recevoir de moi (I'esquisse de Zephyr) est rassurance de votre part d'uiie bienveillance que je m'estinierais tres heureux de pouvoir entretenir. Veuillez croii'e que c'est mon vceu le plus cher, et que, si le cceur vous portait d'inclination pour moi, le mien allait d'aft'ection au-devant du votre. C'est un sentiment que conservera pour la vie votve tout devoue Pkud'hon A life-size sketch in oils belonged to Baron de Schlicliting, and by his bequest passed to the Louvre in 1914 (reproduced in Figaro Illudrr, March 1901). A version Avas in the Due de Moruj-'s sale, 1865, 125 X 96, perhaps the " Zephyr se balan(,'ant " (605 f.) in the Prud'hon sale, Paris, 1823, (9,000 f., Boisseiin) and in Mme. de Bondy's sale, 1898, and that of Baron Roger Portalis, 1887. The large paintings are inferior to our small version. Exhibited, Old Masters, 1896. 313 The Happy Mother (La Mere heureuse) Gallery XV (Formerly " Maternity ") Canvas, 9| x 6| (23' 2 x 16 "8). Bethnal Clreen, 529, as " Mother and Child." Bought by Lord Hertford at the De Saint sale, Paris, 5 May 1846, for 3,150 f. (Note by Sir J. ^Murray Scott); a version was in the Vente W., 1860 (370 f.). At the Didiei- sale, Paris, 1869, No. 152 was La Mere heureuae ; etude, dessin rehausse ; vente de Boisfremont, 300 f. Prud'hon's pupil Constance Mayer enlarged the subject into a canvas with life-size figures, now in the Louvre under the same title. A companion piece was " La Malheureuse Mere " (Sales, 1833 and 1886). 315 Portrait of Josephine Beauharuais (afterwards Empress) Canvas, 23 x 18f (58 • 5 x 47 • 7). Bethnal Green, 369, as " Portrait of a Young Lady " (1872) ; as " Portrait of the Empress Josephine " (1874). Bought by Lord Hertford at the Boisfremont sale, 1864, 7,050 f . (de Ricci). It is little more than a grisaille. In the Prud'hon sale, 1857, was Portrait de I'Imperatrtce Josephine, 945 f. 347 Venus and Adonis Gallery XV Canvas, 941x66 (240x167-7). Clement (pp. 382-8) gives the story of this picture. It was a commission from the Empress Marie-Louise, who was an admirer and protector of Prud'hon. [There is a tradition that she sat to Prud'hon for the Venus.] This was in 1810. He made a first sketch, which was, in 1872, in the possession of M. Budoxe Marcille. In this the features and pose of the head of Adonis diifer (he is painted more directly from the model) ; there are two little Loves in front, and two hounds, one sitting up, one lying down, and a third Love in flight behind the two in the background, where now there are two doves ; there is also a most picturesque effect of rays of sunlight striking on the body of Venus. The picture was to adorn a salon in the Tuileries, but the Avar with Russia intervened and the Empress never had her picture. It remained in Prud'hon's studio till his death. At his sale it passed for 5,100 f. to M. de Boisfremont, from Avhom it was purchased by Marshal Gouvion-Saint-Cyr, Avho kept it for several years in the Chateau de Villiers, near Neuilly; it was then sold to M. Anguiot, and was, when Clement wrote, in his possession (1872) ; at his sale, 1 March 1875 it was sold^ for 67,000 f. to Sir Richard Wallace. Prud'hon, in a letter, describes his picture : Au milieu d'une foret ombreuse Venus assise sui- un tei-tre retient Adonis pres d'elle par le ohai-me de ses caresses ; le ijeune chasseur, enivi-e, 238 PRUD'HON pai-ait oublier qu'il veut partir ; au bord de I'eau, sur le devant, un Amour tient deux chiens en laisse ; plus loin, a I'ecart, I'Amour livre au plaisir un papillon, symbole de I'ame ; dans le lointain, plusieurs Amours courent a la chasse. 347 This ai'i-ai)gement must have been afterwards modified; two Loves with a butterfly take the place of one, and the chase is omitted. The picture has suffered badly, in the dark parts, from Prud'hon's use of bitumen and a "pommade"of his own invention; but the cracks tell very little in the general effect, now that the stoppings and gross repaintings have been removed. Engraved by Normant tils. Lithographed by Jules Boilly and by Sirouy. Exhibited at the Salon of 1812, No. 472. At Chantilly is an original repetition oi the figure^f Venus, in half-length only. By Prud'hon and Constance Mayj:b 348 Venus and Cupid Asleep (Venus et I'Amour endormis, caresses et reveilles par les Zephyrs) Gallery XV ^Formerly " The Sleep of Psyche," by Prud'hon) Canvas, 87| x .57 (9.5-9 x 144-8). Bethnal Green, 343, "The Ptepose of Venus." [A " Sleeping Nymph and Cupids : a Sketch," also 348 at Bethnal Green, is no longer in the Collection.] " Le Sommeil de Psyche" was in the De la Malmaison sale, Paris, 1814 (800 f.), bought by M. Dubois as a Mayer ; later it was in the gallery of Duclos, the dealer, and valued at 20,000 f. as a Prud'hon. PRUD'HON— PYNACKER -ZSd Dealers made these changes of name; thus the pendant of this picture, the Flaiubi'au de Venus, of the 1808 Salon, became the Rerctl (?<■ Psyche by Prud'hon. It appears, from an article Ijj- Jeanne J)oin in the Beriie de VArt Avcien et Moderns for Februar}- 1911, that this picture was commissioned by the Empress Josephine of Mile. Constance Mayer (the pupil and mistress of Prud'hon), and exhibited under her name at the Salon of 1806, the title being then " A^enus et I'Amour endormis, caresses et reveilles par les Zephyrs." There can be no doubt that Prud'hon designed the picture, the finished sketch by him for a portion of it being at Chantilly. He must also have finished the picture for Mile. Mayer. Much the same thing, no doubt, happened with the "Mere Heureuse," the sketch for which, by Prud'hon, is in the Wallace Collection. Two pictures by Prud'hon, unidentified, appear in an account of Lord Hertford's, 18 February 1845, 1,363 f. -5. ADAm FYITACKER Dutch School. Baptised 13 February 1622, at Pynacker, near Delft; buried at Amsterdam 28 March 1673. Developed chiefly under the influence of Jan Both. He visited Italy in youth, and spent much time in Rome ; practised afterwards at Delft, Schiedam, and Amsterdam, often using Italian motives. 57 Landscape with Animals Gallery XTV Canvas, 47 x -121 (119-4 x 108-6). Probably Bethnal G-reen, 84, " Landscape, with goats [sic] and sheep." This picture has the mark of the Roman custom-house on the back; it was No. 187 in Fesch sale, 1895 (de Ricci). It corresponds with Smith, 2o : — The Companion (to Smith, 24) oilers a similar scene [i.e.. a hilly and richly wooded country] and may be identified by a clump of three lofty trees on Ihe left, beyond which is a road leading through the country, where peasants with cattle are seen passing. In addition to the usual detail incident to the foreground are a goat and a sheep. 3 ft. 10 in. by 3 ft. 4 in. Canvas. Collection of M. Smeth van Alphen, 1810, 1,010 florins (£90) ; of M. Le Brun, 1811 (the pair), 4,000 florins (£160). 115 Landscape with Cattle Gallery XIII er. Canvas, 31|x27 (79-7x68-6). Signed to left: A. Pynacl- Probably Bethnal Green, 104, " Landscape." At the sale of W 240 PYNACKER— EAFFET AYilliams Hope, Christie's, June 14-16, 1849, No. 91, was a l^ynaclcer, witli the silvery stem of a felled tree in the foreground, a peasant with a cow, and a group of four figures on the hillside, in warm evening light. Sold, according to the marked catalogue of Messrs. Christie, for £95 lis. (Nieuwenhuys). This description agrees with our picture, which is therefore probably the picture bought by Sir Richard Wallace from Nieuwenhuys for £400, February 1872 (Note by Sir John Murray Scott). A picture by Pynacker Avas bought at Colonel Hugh Baillie's sale, Christie's, 1858, by Mawson for Lord Hertford ; Bethnal Green, 118, '' Landscape : from Colonel Hugh Baillie's collection." It was framed in 1859. Mawson ^^Tites from London to Lord Hertford in Paris, 20 May 18-58, acknowledging receipt of draft for £2,020 "for the Murillo and Pynacker," and says : The Pynacker alluded to [evidently in a letter from Lord Hertford] is not at Manchester House, if I recollect riglitly ; it is rather a small picture, and at Berkeley Square ; although a nice picture, it won't bear a comparison with the new acquisition, which is considered by all to be the finest known. Lord Hertford endorses the letter as " receipt of cheque for 2 Pictures, Murillo and Pynacker, bought at Col. Baillie's sale. May 1858, Paris." The picture was No. 31, thus described : An Italian Landscape. Peasants with a waggon and a woman with cattle at the edge of a pool of water beneath a rocky height, sui-mounted by buildings ; a lofty tree on the left ; a valley in the centre and mountainous distance. The whole composition is illuminated by a brilliant afternoon sun. (£445, Burgess for Lord Hertford.) The name Burgess also appears as the buyer of the Murillo in Messrs. Christie's catalogue [The Virgin and Child, No. 13 in this Collection] ; he must have acted for Mawson. A IVoody Landscape; Skirmish between Cavah-y and Travellers, No. 225 at the Charles Scarisbrick sale, Christie's, 11 and 13 May 1861, was bought for £157 10s. by N. Birch, an agent of Lord Hertford. It is no longer in the Collection. DENIS-ATTGUSTE-MARIE BAFFET French School. Born in Paris 1804; died in 1860. Pupil of Baron Gros, and of the military draughtsman and painter Charlet. In 1826 he published an album of lithographed studies, the first of a series of scenes from military life. In 1832 he went to the siege of Antwerp, and three years later exhibited a set of lithographs from sketches made there. His chief patron and friend was Prince Demidoff, who enabled him to travel in Russia and Western Asia. In 1849 he went to Italy, and made drawings of picturesque costumes and uniforms. After the siege of Rome he spent his time loetween Prince Demidoff's villa at San Donato near Florence and Paris. In 1853 he went with the Prince to Spain, but the Spanish alljum was unfinished when he died at Genoa. Raffet was without a rival in the rendering of the battle scenes and military subjects of the First Republic and the First Empire. Living and working in the Romantic period, and thus seeing his favourite subjects' from a certain distance, he was able to impart to them, with dramatic passion and realistic truth, an almost epic breadth and grandeur. He also achieved success in his studies of Russian, Caucasian and Italian types and in his delineations of incidents of his own time. He is pre-eminent above all as a lithographer; indeed he is said to have postponed in favour of that art the commission, several times (iffered, for an historical picture at Versailles. RAFPBT— RAOUX 241 731 Soldiers of the Republic Water-colour, 8| x 5| (21x14-3). Inscribed in lower left corner : Baffet a son ami [name indecipherable] 30 juin 1849. Betlinal Green, 690a, 1874 catalogue. 737 The Trial of Queen Marie- Antoinette Water-colour, 3| x 4| (9x12 '4). Signed in lower left corner: Rajfet. Bethnal Green, 692, 1874 catalogue. 744 French Infantry in Sq^uare Water-colour, 3| x 5 (9 x 12 '8). Signed in lower right corner : Rajfet. Bethnal Green, 715 (with No. 745, ]874 catalogue). 745 ITapoleon after Austerlitz Water-colour, 4| x 6 (10'4xl5'3). Inscribed in lower right corner : Baffet 1845. Bethnal Green, 715 (with Ko. 744), 1874 catalogue. Title on old mount: "Taking of Ulm by Napoleon." A " Capitulation d'Ulm " was at the Raffet sale in 1860, fetching 650 f. (Mireur). Mack capitulated at Ulm, 20 October 1805; Austerlitz was won on 2 December. 747 St. Jean d'Acre Water-colour, 3| x 4f (9x11-1). Signed to right: Raffet. Bethnal Green, 634, attributed to Bellange. Napoleon attacked St. Jean d'Acre in 1799, but was repulsed by the forces of Djezzar Pasha after reaching the streets of the town. He lost most of his officers, and the hope of an Empire of the Bast. ALLAN RAMSAY British School. Born in Edinburgh 1713; died at Dover in August 1784. Son of the well-known Scottish poet of the same name, whose pastoral drama, " The Gentle Shepherd," achieved great success. He began his studies at the St. Martin's Academy, and in 1736 went to Italy, where he was first the pupil of Solimena, then of Imperiali. On his return he established himself at Edin- burgh, whence about 1762 he migrated to London. He was introduced by his fellow-countryman. Lord Bute, to George, Prince of Wales (afterwards George III), who, in 1767, a few years after his accession, appointed him Painter-in-Ordinary. He executed throughout his official career companion portraits of that inonarch and his consort, Queen Charlotte. Ramsay was a respectable painter of solid accomplishment, who at his best showed much of the completeness and also of the coldness which marked the French and Italian portraiture of the period to which he belonged. Sir Joshua Reynolds, who was on friendly terms with him, used to say : " There's Ramsay, a very sensible man, but he is not a good painter." 560 King George III Gallery IX Canvas, Slf x 25 (79 • 3 x 63 • 5). This is a type very frequently repeated by the Scottish painter, both in full-length and half- length. JEAN RAOUX French School. Born at Montpellier in 1677; died in Paris, 1734. Pupil of Bon Boullogne. Received at the Academie Royale 28 August 1717. He painted chiefly decorative subjects, fetes u 10931 Q 242 RAOUX—EEMBRANDT galantes, the portraits of ladies of the Court, and actresses in fanciful dresses, much of his work being marked by strong and forced chiaroscuro effects. 128 A lady at her Mirror (La Jeune Tille an Miroir) Gallery VIII Canvas, 31fx25j (80-6 X 64-1). Bethnal Green, 475. This was the picture by Raoux, La Jeune Fills au Miroir, at the Gentil de Chavaignac sale, Paris, 20 June 1854, No. 52, 1,205 f. (B.A.A.) 128 The description exactly corresponds ; rose corsage decollete, orange skirt, arms half bare, sleeves loose and wide, pearl necklace, little bouquet in hair, which is blonde and rolled at the sides ; face in half shadow. Canvas, 82 x 65. REMBRAITDT HABMENSZ VAN BTN Dutch School. Born at Leyden 15 July 1606; buried at Amsterdam 8 October 1669. Pupil of Jacob van Swanenburgh at Leyden, then of Pieter Lastman at Amsterdam. Rembrandt practised his art up to 1631 at Leyden, and afterwards at Amster- dam. His first manner, greenish-grey flesh-tones and high finish, coincides with the Leyden period, but extends to about 1632 or ] 633. The second manner coincides more or less with the years of Rembrandt's vogue and worldly success at Amsterdam ; it cul- minates in 1640-1642, but is not completely merged in the third and greatest manner until 1648-1650. The third manner may again be divided into two sections, the first ending about 1658, the second occupying roughly the last ten years of the master's life. Rembrandt is the profoundest master of a century which produced Velazquez and Frans Hals, Rubens and Van Dyck. He was not only a supreme portrait painter, but in pictures and still more in drawings and etchings he re-created the figures and scenes of the sacred drama, bringing them back to the simplicity and the humble life of the Gospels, and adjusting them to the com- prehension and the wants of his fellow-men. He is also one of the initiators of landscape in painting and etching. He is indeed the precursor of modern art in its finest essence, and it is only now that the full scope of his genius is universally recognised. EEMBRANDT 243 The reference in the notes below, " Bode," is to The Cmnpletp Works of Bemhrandt, 1897-1906, by Dr. Wilhem Bode (assisted by C. Hofstede de Groot), who supplies references to other works on Kembrandt. 29 Portrait of the Artist's Son Titus Gallery XVI Canvas, 26ix21f (67 -3 x 55-3). Signed to right above the shoulder : R. Probably Bethnal Green, 190, as " Portrait." This is doubtless the " Portrait du fils de Rembrandt " (68 x 55), 4,000 florins, at the sale of William II of Holland, The Hague, 12 August 1850, No. 89 ; B.A.A. gives the name of the purchaser as Brondgeest. A label on the back shows that it was at the Manchester Art Treasures Exhibition, 1857. It appeared there as " No. 17. Jan Pellicorne. Head only, in red cap. Canvas. 1 ft. 10| in. by 1 ft. 6 in. Inscribed and dated 1643. From the King of Holland's collection. Smith's catalogue. No. 216. Waagen, vol. ii., p. 158." There must have been some confusion herewith No. 82 and with Smith, 216, "A 29 Portrait of Rembrandt when about thirty-six years of age, in three- quarter view, with dark coloured velvet bonnet on," and dated 1643. Painted about 1657. Bode, 444; Vosmaer, pp. 547,549; Dutuit, p. 48, No. 433; Wurzbach, No. 251; Michel, p. 433; De Groot, 704. Waagen, Supplement, p. 87. Exhibited, Old Masters, 1889. 52 Portrait of the Artist in a Cap Panel (arched top, the shape of which has been altered by an addition), 25 x 19| (63'5x49-2). Signed to right: Rembrandt with (?) ft below. Possibly Bethnal Green, 169, "Portrait of the Painter." Bought by Lord Hertford at the Casimir Perier sale, Christie's, 5 May 1848, for £294 ; thus described : " His own portrait, with a black cap and a collar of fur, 19 x 25, upright." Painted about 1634. Exhibited, Old Masters, 1889, No. 159. Bode, 171 ; Vosmaer, p. 522 ; Dutuit, p. 48, No. 133 ; Wurzbach, No. 248; Michel, pp. 215, 558 ; De Groot, 559, who adds the following sales : Count F. de Rbbiano, Brussels, I May 1837, No. 544, 5,500 f., and probably Gerard Hoet, The Hague, 25 Aug. 1760, Terw. 225, No. 48, 244 REMBRANDT 185 11. to Yver; and F. W. Baron van Vorck, Amsterdam, 1 May 1771, Xo. 6. 55 Portrait of the Artist in a Flamed Hat Panel, 26x20 (66x50 ■7). Signed to right above shoulder: Rembrandt f. Possibly Bethnal Green, 184, " Portrait of the Painter." He wears a gorget with chain attached and ear-rings. The gorget and chain appear in the oval etching of himself (B. 23) the year of his marriage with Saskia. He collected costumes at this time, and decked himself and his sitters with them. Onr picture is probably the Portrait of a Man in a Rich Dress, bought by Lord Hertford at the William Wells of Redleaf sale, Christie's, 12 May 1848, ^.'o. 42, for £183 15.s. Painted about 1635. Exhi- bited, Old Masters, 1889, No. 155. Bode, 166 ; Vosmaer, pp. 508, o23, 579; Dutuit, p. 48, No. 138; Wurzbach, No. 249; Michel, pp. 215, 558 ; De Groot, 558. jeau .reuicorue, wxia nis son U'aspar (Formerly " The Burgomaster Jan Pellicorne, with his Son ") :anvas, 61x48i (155x122-5). Signed to rig] Gallery XVI th his Son ") ight below : Rem- REMBEANDT 245 hrantftmfct. Bethnal Green, 100, as "The Burgomaster Palekan and his Son From the collection of the King of Holland." Smith, o4l ; thus described — A Gentleman and his Son. The former, apparently about thh-ty-six years ° -^Pii 1 '^ expressive countenance, having mustachios and a pomted beard, is represented in nearly a front view, seated, extending his hand to take a bag of money from his son, a youth about seven years old who stands by him, holding the treasm-e with both hands. The father has on a large hat, and is habited in a suit of a black-figured velvet ; the youth wears a dress of a brownish-grey colour, with gold buttons and tags, relieved by a white lace frill and cuffs. Both this and the companion are good examples of the Master ; they were painted for the ancestors of the family ni whose possession they now [1836] are, viz., the Burgomaster Vander Pol, at Amsterdam. 5 ft. by 4 ft. Canvas. The sum now asked for the pair is 20,000 florins, about £1,700. Bought by Mawson for Lord Hertford at the sale of William II of Holland, The Hague, 12 August 1850, lot 84, along with lot 85, the Portrait of the Wife (N"o. 90), for 18,000 florins (B.A.A.) From ^the Van de Poll-Valckenier (Amsterdam, 14 November 1842, 35,046 fl.) and Nieuwenhuys Collections. We are indebted to Jonkheer Dr. juris David Eliza van Lennep, Burgomaster of Heemstede, North Holland, in the eighth generation of descent from the subject of this picture, for the following particulars : — Jean (not Jan) Pellicorne was never burgomaster, but was a merchant ill Amsterdam, born 1597 in Leyden. He married, 17 February 1626, Susanna van CoUen (baptised 5 February 1606). Their son Gaspar, the boy in No. 82, was baptised 11 June 1628, was a merchant and alderman (Schepen) in Amsterdam, and married, 9 March 1670, Clara Valckenier (baptised 24 October 1620). Their daughter, Eva Susanna, born 1670, married, 18 April 1686, Pieter Ranst Valckenier, merchant in Amsterdam, baptised 15 May 1661. Their son Adrian Valckenier, Governor- General of the East-Indies, born 6 June 1695, married, 4 April 1730, Susanna Chris- tina Massis, born 27 January 1704. Their son. Dr. juris Adriaan Issac Valckenier, born 10 June 1731, married, 6 December 1756, Sara Johanna Vultejus, born 12 May 1735, and their daughter, Anna Catharina Valckenier, bom 7 March 1766, married, 3 October 1784, Jonkheer Dr. juris Jan van de PoU, banker in Amsterdam, born 25 August 1759. It was at her sale in 1842 that the portraits passed from the family. Mentioned by Waagen, ii., 158. Manchester Art Treasures Exhi- bition, 1857, No. 15. Exhibited, Old Masters, 1872 and 1889, 246 KEMBRANDT No. 156. Bode, 79 ; Vosmaer, pp. 116, 494 ; Dutuit, p. 48, No. 223 ; Wurzbach, No. 245 ; Michel, p. 140 ; De Groot, 666. Etched by A. Zeelander for the Gallery of the King of Holland. 90 Susanna van CoUen, Wife of Jean Pellicorne, with her Daughter Gallery XVI Canvas, 61x48x (154'9 x 122'5). Signed in lower right corner; Remhrant ft or fct J6, followed by (?) 3. The age of the boy, about 7, requires 1635 at the earliest. Bethnal Green, 107, " Portrait of the Wife of the Burgomaster Palekan and Daughter. From tho collection of the King of Holland." Smith, 552 ; thus described — A Lady and her Daughter. The former, apparently about thirty-five years of age, having a fair complexion and dark hair, is dressed in a black-figured silk robe, the bodice of which is richly embroidered with gold, a lai-ge full rufp and ruffles to match. She is seated, holding a purse in one hand, and giving a piece of money to the child with the other ; the latter stands by the side of its parent, and, while extending its hand to take the money, looks round with a smile to the spectator. Both this and the companion (No. 341) are painted in a fine style, combining breadth and effect with careful finishing. 5 ft. by 4 ft. (about). Canvas. Now [1836] in the Collec- tion of the Burgomaster Vander Pol. The pair are valued at 2(»,000 florins, about £1,700. Susanna van Collen was born 3 February 1606, and died in 1660. Mentioned by "Waagen, ii., 158. Bode, 80, who gives the fol- lowing references: — Vosmaer, pp. 116, 494; Dutuit, p. 48, No. 223; Wurzbach, No. 246; Michel, p. 140; Moes, Icon. Bat., No. 1,641; De Groot, 667. For sales and etching, see under No. 82. The Centurion Cornelius or The Unmerciful Servant Gallery XVI Canvas, 70^x86^ (179x219). There is possibly a date, A" 1653, to the right of the white plume, but the traces are too faint for any conviction; nothing has been made of the marks on the paper lying on the table. Bethnal Green, 101, "The REMBRANDT 247 S,V%9P '?."*'■ o^^'' ^"J^s ^pw] ^^^A^