LOGUI m4 [ Digitized by the Internet Archive in 2014 il ; https://archive.org/details/catalogueofnatioOOnati_0 / CATALOGUE OF THE NATIONAL GALLERY OF SCOTLAND EDINBURGH UNDER THE MANAGEMENT OF THE BOARD OF MANUFAOTURES ROBERT GIBB, R.S.A PRINCIPAL CURATOR AND KEEPER FORTIETH EDITION. GLASGOW: PRINTED FOR HIS MAJESTY'S STATIONERY OFFICE By JAMES HEDDERWICK & SONS LTD., At -'The Citizen" Press, St. Vincent Place. 1906. GLASGOW: PRINTED BY JAMES HEDDERWICK AND SONS LTD. FOR HIS majesty's STATIONERY OFFICE. THE GETTY CENTER ^ke §onxh of ^anufactuve^. The Right Hon. LORD YOUNG. Sir ROBERT DUNDAS, Bart. The Right Hon. Sir. J. H. A. MACDONALD (Lord Justice-Clerk). The Right Hon. LORD REAY. The Right Hon. LORD KINNEAR. J. A. MACONOCHIE WELWOOD, Esq. WILLIAM M'EWAN, Esq., LL.D. Sir CHARLES DALRYMPLE, Bart. Sir ARTHUR MITCHELL, K.C.B. The Right Hon. LORD PEARSON. The Hon. HEW HAMILTON DALRYMPLE. The Right Hon. The EARL OF ELGIN AND KINCAR- DINE, K.G. Sir M. MITCHELL-THOMSON, Bart. JOHN FINDLAY, Esq. WILLIAM JOHN MURE, Esq., C.B. Sir THOMAS DAVID GIBSON-CARMICHAEL, Bart. DAVID SCOTT MONCRIEFF, Esq., W.S. The Right Hon. LORD ELPHINSTONE. Sir LUDOVIC GRANT, Bart. ALEXANDER WOOD INGLIS, Esq. NOTICE. l^'very work in the Gallery is distinctly labelled with the number, the subject, the name of the Artist, and — if deceased — with the dates of his birth and death. The measurements in all cases are given in inches. The Catalogue is divided into three parts : — Fh\^t (p. ix.). — An Index by numbers consecutive upon the walls, commencing with the lowest picture, east side. Second (p. 1). — A Biographical, Historical, and Descriptive part in two sections, Foreign and British, arranged Alpha- betically. Third (p. 281).— A list of the Donations and Bequests to the Gallery. The Artists' names attached to donations and loans are, as a rule, those given by tJie donors or lenders. The Gallery is open on Mondays, Tuesdays, Wednesdays, and Saturdays — Free. Thursdays and Fridays are set apart for Artists and others copying the pictures, but the public are ad- mitted on paying Sixpence each. Ill the descriptions, right and left always mean those of the spec- tator, except where they obviously apply (as his or her right or left hand) to a figure in a picture. The Gallery is annually closed for cleaning and arrangement during three or four weeks in winter, notice being given in the public press. The Diploma and Water-Colour rooms are closed during the annual Exhibition of the Royal Scottish Academy. NATIONAL GALLERY OF SCOTLAND. THE Building within which the National Gallery Collection is placed was designed and executed by the late eminent architect, William H. Playfair,Esq.,and erected by the Board of Trustees for Manufactures in Scotland out of funds at their disposal, aided by a grant from the Treasury, the valuable site having been made over for the purpose by the Lord Provost and Magistrates of the City on most liberal terms. The Board, which owes its origin to the Treaty of Union, has, by Act of Parliament, been vested in perpetuity with the trust of the building, which is specially destined for receiving and exhibiting a National Collection of Works of Art — for the Exhibitions of the Boyal Scottish Academy — and for the extension of the Board\s School of Art. The Foundation-Stone was laid by the late Prince Consort on the 30th of August 1850, and the following remarks are quoted from the Address His Boyal Highness delivered on that occasion : — " The building of which we have just begun the foundation, is a temple to be erected to the Fine Arts — the Fine Arts which have so important an influence upon the development of the mind and feeling of a people, and which are so gener- ally taken as the type of the degree and character of that development, that it is on the fragments of the works of art come down to us from bygone nations, that we are wont to vi NATIONAL GALLERY OF SCOTLAND. form our estimate of the state of their civilisation, manners, customs, and religion. Let us hope that the impulse given to the culture of the Fine Arts in this country, and the daily increasing attention bestowed upon it by the people at large, will not only tend to refine and elevate the national taste, but will also lead to the production of works, which, if left behind us as memorials of our age, will give to after gener- ations an adequate idea of our advanced state of civilisation. It must be an additional source of gratification to me to find that part of the funds rendered available for the support of this undertaking should be the ancient grant which, at the Union of the two kingdoms, was secured towards the encouragement of the fisheries and manufactures of Scotland, as it affords a most pleasing proof that these important branches of industry haA^e arrived at that stage of manhood and pro- sperity, that — no longer requiring the aid of a fostering Government — they can maintain themselves, independently relying upon their own vigour and activity, and can now in their turn lend assistance and support to their younger and weaker sisters — the Fine Arts. Gentlemen, the history of this grant exhibits to us the picture of a most healthy national progress : the ruder arts connected with the necessaries of life first gaining strength, then Education and Science supervening and directing further exertions ; and, lastly, the Arts, which only adorn life, becoming longed for by a prosperous and educated people." The Collection now exhibited in the National Gallery consists of: — (1) The property of the Board of Manufac- tares, being — («) Works acquired by the Board by purchase or gift for the National Gallery ; (b) the pictures collected by the Directors of the Royal Institution, first exhibited in 1831, and vested in the Board in 1858; and (c) modern works purchased by the Eoyal Association for the Pro- motion of the Fine Arts in Scotland, and transferred to the Board in 1897. (2) The Pictures, Bronzes, &c., bequeathed by Sir James Erskine of Torrie to the College of Edin- burgh, and deposited with the Board for exhibition under a Deed of Agreement. (3) Pictures from the Collection of NATIONAL GALLERY OF SCOTLAND. vii Ancient and Modern Works belonging to the Royal Scottish Academy, including the Diploma works presented by the Artists on election to the rank of Academician. (4) A few Pictures lent for fixed periods. When the National Gallery was instituted the Board confidently anticipated that many valuable additions would from time to time be made to the Collection through the public spirit and liberality of individuals, the Board having no fixed revenue available for the purchase of pictures. That confidence has been largely justified, as may be seen from the list of Donations and Bequests at the end of the Catalogue. This edition of the Catalogue has been wholly rewritten. In the biographical notices use has been made of the fuller information now available, especially regarding artists of Foreign Schools. The facts as to the history of the individual works have been largely supplemented, and descriptions of the pictures and sculpture have been added. I have gratefully to acknowledge the kind help of many friends in this revision. Thanks are particularly due to Dr. Forbes White for the article on Bembrandt; to Mr. W. Matthews Gilbert for several biographies of Scottish artists, and to Mr. James L. Caw and Sherifi* Shennan for invalu- able assistance throughout the entire preparation of the work. R. G. July 1899. PLAN OF THE NATIONAL GALLERY OF SCOTLAND Room I. Room II. ( Dutch and Flemisli " \ Schools, f French School. I Italian Schools. I German and Spanish I Schools. Small Octagon Foreign Schools. Second Arch- f Dutch and Flemish way - - - i Schools. Room III. - - British School. Third Archway British School. Room IV. - - British School. Room V. - - British School. Water-colour S Works in Water-colour Room- - and Black and White. Rnnm VT (Diploma Works of the Roomvn. : :{ l°yf Scottish Aca- Sculpture placed throughout the Rooms. o o o o o o o o o^o o INDEX CATALOGUE. ROOM I. No. Subject. Name of Artist. Page 1. Rocky Landscape with Figures .... Jan Both .... 10 2. Portrait of the Painter Jacob Jordaens 45 3. The Young Housekeeper . Dutch School . 26 4. Woody Landscape Meindert Hobbema . 41 5. A Dutch Landscape . Hendrick ten Oever . 58 6. The Banks of a River Jacob van Ruisdael . 75 7. The Grecian Daughter Paulus Moreelse 54 8. "A Son of God's People" . Josef Israels 43 9. Dutch Interior . Adriaen van Ostade . 59 10. The Lomellini Family Van Dyck 28 11. Cattle and Herdsman . Adriaen van de Velde 92 12. Winter Scene Hendrick Avercamp 1 13. Cattle with Herd-Boy Berchem .... 5 14. Landscape and Figures P. van der Leeuw 47 15. Martyrdom of St. Sebastian Van Dyck 29 16. A Pasticcio David Teniers . 83 17. Herd with Cattle Berchem .... 6 18. Portrait .... B. van der Heist . 39 19. Venus and Adonis Cornelis van Poelenburgh 62 20. Interior of a Cathedral Peeter NeefFs . . 57 21. Party at Cards . Johan le Ducq . 26 22. An Italian Noble Van Dyck 29 23. Landscape with Figures Jan Wijnants . 97 24. Wood Scene Jan van der Heyde . 40 25. Dutch Boors Drinking David Teniers . 84 26. Farrier's Shop . Karel du Jardin 44 27. A Wood Scene . Jacob van Ruisdael . 76 28. Peasants Playing at Skittles David Teniers . 84 X INDEX. IN 0. Subject. Name of Artist. 29. A.lelious6 Door Johannes Lingelbacli 30. Marchese di SpinoLi . Justus Suttermans . 31. TTpTirlril^ip Sf.nflRp'ls; Rembrandt van Rijn 32. A Wr»nrllfinrl Sppitp IVTpiTidprt TTnbhpmn 33. BoQ/ts in B, Csdni W. van de Velde, the 34. Archit6ctur8/1 Subject Dirck van Deelen 35. A Dutch Grentleman Frans Hals 36. Wife Adriaen van der Werff 37. Study of a Head Van Dyck 38. -LJctllM-O^Ct IJC .... T% pm HTfi nn f", vfln TR.iiti j-Vcin kji o/iiM. u V cm xvijii . 39. TTfanQ TTnlc? J- L CVllO -LXcViO ... 40. T iJi nrl Qpa "HP wTfili lVrmiiTi"pn Ti^l crnrpc; -L til C/O .... .Tfl n T»nth cXfll JLfyJVil .... 41. TTn It", p t", 55 n Tt",a 1 1 Ji n Wi n p - XJLCtiU cXiV LIX XX . . 219 211. T?mT»a onfi liinpnT»PCi XvLlIIib clXllJ. X^lgLHt/o . ^IT^illinrvi r^AiiAAT TTpforncion V V XXXXCbliX X CX ii IXibvJli . 143 212. ATonfirncsp J.tXwXJ. UX V^OvI/ . . . ■ .Ta.TTipct T^mmrnond fJCvXXXC/o J_yX IIXIX IXXwlXVA • . 129 213. T?i"\7'P'p ^r>Pr>P AxrTf.M rrinciTPAC! XvlUlldilX VV lioUll . . 285 214. •Toll n lA/ 1 1 cion rlw npi n k K) wXXXX » V XXowXX Xii xjcmixov^ct ijc . IR.ipliaTrl W^ilQon XVXV^XXctX Ll TT XXoUll . ^^j»9fiPJ 219. Sir David Wilkie, R.A. Thomas Phillips 214 220. T^nTt",Tfn ■(". OT f.lip r*^iint',P7' X kJL UJLCvlU yJL XJliXj X C^iXlUd . nPliornacs T^innpan XXXWIXXCto LlXll^Cbli . . LOO 221. A Spp T^ippp O Ulili VV iioUll . . . 222. XllC XXUll. XVXl &. VTlctllcUll • XllUllldb \JTdllloUUlUllgll 1 ±(\ 223. IVTa.rri a crp i n P!fl.n a. T^flwavrl T) Tipaliv xijv>i w ca/x \x XV. x^Cyci/XX y . • 180 224. T*nrf .T*fl 1 f", of fiViP Arl'ic't, X yjL UX oth .... lU Madame de Pompadour Francois Boucher Urigmai Models tor the lombsoi the Medici and "Madonna and unila .... Buonarroti (Michelangelo) 1 A 14 The Lomellini Family Van Dyck 28 Martyrdom of St. Sebastian Do. ..... Girl with li olded Hands Jean Baptiste Greuze 35 Girl with Dead Canary Do 35 A Dutch Lady .... Frans Hals 38 Woody Landscape TV T • 1 J_ TT 1 1 Memdert Hobbema . 41 The Annunciation Meister von Liesborn A Dutch Landscape . H. ten Oever . 58 Ine Adoration oi the Magi Ponte (Bassano) 63 HendriKje btonels Rembrandt d7 The Banks of a River . Jacob van Ruisdael . 75 Peasants playing at Skittles David Teniers . 84 The Finding of Moses . Giovanni Battista Tiepolo 85 Boats in a Calm .... W. van de Velde 93 Fete Champetre .... Watteau .... 94 French Pastoral .... Do 95 The Conversion of St. Hubert . Meister von Werden 96 Burgomaster and his Wife . A. van der Werff 97 A Heath — Sunset J. Crome .... 125 The Spell Sir W. Fettes^Douglas 127 Anne Page and Slender Thomas Duncan 132 Benaiah ..... William Etty . 139 The Hon. Mrs. Graham Thomas Gainsborough 146 148 Roderick Gray .... Sir John Watson Gordon . 156 XXX. LIST OF ILLUSTRATIONS. Subject. Name of Artist. Page Covenanters' Communion . Sir George Harvey . . 160 Inverlochy Castle . . Horatio M^Culloch . . 186 Robert Burns . .A. Nasymth . . .195 La Gloria ..... John Phillip . . 209 Mrs. Campbell of Ballimore . Sir Henry Raeburn . 216 Lord Newton . . . .Do 217 The Painter's Wife . . . Allan Ramsay ... 223 Rome David Roberts ... 228 The Traitor's Gate . . . David Scott ... 238 Ravensheugh Castle . . . Rev. John Thomson . . 254 The Gentle Shepherd . . . Sir David Wilkie . 272 A Ferry Boat .... John Wilson ... 283 Italian Landscape . . . Richard Wilson . . 285 FOREIGN SCHOOLS. The Names of the Artists arranged alphabetically. AVERCAMP. Hendrick Avercamp. Dutch School. Born at Amsterdam in January, 1585. He was known as De Stomme van Kampen (the mute of Kampen). According to Immerzeel, he got his name on account of his taciturnity, but the fact seems to be that he was incurably dumb. He is believed to have studied at Amster- dam under Gillis van Coninxloo, and worked there and at the Hague until 1625. Subsequently settling in Kampen, he died there after 1663. Most of his paintings depict winter scenes, and he has also left a number of pen and chalk drawings. 12. Winter Scene. In the foreground is the frozen river or estuary crowded with figures, in the quaint costume of the 17th century, skating and playing hockey or watching the sport. On the left are houses and a windmill, and, along the bank, ice-bound boats ; on the right and in the middle distance a castle with bastions and towers. The land- scape is under snow, and the colour scheme is silver grey with stronger notes of brown, yellow, and red. Copper, 16f wide by 11" high. Signed, on oval piece of ice, near centre of foreground — Bequeathed by Mr. David Laing, LL.D., 1879. Bakhuysen. ' 2 BAKHUYSEN. Ludolf Bakhuysen. Dutch School. Born at Emden on 18th December, 1631. Sent at the age of nineteen to a merchant's office in Amsterdam, he attracted such attentioQ by his clever sketches of shipping that he quitted commerce for art, and studied under Allaert van^ Everdingen and Hendrick Dubbels. Among his own pupils may be mentioned Peter the Great. He died at Amsterdam on 17th November, 1708. Bakhuysen was a marine painter, especially of the sea in stormy moods, and frequently ran great risks in obtaining sketches direct from nature. ^ He also practised etching and engraving, and gave lessons in handwriting after a method of his own. Ludolf Bakhuysen, the battle painter (1717-1778), was his grandson. 105. // SqualL A Dutch lugger is running for the entrance of a harbour, on the pier-head of which (seen to the right) are a tall and slender beacon and three figures ; on the left, on a stretch of dyke which extends across the foreground, two men are looking out to sea. The light falls from the clear sky on the left upon the nearer waves and the tricolour flying at the stern of the lugger, on which the crew are shortening sail ; but towards the right the sky is full of lowering clouds, and, in the gloom they cast, another craft is seen standing out to sea, In the half-light in the middle distance on the left, near a large ship which rides at anchor, two small boats are scudding for shelter. Canvas, 24'' wide by ISJ" high. Signed on spar to right— Torrie Collection. 3 Barbarelli. BARBARELLI. Giorgio Barbarelli (Giorgione). Venetian School, His stalwart figure gave rise to the name of Giorgione, by which he is commonly known. Born about 1477, near Oastelfranco, he studied under Giovanni Bellini at Venice, Titian being among his fellow-pupils. Success and distinc- tion came to him at an early age, and while still young he was commissioned to paint portraits of two of the Doges, and of Queen Comaro of Cyprus, who resided then at Asolo, near Giorgione's native place. The altar-piece in the church at Oastelfranco — one of his few undoubtedly genuine examples — is believed to have been painted about 1504. He died at Venice in 1511, when only 34 years of age. His work consisted largely of frescoes, which have now for the most part disappeared. His easel-pictures are very few in number, and doubts are freely expressed as to the genuineness of many pictures ascribed to him. He is distinguished from his predecessors by greater freedom of handling and fidelity to nature — the latter especially in landscape — and he exercised a powerful influence on some of the greatest painters of the Venetian School, notably on Titian. 65. An Archer. The head and shoulders of a young man with dark and glowing face, and long loose hair of Venetian red, looms from a background of rich blackness. He wears a dark doublet under a black breast- plate, in which his right hand, encased in an archer's glove, and raised to his breast, is faintly reflected. The head comes high up on the panel and towards the right, but while the face, slightly inclined to one side, is seen in three-quarters (to the right), the dark inquiring