gt>ring €lxhibition, 1907, FEBRUARY 8 to APRIL 3, 12 Noon to 10 p.m. ONE PENNY. PREFACE. The present is the first of a new series of exhibitions of a slightly different nature from any of those held previously at this Gallery. These exhibitions will, it is hoped, be held in future each Spring during February and March. They have been made possible by i:he kindness of more than 250 artists and owners of pictures, who have promised to lend one picture each year for these months. The plan of these exhibitions will be to show, in the Upper Gallery, groups of pictures by the leading bodies of artists working together in association in Great Britain, and it is hoped that the exhibition of the works of these different bodies injpne gallery may afford an exceptionally interesting opportunity for a survey of British art as a whole, within the very limited space offered by the Gallery. In the Lower Galleries the "Old Masters" will be ex- hibited, aad a special point will be made each year of some one school or subject This section of the exhibitions will be reinforced by additional loans, besides the pictures lent by the regular supporters of the scheme, so as to make it possible to thoroughly illustrate the special subject of the year. This year the special period chosen is '* French Art of the 17th and i8th Centuries," especially subjects of "domestic genre," and the collection contains many inter- esting works of this school, particularly several important pictures by Chardin, and other works showing his influence. It can, of course, make no claim to adequately represent any of the great painters of the period, but a few genuine and charming examples of many of the painters of the school are shown. Apart from the special subject of the year, pictures which combine some literary or historical interest with artistic excellence will be particularly sought for, as these pictures interest those who have not special knowledge, taste, or training in art. There will also be a section for smaller works of sculpture by modern sculptors. The Trustees thus hope to provide each year pictures of interest, both for students of the technique and history of painting, and for those whose tastes are less specialised. In iqoS the special subject of the Spring Exhibition will be " Copies of Great Pictures," by painters contemporary with the artists or by celebrated modern painters. Some copies, such as those made by Philip, Etty, and Watts, of the great Itiilian and Spanish masterpieces have been promised/ and the Director would be greatly obliged if any visitors to the present exhibition, who possess good copies and are v/illing to lend them, would communicate with him. WHITECHAPEL ART GALLERY, HIGH STREET, WHITECHAPEL. SPRING EXHIBITION, 1907. Section I. — Old Masters ; XVII. AND XVIII. Century French Art. . Section II. Contemporary British Painting & Sculpture. The attributions o-F pictures printed in the Catalogue are those given by the lenders. INTRODUCTION. The history of art in France during the 17th and i8th centuries reveals the struggle between the classical ideals derived from Italy and the original, vivacious observation of the contemporary life of their day in which the genius of the painters of the Flemish and North French race found its readiest expression. These two opposed tendencies triumphed alternately. In 1620, Marie de'Medicis, finding the Italianising " School of Fontainebleau," which Primaticcio and II Rosso had established, expiring of the feebleness engendered by seventy-five years of fostering protection, called in the vigorous northern talent of Rubens to illustrate the life of her Court. The brothers Le >Nain, taught at Laon by a " foreign painter," were already showing the love of truth to nature and the simple verities of life that later on distinguished Millet, but, with the grandiose tastes of Louis XIV., sup- ported by the dominant personality of his favourite artist, Le Brun,'' the Classical tradition again obtained the mastery. The glorious genius of Nicholas Poussin and Claude Lorraine, cradled in Italian .influences, also supported the domination of Italy, far removed as was their noble sym- pathy with Classical and Italian Renaissance art and culture from the dull classicism of Le Brun and the Court of the Grande Monarque, which "set all Olympus in graceful motion to honour the King," and rang endless variations on ideas more than a century old. Then, on the death of Louis , XIV., wearied human nature revolted. Madame de Pompadour succeeded Madame de Maintenon. Lower Gallery Something gay, fresh, and national was insistently demanded, and Watteau, Boucher, and Fragonard, with their imitators, came to supply this need. It is interesting to note that nearly all the painters of this reaction were born in North-East France, towards the Flemish frontier, Watteau and Pater being born at Valenciennes, Le Nain at Laon, or were true native Parisians like Boucher and Chardin. Fragonard alone, that " gueux parfume," came from the far South, and his work shows a passion and eccentricity at variance with the gay, superficial view of life in vogue at the time. The reaction was to come, however, and the gay revellers of Louis XV. became depressed in their set gaiety under Louis XVI., subject to compunction in the morbid moralities of Greuze ; and soon Classicism, now curiously allied to the " simple life " of a drastic republicanism, had won the last round with the triumph of Louis David and the Revo- lution. All the artificial " decor de theatre " set up by Boucher, the gay, many-coloured bubbles blown by Fragonard, the soft, sly tears painted by the brush of Greuze were swept away, and the antique ruled as much in 1800 as in 1600. CATALOGUE. LOWER GALLERY. LENDER ARTIST 1 Photographs of French Pictures Sir Charles W. Dilke, Bart., M.P. 2 Photographs of French Pictures Messrs. Hanfstaengl 3 Photographs of French Pictures R. C. Witt, Esq. 4 The Triumph of Bacchus Board of Education Nicholas Poussin 5 Engraving of "La Pourvoyeuse" (painted 1738) Sir Charles W. Dilke, Bart. after Chardin 6 Photograph — Louis XIV., Madame de Main- tenon, and the Dauphin (after Largilliere) Messrs. Hanfstaengl • 7 Louis XV. Trustees of Bowes Museum Van Loo 8 Madame de Pompadour (coloured photo- gravure) Messrs. Hanfstaengl LowEk Gallery 3 LENDER ARTIST FRENCH PICTURES. EAST BAY. The art of the i8th century in France is delightfully, wholeheartedly frivolous. " No one/' said a survivor of the Revolution, " can imagine how pleasant existence was under the ' old regime,' and a whole nation slaved and starved to provide the, means for this happy life of the favoured 110,000 aristocrats, who were relieved from all burdens and all duties. Still, it must be admitted, that these people enjoyed life, and were conscientiously gay. Many maintained this gaiety on the scaffold, when it ap])eared under a new aspect as an evidence of seemly, courageous good manners, and revealed an unexpected backbone of character. 9 Interior Sir Julius Werner, Bart. Boilly 10 Louis XIV. Right Hon. W. Ellison Macartney Mignard 11 Vertumnus, attired as an old woman, persuading Pomona Mrs. BiscHOFFSHEiM Boucher Vertumnus was the divinity the Romans imagined to pre- side over the changes of the seasons, and particularly the change from blossom to fruit. Pomona was the goddess of the fruit trees, deriving her name from fomum^ the apple. To win her, Vertumnus assumed many disguises. Francois Boucher (1703-1770) was born and died at Paris. He was almost entirely self-taught. He began by design- ing the " placards " then in vogue for the engraver, Cars, and later Boucher himself engraved 125 of Watteau's paint- ings. Boucher, " The Amuser," shows his age to perfection in a "mirror wreathed with roses." He is the exponent of " the ideal of the world about him, the dream of a society crazy for pleasure, whirled along in a perpetual carnival — a society that only cared to look on the joyous semblance of life; and on nature arranged to suit an endless play." Boucher had great gifts, and used them for work of every kind in every medium. Since Le Biun, no artist had occu- pied so dominating a position. He produced 10,000 drawings, and was the first artist to make money out of his drawings. " He is one of those men who signify the taste of a century, who express it, personify it, and incarnate it." — De Goncourt. Boucher became the favourite painter of Madame de Pompadour, and was made " premier peintre " to Louis XV. in 1765. " He does not represent the whole of the i8th century. He is not equal either to Watteau or Chardin ; but he is par excellence the painter of Louis XV. and of the Pompadour." He was looked down on after death, owing to the change in taste." " Boucher de ridicule memoire," " Ce Boucher maudit." — Prud^hon, 4 • ' Lower Gallery LENDER ARTIST 12 Portrait of Lady with Powdered Hair Trustees of the Bowes Museum Nattier 13 Artist's Studio Sir Edgar Speyer, Bart. Boilly 14 Marie Mignon (Maria Mancini) F. H. Fawkes, Esq. Mignard Pierre Mignard (1610-1695) studied at Fontainebleau and under Vouet. In 1636 he went to Rome and painted portraits of the Popes and so many " Virgins that they became known generically as " Mignardes." In 1657 he became the friend of Moliere at Avignon. On one occasion he painted Louis XIV. in three hours for the Infanta of Spain^ on a commission from Mazarin. His work was very popular, and he became Chief of Guild of St. Luke, refusing to enter the Academy, as he did not wish to be lower than Le Brun. In 1690, on Le Brun's death, Mignard joined the Academy and became " premier peintre " to the king. 15 Holy Family (^^ Silenzio ") Right Hon. L. Fry, P.C. Le Sueur Eustache Le Sueur (1617-1655) was the pupil of Vouet, and, with some originality, refused to go to study in Rome. His rather pompous compositions, with their cold, blanched French version of Italian colour, seem a last offshoot of the perishing " School of Fontainebleau.'' The small picture here exhibited is an exceptionally attractive example of hib work. 16 Head of a Girl Lieut. -Col. Crqft Lyons Unknown 17 Comtesse de Brae as "Aurora Messrs, Duveen Nattier Jean Marc Nattier (1685-1766) has left a vast portrait gallery of all the prominent personages of the Court of Louis XV. His fortune was made by the imposing por- trait of Maurice de Saxe exhibited in 1725, now in the Dresden Gallery. (No. 227 may possibly be a portrait of Maurice de Saxe.) Nattier invented the very popular " por- traits histories," in which ladies figured as goddesses with the help of an eagle or some other fanciful attribute. 18 Fete Champetre A. Wertheimer, Esq, Pater The main theme of French i8th century art outside por- traiture was the " Fete Galante," Again and again, Wat- teau, Lancret, and Pater painted these fine gentlemen and ladies playing at rusticity and pastoral courtship. Wearied with the dull grandeur of the stiff Court of Louis XIV., the society of the time played at rustic sim- plicity with silver churns, and affected a love of nature in obedience to the teachings of Rousseau. Rubens initiated this new province of art in his " Garden of Love," and paved the way for Watteau's " Embarkation Lower Gallery 5 LENDER ARTIST for Cythera." Pater and Lancret followed more heavy- footed, and the ' pastel " was invented by Latour, Rosalba Carriera, and Liotard, to render the charms of these powdered beauties, male and female, with more fugitive flower-like grace. This exquisite ghost of a picture is full of the types dear to Watteau, his gay Italian comedians, while the statue is one such as Watteau loved to conjure from his imagination. The background of trees shows us where Gainsborough learnt the witchery of his sketched foliage. Pater here shows himself at a level he rarely maintained, and the picture must owe much to that belated teaching which Watteau's conscience, just before his death, forced him to give Pater. 19 Portrait of Lady and Child Mrs. Lionel Thomson Unknown 20 Le Baiser Envoye Mrs. Lionel Thomson Greuze This picture was given by Greuze to the well-known col- lector of pictures, Capt. Gronou, the grandfather of the present owner. A more famous version is in the collection of Mr. Alfred de Rothschild. Greuze came when the " carnival of rococo had yielded to the Ash Wednesday of penite.ice." Art had now to improve instead of merely amuse. Diderot exclaimed : " Rendre la vertu aimable, le vice odieux, la ridicule saillant, voila le projet de tout honnete homme qui prend la plume, le pinceau ou le ciseau.^' Greuze is the sentimental French Hogarth. He, like Hogarth, painted stories in a series of pictures, such as " Bazile et Thibaut,^' related in twenty-six chapters, and em- ployed the Third Estate as "Mirror of Virtue." Greuze erred in making his pictures a didactic poem, the pathos became theatrical. His " Reading of the Bible " shows ably the various proportionate emotions of readers of varied under- standing. Greuze excelled in rendering graceful innocent girls, and expressed the ideal of innocence of end of i8th century. 21 Due d'Orleans, Regent of France The Hon. Mr. Justice Darling Unknown 22 Venus and Bacchus J. Fulleylove, Esq. N. Poussin Nicolas Poussin (i 594-1665) was a Norman, born at Les Andelys. He was of noble birth, but owing to the civil wars his family was in reduced circumstances, he was taught the rudiments of his craft by two obscure artists, but he devoted his time to the study of fine paintings and antique sculpture, which laid the foundation of his taste and scholarship. He went to Rome at the age of thirty, and except for a short time in Paris in 1639, lived there for the rest of his life. His art has the grave and beautiful austerity of manner that is a distinguishing feature of the greatest of French 6 Lower Gallery lender artist painters. There is no trick, no flourish of the brush, no fashionable manner — all is serene and just. He painted Bacchanals and Altar-pieces with the same calm simplicity. His art has always found admirers, and, though it has not always held undisputed sway, has always had distinguished followers. After the stress and excitement of the last phases of modern painting, there is again an indication of a return to his leadership, through his artistic descendant, Puvis de Chavannes. — P. I. 23 Portrait of Frangois Boucher F. A. White, Esq. Greuze 24 P'ather of the Painter Sir G. Donaldson Greuze This vigorous, unflattered portrait of his father, by Greuze, shows us what use he might have made of his talent if he had not given way to the popular demand for cheap moralising, which, for a time, delighted, but finally wearied his critic, Diderot. 25 Sketch for The Assumption of the Virgin Mrs. BiscHOFFSHEiM BoucJiet 26 A Shepherd Playing on Pipe The Earl of Northbrook Claude Claude Gellee (1600-1682) was born near Toul, at Chateau de Chamagne, and died at Rome. Claude joined his brother, an engraver, at Fribourg, at the age of twelve, and then went to Rome, when only thirteen, with an uncle, a lace merchant. Under Walls, a Cologne painter at Naples, he learnt to paint landscape, and afterwards, with Tassi, he was at Rome till 1625. He then returned to Lorraine and was introduced to the Duke of Lorraine's painter at Nancy. In 1627 he returned to Rome and, patronised by Urban VIII. and Cardinal Bentivoglio, he became very popular. His pictures were so much imitated that he made careful drawings with the date and name of the owner to protect himself. These drawings, known as the " Libro di Verita " (200 drawings), were, in 1770, purchased by the Duke of Devonshire. With less severity than Poussin, Claude maintains the same nobility in his subjects, and adds a mastery of light which is all his own. 27 Comtesse de Fries Messrs. Duveen Mme. Vigee Le Brun 28 La Polonaise W. Harvey, Esq. Greuze 29 Head of a Child J. PiERPor^T Morgan, Esq. Greuze Lower Gallery LENDER 7 ARTISt 30 Landscape The Earl of Yarborough Claude Turner admired Claude, and ventured to set himself in open rivalry. Many admirers of Turner grudge this pro- nounced concern with another painter's standards. Claude, coming from Northern France to an Italy, still littered with the remains of the antique world and throbbing with the spirit of the Renaissance, gave us a vision of beauty, somev>7hat artificial and conventional, but without offence, because inherently and inevitably such. Turner, with all his genius, could not re-fashion that vision with the same fresh delight and unself consciousness. 31 Lady Fitzgerald Messrs. DuvEEN Mme. VigSe Le Brun 32 L'Ecolier W. Harvey, Esq. Greuzi Nos. 28 and 32 are exceptionally attractive examples of the art of Greuze, being free from the cloying, sickly-sweet sentiment with which he invested too many of his pictures. 33 Head of a Child J. PiERPONT Morgan, Esq. 34. The Music Lesson The Earl of Nortiibrook Greuze Claude 35 Portrait of Lady Aurelia D'Arcy, Baroness Conyers in her own right ; married the Marquess of Carmarthen, afterwards Fifth Duke of Leeds ; painted 1764 The Countess of Yarborough Drouais (Countess Fauconber^^ and Conyers) FranQois Hubert Drouais (1727-177C;), the son of Hubert Drouais and the assistant of Oudry and Nattier, succeeded to Nattier's position as Court painter and was patronised by Madame de Pompadour and Madame du Barry. He soon degenerated into the ordinary producer of pretty Court portraits, though early portraits of Bouchardon and Couston le fils had more strength and originality. Drouais left us as a full record of the later years of Louis XV. 's reign as Nattier had done of the earlier. Madame Vigee le Brun's quick talent fascinated the queen of Louis XVI. and gave her a sort of succession to Nattier and Drouais. 36 Sketch of a Young Man (possibly by Prud'hon) The Lord Aberdare attr, to Mme. Vigee Le Brun 8 LENDER 37 Louis XV. as a Child E. M. HODGKINS, Esq. Lower Gallery ARTIST Hubert Drouais 38 The Four Shepherds (Et in Arcadia Ego) The Duke of Devonshire Nicholas Poussin 39 Portrait Lieut. -Col. Croft-Lyons after Greuz 40 The Duchesse de Chartres as " Hebe Otto Beit, Esq. Nattier 41 Portrait of a Young Gentleman C. Newton Robinson, Esq. Van Loo 42 Fete Champetre H. S .Cunliffe, Esq. Watteau 43 La Marquise de Vandernesse Montagu Barron, Esq. Largilliere Largilli^re, trained in Flanders, was an assistant to Sir Peter Lely in England, and was patronised by Le Brun and Van der Meulen on going to Paris. He frequently painted historical subjects, as well as portraits. Having a fine sense of arrangement, he showed himself at his best in large groups, like the " Repas de Louis XIV." He produced prolifically, and there were reckoned to be nearly 1,500 of his portraits in Paris alone. He retains the dress of the old order, but he treats his sitters with the freedom and flourish of the new period, and so links the two. 44 Mrs. Portrait Bischoffsheim 45 Dedication of an Epic Poem The Earl of Northbrook 46 Diana Hon. Gerald Ponsonby Largilliere ■ P. A. Wille Rosalba Carriera Rosalba Carriera (1675-1757), an able Venetian painter of pastel portraits, visited Paris in 1720 and became the friend of Watteau and Largilliere. She was elected a member of the French Academy. 47 The Proposal The Trustees of Bowes Museum 48 Landscape Board of Education . 49 Portrait of Lady as Diana The Trustees of Bowes Museum Mallet Gasfar Poussin Nattier Lower Gallery 9 LENDER ARTIST 50 Landscape, with Arcadian Shepherds The Royal Institution, Liverpool Nicholas Poussin In Nicholas Poussin we have the French genius at its noblest. The national feeling for style which marks the literature of the nation, receives in his works an artistic expression. He gives his noble themes a just, logical, aj;id lucid expression, and while full of reverence for the great masters of the past, he shows a truth to Nature and a sincerity that separate his works from those of the mere copyist, " force of expression appearing to him as one of the most desirable qualities," as one of his friends tells us. 51 Landscape The Walker Art Gallery, Liverpool Gasfar Poussin Caspar Poussin (1613-1675) was born and died at Rome. This painter, who owed his name and so much besides to his brother-in-law, Nicholas Poussin, is no mere imitator of him. He first insisted on painting out of doors direct from Nature, but he was the servant rather than the master of Nature. 52 Nursery Scene The Trustees of the Bov^es Museum , Mallet 53 Tobias, and the Angel The Earl of Plymouth Claude A picture by Claude comes upon the eye like the sensation of a draught of cool water on a burning Southern day. There is the opposition of cool shade and clear waters to mellow luminous sunshine that gives one the delights of the sun, and at the same time preserves one from its terrors ; while all through runs the mastery of a noble mind ordering all things into a stately composition. 54 Beatrice d'Este, Archduchess of Austria The Hon. Mr. Justice Darling Unknown 54A Savoir dans un jardin (1774) B. Nichols, Esq. Hubert Robert 54B Drawing George Clausen, Esq. Noel Coyfel 54c Decorative Panel Board of Education Boucher 54D Fruit Piece J. H. Fitzhenry, Esq. Des fortes OTHER PAST MASTERS. 55 View of Tarbert, Munster, Ireland T. F. Squarey, Esq. F- Wheatley Francis Wheatley (1747-1801), a painter of portraits, social life, and landscapes. lo Lower Gallery LENDER ARTIST 56 A Cottage and Well H. Darell-Brown, Esq. G. Vincent George Vincent (1796-1830), a member of the Norwich wSchool and a pupil of Crome. 57 The Empress Marie Louise Walter H. Pitt, Esq, Louis David 58 O'er the Wide Waste Mrs. G. Holt /. Linnell John Linnell (1792-1882), a pupil of Varley and Mul- ready. He was a skilful engraver as well as a painter. 59 The Children of Charles I. Sir William Agnew, Bart. Wm. Dobson William Dobson (1610-1646), a young English painter whose work Vandyck discovered in Snow Hill. Vandyck showed him great kindness, and introduced him to Charles I. His best work, possibly, is his painting of James II. as a boy, in the Royal collection. 60 The Covenanter's Trial Lieut. -Col. W. Brown R. Herdman, R.S.A. 61 Italian Landscape Sydney Morse, Esq. Samuel Palmer Samuel Palmer (1805-1881). This original artist is per- haps best known for his imaginative etchings for Virgil's " Eclogues " and Milton. 62 Lady at her Toilet H. P. CuNLiFFE, Esq. Chardin 63 The Bambino B. Haworth Booth, Esq. Velasquez Velasquez (1599-1660). This curious Spanish painting of a baby is said to be an early work by Velasquez. 64 Dutch Skating Scene The Earl Egerton of Tatton Unknown 65 Our Lady and Child and St. John F. E. Sidney, Esq. Lucas Cranach Lucas Cranach the elder (1472-1553), Court painter to Frederick the Wise of Saxony, and friend of Frederick the Magnanimous, whose captivity after the battle of Miihl- berg in 1547 he shared. He was an ardent supporter of the Reformation in Germany and a friend of Luther. He always painted in oils on wood panels. He engraved on wood and copper, and 800 prints of his are known. 66 The Messenger Sir J. Gray Hill G, Terburg Lower Gallery i i LENDER ARTIST 67 The Return of Jacob from Syria Rev. W. J. Stracey-Clitherow /. Bassano Formerly in the possession of Don Carlos. This picture was taken by the Christinos, and brought to England. Jacopo da Ponte Bassano (1510-1592) studied under Bonifazio at Venice, and learnt much from Titian. He first initiated " genre " painting in these scenes of pastoral Italian life, which merely assume a sacred title. His sons assisted him, and the family turned out an immense number of these popular subjects. 68 The Lady with the Fan H. Houseman, Esq. Rembrandt (1607-1669) 69 Portrait of Rembrandt B. Hawoeth Booth, Esq. Gerard Dow (1613-1675) 70 II Maestro di Musica B. HawortH-Booth, Esq. Giorgione FRENCH ^QfLOOh—(Conti7iued). 71 " Death of Porus W. S. Bunco, Esq. atir. to Le Brun An Indian prince of the time of Alexander, whose dominions were conquered by Hephaestion and annexed to those of a kinsman, also called Porus, who had been taken into Alexander's favour. 72 Landscape L. Catterall, Esq. Gas-par Poussin 73 Cafe de Paris en 1815 E. M. HODGKINS, Esq. Louis Boilly 74 Napoleon Crossing the Alps The Lady Pirbright Louis David Jacques Louis David (1748-1825) was the nephew of Boucher. He visited Italy, and devoted himself to draw- ing from the antique. He was the prophet of the Classical movement, which concerned itself not only with painting but with politics, furniture, and social life. He was an ardent supporter of Robespierre and later become a warm friend of Napoleon, and died in exile after his fall. 75 Entree gratis a rAmbigii E. M. HODGKINS, Esq. Louis Boilly Louis Boilly (1761-1845) was born near Lille. He de- voted himself to "genre" painting and portraits. He settled in Paris in 1786. 12 Lower Gallery LENDER ARTIST 7.6 Landscape, with Figures The Earl of Crewe F. Zuccarelli Francesco Zuccarelli (1702-1788), an Italian painter of landscape, wKo twice visited England and spoilt Wilson's chance of success by the popularity of his works. Zucca- relli had himself advised Wilson to devote himself to landscape painting. 77 Cabaret de Paris en 18 15 E. M. HODGKINS, Esq. Louis Boilly 78 Squire Hodges y , ;3^cAy . Sir Edward Stern Zouu^SX&md 79 Garden Scene, with Figures Lieut. -Col. Croft Lyons Pierre Angillis Pierre Angillis (1685-1734) worked in England from 1719 to 1729. He was an imitator of Teniers and Watteau. 80 Shepherd — ^Sedan Chair Panel in Vernis Martin J. H. Fitzhenry, Esq. The secret of this admirable lacquer is now lost. 81 Pastoral Subject The Trustees of Bowes Museum Carle Van Loo Charles Andre Van Loo (1705-1765) began studying painting under Luti in Italy at nine years of age. He restored Fontainebleau, employing and encouraging Char- din, and painted scenery for the opera. He visited Rome with Boucher in 1727, and in 1762 became " premier peintre " to Louis XV. 82 Cupid (coloured print) J. H. Fitzhenry, Esq. after Fragonard 83 Selling the Confiscated Goods from the Palaces and Churches at the Revolution J. H. Fitzhenry, Esq. 84 Cupids — ^Pair of Coach Panels in Vernis Martin J. H. Fitzhenry, Esq.- .85 Hunting Luncheon The Trustees of Bowes Museum Oudry Jean Baptiste Oudry (1686-1755) was a pupil of Lar- gilli^re, who advised him to take to flower and animal painting. The passion for sport which possessed Louis XV. to the exclusion of the more serious duties of his position provided Oudry with many commissions for portraits of his favourite hounds who have their names " Diane," Blanche," painted beneath them. This picture has suffered from retouching. Lower Gallery 13 LENDER ARTIST 86 Eight Engravings Sir Charles Dilke, Bart. 87 Pair of Drawings— Theatrical Performance before the King J. H. Fitzhenry, Esq. 88 Pair of Engravings — Head of a Lady, Head of a Gentleman J. H. Fitzhenry, Esq. 88a Madame Du Barry (engraving) J. H. Fitzhenry, Esq. Gaucher, after Drouais 88b Comtesse de Mareilles (engraving) J. H. Fitzhenry, Esq. De Longeuil, after Risen 89 Head of Satyr (print in red) Lieut. -Col. Croft-Lyons Demarteau, after Boucher 90 Drawing M. Rosenheim, Esq. B. Picart (1730) 91 Bishop -of Mechlin • Phili-pfe de Chamfaigne (1602-1674) The Trustees of Bowes Museum Philippe de Champagne (1602-1674) was born at Brussels, but settled in Paris in 1621, working with Poussin and patronised by Marie de Medicis. He was an original member of the French Academy, and though eclipsed bv Le Brun's rising fame, showed no resentment. He is best in portraiture ; his other works, though brilliant in colour, are somewhat weak in conception and composition. 92 Procession A. C. Blair, Esq. U enfant de Metz 93 Hercules and Diomed City Art Gallery, Nottingham Le Brun Charles Le Brun (1619-1690) was born at Paris and died at Gobelins. The son of a sculptor, he became the pupil of " Le Bourgignon," and was patronised by Seguier. Painter, architect, and etcher, he was well qualified to act as the artistic universal provider whom Louis XIV. required. From 1642 to 1646 he was in Rome with Poussin, and in 1648 he helped to found the French Academy. Colbert made him Director of the Gobelins Tapestry Manufactory, and Louis XIV. 's favour was won by his " Family of Darius." He became " premier peintre " to the king, and persuaded him to found the French Academy at Rome. , He was a universal genius of the second rank, and, by the force of his personal character, backed by the confidence the king reposed in him, imposed on his age the monotonous grandiose style which marked the reign of Louis XIV. 14 Small Gallery SMALL GALLERY. This gallery contains several important works by Chardin and other pictures by his followers. In the three works by Chardin — Nos. 112, 114, 116 — the University of Glasgow, thanks to the discerninf( taste of Dr. Hunter, who was painted by Reynolds and ZofTany, pos- sesses an artistic treasure of the hrst order. The pictures are a little cracked, but otherwise their condition is perfect. The two smaller pictures are probably those sold at the Marquis de Menaz's sale in 1782, the year before Dr. Hunter died. Jean Simeon Chardin (1699-1779), like Boucher, was a Parisian. He was a pupil of Coypel, and began as a painter of shop-signs, some of which still exist, (v. Nos. 170 and 173.) Chardin was then employed by Van Loo in the restoration of Fontainebleau. He devoted himself to painting "still life" — (v. No. 133) — and ten little subjects sent to the French Academy were taken by Largilliere for the works " d'un bon peintre Flamand." Chardin had the honour of being proposed and received as a member of the Academy on the same day. In 1755 he was appointed Treasurer of the Academy, and succeeded Slodz at the Royal Academy at Rouen in 1775. He went on working successfully and assiduously to a great age, but his fame was entirely eclipsed by the scorn for domestic subjects on the part of the Classical and Romantic painters, who followed the Revolution. His works are to be found chiefly in Paris — the Louvre contains .twenty ; at Potsdam, at Carls- ruhe, in Sweden, where they were sent by the judicious Swedish Minister of the time. Count de Tessin ; and in America, which country alone can afford to buy them, now that taste has veered round to a just appreciation of these masterpieces. Chardin' s Method. Chardin was a very slow worker. Berck wrote to Tessin to say Chardin could not let him have two pictures ordered for a year — " le prix de vingt cinq louis d'or par tableau est modique pour lui qui a le malheur de travailler si lente- ment. His friend, the painter Wille, got two little pic- tures for thirty-six livres — " c'est bon marche, aussi me les a-t-on cedes par amitie ! " In spite of the popular demand for his works, Chardin never obtained large prices, and industrious as he was it is said that it was only through the private fortune of his second wife that he was able to live in comfort. Diderot says that Chardin has a technique peculiar to him- self, and that he was supposed to use his thumb (pouce) as much as his brush, but that he had never known anyone who had seen him at work. Bachaumont, however, says that Chardin laid on all his colours separately, almost without mixing them, so that his works seemed like mosaics. A receipt of the time for " Teintes pour I'accord har- monieux d'un tableau dont M. Chardin faisoit un excellent Small Gallery 15 lender artist usage," says*that lake, Cologne earth, ultramarine ash, were the tints employed, with English linseed oil. Chardin is reported to have said that with modifications of these tints he achieved all his effects. Chardin once said to a fellow artist, " One makes use of colours, one paints ' avec le sentiment.' " Chardin's works are remarkable for the full " fat " pip^ment which gives them a luminous body, absent in the more minutely finished paintings of the Dutch artists. Diderot complained of a certain " Rugosite-i?' in Chardin's work, and the De Goncourts fancied they found a sense of effort in all his works of larger scale — such as " Le Chateau de Cartes" and "La Dame Cachetant une Lettre," or No. 114. — but, as a matter of fact, though without any of the bloom of the popular artists of his day, the uncom- promising mosaic of colours, dear to Chardin, melts into harmony because each one is absolutely true and just, though unsoftened. 94 Gioup in Landscape Sir E .ViNXENT, K.C.M.G. Pater Pater imitated rather than felt the grace of Watteau, and while he is at times more elegant than Laucret, it is the shallow, artificial elegance of the professional provider of fashionable subjects. It is said that he lived in terror of poverty, and shortened his life by the assiduity with which he turned out his light trifles. While Watteau's personages have a look of personality and reality, Pater's seem like models, paid to represent the great people of his dramas. 95 Ladies in a Landscape J. H. FiTZHENRY, Esq. Mallet 96 La Bianchisseuse Sir F. Cook, Bart. Chardin Chai din's works were so much in demand that he repeated the same subject again and again, yet even so, being a slow and conscientious painter, he failed to supply the demand. This picture is a repetition of his early work " La Rlanchiseuse," the original version of which, now terribly injured by cracks due to heat, is in the National Museum at Stockholni. It is signed 1733, and was exhibited at the Salon in 1737. 97 Girl with Basket The Hon. Mr. Justice Darling Boucher 98 A Conversation Lieut. -Col. Croft-Lyons De Troy Jean Frangois de Troy (1679-1732) was a member of a family of painters of Toulouse. He was much occupied in designing tapestries for Louis XIV., who appointed him i6 LENDER Small Gallery ARTIST Director of the French Academy at Rome. A quarrel with the Court caused him to resign in favour of Natoire. He was unwillingly preparing to leturn to Paris when he died. 99 Portrait Chardin is the painter of intimacy rather than "genre." He does not paint things for themselves so much as for the intimate human feelings these things convey. The still home-life in all its French daintiness, the shaded, elegant bedroom with the slender lady and girl just putting the finishing touches to their dress before going to Mass, the warm sunshiny atmosphere of the morning salon, the cool shadowy kitchens and cellars — all bring home-life and its intimacy before us. If one recalls those scattered, oddly-preserved memories of childhood, one sees a series of Chardins — scenes fixed on the mind's-eye for some unaccountable reason, which remain there through life— pictures seen on some run into the kitchen when the cook was baking, prayers in the nursery, or peeps into a mother's room as she stood ready to go out. 101 La Vraie Gaite Sir F. Tennant, Bart. Watteau Antoine Watteau (1684-1721) was the son of a tiler at Valenciennes. This exquisite little picture is the earliest authentic work of the painter, and it shows him still under the influence of Ostade. Watteau, the " melancholy enchanter," as he has been called, came as a deliverer to the French, iust as Rubens had c6me to the Flemings, from the too overpowering influence of Italy. The title of this picture, "True Gaiety," indicates the theory of the time that genuine happiness was only to be found away from Court, among the rustics. The pompous Louis XIV. exclaimed, when he was shown a Teniers, " Otez-moi ces magots." Watteau succeeded in popularising these "ugly fellows" in France, and soon, inspiring himself from Rubens, he was to create a new art, peculiarly French. 102 Girl in Straw Hat A. Kay, Esq. Chardin 103 The Dancing Girl W. A. Sharpe, Esq. Lancret Nicholas Lancret (1690-1743) was, like Boucher, a Parisian. He meant to be a die-sinker, but entered the studio of Daiin, and then, fascinated by Watteau, that of Sir E. Tennant, Bart. 100 Grace Before Meat Fragonard The Earl of Wemyss and Gosford Chardin Small Gallery 17 lender artist Gillot, Watteau's master. Watteau advised him to leave the studio and study nature, and invent compositions for his studies. Lancret painted two pictures on these lines, and was admitted as agree of Academy. His next two pictures, which resembled Watteau's work tbo closely, caused a breach with that painter. In 1719 Lancret was received at Academy (like Watteau) under the new title of " peintre de fetes galantes." 104 Interior E. M. HODGKINS, Esq. Chardin 105 Due de Guise Sir E. Tennant, Bart. Nattier 106 La Fontaine Sir F. Cook, Bart. Chardin 107 Girl with Basket of Flowers The Hon Mr. Justice Darling Boucher 108 Group in Landscape Sir E. Vincent, Bart. Pater 109 Le Souper Fin The Earl of Northbrook Moreau no Village Scene The Duke of Devonshire Watteau 111 Interior Sir C. Dilke, Bart, M.P. Swedish Imitator of Chardin An interesting picture by some Swedish imitator of Chardin. Count De Tessin,the Swedish Minister, purchased many pictures by Chardin and sent them home to the Queen Louise-Ulrique, or other friends. These pictures, many of them injured by the hot stoves of Sweden, re- main in Stockholm, and at Wanas en Scanie. Alexander Roslin (1718-1793), a Swedish portrait-painter, worked much in Paris. 112 Woman Cleaning Frying Pan University of Glasgow (Hunterian Museum) Chardin " No woman of the Tiers Etat looks at his pictures but thinks she sees herself and hftr surroundings" — so said a pamphlet of Chardin's day, half -contemptuously, half- admiringly. We have in this picture the last word on the subject of that splendid creature, the French menagere, the woman who thinks it no demeaninq^ of herself to see that her family are well and economically fed, who raises cooking and its allied cleansing to the level of a fine art. It was the day of open wood fires, such as may still be seen in country inns in France, hence the abnormally long handle to the frying-pan. i8 LENDER Small Gallery ARTIST The impression the picture makes is extraordinarily unified and all leads up to the fresh, pink face with its alert glance that commands the shadowy kitchen. Of all the beautiful colo irs Chardin laid on with loving care, perhaps his white is the most exquisite, and here we have it as the main theme. Descamps cried out, it is said, " Les blancs de Chardin — je ne peux pas les trouver." They are, indeed, like "the snows of yester year." 113 Nicaise (an illustration to " La Fontaine ") J. PiERPONT Morgan, Esq. Lancret Vous savez des etoffes vendre, Et leur prix en perfection ; Mais ce que vaut roccrision Vous rignorez, allez I'apprendre. Conte de la Fontaine VII., livre iii. 114 Lady Taking Tea University of Glasgow (Hunterian Museum) Chardin This picture is on an unusually large scale for Chardin, resembling, in many ways, the " Lady Sealing a Letter " at Potsdam (4ft. square), exhibited in 1738. Notice with what consummate skill the painter carries his rich red to the very edge of the picture Perhaps the real secret of Chardin's supreme power is his absolute justness. Nothing is exaggerated. All the values are true, and in just relation to each other. The senti- ment is equally sincere. In the great Dutch painters of like subjects one has a faint sensation of it all being a "tour de force." There is a something too skilful and over elaborate. Thequaint personages, also, in the Dutch pictures seem caught in the exquisite atmosphere, like flies in amber. They seem a little incongruous. With Chardin the atmosphere emanates naturally from his personages; it seems their right, and they dominate it. In the quality of his paint, Chardin possesses a luminous rich- ness of pigment which Vermeer, who perhaps alone can rival him, does not always achieve, if some of the works usually assigned to Vermeer are really by him. 115 The Swing His Honour Judge Evans Watteau " Watteau renewed Grace," said De Goncourt, "but his grace was no longer the grace of the Antique." Grace with Watteau is the mysterious something that clothes woman with a charm and a beauty beyond nhysical beauty ; it is so subtle that we can only describe it as the " smile of the line, the soul of form, the spirit of matter." Small Gallery LENDER 19 ARTIST Watteau was essentially a man of the North, delicate and melancholy, and it is his almost ascetic power of extracting the essence of love, serene and without passion, that gives such a haunting grace to his *' fetes galantes." 116 Man Making Wine University of Glasgow (Hunterian Museum) Chardin Chardin's characters produce an extraordinary effect of being alive. They usually seem to have just made a some- what trenchant, common-sense remark, which knocks the bottom out of the spectator's self-conceit, and to be waiting for some attempt at an answer, though they evidently do not think there is much chance of their colloquist just out- side the frame having much to say for himself. They always know the best way of doing things, just as Chardin knows the best way of painting them doing them. This gargon is just as sensible and as much in the right as the " femme de menage" and the mother, and one really has no plea that will stand for not saying grace before eating, for inadequately cleansing a pan, or doing some- thing quite opposed to all good traditions of wine-making or bottling. 117 Landscape C. Newton-Robinson, Esq. Pillement 118 Interior Sir C. DiLKE, Bart, M.P. Laquy G. J. Laquy (1738-1798) copied the works of De Hoogh and Metsu in the collection of Braamcamp. 119 Gentleman Playing Guitar in a Park J. H. Fitzhenry, Esq. Lancret Lancret has a certain sober solidity that allies him to our Flogarth. He is at times homely and cumbrous, but there is a latent strength that reveals itself in his somewhat sombre rich colour. 120 The Daughter of Greuze J. H. Fitzhenry, Esq. Unknozvn 121 Portrait of a Lady Right Hon. W. Ellison-Macartney French \%th Cent. 122 Garden Scene D. Dyce Browne, Esq., M.D. Lancret This picture reproduces figures from the background of the picture of dancers by Watteau in the National Gallery at Edinburgh. 123 The Fortune-teller G. F. Fawkes, Esq. Fragonard This very charming study of children's heads was bought at the Orleans sale, and was* formerly attributed tP Greuze, 20 Small Gallery LENDER ARTIST but the freshness and simple naivet6 of the heads is much more like the work of Fragonard, as revealed in the " Fair- haired Child of the Wallace Collection. 124 Girl with Canary The Trustees of the Bowes Museum Drouais 125 Interior with Figures Glasgow Corporation Le Nain 126 A Pastoral * C. T. D. Crews, Esq. Boucher 127 Carnival Scene Glasgow Corporation Pater Jean Baptiste Joseph Pater (1696-1736) was the son of a sculptor. He was sent young to Paris and entered Watteau's studio, but was driven out by Watteau's difficult temper. Watteau, out of remorse, took him as a pupil again a month before he died. 128 The Flax Spinners Arthur Kay, Esq. 129 The Three Comedians The Duke of Devonshire 130 The Musicians The Lord Aldenham 131 Fete Champetre Sir E. Tennant, Bart. French School Lancret Le Nain Lancret 132 The Toilet Mrs. Stephenson Clarke Pater This is a remarkably fine example of Pater's work. Rarely did he attain the freshness and truth to life of the red-gowned figure bending over the fire. The Louvre con- tains an almost identical but inferior picture. 133 Lobster A. Kay, Esq. Char din Chardin entered the field as a painter of still life. Having learnt much from Rembrandt, and still more from Kalf, he exhibited ten little pictures in 1725, two of which are now in the Louvre. He was received as an Academician on his talent des animaux et fruits. It has been incorrectly said that Chardin continued to paint " still-life until 1737, when, in answer to a taunt from his friend Aved about the easiness of painting " saucisson," he produced " The Foun- tain," of which there is a version here — " Frivolous Amuse- ment of a Youth blowing Soay-bubbles," as it was described in the Catalogue of 1739. Lower Gallery 21 LENDER ARTIST This painting of a lobster shows Chardin's early style to advantage, and certainly suggests the influence of the charm- ing Dutch painter of still life — Kalf. 134 Group of Children Listening to an Old Piper The Duke of Sutherland Louis Le Nain The three brothers Le Nain — Antoine, Louis, and Matthieu — were born at Laon, and worked so much in common that it is difficult to distinguish their individual personalities. They initiated the return to truth and nature. The dignified seriousness of their work which, in the " Retour de la Fenaison " of the Louvre seems to herald Millet, has been attributed to their foreign teacher, possibly a Spaniard. 135 Fete Champetre Sir E. Tennant, Bart. Lancret 136 The Topers A. Kay, Esq. 137 The Village School W. B. Paterson, Esq. 138 Decorative Panel J. H. FiTZHENRY, Esq. Chardin Boilly Boucher END OF SMALL GALLERY. WEST BAY.— MODERN PICTURES. 139 Lady and Dog Mme. Marchesi /. Israels An interesting early work by the great Dutch painter. 140 The Keepsake Miss BuNCE Kate E. Bunce 141 The Monk A. J. Mavrocordato, Esq. A. J. Mavrocordato 142 The Pirate's Sunday (Mending the " Jolly Roger A. D. McCoRMiCK, Esq., R.I. 143 The Sluggard W. Vivian, Esq. 144 Poole Quay H. K. ROOKE, Esq. 145 The Journey's End E. R. Hughes, Esq. 146 Sir Thopas A. Stewart, Esq. A. D. McCormick Denis Eden H. K. Rooke E. R. Hughes A, Stewart, R.B.A. 21 Lower Gallerv LENDER ARTIST 147 The Storm (Cornish) Louis Grier, Esq. Louis Grier 148 The Morning of Agincourt John Hassall, Esq., R.I. JoJni Hassall^ R.I. 149 In the Harbour, Concarneau Terrick Williams, Esq. Terrick Williams 150 The Bailiff's Daualiter of Islington W. Hatherell, Esq. W. Hatherell 151 Seashore near Mouth of Arno P. Ralli, Esq. Giovanni Costa 152 The Sower A. A. Dixon, Esq. A. A. Dixon 153 In the Month of Roses T. F. M. Sheard, Esq. T. F. M. S heard 154 Mosque of Sultan Hassan, Cairo J. Farquharson, Esq., A.R.A. /. Farquharson, A.R.A. 155 Near Yarmouth J. S. Hill, Esq. /. S. Hill 156 Pink Hollyhocks Mrs. A. S. Hartrtck (Lily Blatherwick) Lily Blatherwick 157 Evening Miss A. E. J. Withers Annie E. J. Withers 158 Chanson d' Amour W. Alison Martin, Esq. W. Alison Martin 159 And all the Air a Solemn Stillness holds Chas. W. Bartlett, Esq. Charles W. Bartlett 160 Hindhead V. Fisher, Esq. V . Fisher 161 Lamia C. F. Cleverly, Esq. C. F. Cleverly 162 Gismonda Drinking the Poison J. E. Southall, Esq. /. E. Southall Gismonda, the only daughter of Tancred, Prince of Salerno, fell in love with a courtier named Guiscard, who was noble in everything but in birth. When Tancred dis- covered the fact he was so enraged at his daughter's love for a man of low birth that he caused Guiscard to be strangled, and sent his heart in a golden cup to Gismonda, who, pouring poison into the cup, drank it, and died in the presence of her ladies. Artist E. Board W. J . Laidlay S. Reid, R.B.A. A. B, Knight Lower Gallery LENDER 163 Forbidden Fruit E. Board, Esq. 164 On Wiv.erton Marsh W. J. Laidlay, Esq. 165 Joan of Arc S. Reid, Esq. 166 Shepherd's Farm A. B. Knight, Esq. 167 Colenso J. P. Beadle, Esq. /. P. Beadle " One gun on the right was still served by four men, who refused to leave it. They seemed to bear charmed lives, these four, as they strained and wrestled with their beloved 15-pounder, amid the spurting sand and the blue wreaths of the bursting shells. Then one gasped and fell against the trail, and his comrade sank beside the wheel with his chin upon his breast. The third threw up his hands, and pitched forward upon his face ; while the survivor, a grim, powder-stained figure, stood at attention, looking death in the eyes, until he, too, was struck down." 168 To the Fields he Carried his Milking Pail R. Brechin, Esq. 7 .Peitie, R.A. i68a a Tuscan Garden W. Matthew Hale, Esq. W. Matthew Hah, R.W.S. ENTRANCE WALL. i68b Portrait of an Old Woman Henry Tonks, Esq. Frajicoise Du Pare 169 Two Tapestries (Louis XIV. Period) Messrs. Duveen 170 Shop Sign Mons. Klotz, (Parfumerie Ed. Pinaud) Chardin Chardin's sign for a " Surgeon's Shop " was the first painting of the life of the people of Paris. These two paintings, the two sides of a shop-sign, still preserved in the Parfumerie Pinaud at Paris, show the early efforts of Chardin before his work under Van Loo at Fontainebleau. 1 71 Photographs of Pictures b}^ Chardin Messrs. Hanfstaengl 172 Mme. Lavalee de la Roche The Trustees of the Bowes Museum Descours 24 Lower Gallery LENDER ARTIST 173 Reverse of Shop Sign Mons. Klotz (Parfumerie Ed. Pinaud) Chardin CENTRAL SCREEN I. WEST. 174 Chelsea Pensioners at the Tomb of Wellington in St. Paul's Cathedral J. FuLLEYLOVE, Esq. John Fulleylove, R.l. 175 Pylons of the Great Temple of Karnak R. T. Kelly, Esq. R. T. Kelly 176 The Descent from the Cross 1 Dr. G. J. Williamson R. Co sway ^ R.A. 177 Little Girl on a Donkey Mme. Marchesi Israel Israels 178 Bowls T. Browne, Esq. Tom Browne^ R.I. 179 Raspberries T. H. Bryant, Esq. Mrs. Coleman- Angell 180 Market Place G. KiDSTON, Esq. F. Brangwyn, A. R.A. 181 On Guard S. G. Enderby, Esq Sam G. Enderby 182 The Four Ravens Arthur Rackham, Esq. Arthur Rackham 183 The Blue Rosettes Lewis Baumer, Esq. Lewis Baumer 184 The Deep Midnight F. C. Robinson, Esq. F. C. Robinson 185 A Cottage Garden, Berks Mrs. E. S. SuTRO Mrs. E. S. Sutro 186 In the Desert of the Wanderings of the Israelites Lady Gray Hill Lady Gray Hill BLACK & WHITE AND SCULPTURE. CENTRAL SCREEN II. SOUTH. 187 All the Difference Mrs. Edwin Edwards Charles Keene 188 Safe bind, safe find Mrs. Edwin Edwards Charles Keene Lower Gallery 25 LENDER ARTIST i8§ La Mort et le Bucheron Campbell Dodgson, Esq. Alf house Legros 190 A Yorkshire Dell (mezzotint, after Turner) F. Short, Esq. Frank Short, A.R.A., R.E. 191 Le Coup de Vent C. DODGSON, Esq. Alfhonse Legros 192 Limehouse (etching) J. Hutchinson, Jun., Esq., M.D. /. McNeil Whistler 193 Portrait of Sir Charles Holroyd Campbell Dodgson, Esq. Alfhonse Legros SCULPTURE. 194 Babyhood W. Goscomhe John, A.R.A. W. GoscoMBE John, Esq., A.R.A. 195 Mrs. Albert H. Hodge Albert H. Hodge, Esq. Albert H. Hodge 196 Giotto F. W. POMEROY, Esq., A.R.A. F. W. Pomeroy, A.R.A. 197 Bust of The Rt. Rev. The Bishop of Stepney John Tweed, Esq. John Tweed 198 The Invocation Gilbert Bayes, Esq. Gilbert Bayes 196 An Elegy (Statuette) Richard Garbe, Esq. Richard Garbe 200 Marble Relief " Sereniie " Richard Garbe, Esq. Richard Garbe 201 Diana wounded (Bronze Statuette) Bertram MacKennal, Esq. Bertram Mackennal 202 Bather and Mermaid (Bronze) Henry Pegram, Esq., A.R.A. Henry Pegram, A.R.A. 203 A Greek Warrior bearing a wounded Youth from the Battlefield Hamo Thorneycroft, Esq , R.A. Hamo Thorneycroft, R.A. 204 The Mower (Bronze Statuette) Hamo Thorneycroft, Esq., R.A. Hamo Thorneycroft, R.A. 205 The Lass of Dee C. L. Hartwell, Esq. , C T . Hartwell 26 Lower Gallery LENDER ARTIST 206 Hero and Leander D. McGiLL, Esq. D. McGill Leander, a youth of Abydos, swam nightly across the Hellespont to visit Hero, the priestess of Aphrodite, in Sestus. One night he was drowned, and Hero, in despair, flung herself into the sea. 207 Venus Victrix Mervyn Lawrencf, Esq. Mervtjn Lawrence 208 Snowdrop F. W. POMEROY, Esq F. W. Pomeroy, A.R.A. 209 Dr. Mandell Creighton, late Bishop of London (Bronze Bust) Hamo Thornycroft, Esq., R.A. Hamo Thornycroft, R.A . 210 Bust — Miss Mildred Lilian Dyer Mortimer Brown, Esq. Mortimer Brown 211 Mother and Child (Group) Miss Kathleen Shaw, R.H.A. Kathleen Shaw, H.R.H. A. 212 Echo and Narciss (Bronze Group) Richard Garbe, Esq. Richard Garde Narcissus was a youth inaccessible to love, and the nymph Echo died of grief at this. Nemesis, to punish him, caused Naicissus to see his own reflection in a fountain. He fell in love with his own beauty, and pined away, till he was changed into the flower which bears his name. 213 Breaking-up of the Agamemnon at Greenwich (mezzotint) Sir Seymour Haden, P.R.E. J. Hutchinson, T^n., Esq., M.D. 214 The Doge's Palace, Venice (etching ) D. Y. Cameron, A.R.S.A. J. Hutchinson, Jun., Esq., M.D. 215 Breaking-up of the Agamemnon at Greenwich (etching) Sir Seymour Haden, P.R.E. J, Hutchinson, Jun , Esq., M.D. 216 The Lady in White (etching) Hubert von Herkomer, R.A. J. Hutchinson, Jun., Esq., M.D. 217 Holyrood, Edinburgh — the Jacobite Rebellion (etching) D. Y . Cameron, A.R.S.A. J. Hutchinson, Jun., Esq., M.D. 218 The Workshop (etching) D. Y . Cameron, A.R.S.A. J. Hutchinson, Jun., Esq., K,D. Lower Gallery ^7 LENDER ARTIST CENTRAL SCREEN III. EAST. 219 Pen-and-ink Drawing (Salle d'Escrime, c. 1600) M. Rosenheim, Esq. Unknown 219A Head of a Child George Clausen, Esq. Le Nain 220 Portrait Drawing M. Rosenheim, Esq. Ph. de Chamfagne 221 Episcopal Palace, Beauvais T. H. FiTZHENRY, Esq. Robert Pigeon 22 2 A Water Mill E. Marsh, Esq. Boucher 223 A Castle by the Sea E. Marsh, Esq. 224. Sepia Drawing (1703) Claude Le Sueur Silvestre 1686 Parrocel Corporation of Nottingham 225 Drawing M. Rosenheim^ Esq. 226 A Halberdier J. H. Fitzhenry, Esq 227 Drawing, possibly of Maurice de Saxe, as it resembles his portrait by Nattier at Dresden M. Rosenheim, Esq. ' Unknown 228 Chinoiserie M. Rosenheim, Esq. Unknown The earHest imitation of Oriental Art in Western Europe took place in France at this period. This is probably a design for an early wall-paper. 229 Tartar Women M. Rosenheim, Esq. Lefrince (1758) Jean Baptiste Le. Prince (1733-^781) studied under Boucher and then visited Russia, and brought back many interesting drawings of the people living in various parts of the Russian empire. 230 Water-colour (after Boucher) Cyril K. Butler, Esq. 231 Drawing F. A. White, Esq. 232 Louis XIV. (drawing) Edward Reiss, Esq 233 Drawing M. Rosenheim, Esq. 234 Drawing of a Girl (1766) J. H, Fitzhenry, Esq. David Cox 7. M. Moreau Ingouf F. Boucher Francois Boucher 28 Lower Gallery LENDER ARTIST 235 Drawing M. Rosenheim, Esq. Le-pine (1775) 236 Watercolour (after Boucher) Cyril K. Butler, Esq. David Cox 237 In the Park (1783) Stuart M. Samuel, Esq., M.P. F. B. Huet 238 Study in red crayoa (from Sir Joshua Reynolds' collection) M. Rosenheim, Esq. 239 Study of a Girl J. P. Heseltine, Esq. F. Boucher 240 Head of a Girl Wearing a Hood ]. P. Heseltine, Esq. A. Watteau In this exquisite drawing of a lady the painter evidently loved we find a delicate refinement of charm which is absent from the drawings, fine as they are, which were done from models in the regular business of his art. It is drawn with Italian chalk, not quite black. 241 Chalk Portrait Study, possibly Madame du Barry J. H. Fttzhenry, Esq. 242 Satyr (red chalk drawing) C. Newton Robinson^ Esq. 243 Drawing E. M. HODGKINS, Esq. Fragonard summed up all the joy of life aimed at by a brilliant, frivolous, pleasure-seeking aristocracy, riding for a fall, as the nobility of Louis XV. 's reign was doing in France. Fragonard, a man of the perfumed Provence, painted the poem of desire with a passion and fantasy strange to French art. To him life was more than a play, and nature a setting for that play, though he strove to follow the graceful conventions then fashionable. 244 Study of Male Head and Torso Royal Institution, Liverpool N. Pons sin 245 Study of Gladiator Royal Institution, Liverpool N . Poussin 24.6 Study in red crayon (from Sir Joshua Reynolds' collection) M. Rosenheim, Esq. Unknown 247 Drawing E. M. Hodgkins, Esq. Watteau Ch. Risen Carle Van Loo Fragonard Lower Gallery 29 LENDER ARTIST 248 Chalk drawing J. H. FiTZHENRY, Esq. Francois Boucher CENTRAL SCREEN IV. NORTH. 248A Drawing George Clausen, Esq. Taravd 249 Water-colour on rice-paper in the Chinese style J. H. FiTZHENRY, Esq. Unknown 250 Interior J. H. FiTZHENRY, Esq. Baudouin 251 Landscape Drawing J. H. FiTZHENRY, Esq. Claude 252 Drawing for L'Accordee du Village." E. M. HODGKINS, Esq. Greuze The i8th century art of France charms some, while it wearies others by its resolute modishness and blindness to the deeper and sadder aspects of life. Even in its own age this over-accentuation of the frivolous side of life pro- duced two reactions — the simple, homely truths of domestic life, painted by Chardin, and the sentimental moralisings of Greuze's brush. The latter met with instant popularity, expressing in the sensuous terms of the period the faint moral questionings which were, later, to result in the Revolution. Greuze set down for the wearied roue those obvious moralities that seemed in the moment of reaction to have some attraction for him, and he did it with a sly regard for the now-innately vitiated character of the man. 253 Eighteenth Century Architectural Drawing (gouache) J. H. FiTZHENRY, Esq 254 Horse-racing in the Corso C. H. Moore, Esq, Carle Vernet 255 The Toilet J. H. FiTZHENRY, Esq. Mallet 256 Drawing (1775) M. Rosenheim, Esq. Lefine 257 Four bronze reliefs — Cupids J. H. FiTZHENRY, Esq. Clodion 258 Bronze relief — ^Venus and Cupid J. H. FiTZHENRY, Esq. Clodion 259 Bronze bust portrait in relief of Henri HI. J. H. FiTZHENRY, Esq. Unknown 3© ' Lower Gallery lender artist Collection of 37 Goldsmiths' Engraved Designs. This very interesting series of goldsmiths' engravings shows the way in which the metal-workers of the 17th and i8th centuries advertised their skill in designing jewellery, and in the chasing of sword-hilts. The little figures intro- duced at the bottom of some are interesting as showing the costums of the time. Hogarth, our English painter, began his career by issuing a somewhat similar engraving, pro- claiming his capacity as a silversmith and chaser of armorial bearings. 260 Engraving M. Rosenheim, Esq. John Vovert (1602) 261 Three engravings M. Rosenheim, Esq. A. D. Maitre Anonyme (1608) 262 Engraving M. Rosenheim, Esq. Stefhanu's Carteron (1615) 263 Five engravings M. Rosenheim, Esq. /. Toutin (1618) 264 Eight engravings (six on Screen V.) M. Rosenheim, Esq. Jacques Hurtu (1619) BRONZES. 272 Swordsman (bronze statuette) Messrs. Duveen 273 Heloise Lieut. -Col. Croft Lyons Boizot 274 Sphinx (Louis XIV. period) J. H. Fitzhenry, Esq. 275 Homer (bronze statuette) Messrs. Duveen 276 Hera (bronze statuette) Messrs. Duveen ; — 277 Sphinx (Louis XTV. period) Messrs. Duveen 278 Abelard Lieut. -Col. Croft Lyons Boizot 279 Moses and the Serpent (bronze statuette) Messrs. Duveen 284 The Return J. H. Fitzhenry, Esq. Mallet 285 Interior J. H. Fitzhenry, Esq. Baudouin Lower Gallery LENDER 286 Drawing M. . HODGKiNS, Esq. 31 E Baiidoiiin Baiidouin was the son-in-law of Boucher. This painter, like Watteau, " libertin d'esprit et sage de moeurs," turned out very spirited and graceful " gouache " drawings of sub- jects of contemporary life, and merits more praise than Diderot's curt " Notre ami, Baudouin, peu de chose." 287 Lady at her Toilet The Hon. G. Ponsonby Le Moine 288 Ladies Singing and Embroidering J. H. FiTZHENRY, Esq. Baiidouin 289 The Royal Family of France at the Temple during the Revolution — Marie Antoinette and her daughter J. H. FiTZHENRY, Esq. Mallet 290 Drawing E. M. HODGKINS, Esq. Baudouin 291 Lady Entering a Sedan Chair J. H. FiTZHENRY, Esq. Baudouin SCREEN V. A. — Continuation of Goldsmith's Designs. Engraving 265 M. Rosenheim, Esq 266 Engraving M. Rosenheim, Esq. 267 Four engravings M. Rosenheim, Esq. 268 Engraving M. Rosenheim, Escj. 269 Three engravings M. Rosenheim, Esq. 270 Four engravings M. Rosenheim, Esq. 271 Four engravings M. Rosenheim, Esq. B. — Reproductions of French Paintings and Drawings FROM "French Art from Watteau to Prud'hon " (Dickinsons), edited by J. J. Forster, F.S.A. Lent by J. J. Forster, Esq. C — Rkproductions of Frrncft PrciURES. Pierre Firens (c. 1620) Pierre N olin (c. 1620) Antoine Jacquard (1624) Henri Toutin (1628) Gilles VEgare (c. 1663) Louis Roufert (i668) Jean Bourguet (1702) ON STAIRS. 292 Illustrations for "She'' ^. S. Hartrick, Esq. A. S. Hart rick 32 Upper Gallery UPPER GALLERY. INTRODUCTION. An understanding of the Art of Painting is complicated by the inclusion of the Arts of Representation^ and these have been carried to such completeness'that there arises the danger from time to time of mistaking the means for the end. To say that the representation of the appearance of objects is of no consequence would be futile, since that is one of the chief tools at the command of the painter, and it is as essential to him as his paints and brushes; but to say that the skill of representing appearances is the object of painting would be equally futile, and would exalt to the highest position in the graphic arts the coloured photograph. The Art of Representation is one of the means whereby the painter enforces the significance and beauty which certain aspects of Nature kindle in his consciousness. It enables him to intensify them, to add something to them, and to make an object of beauty, distinct from that which he himself has already thought to be beautiful in Nature. The centre of artistic production changes as the vitality of nations changes, and during the 19th century it swung from England to France and back again, but on the whole it must be said that France was the chief source of artistic pro- duction in Europe. The impulse that the Revolution gave to the life of France produced at first an apparently contradictory art in a revival of pseudo-classicism, which, in turn, gave way to the Romantic movement, the chief figure of which was Delacroix. This movement developed in France through the accident of Constable's exhibiting landscapes in Paris, into an art with landscape and landscape with figure for subject matter, until that, too, gave way before the ultra- moderns, townsmen, who painted town life, to be succeeded, not so much by men who had something else to say or who chose greatly differing subject matter, but by experi- mentalists in technical possibility, whose interests in paint ing were more those of the scientist than of the artist. These painters, while adding appreciably to the range of harmony and effect, cannot be said to have added very greatly to our understanding of life. Alongside these changing currents of thought there have always been artists who gave expression to that grand and austere side of the French character that first found utterance in Poussin, and these have kept alive the great traditions, not so much in technique, as in the habit of their minds. In England in the earlier part of the century, Turner and Constable brought to a noble level of accomplishment the art of land- scape painting, and the pre-Raphaelite movement of 1849 gave promise of the rise of a school of painting that might have been equal to the greatest the world had known, but in ten years it faded away, leaving a few, too few, master- Upper Gallery 33 pieces behind it, and it was succeeded by a combination of sentimental classicism and rosy landscape that, in turn, gave place to the various cries that have been taken up from the Parisian studios. As in France, there have been isolated men of genius who have been a law to themselves and free from the cant of their times and masters of their own hearts, but their ,secrets have died with them and left no tradition behind. England did, however, make in the 'sixties and 'seventies a distinctly original and beautiful contribution to European art in the woodcuts for book illustration that were then so popular, but the only tradition which seems capable of being handed on from man to man is the tradition that is to be found in the pages of Punchy and until we have before us a definite object for art and a theory of its practice we can hope for little more than what individual effort may produce, delightful, maybe, in itself, but having little relation to an expression of the national consciousness in art. To-morrow, maybe, or the day after, this may come — we live in hope. But meantime, it would be indiscreet and foolish to comment on the current work here shown. The time is not yet come. Let us enjoy what we can of it. P. I. NEW ENGLISH ART CLUB. 1 The Road to Cumge Professor C. J. Holmes C. /. Holmes 2 Blue Hydrangeas L. A. Harrison, Esq. L. A. Harrison 3 The Dove at the Window F. DoDD, Esq. F. Dodd This is not a drama of deeds, but of the spirit. The significance of the accident of the dove fluttering in at the window brings to the mind of the elder woman the impend- ing change that is soon to happen to the girl. She starts, drops her sewing, and rises. The dog, instinctively con- scious that something is different, comes forward in. readi- ness, meanwhile the girl continues sewing all unconscious. 4 Apple-blossoms on the Hills, Cornwall W. G. VON Glehn, Esq. W . G. von Glehn 5 Hampshire Road — Winter M. Fisher, Esq, Mark Fisher Modern art is wrestling with vivid momentary actual effects of atmosphere which the older painters left aside in their beautifully ordered conventions. The sparkling glitter of a frosty winter morning, the luminous haze of the harvest heat, are effects in Nature which no convention can ade- quately render. 34 LENDER Upper Gallery ARTIST 6 A Mere Fracture Captain SwiNTON William Or fen This is an unaffected illustration of a scene of our contemporary life, and will have for future ages somethinj:^ of the interest that' De Hoogh's renderings of Dutch 17th century life have. for us. Just so do English 20th century artists and medical students live in the fine old Georgian houses of Bloomsbury, but, apart from this, there is a real artistic charm and beauty in the solemn light play- ing on the old ship and the young figures, and a fine rendering of the nude, so seldom naturally visible in modern life, but here justified by the opportune fracture. 7 Valley of the Arun M. Fisher, Esq. Mark Fisher 8 Landscape, with Trees and Cows P. W. Steer, Esq. P. W. Steer This beautiful landscape of the setting sun lighting up from below the foliage of the trees, while the cattle cull the leaves of the lower branches, is radiant with the spirit and w^itchery of the evening. 9 East River, New York — Twilight W. G. VON Glehn, Esq. W . G. von Glehn 10 At the Window- Professor Rrown W. R othenstein To Northern races the home means much, and the " in- terior is a reasonably frequent and popular subject for art. The quiet sunshine plays on the familiar pictures and objects with a haunting intimacy, while the face of the girl, lit by the stronger sunshine of out-of-doors, looks out from this peaceful haven to the more exciting " life of the open road." II The Allier at Billy A. ROTHENSTEIN, Esq. A. R othenstein 12 Farm at Montreuil — Evening Miss A. Fanner Alice Fanner 13 Landscape D. Muirhead, Esq. David Muirhead 14 Play Hours Miss Ethel Walker Ethel Walker 15 Street in Capri C. K. Butler, Esq. James Charles 16 Tunny Boat, Concarneau B. SiCKERT, Esq. Bernhard Sickert Upper Gallery 35 LENDER ARTIST 17 Merikli Charles Rothenstein, Esq. A. E. John Merikli, a gipsy woman, holding in her left hand a flower, turns and smiles at the spectator. What a sense of presence there is about this picture, and how vividly the Vv^oman is portrayed ! If the great triumph of portraiture is to enter in, to undergo, and so to enlarge and humanize the mere technical problem, surely this picture achieves it I 18 Old Water Mill, Aiontreuil Miss A. Fanner Alice Fanner 19 China Collector C. K. Butler, Esq. H. Tonks 20 The Storm Cloud PIenry F. W. Ganz, Esq. Henry F. W . Ganz 21 Portrait of a Young Man F. DODD, Esq. F. Dodd 22 The Quiet Hour Miss Isabel Dacre Isabel Dacre 23 Evening (Cornish) Mrs. A. S. Brown Mrs. Arnesly Brown 24 Interior D. MuiRHEAD, Esq. David Muirhead INTERNATIONAL SOCIETY. 25 The Lesson H. M. Livens^ Esq. Horace Mann Livens 26 View of Salamanca, Spain Charles Cottet, Esq. diaries Cottett 27 The Flower Seller FI. MuHRMAN, Esq. Henry Muhrman 28 The Windmill Bertram Priestman, Esq. Bertram Priestman 29 Don Giovanni and the Commendatore Charles Ricketts, Esq. Charles Ricketts This dramatic picture represents the culminating point of the story as told by Moli^re. There has just been a scene in which a ghost has warned Don Juan of his approaching end. His servant has implored him to listen to the voice and make his peace with heaven, but Don Juan has defied the ghost, and sworn that nothing will ever make him repent 36 Upper Gallery LENDER ARTIST while he has drawn his sword and advanced to meet it. The servant row crouches helpless, leaving Don Juan to his fate. And as Don Juan advances to fight the ghost the Statue speaks to him — "You promised to come and dine with me to-day." Don Juan : "Why yes, let us go." Statue : " Give me your hand." Don Juan : " Here it is I " Statue : " Don Juan, to harden your heart in sin brings on a terrible death, and to reiect the mercies of Heaven lets loose the thunder." Don Juan : " Oh, Heaven ! What is this I feel? An in- visible fire consumes me; all my body is like a furnace." Thunder falls and the earth of ens, and Don Juan vanishes in -flames and smoke. — P.I. 30 Azaleas Mrs. Sauter Emile Claus 31 The Lady with the Cyclamens The Hon. Mrs. H. Chaloner Dowdall C. H. Shannon 32 The Argonauts C. RiCKETTS^ Esq. Charles Ricketts 33 Nocturne W. C. Alexander, Esq. /. McNeill Whistler This might perhaps best be described as a " mood of the river." It flows on silently as if it remembered and knew all the happening of its surface -the pleasures, the tragedies, the traffic. The dawn breaks and reveals the opposite shore in a dim mass that adds dignity to the otherwise mean facts. The figure and the barge occupy the foreground like phan- toms, and all conjured out of that horrid, sticky mess called oil paint, not so much by the skill of hand as by the power of mind of the painter. — P.I. 34 The Stone Bridge Sydney Lee, Esq. Sydney Lee 35 Portrait of the late Mrs. Dowdall H. Chaloner Dowdall, Esq. C. H. Shannon 36 Winter at Montreal J. W. Morice, Esq. 7. W. Morice 37 At Home Mrs. Reynolds G. Sauter 38 Master Rudolf G. Sauter, Esq. G. Sauter 39 Seascape A. D. Peppercorn, Esq- A. D. Peffercorn Upper Gallery 37 LENDER 40 The Mansion House Lady Strachey 41 Mrs. Keppel Pulteney The Hon. Mr. Justice Darling John Lavery, R.S.A. Simon Bussy artist This picture is a very attractive example of the artist's harmonious colour, simple direct painting, and well-cut design. The lady's dress is of sober greyish-brown colour, yet the effect is made vivacious by the sharp fresh painting of the costume, the jaunty drawing of the gold chain, buttons, and the touches of violet at the waist and blue in the hat, and the good choice of colour in the plain back- ground, which harmonises and assists the figure. The atmosphere between the painter and the lady is simply and finely suggested. — J.B. 42 A Castle in the Ardennes Kenneth S. Anderson, Esq. D. Y. Cameron, A. R.S.A. The Classical Romantic side of the Scots character ex- pressed here, although so notable in Scots literature, has not found many outlets in painting. The dying sunlight on the strong walls of the old castle looming over the shadowed village and the spreading hills behind are seen with the dogmatic romantic vision that Scott might have brought to bear upon it. It is an excellent example of this artist's impressive, compact presentment of a scene which stirs the imagination. — J.B. 43 Edinburgh E. Cameron Corbett, Esq., M.P. James Pater son This picture suggests the sort of view of Edinburgh a man might get over his shoulder as he rode away from it on a journey. The proud Castle Hill, the tall monuments, the spare trees, and the faint bare shape of Arthur's Seat, the lean grey buildings of the old city, the little warm roofs of the out- skirts, swim together in the pale northern light. The quarry and the water and the fields in front are sketched in broadly and without much definition. They appear as they would to the traveller whose eyes are fixed on the beautiful friendly place he is leaving behind. There is romance here, but it is of reminiscent illusive kind. — J.B. 44 Senorita C. H. Mackie, Esq., A.R.S.A. C. H. Mackie, A. R.S.A The painter of this picture has come under the influence of the great Spaniards, and here he presents a lady, whose brilliant yellow dress and dark Southern flesh colour, black hair, and mantilla, offer him the contrast which has fascinated almost all the British artists who have gone to Spain. SCOTTISH. 38 LENDER Upper Gallery ARTIST 45 Hayfield R. Noble, Esq., R.S.A. R. Noble, R.S.A. 46 A Highland Road J. Campbell Noble, Esq. /. Camfbell Noble, R.S.A. An effect of evening amid low hills, the mists descending, the clouds catching the last light of the sun, the hill road reflecting it again, painted with great breadth. The peculiarity of the hills, their rocks and surfaces are not considered, only the mystery of the waning light and the rising mists on the hills. 47 Mother and Child T. Austen Brown, Esq. T. Austen Brown, A. R.S.A. rhe painter of this picture is more generally known for his fine landscape idylls. This mother and child painted in the mood of reverie is reminiscent of Venetian Art in its sentiment and in its deep warm colour. 48 Veeva, Holland J. Campbell Noble, Esq. /. Camfbell Noble, R.S.A. An evening scene on a Dutch canal, with boats drawn up and on slips, and by the wharf side. The soft, fading light and the rich, still atmosphere are set down with quiet tenderness. The shapes of the boats, and their masts and furled sails divide the picture very pleasantly. 49 Children on the Sands James T. Tullis, Esq. E. A. Hornel The painter, by means of his fresh lyrical colours and the joyful attitudes of the children whom he ever loves to draw, has restored to art something of naivete and first-hand de- light in the use of a business so beautiful as painting that we see in the works by the early Italian artists who lived soon after painting in oil was discovered. Like them, he hardly stops to work out the drawing of his details, so eager is he to set down in this wonderful medium the dainty, beautiful world he sees before him. Whatever he may have lost — and a study of the hands of the little girls here makes us think that he has now gathered up many of the qualities his critics said tliat he had not — he has captured the freshness and rapture of the scene as perhaps no other modern painter could do. His vision of these little girls among the sea flowers and the rocks, with the blue sea behind them, has a fragrant wildness and delicacy that affects one sharply like a splendid, long-forgotten memory. — J.B. Upper Gallery LENDER ARTIST 39 50 Portrait of J. Campbell Noble, Esq., R.S.A. John Pettie, the eminent painter, who died in 1893, was a member of the older body of Scots painters, together with Mr. Orchardson, Mr. MacWhirter, Mr. Lawton Wingate, Mr. McTaggart, and Mr. H. Cameron. His bold, pic- turesque colour and conception are well expressed in the sweeping line of the great palette and the large swinging drawing of the composition. 51 Girl in Black W. S. Steel, Esq. Charles H. Mackie, A. R.S.A. 52 Japanese Dancing Girl A. S. Gordon, Esq., W.S. George Henry, R.S .A.,A.R .A. About 1893 tv-'o painters of the Glasgow School, Mr. George Henry and Mr. Hornel, spent a year in Japan, and the influence of the flat painting, strong decorative con- trasts, and harmonious colouring strongly influence their future painting. The Japanese carefully choose a suitable arrangement of colours for their pictures just as a lady determines that every detail of her dress shall agree to- gether. 53 Autumn T. L. Devitt, Esq. D. Y. Cameron, A.R.S.A. The artist here shows us. with exquisite charm, an indi- vidual child. In this the picture dinners from No. 49, the painter of which was interested by childhood rather than any individual child. 55 jNJoonlight at Lyme Regis R. Little, Esq. R. Little 56 Victor and Vanquished Wm. Walls, Esq., A.R.S.A. Wm. Walls, A.R.S.A. The collie and its prey, the badger, are painted with technical skill, unafl^ected truth to animal nature and a panting lif elikeness, while the tones of colour are har- monious and refined. There is no attempt to degrade and falsify the dog bv giving it human expression or sentiment. 57 Scene of a Bygone Battle (Falkirk, January 17, 1746) James Cadenhead, Esq. James Cadenhead, A.R.S.A. J. Campbell Noble, Esq., R.S.A, /,. Pettie, R.A. 54 Wild Rose J. J. Cowan, Esq.. ] F E. A. Walton, R.S.A. 40 Upper Gallery LENDER ARTIST 58 Machrananish Bay, Argyllshire G. KiDSTONE, Esq. W. McTaggar^, R.S.A. Mr. William MacTaggart is a veteran on whom age has laid no hand, and we find him well over his three-score years still experimenting and pressing closer to the spirit of Nature in his native land. In this water-colour a very strong effect is attained by a simple direct use of the medium. The rush and conflict of the breakers, the racing windy sky, the stubborn rocks, and the crouching fishermen are given with suddenness and force and beautiful colour. The hurried statement of the figures and the rocks seem right in this view of wild weather, as it helps to convey to us the agitation with which the painter beheld the scene. — J.B. 59 A Scottish Lassie Wm. Hunter, Esq. Alex. Roche, R.S.A. An early example of Mr. Roche's art, distinguished by the sweet sobriety of his colour and the caressing painting of the face. In form, though not in method, this painting has a close relation to the quiet classical tradition of the earlier Scottish School. 60 October Evening J. C. MiCHiE, Esq., A. R.S.A. /. Coutts Michie, A.R.S.A. 61 Meadow land Robert Noble, Esq., R.S.A. R. Noble, R.S.A. 62 Flower Market, Amsterdam R. M. Mann, Esq. D. Y. Cameron 63 Idyll — Autumn J. H. Lorimer, Esq. /. H. Lorimer, R.S.A. . . . Summer gone. Autumn comes gleaning all her withered leaves." 64 A Breath of Spring W. D. McKay, Esq. W: D. McKay, R.S.A. 65 The Veil G. G. Anderson^ Esq. G. G. Anderson ROYAL ACADEMY & CORNISH. Owing to the necessities of hanging, the Cornish pictures are hung with those by members of the Royal Academy. 66 Ego Sum : Nolite Timere (Cornish) W. H. Y. TiTCOMB, Esq. W. H. Y. Titcomb Upper Gallery 41 LENDER ARTIST 67 Under the Ionian Sky Sir Ernest Cassel, G.C.M.G., G.C.V.O. Sir L. Alma Tadema^ R.A. Knowing the Greeks through their sun-bleached, white statues and ruined temples, we have come to think of their life as marked by a cold severity of form quite untrue to fact, but possibly truer to spirit than the vision we should have had of them could their vividly painted temples and statues have come to us in our Northern atmosphere un- dimmed by time and unharmonised by the brilliant sunlight of a Southern, half Eastern land, where all colours are strong and harmonise in their strength. The ancient Greeks were men and women, not statues, and the artist here shows us them as such in the midst of their marbles, oleanders, and sea. 68 Fete Champetre Professor Brown attr. to Watteau 69 The Bridge oi Lorignon (Cornish) N. Garstin, Esq. Norman Garstin 70 Ashkenazim of Jerusalem reading the Scriptures (Cornish) G. S. Hunter, Esq. G. Sherwood Hunter 7 1 Down a Country Lane H. H. La Thangue, Esq., H. H. La Thangue, A. R.A. 72 Moonrise, St. Ives Bay (Cornish) Julius Olsson, Esq. Julius Olsson 73 Toward the Night T. Robertson, Esq. T. Robertson 74 Sunset in the Channel (Cornish) P. Moffat Lindner, Esq. P. Mo fat Lindner 75 Blue and Gold (Cornish) T. C. GOTCH, Esq. T. C. Gotch 76 The Rescue at Dawn (Cornish) S. Forbes, Esq., A. R.A. Stanhofe Forbes., A. R.A. 77 May (Cornish) Arthur Meade, Esq. Arthur Meade 78 Beside Greei Waters (Cornish) H. S. TuKE, Esq H. S. Tuke, A. R.A. 79 The Harbour (Cornish) Corporation of Preston Arnesby Brown, A R.A. 80 The Thames G. Strahan, Esq. G. Strahan 42 Upper Gallery LENDER ARTIST 8 1 A Grey Sea W. H. Wood, Esq. Wm. Stott (Oldham) 82 Study of an Italian Shepherd F. Verney, Esq. Lord Leighion 83 A Little Tuscan Mrs. M. Ridley Corbet Mrs. Ridley Corbet 84 A Jungle Lord Arthur Wardle, Esq. Arthur Wardle 85 The Woodcutter's Little Daughter (Cornish) Mrs. E. S. Forbes Mrs. StanJwfe Forbes 86 Poole Harbour J. B. Knight, Esq. /. Buxton Knight 87 Spanish Wedding J. Gresham, Esq. Gdrate 88 The Haymakers G. Clausen, Esq., A.R.A. George Clausen, A.R.A. Mr. George Clausen, born a Londcner, has done more than any of his contemporaries to represent in art the dignity and beauty of English farm life. In this picture, without softening or idealising h)S reality and vigour, he shows the English farm-worker with his rake, transfigured by the sun, that has browned his face and arms and beaten the straightness out of his back, into a monumental figure digni- fied as a knight with a lance. In this, and in " The Dark Barn " (No. 99), the familiar sunlight becomes wonderful and charged with colour, making work-a-day things strange and splendid. The learning of a French Impressionist has been used to provide a loving and glowing setting for humble places and figures, and just as the fantastic classic vision of the French i8th century painters helped to form the foundation of Gainsborough's cottage idylls, so the pris- matic sunshine of Manet and Renoir becomes in Mr. Clausen's hands the poetry that attends the life of the ordinary farm labourer. — J.B. 89 Moonrise over the Dunes C. H. Moore, Esq. Adrian Stokes 90 The Old Barge E. Stott, Esq. E. Stott, A.R.A. 91 Freebooters A. Wardle, Esq. A. Wardle 92 A Village Street J. W. Smith, Esq. James Charles 93 The White Cow W. H. Wood, Esq. E. Stott, A.R,A. Upper Gallery 43 LENDER ARTIST 94 A Village in the Apennines (Cornish) T. M. Dow, Esq. TJios. Millie Doiv 95 Portrait of Sir S. Montagu, Bart. Sir S. Montagu, Bart. W . Q. Orchardson, R.A. This late example of Mr. Orchardson's work is one of his most massive presentments of the visage and character of a sitter and one of his most happy designs. The whole work is painted very thinly over the canvas, but the strength of the face, its value increased by the sharply-cut white shirt which forms so important a part in the design, tells from any part of the room. The interesting colour of the dark clothes and the harmony it achieves with dark golden-green back- ground, and the subtle flesh colour with its delicate shades, makes the picture one of the few distinguished portraits of elderly men that has been achieved in our time. 96 A Backwater on the Ouse D. M. Smith, Esq. D. Murray Smith 97 Shepherd Bathing G. Wetherbee, Esq. G. Wetherhee 98 September (Cornish) D. Farquharson, Esq., A. R.A. D. Farquharson, A. R.A. 99 The Dark Barn C. T. Harris, Esq. G. Clausen, A. R.A. 100 A Sussex Lane W. H. Wood, Esq. James Charles lOT A Glimpse of the Village of Etoile J. T. Fripp, Esq. Alfred East, A.R.A., P.R.B.A. 102 Sister Ships (Cornish) A. Hartley, Esq. Alfred Hartley 103 Watching the Invaders Hubert von Herkomer, R.A. Hubert von Herkomer, Esq., R.A. Primeval men anxiously watching the approach of strangers. The rugged landscape of rock and caves towers up on the right, giving a sense of wildness to the scene, while the tree in the foreground, broken by the storm, carries the idea across into the tamer parts of the land- scape. 104 A Freshening Breeze G. A. Lenfestey, Esq. G. A. Lenfestey 105 La Cigale A. Hacker. Esq., A.R.A. A. Hacker, A. R.A. 44 Upper Gallery LENDER ARTIST 1 06 Forest Land H. J. Teed, Esq. Jl, J. Teed 107 Springtime in Cornwall (Cornish) T. M. Dow, Esq. Thos. Millie Dow 108 Under the Trees W. Donne, Esq. ' W. Donne 109 Faith Mrs. SwYNNERTON Mrs. Swynnerton This is not the kind of faith that believes but "hardly thinks it likely." It is" the faith that brings calm and peace to the mind. The setting sun irradiates the face and shining armour of the figure ; in her hands she holds the sword of truth, with the blades against her fingers, confident it will not hurt her ; the background falls into shadow with the approach of night. no At Mullion Miss E. S. Wood E. S. Wood NEW ENGLISH ART CLUB. 111 Embarkation C. K. Butler, Esq. P. W. Steer 112 Interior Mrs. McEvOY Mrs. Mary McEvoy 113 The Cafe W. W. Russell, Esq. W. W. Russell A familiar scene in a country inn in Northern France, the visitor playing billiards with the proprietaire. The business of the cafe continues. The young man writing letters, evidently a visitor, too, perhaps a friend of the billiard play, while the others eating look more native to the place. 114 The Fan F. Bate Esq. F. Bate 115 Ancient Courtyard, Algiers Mark Fisher, Esq. Mark Fisher 116 The Wayfarers R. Westray, Esq. Miss Grace Westray 117 Still Life Mrs. Mary McEvoy Mrs. Mary McEvoy 118 April — Epping LuciEN PisSARRO, Esq. Lucien Pissarro 119 Garden Gate, Epping LuciEN Pissarro, Esq. . Lucien Pissarro Upper Gallery LENDER SCREEN I. 120 Portrait Drawing W. ROTHENSTEIN, Esq. 121 Sketch for The Argonauts" C. RiCKETTS, Esq. 122 Drawing W. ROTHENSTEIN, Esq. 123 Drawing W. ROTHENSTEIN, Esq. 124 Portrait Drawing W. ROTHENSTEIN, Esq. 125 Drawing W. ROTHENSTEIN. Esq. T26 Hampshire Carts MuiRHEAD Bone, Esq. 45 AKTI ST A. E. John C. Ricketts Charles Condor Charles Condor John Sargent^ R.A. A. E. John Muirhead Bone 127 Drawing C. RiCKETTS, Esq. C. 7. Shannon 128 Drawing C. RiCKETTS, Esq. C. 7. Shannon 129 Portrait of himself (water colour) C. RiCKETTS, Esq. Legros 130 The Bridge H. MUHRMANN H. Muhrmann 131 Drawing C. RiCKETTS, Esq. C . J . Shannon II. SCREEN 132 Honington Bridge (Warwickshire) A. W. Rich, Esq. A. W. Rich 133 Chapel of Our Lady of the Waves D. S. MacColl, Esq. 134 The Cloud D. S. MacColl, Esq. 134A General Booth (etching) Francis Dodd, Esq. 135 Near Slowington, Sussex A. W. Rich, Esq. T36 Ayr Prison (dry point etching) Muirhead Bone, Esq D. S. MacColl D. S. MacColl Francis Dodd A. W. Rich Muirhead Bone 4^ Upper Gallery LENDER ■ ARTIST 137 Study for a Picture Miss E. Walker Ethel Walker 138 The Shot Towers (dry point etching) MuiRHEAD Bone, Esq, Muirhead Bone 139 The Great Gantry, Charing Cross (etching) Muirhead Bone, Esq. Muirhead Bone 140 Demohtion of St. James' HalJ, Piccadilly (dry point etching) J, Hutchinson, Jun., Esq., M.D. Muirhead Bone 141 Building Francis Dodd, Esq. Muirhead Bone Building — Demolition — Restoration — three of the great architectural dramas always taking place in the streets of London round us. The buildings men set up for themselves come to have a dramatic, almost human interest as silent vs^itnesses of the life they shelter. Our modern buildings are too often ungrateful subjects for the artist, but in their birth, sickn^iss, and death, they still appeal to him as points round which the untiring labour and ingenuity of mankind centres. The light plays equally on the good buildings and the bad, and scaffolding covers a multitude of sins. SCREEN III. The Art of Drawing corresponds to the' Art of Painting very much as the short story does to the novel. Until quite recent times it has always been looked upon as the beginning of the more elaborate work of painting, but in this rapid and intelligent age it has been developed as an art by itself and used to express lighter or more poignant emotions than lend themselves to the heavier medium of oil painting. Its ways are legion, notice the difference of the culture in Mr. Bone's, Mr. Shannon's and Mr. John's work, and the variety of touch employed by each when conveying different ideas. — P.I. 142 Portrait Drawing W. ROTHENSTEIN, Esq. A. E. John 143 Lithograph W. ROTHENSTEIN, Esq. W. Rothenstein 144 Joan of Arc Mrs. C. J. Knowles Sir W ..Richmond, R.A. 145 Drawing W. ROTHENSTEIN, Esq. A, E, John Upper Gallery 47 LENDER ARTIST 146 Portrait Drawing W. ROTHENSTEIN, Esq. A. E. Joh7i 147 Somerset House J. Hutchinson, Jun., Esq., M.D. Muirhead Bone 148 Suburban Church Francis Dodd 149 Oxfordshire MuiBHEAD Bone, Esq. Muirhead Bone SCREEN IV. 150 Landscape Mrs. Ridley Corbet The late M. Ridley Corbet, A.R.A 151 Winters' Lingering Snow (Scottish) R. B. Nisbet, R.S.A. R. B. Nisbet, R.S.A. 152 Ysaye (Scottish) Joseph Simpson, Esq. Joseph Simpson 153 The Ailsa off Greenock Mrs. Myles W. L. Wyllie, A.R.A. 154 Study of Armour for St. George Sir E. J. Poynter, Bart. Sir E. J. Poynter, P.R.A. 155 Study of Drapery for Figure of St. Mark Sir E. J. Poynter, Bart. Sir E. J. Poynter, P.R.A. 156 Study of a head Sir E. J. Poynter, Bart. Sir E. J. Poynter, P.R.A. 157 Two Studies in Italy (Treviso and Castelfranco) Sir E. J. Poynter, Bart. Sir E. J. Poynter, P.R.A. 158 Santa Maria della Salute Mrs. Allingham Helen Allingham 159 Study of flocks (Tintagel) Sir E. J. Poynter, Bart. Sir E. J. Poynter, P.R.A. Contributions towards the expenses of the Exhibi- tion, which are necessarily heavy, are earnestly asked for. Certain Pictures are for Sale. The Director will answer enquiries. During October and November, 1907, an exhibi- tion of Animal Paintings, Drawings, and Sculpture, will be held; and the special feature of the Spring Exhibition of 1908, will be Contemporary or specially remarkable Modern Copies of Famous Old Masters. The Director would be greatly obliged if anyone willing to lend pictures for either of these Exhibitions would communicate with him. The thanks of the Trustees and Director are due to the many owners and artists whose kindness in lending has made this exhibition possible, and to Mr. Charles Mackie, for organising and hanging the Scottish group, to Mr. Moffat Lindner and Mr. Francis Bate for organising the Cornish and New English Art Club groups, and particularly to Mr. Francis Dodd for his most valuable assistance in hanging and cataloguing the collection. PRINTED hY PENN^ AND HULL, LEMAN STREET^ E. G REFERENCE BOOKS ON FRENCH ART. " French Painters of the XVIIIth Century." Lady Dilke. (George Bell & Sons.) French Art from Watteau to Prud'bon.'' Foster. Vols. I., II. History of French Art.'* Rose G. Kingsley. (Longmans.) Imaginary Portraits— Watteau.'* Walter Pater. "La Peinture Frangaise au XVIIe et au XVIIIe Si6cle." Olivier Merson. (Bibliotheque de Tenseignement 'des Beaux Arts. 3.50 francs.) ** L'Ancien Regime.** Tanie. La Societ<^ Frangaise du XVIe Siecle au XXe Si^cle." Victor Du Bled. (Librairie-Academique Didier.) " History of France.'* Kitchin. Vol, III. "French Revolution, 1624-^793.'* Carlyle. CONCERTS. Feb. 23— 'Saturday. — Audrey Chapman Orchestra. Feb. 28, Mar. 7, Mar. 14, Mar. 21— Thursdays.— Series of four Concerts arranged bv Miss Rosabel Watson. LECTURES. Mar. I, Friday.—" Landscape Painting, Past and Present.*' Bernhard Sickert, Esq. Mar. 8, Friday. — " Contemporary Criticism.'* FrAncis Dodd, Esq. Mar. 13, Wednesday.— " Louis XIV. and his Times '* (Lantern Illustrations.) Miss Elsie Micholls. Mar. 15, Friday.— Chardin and his Contemporaries." (Lantern Illustrations.) Herbert Furst, Esq. Mar. 20, Wednesday.—" Art and Politics : Special Reference to' i8th Century in France.'* James Butterfield, Esq. Mar. 22, Friday.— " French Painting." (Lantern Illustra- tions.) Windsor Fry, Esq. Mar 27, Wednesday.—" French Social and Literary Life during the 17th Century." N. L. Macaskie, Esq. Concerts and Lectures beg^in at 8 p.m. Other Concerts on Thursday eveninefs, and Lectures on Mondays, Wednesdays, and Fridays are being arranged. The Concerts vrill on some occasions illustrate 17th and 18th Century French Music. On Sunday evenings, February 24, March 10 and 24, the Director will meet any who care to join him in the Small Gallery at 8 o'clock, and go round the Collection with them.