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Recently scanned from the Mallett Archive of catalogues. This Gallery catalogue was published in 1997.
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MALLET T Established 1865
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M A L L E T T Gallery
141 New Bond Slrrct, London VVl Y OBS •|'clr])hone: 0171 499 741 1. Fax: 0171 495 3179
Mallett Gallery
141 X c w Hoiul S t ree t
L o n d o n \ V i V O B S
T e l e p h o n e : 0171 4 9 9 7411
Fax: 0171 4 9 5 3 1 7 9
J a m e s I laiAey (iallery Manaf^er
R i c h a r d ( ; a \ e
Mallctt & Son (Antiques) Ltd 141 New Bond Street
L o n d o n W I Y OBS
T e l e p h o n e : 0 1 7 1 4 9 9 741 1
Fax: 0171 4 9 5 3 1 7 9
D I R I X : T O R S
L a n t o Synge Ckief Execulive
I 'he H o n Peter Dixon
Pau la H u n t
(Jiles Hi i te l i inson Smi th
Mallett at Bourdon House Ltd 2 D a \ i c s Street
L o n d o n W IV IL ]
Te lc ] )hone : 0171 6 2 9 2 4 4 4
Fax: 0171 4 9 9 2 6 7 0
D I R K C I O R S
L a n t o S y n g e
r i i e H o n Peter D ixon
Paula H u n t
T h o m a s W o o d h a m - S m i t h
H e n r y X e \ ille
J a n e (n ia r l to i i Associale Director
r r o n t e o \ e r
( i a w e n H a m i l t o n . 'Jhe Dii (.'nne Family,
Oil o n eanxas . 1(1 x 50 in / 101.5 x 127 e m . pages 25-3().
Front ispiece (detail)
S t e p h e n I'aylor. A I'ortrail of a Fox at the edge of a Wood,
Oil on canxas . 31 ' / j x 41 in / 8 0 x I 12 c m . p a g e Hi.
© Mal le t t & Son (.\nticiues) L td 1997
Des igned by Fheo H o d g e s Business Design C o n s u l t a n t s
Pr in ted hv I ' he W h i t e D o \ e Press
Foreword
r i i c Mal lc l t ( i a l l c ry has ac ( |u i rcd a n d buil t u p an inij ircssive
colk 'c t ion of im]50rtant a n d in te res t ing ]5aintings of t he e i g h t e e n t h
a n d n ine t een t l i c en tu r i e s a n d we h o p e you will like this select ion.
The ])ictures a r e s h o w n in o u r gal ler ies on t he s e c o n d a n d th i rd
l loors at Mal l e t t in N e w B o n d St ree t a n d also wi th t he f u r n i t u r e in
the m a i n s h o w r o o m s w h e r e they c a n h e en joyed wi th in r o o m sett ings.
R e p r e s e i u i n g t he e i g h t e e n t h century , ( J a w e n H a m i l t o n ' s llie Diidaiie
Farnilr is c.spccially r emarka i ) l e a n d a r g u a b l y the master]3iece of this
\ 'ery r a r e artist (.see ]iagc 2.")). Also f r o m the e i g h t e e n t h c e u t u i y is
W b o t t o n ' s ] )a int ing of Flviii!; Childers. t h e fastest r e c o r d e d r a c e h o r s e
ol' all t ime, a n d w h o s e o w n e r was the s econd D u k e of DeNonsii ire
{.see |3age 41).
C 'on t inu ing oui ' in teres t in f ine n i n e t e e n t h c e n t u r y pa in t ing , we a i e
p r o u d to o l fer John Wi l l i am W a t c r h o u s e ' s g rea t Flora and the ^ephyrs
(sec ]3age 48). Wc also i l lustrate E d w a r d B u r n e - J o n e s ' r e m a r k a b l e
h'atie I^ivis wh ich will next year be exh ib i t ed at the I 'klward B u r n e -
J o n e s C^entenary Exh ib i t i on at the M e t r o ] ) o h t a n M u s e u m in N e w
York (see ]}age 60).
, ' \mongs t a \ar iecl g r o u p of wa te rco lou r s , we a r e s h o w i n g a \ 'e ry large
a r ch i t e c tu r a l d r a w i n g of The .\nv Liverpool Exehange by T h o m a s H e n r y
W'yatt (see ])age 65).
W e h o p e you will c o m e a n d \isi t us h e r e in B o n d Street to see t he
p i c tu re s themselves , t o g e t h e r wi th t he fu rn i t i u e a n d o t h e r works of
a r t . a n d also at B o u r d o n H o u s e nearby.
J a m e s H a r \ e y
%
Johann Baptist Drechsler 1756-1811
Still Life of Fruit and Flowers on a Stone I^dge
Signed and dated 1807
Oil on can\ as
33 X 27'/. in / 84 x 70 cm
Johann Dirchsler is an outstanding artist ol
the Viennese School. boUi as a founding
figure and by the merits of his own work. He
was among the first to take a specialist
interest in flower painting, and was l()llowed
o\er a long ])eriod by many important artists.
He began his career at the age of sixteen
painting flowers in the Vienna porcelain
factory, and rose to Ijecome a Director of
Porcelain Design at the \'ienna Academy in
1807. At the same time, he established
himself as a master of conventional llower
painting, .\niong the earliest examples of his
work are a jjair of flower paintings dating
from 1783 (now in the .\luzeum Narodowe.
Warsaw), but the majority of his can\ascs
are dated between 1 790 and 1809.
School of Haarlem drca 1650
Two Rabbits in a Landscape
Oil on canvas 24 X 33 in / 61 X 84 cm
I'ROVKXANCK Private collection. I'Vance.
10
John Rubens Smith 1 7 7 5 - 1 8 4 9
scene from Oliver Goldsmith I'he Vicar of Wakefield
'The Vicar and his famUy sit in a bower by their favourite honeysuckle hedge, and listen to Olivia singing 'When lovely woman stoops tofolly\ She swoons as she sees the approach of Sc/uire Thornhill.'
Oil on c a n v a s
22 X 2 8 in / 5 6 x 7 1 c m
In its o r i g i n a l c a r \ c d a n d gi l t f r a m e
E X H i m i K l ) L o n d o n . Rova l A c a d c m v ; 1797 , no 5 6 0 .
John R u b e n s S m i t h w a s a th i rd g e n e r a t i o n
ar t i s t , who.se g r a n d f a t h e r . T h o m a s .Smith of
Derby , h a d s t a r t ed the f a m i l y in teres t in the
ar t w o r l d , f h o m a s h a d b e e n both ]3ainter,
d r a u g h t s m a n , a n d engra\'er , m i i h i f a i ious
acti\ i t ies w h i c h h e pas.sed on to his son ,
John R a i j h a e l S m i t h . ' I 'he S m i t h s w e r e
a m b i t i o u s a n d success fu l ar t entre|)renciu-s ,
w i t h a tas te for n a m i n g the i r c h i l d r e n a f t e r
the g r ea t e s t of the O l d M a s t e r s . ' I ' h u s j o h n
R u b e n s w a s b o r n as the th i rd , but first
siu-\ iv ing , son . H i s p a r e n t s c h r i s t e n e d the i r
c h i l d r e n w i th such n a m e s a s L e o n a r d o .
A n g e l i c a R o s a l b a a n d Ra ]3hae l C l a e s a r
' f h i s j j r e p o s i e r o u s ha l i i t , t h o u g h , w a s
] ) e rhaps jus t i f i ed by the success that the
f a m i l y e n j o y e d . John R a ] ) h a e l S m i t h w a s
d o u b l l e s s the most c o m p e t e n t , a n d
o c c a s i o n a l l y b r i l l i an t . me/,/.otinter of the
la te I8 lh c en tu ry , a n d a s ] )o rad ic but h u g e l y
t a l e n t e d ] ) a in t e r in oils. Best r e m e m b e r e d
t o d a y a s the ] )ub l i sher of ( J e o i g e .\Ior land .
J o h n R a j i h a c l p a s s ed on (he f a m i l y t a l en t s
to his son , a n d John R u b e n s w a s a l r e ad\
e x h i b i t i n g at the R o y a l A c a d e m y as ea i ly a s
I 7 9 6 w h e n a g e d o n l y t w e n t y - o n e . The
p re sen t ] ) a in t ing w a s e x e c u t e d the fo l l ow ing
year , the s e c o n d of s o m e forly-f i\ e p a i n t i n g s
w h i c h he s u b m i t t e d in the y e a r s u]) to 1811 .
T h o u g h e n j o y i n g r e a s o n a b l e succes s a s a
por t ra i t i s t a n d l a n d s c a p e pa in t e r , the y e a r s
of the Na|)o leonic w a r s w e r e dee ] ) l y
i n i m i c a l to the f l o t u i s h i n g of the a r t s in
K n g l a n d , a n d S m i t h e v e n t u a l l y e m i g r a t e d
to the U S A w h e r e he se t t led in N e w Voi k.
L ike his father , his tas tes w e r e as m u c h for
c o n n n e r c e as for p a i n t i n g , a n d he s e e m s to
h ave e n j o y e d a s t e a d y sueeess in his n e w l y
ado ] ) t ed coiuUry . H e d i e d in N e w \'ork
ill 1819 .
Jan Griffier The Elder 1645-1718
A panoramic view of Greenwich, the City of London and the Isle of Dogs beyond
Oil on can\ 'as 36 X 57 i n / 9 1 . 5 X 144 cm
Clonlained within a sn]x-rb period 'acorn and oak l e a f ca ived and gilded franie.
J a n (ir i l l ier was an A m s t e r d a m born merchan t whose amatein ' interest in pa in t ing developed into a ])rofessional one. His career was split between Hol land and England , where he first arrived jlist af ter 1666. H e took lessons li'om the landscape pa in ter Jan Lo(ncn, ano the r English-based D u t c h m a n , whose tonality he Imitates th roughout his career. H e travelled widely (Vertue tells us that he ke])t his own yacht, which on one occasion was wrecked on a j o u r n e y to Hol land, thereby cau.sing the loss of much of his stock of drawings) a n d seems to h a \ c worked in a n u m b e r of provincial English locations.
In about 1695 (and possibly earlier) ( i r i lher was once more in Hol land , where he remained for a decade or so. His re turn to Eondon in 1705, where he became part of the bustling Xethcrlandish emigre art scene, was marked by a change of his .style to what might be best described a ])roto-Engiish landscape technic[uc, a ])recursor of the |)iire
•
""iilR''- ^:
a
English style of such ])ainters as William Tomkins and Thomas Smith. T h e last decade
of his life was devoted to topogra])hical landscape paint ing a long the ' I 'hames \ allcy, e.g. Cireenwich, Windsor, Oxford and (iloncestershire. H e alscj m a d e occasional forays into types of ))ainting such as exotic bird i^ieces in the m a n n e r of his I'ellow emigre jjainter Pieter Casteels.
This |)ainting is a most interesting addit ion (it is ]3rc\iously unrecorded) to the relati\'ely sparse documen ta ry ev idence of the appea rance of Eondon after the first wave of rebuilding after the (Jreat Fire of 1666. T h e jsainting may he dated very accurately to the earliest years of the 18th century f rom the ev idence of the progress m a d e in the building of the Royal Naval Hos])ital with its coloimade half-finished in the painting. It is also an exceptionally rare record of the a]j]3carance of old (Jreenwich before the early vernacular buildings were swejjt away dur ing the later stage of the building of the college.
12
i:?
Mary Moscr 1744-1819
Still Lifes of Flowers A pair
Botli iiiscrit)cd on labels a t tached to the stretcher From Mr. Sharp's collections of the early /larl of the 18th century and brought from his seat at Brockley Hill, Middlesex on the demolition of the house in 1830
()il on canvas
Hach 21 X 14 ill / 53 X 35.5 cm
I 'ROVKNAXCr,
Mr. Sharj) , Brockley Hall , f rom w h o m bought in 1830; L{)rd I ) u \ c e n , by w h o m sriwn to the fa ther of the last owner.
Mary Moser was the daughte r of ( ieorge Michael Moser RA {I 704 -1 783), who was ])rimarily a gold-chaser and enamellist, i)ut also drawing master to CJeorge III. She herself was a flower ]3ainter in Ijoth oil and watercoloiu; and was appoin ted Flower Fainter to (^uecn C-harlotte for w h o m she decorated a room at Frogmore. She exhibited at the Socicty of Artists f rom 1760-1768 and , like her father, was a Foundation M e m b e r of the RA.
Fur ther exam])les of her work can be fiiund in the British M u s e u m , the Victoria & .Mbert Nhiseum, the Leicestershire Art Gallery, and the Ulster M u s e u m .
Stephen Taylor ( l . l f i l 7 - 1 8 4 9
.1 Portrait of a Fox at the edge of a (1 ood
( ) i l oi l c a i i x a s
X 1 1 ill / 8 0 X 112 c m
l'K(>\ l A . w c i :
l ' r i \ a l c ( l o l l w l i o n , ( i l o u c c sU ' i sh i r c .
It is c u r i o u s i i ic lccd lha t an a n i m a l ] ) a in tc r a s
a c c o m p l i s h e d a s is l a y l o r shou ld t o d a y l )c so
l i l l lc k n o w n , w h e n m a i u ' a n o t h e r artist of his
a g e of indin 'erent o r in fe r io r c|uality is so wel l
d o c i i m e i u e d , Ca i r ious , too. that his |)aintin!)s
shou ld a|)|)ear so r a r e l y on ihe m a r k e t , w h e n
w e know. Irom the e\ ic lence of the m a j o r
l . o n d o i i I ' .xhihit ions. that he w a s r e a s o n a b l y
|)rolilic: he e x h i b i t e d Ibrty-ni iU' p a i n t i n g s at the
R o y a l . ' V a d e i n y a l o n e b e t w e e n 1817 a n d 1819 .
o r I 'aylor 's l ife w e know relati\'ely little: he
w o r k e d in Winche s t e r . O x f o r d a n d L o n d o n ,
but w e have no know l edge ol ' the p l a c e a n d
d a t e of his b i r th , nor an\ lact abou t his a r t i s t i c
t r a in ing . T h e e\ i d e n c e of his |)a i in ings sugges t s
a most t h o r o u g h t r a i n i n g in d r a u g h t s m a n s h i p ,
a n d a w h o l l y com|)etent knowledg i - of p a i n l i n g
lechni (|ues a n d m a t e r i a l s . ' l a y l o i ; i h e n . is a
t h o r o u g h l y ] ) rofess ional ar t i s t , but o n e w h o .
(Ies])ite the o r d i n a r i n e s s ol his a n i m a l
subjects , u sua l l y m a n a g e s to s u i p r i s e by his
in\cnti\'eness.
The ])resent e n t r a n c i n g ] )ortra i t of a Ibx is
ty] ) ica l of his work , m i n u t e l y o b s e n ed a n d
most carefu lK p a i n t e d , it e x u d e s the a i r of
the closest obse rxa t i on f rom na tu re . Hut it is
no m e r e p l i ( ) t ( )gra ] )h ic l ikeness : w a r m t h of
fee l ing Ibr his c r a f t y s i t ter a n d sei is it is ity to
c h a r a c t e r a r e e\ i( lent in e x c r y brushs t roke ,
a n d elex-ate the ] ) a in t ing far a b o x c the lexcl
of a m e r e j jor t ra i t of a f axour i t e a n i m a l .
Hi
Martin Theodore Ward I 7 9 9 - 1 8 7 4
Portrait of a Doo in a Landscape
( ) i l on c a i u a s
. X 19' . in / lOO.,") x 1 2() c m
M a r t i n W a r d w a s I'roni a n c s l a h i i s l i c d arl isl ic-
la in i ix . liu- son of W i l l i a m W a r d (1 7( ) ( i -182( ) )
w h o w a s a t a l c n l c d cn i i r avc r . a n d w i th a n
i n i p o i t a n t l amiK c o n n c c l i o n t o j a i n c s W a r d .
I Ic s l nd i i ' d u n d e r S i r I . d w i n l . a i i d s c c r a n d it
w a s u n d o u b t e d l y this p u p i l l a g e that
i n t r o d u e e d W a r d to his lo\e o f a n i m a l a n d
s p o r t i n g ]xuntint>. H e e x h i b i t e d at the R o y a l
Ac a d e m y b e t w e e n 1820 a n d 1825 a n d a l so
at the Br i t i sh Ins t i tu te a n d SuHblk S t r e e t .
The m a j o r i t y of his w o r k w a s of a s])ortins>
n a t u r e , a n d l . a n d s e e r ' s i n l l u e n e e c a n c l e a r l y
b e s een , in s o m e o f his m o r e a m b i t i o u s
eom|)os i t ions it is a l so poss ib l e to de t ec t
e l e m e n t s of J a m e s W a r d ' s s ty le .
17
18
C^harlcs Towne 1763-1810
The Master of the llokombe Harriers riding a dun horse in a river landscape, his hounds by his side.
Signed Oil on c'aii\ as
X 44% in / 95 x 1 1 1 cm
Char les ' Ibwne was the loading L i w i p o o l lancisca])!', an imal and s]j()rling painter of the lirsl hall' ol' the nineteenth centiiry. His teehnic|iie is highly relined and painterly, and |)resages the 'finish" which is the corner-stone of Victorian painting. In his early work, his d rawing is charmingly n a i \ e and ])ro\ incial. However, by the late 1 79()'s, as was noted in Farr ingtoirs 'Diaries ' , this technic(iie had dc \e loped and been lierfected. His first paint ing was exhibited at the Royal Academy in 1799. In the next decade he a j jpears to have been it inerant (his n a m e is missing f rom the Lixerpool Directories for these years), bnt by the end of the decade, he was snlliciently well-known in the C;itv to he a fonnder and \ ' icc-Prcsidcnt of Livcr])ool A c a d e m y He died in Li\er]5ool on ()th J a n u a r y 1840, the possessor of a considerable local and national reputat ion.
The Holcombe Harr iers are jjrobably the oldest established ])ack of harriers in the country. They h a w bi-en in existence for ()\er three hundred years, and the hoiinds ha\'e been kennelled at the same |)lace, Ho lcombe in Lancashire, for upwaids of two hundred and fifty years. The m o d e r n harr ier is a hound whii h der i \es ultimately f rom the French blue-mottled ( iascony hound which was used to hunt hare li'om the earliest times in France. In H)17, King
J a m e s I \ isited Hough ton Tower and Ho lcombe where he so enjoyed the s])ort that he granted the ])ack"s Mas te r a Royal Warran t to hunt o \ e r t w e h e townships, and , almost uni(|uely, to wear the Royal Scarlet Livcrv' (as shown in our |)ainting) -harr ier ]5acks usually have a green li\ery.
I'he pack flourishes today, and retains a \ ast C o u n t r v in Lancashire.
19
Joseph Nickolls fl.l731- 174«
A View of Old Horse Guards Parade, with elegant figures promenading, with a view through to Inigo Jones' Banqueting House in ]\'hitehall
Fainted area 1 745
Oil on canvas
40 X 50 in / 101.5 x 127 cm
In an except ional ]5eri()cl caivecl a n d
u,ildcd Iranic.
J o s e p h Xickolls is a s o m e w h a t en igma t i c
f igure in early British landsca|3e ]5ainlins>-.
a n d lilUe is k n o w n ol" his life ot i ier t h a n the
ev idence of his own ]Dainting. His ])aintinss,
which a re know n f rom d a t e d exani])les
be tween 1731 a n d 174!!, show a
r e m a r k a b l e knowledge of \ e n e t i a n
com]3()sition a n d j ja in t ing technic |ne at a
d a t e well be fo re C a n a l e t t o \ isited l -ng land
a n d exer ted such a s t rong infl i ience on
])ainiers like S a m u e l Scot t .
Nickolls ' works a re near lv alwavs views of
c o n t e m p o r a r y L o n d o n . His figures a re
disjjlayed in elegant jjoses reminiscent of
C^analetto a n d j o l i (both of w h o m were in
the city in the 1 740's). a n d m u c h m o r e
highly co loured t han most of his British
contemi^orai ies .
'I 'his ])icture can be d a t e d to limi 1745, a
little be fore Clanaletto 's own j jaint ings f rom
a similar \ iewpoinl . T h e da t ing m a y be
taken f rom the a rch i t ec tu re of O l d H o r s e
( i t i a rds Pa rade , which is shown in its state
j jrior to the develo])meiU of the later 1 740's.
20
( f ^ v :: - . - i a - r - ^ - -
2 1
Giovanni Paolo Pannini 1 6 9 1 / 2 - 1 7 6 5
Architectural (Japriccio of the ruins of ancient Rome with figures
O i l on canvas
2 8 X 37 ' / , in / 71 x 9 6 c m
PROVKXANCK
G CJanliiKT. Heron's ( J l i ) l l .
I . r i F.RA l T R K
F Ai'isi, Giovanni Paolo Pannini e i fasti delta Roma del 1700 : I989,| j jagv 2 5 2 , illusti a icd n o
6 8 . also illustratocl in colour in ihc text. ]5 41
and witii a detail in black and while.
Ciioxanni I 'aolo Fannini is perl ia j js die i)est
known and widely col lected ol the R o m a n
|)ainters o f architei t inal caprieci in the 18th
c e n t i n y H e was immensely successful din ing
his lifetime, and m a n y o f his W{)rks (like the
|)resent one) were brought l)ack from Italy by
Ijnglish col lectors on the " ( i rand Tour". The
present |3ainting dates l io in his early career,
when he was mtich inl luenced by (Jhisoll i .
The co lotns are dee]ily saturated and rich
and the drawing \ igorous and j jrecise.
C'ollectors' and artists' interest in the remains
o f classical antic|uity had been witnessed
since the end o f the middle ages. (Classical
buildings appear, somet imes incongruously,
in m a n y o f the religious paintings o f the
renaissance. By the 17th century, the
buildings themselves were the essential
subject m a t t e r o f m a n y ])aintings, and not
merely the setting for a didactic religious
scene. Pure archi tec tonic ])ainting, though, is
relatix'cly rare, and the major i ty o f such
painlings would include classical motifs to
illustrate the know ledge o f the ]3ainter and
the educa led standards o f his clients.
WV^'
I 'annini is a seminal ligtn'e in this new world.
His jKiintings are not m e r e illustiations in a
lo])ogra)5hical sense, but br ing togelher .
according to the rules o f com])osit ion and
taste, buildings from the ancient world which
wci'e. in n uth. located far from each other.
This (win a])peal to the imaginat ion and the
99
h i s t o r i c a l s e n s e ol ' t h e first a g e o f t l ie ( i r a i i d
Tour w a s irresist i l ) lc . a i u i F a n i i i n i ' s ])aiiuin.! ;s
w e r e h()iis>iit in lar^e n i i n i l j e r s b y y o u n g
I'aigiisii " M i l o r t h " a n d t h e i r e o t u i t e r ] ) a r t s
l i o n i o t i i e r c o u n t r i e s . I h e y a r e t h e s|)irituai
l o r e b e a r s o f t h e a g e ol ' ( l a n a l e t t o a n d
( J i i a r d i - a n d i n d e e d t h e i r c a r e e r s c o i n c i d e d
wi th t h e l a t t e r s t a g e s ol I ' a n n i n i s w o i k w h e n
l ie a d o ] ) t e d tl ie t o n a l i t y o f his ] ) a i n l i n g s to
t h e prex a i l i n g tas te Ibr a l i g h t e r a n d m o r e
r o c o c o p a l e t t e .
24
Gawen Hamilton 1697-1737
A Conversation Piece: The Wedding Party of the marriage of Charles Bohem to Jane Du Cane, with
portraits of sixteen members of the families in the sumptuous interior of their house
Gawcn Hamilton 1698-1737
A (Jonversatiori piece: the Wedding Party of the marriage of Charles Bohem to Jane Du Cane, with portraits of sixteen members of the families in the sumptuous interior of their house Oil on cain as 40 X 50 in / 101.5 x 127 cm
C^ontaincd in its magnificent original giltwoocl f rame, car\c(l with the armorial achicNcincnts of the con|}le, Hohem im|)aling DuClane: "Sable three Horseshoes 2 & 1 ])oints downwards Argent (for Hohem) and Argent a Lion ram])ant Sable dncally crowned O r on a C^anton A/.iire a C^hex ron between three Acorns slip]3ed and erect ( ) r (Ibr DiiC.ane)
Extensively inscribed in an early hand with biographies of the sitters on the reverse of the canvas.
I'ROVKXAXCK Commiss ioned by Cniaiies Boheni (1()94-1769) af ter his marr iage on Sep tember lOth 1730 t o j a n e D u C a n e (171 1-1756); by descent to tlieir son Clement Bohem (1733-1804) who died without issue, leaving the paint ing to his cousin Peter DuCIane (1 741-1822), wlio was the son of his mother ' s brother, and also called Peter DuCIane (171 3-1803); wliencc by direct descent to the present.
27
The Artist's Masterpiece
T h i s is uiK|ucstional)iy the finest a n d i)cst
]3reser\cd work h) H a m i l t o n , a n d ]3re\ ioiisly
uniJiibiished a n d u n r e c o r d e d .
( i a w e n H a m i l t o n was I jorn in H a m i l t o n in
the west of Scot land in 1698. T h e details of
his early history a n d artistic t ra in ing a re
u n k n o w n until he arr ived in L o n d o n in chra
1726. H e is r ecorded (by ( Jeorge X'ertue) as
be ing a pupil of the a n i m a l ])ainter Wil l iam
Wilson (whose only known signed work is
i l lustrated in Wate rhouse ' s Dictionary of British I8tli Ceiitmj Painters, a n d was exhibi ted at
Mallet t ' s in 1996.) \Villiam Wilson is al.so
r eco rded as a 'Dea l e r a n d Auc t ionee r of
Ar t ' , a n d it seems likely that it was he w h o
in t roduced H a m i l t o n into the L o n d o n
artistic milieu in which he l lour ished. I'or
th ree or four years he pa in ted s t anda rd
por t ra i t s be fore b e c o m i n g a p ro to type
pa in te r of ' conversa t ions ' - the i n fo rma l
g rou j i ])ortraits which a re such a notable
fea ture of British | )a int ing in the Ifith
century. His success as a pa in t e r ol"
con\-ersations was i m m e d i a t e (the ]3resent
ou t s t and ing pa in t ing , a m o n g s t his earliest
a t t empt s at the g e m e , would explain why),
a n d \ e r t u e descr ibes h im as ' O n e of the
most e l e \ a l ed M e n i}i Art he re now ' , a n d the
ri\ al of I l oga r th . \ e r tue cons idered h im
su])erior to H o g a r t h 'in co lou r ing a n d easy
gracefu l likeness' . Like his ri\ al H o g a r t h ,
H a m i l t o n was notal)lv short ol s tature.
H a m i l t o n l i \ed in the artistic milieu of
( loxent G a r d e n , a n d the ex idence of his most
f a m o u s ] ) ic ture .J (mversatwn of Virtuusis (Nat ional Portrai t ( ia l lery) shows that he was
readi ly accc])ted into the cen t re of artistic life
in L o n d o n in the 173()'s. H e r e are de])ictecl
m a n y of the mos t f a m o u s artists, scul]3tors
a n d ])atrons of the day, a n d s t and ing
p r o m i n e n t l y ho ld ing his pa le t te is H a m i l t o n
himself in self-portrai t .
VJ f m . • "iS.
Ahon: A (Miirnuiliiiii 'ij l'iiliii>M\ (Jawni ll.miillmi N.ilinti.il I'urlr.iil (i;illci
'J9
rhe sitters in the painting numbered 1-18 are:
1 (S i r ) S i g i s m u n d B o h e m Tra f fo rd
1694-1741
Eldest son of (Menient lioheni I {no.7) Mariicd
Elizabeth (no.li). heiress of Sir (Jilbeit Heathcole.
(4ianged his name from Bohem to rrallincl upon inheriting his
rralford grandniother's estates in l^ssex.
2 J a n e B o h e m
171 i-i7r)(i
Daughtef of Richard aio. 15) and Anne
(nee Eyde) Dii C;ane.
The bride and princ ipal subject of this grou|).
C h a r l e s B o h e m
1694-17(i<l
3rd son ol" Clement Boheni I (no.7). The groom in the paiming.
1 M a r t h a B o h e m (nee Hudson>
1702-17110
Wife of |-xlninnd Boheni !no.5).
J E d m u n d Bohem
1702-1771
4th son of CHenient Bohem 1 (no.7) and
Husband of .Martha (no.4i.
(;o\crnor of the Russia (^impaiiy.
E l i z abe th B o h e m T r a f f o r d Daughter of Sir (Jilbert Heathcote,
1st Baronet, wife of Sir .Sigisimind ino.l).
7 C l e m e n t Bohem I
i i ) , )9 - i7 : »
l ather of the grooni and nos. 1. ;i. 5. 8. 9. 1 1
and 13.
.Scion of a wcaltin Strasburg inert hant faniih. Director of the
Bank of laigland. and founder of the family l()rtime in I'.ngland.
a C l e m e n t Bohem II
16!I3-1741
2nd son of Cli-ment Boheni 1 ino.7). merchant with large business interesls in St. Petersburg,
(( Anne Tonne reau
b.lti98
Widow, daughter of Cilenienl Boheni 1 no.7).
10 R i c h a r d Du C a n e II
171f)-17(il
Brother ol the bride (no.2; and second son
of Richard Du Ciaiie 1 (iio.l5).
11 M a r t h a Wal ton
1701-1761
Widow of .Samuel Walton, and 3r(i daughter
of (llenient Boheni I (no.7).
12 C l e m e n t B o h e m III
i7:5:Mii04
1st child of (iharles fno.3) andjane Bohein no.2). Born during the period of the painting of this pit ture. l ie
inherited this painting from his jiarents and be(|iieathed it to
I'eter Du C^iiie. his cousin, son of I'eter Du (iane 1 ^no.fb and
•Mary, (nee Norris) (no. Hi).
13 S u s a n n a B o h e m
b. 1705
Daughter of Clement Boheni 1 (no.7).
Pe ter Du C a n e I
i 7 i : M ! i o : i
Brother of the bride (no.2: and. at the date of the
])aintin.g. liaiu e of Mary .Norris (no. Hi) wliiini h<'
subseciuenlly married on 27 Man h 1735.
(iount\ High .Slierilf of Braxted Lodge, f^ssex in 1745. Direeior
and (;(i\ernor of the liank ol' England. Director of the I' asi
India Company. \'i(c President of the London Inlirmary. His son
Peu-r Du Cane II inherited (he jiainting from Cleni<-nt Pxihem III
no.l2 in 1,'iOI.
1.') R i c h a r d Du C a n e I
b.llifil
father of tin- bride (no.2) and I'eter 'no. 14) and
Richard II no. 10,.
.\IP liir Col( hester 1715-1722. Din e tor of the liank of laigland.
(jo\ eruor of ( Christ's Hospilal. one of the (irand ( iommittee of
St. I'honias's and (iu\ "s 1 lospitals. P 1 U I ( K ratic linaiicier and
(olleague of (:ienien[ Bohem 1 no.7 .
I(< M a r y Nor r i s
1711-1 7:)1!
1 iance of I'eter 1 )u (.'ane 1 utt. 1 1 whoni she
married 27 .Mart h 17!15. Daugluer and sole
heiress ol Herny .Norris of 1 lackne\ and
Woodliird. a merchant.
It sft-ins iikcK ihiit the |);nnliii<^s han<;in^ nn lli( • wall behind the grou]) are:
17 C l e m e n t Bohem 1
i(i:>9-i7:ii
.\s a \<)ung man.
II! Anne Bohem
11)71-1722
Daughter .md heiress of I 'ishet Dilke .uid .\nne
1 ralllird. and wife of (lleincni Bohem 1, holding
one of their ele\en ( hihlrcn.
30
17 18
10 16
l l sccn is l ikely t i iat t h e B o l i c m / D u ( ^ a i u '
p a i i i l i n t ; is o n e o f l l i c lirsi i-ssays in t l ic i i rw
i i i l o r n i a l p o r l i a i l u i c w l i i r l i w a s to c a p l u r c
i h c i m a n i i i a l i o n ( a n d t he p a l r o n a n c ) ol t h e
1 isiiis; w r a l l l i y m i d d l e class o f l - n ^ l a n d . in
l l i a l its in( <'i)ti()n nu i s l d a l r to shor t l y a l t e r
S e p t e n i h e r 1 7:5(1. a n d its ( o n i p l e t i o n (as
e\ i de i i eed by the d a t e o n t he (lo( n i ne i i t
h e l d I n R i e h a r d l ) i i ( l a ne I) t o i n i d- l 7!5 I.
w h e n it w a s d a t e d by the art ist . The
i n e l n s i o n ol t he lirst son o f t h e n i a i r i a t ^ c
( c l e h i a t e d in t he pa in l i i iL ; is a n inteiest ins^
as ide o n the t i i nesea le o l t he p a i iU i n i ; o l
th is p i c t u r e : p e n t i n i e n t o a n a K s i s su^nes ts
that t he c o n i p o s i t i o n was o r i g i n a l l y
( o n e e i v e d w i t h o u t t he po r t r a i t o l ' t he sma l l
c h i l d . The i i n h i s i on o f t h e i n t e n d e d b r i d e
o f IV te r D u C a n e o n t he far rit>hl h a n d s ide
o f t he c o n i p o s i t i o n a lso a])|)ears to be a n
a r t e r t h o i m h t o l t h e or i<; inal c o m p o s i t i o n ,
r i i c y we r e m a r r i e d t he f o l l o w i n n year. The
d a t e o l ' I 7!) 1 t h u s es tab l i shes prioritN over
man\ o f t he earl iest wo rk s b\ 1 lo[ ;a r lh in
t he s a m e ncn re . .\s sui h . w e inaN acc i ' p t
tha t t h e p a i n t i n g has a n unsus|)ecte( l
i m p o r t a n c e in t h e d e x c l o p m e n t o f th is
p e cu l i a r l y i i r i t i sh ty|)e o l p a i n t i n g . The
d e x c l o p m e n t o f these s m a l l i n r o r m a l
po r t r a i t g r o u p s in I ' . ng l and by such art ists as
1 l a m i l t o n . W i l l i a m I l o n a r t h . a n d .\rthur
l)e\ is relle( Is t he rise in prosperit\ ol b o t h
t he lo iA ' s(|uirear( h\ a n d the wea l thx u r b a n
m e r c h a n t class d u r i n g the lirst ha l l ' o f t h e
I fSth cen tu ry .
The f o u n d a t i o n s o f t h e a r i s t oc ra t i c soc ie ty
l e ad by the W h i g g r a n d e e s h a d b e e n s h a k e n
to t he i r roots in t he lirst t w o det ades o f t h e
l(")th c e n t u r y b\- t he tn i n i o i l o f l i n a n e i a l
s|)ecu la t ion c u l m i n a t i n g in t he S o u t h Sea
B u b b l e (I 7L'()). a n d m a n y o l d l a n d o w n i n g
f am i l i e s h a d b e e n m i n e d , .\ lew m o r e
c a u t i o n s a n d s h r e w d bus iness m e n ( i i o t a bK
t he i l n g n e n o l s ) h a d i m p r o v e d i h e i r l o r t n n e
c o n s i d e r a b K dt i i i n g th is p e r i o d , a n d the
])reseul p a i n t i n g m a y be c o m c i v e d as a
c e l e b r a t i o n o f the i i ( al\-based w e a l t h .
I n e x i l a b K . in l ! , ng l and . t he next g e n e r a t i o n
l l i e Bohem and Du Caiie family trees
Philips I'lioi'bc
17'.'
ol tlie family Ix'canic country gcntlcmaii .
with estates in Essex).
Both faniihcs boasted Direc tors o f the Hank
of England, whicl i . i)y a mixture o f
prudence, ci i icanery and fearsome
com]3etition. had established itself as the
monopolist sup]jlicr o f credit to
(io\'ernnient din ing the troubled years ol'
the South Sea Hubble and after. It had been
sorely tried for this pre-eminence by the
rivalry o f other banks (mainly the curiously
named "Sword Hladc ( lom] )any" ) , many o f
which had colla])sed in the aftermath o f
the Hubble.
.Men like the ])atriaich (dement l ioheiu.
who sils assured and confident in the middle
o f this o|)ulciU drawing loo in (])resumably
in their house in Tw ickenham) as fatlu-r o f
the groom, had eiu ichcd thcinscKcs
uiightiK li'om their shareholding in the
liank o f England. Eikew isc the father o f the
bride. Richard D u C a n e , had g i own wcalth\-
f rom the twin ( i eo rg ian resources o f
Directorshi] ) o f the Hank o f England and
Political Patronage (he was M P for
Clolchester. 171,0-1722, at time o f the
greatest financial uncertainty). The
l) irectorshi])s were \ irtually hereditary: the
g r oom himself, Clharles Boheni, was a Hank
Director f rom 1 750 until his death in 1 7()!).
Peter D u C a n e (who subse(|uently became
owner o f this Hami l ton |3ortrail grou]) )
ser\'cd as Director and ( i o x e rno r during the
great j jeriod of economic exjjansion in the
years 1 7r)()-l 7}i,'l H e in his turn was the
patron o f the couNcrsation-paintcr .\rthur
Dc\ is. who painted his portrait in 1747-
relaxing with his gtm and spaniel: now a
(Country .S<|uirc not a City I'aUier! This
portrait is |)art o f one o f the most endearing
groups o f con\'ersalion pieces o f the loth
centiiry. Th is set comprises not only Peter
DnCane ' s jjorirait dig. I), but also se])arate
])ortraits o f his w ife (fig. 2) and their t lnce
children (fig. !5).
C^onx ersation ]3ieces o f this type have their
ultimate root in the bourgeois family grou])s
which sufluse f7th cent iny Dutch painting,
by artists such as 'Per Horch. Pieter de
H o o c h and ( ionza les Clocjues, and we may
imagine that a family such as the Hohems
(recently arrixed in Britain f rom a mercantile
family in .Strasburg) and the D u ( ! a n e s
(I'Vench jsrotestants longer established here)
would haxe been aware o f these archetxpi's.
A l the date o f this picture, most British
])ainting was stuck in the dull attenuated
Augustan |)omp o f the later fbllowers o f Sir
( iod f i ' cy Knellcr, and there is much which, if
technically woithy. is little more than the
wretched "fi/./.-mongering" at which Hogarth
railed. It must therefore haxe been litllc
more than astonishing to the rim-of-the-mill
])ortrail painter (and his d icary pat ion) that
something so lixely and different could
actually be obtained in Eondon. The
com])osit ion demands our atti'ntion: the
social liistorx' contained in the grand
;52
The DuCane family by Arthur Dcvis
/vs./. IVkr DiiC.iiii-, l7l:MR(i:i /•(!;.:'. .Mary Niirris, 1711-17.i!i
D u C a n e
R i d i a r d I()HI-I71 1
L y d e
A n n e
D u C a n e D u C a n e D u C a n e
J i l l l C I 'cu 1 R i c h a r d 171 I - I 7 ' i l , 171:)- lifli:! 1 7 1 , ' , - 1 7 1 1
B o h e m N o r r i s
M a r y l l . ' l l - l T l i ' l 171 1- 1 7.">ii
1 1
D u C a n e D u C a n e D u C a n e
R i ( I k i h I I 'ctcr . \I , irv 1 7 i ' l . 1 7 1 . 1 , 1 KJ> 17 l ' , - l ! ! I J
/•iii.i. /.//.• Kirli.inl Diic:,111.'. I 7:l'l-1 71.1,; .IMZ/r .\l.ir\ DiiC.iiic, I 7 Ti-1 li IL':/.'«/"• IVu'i DUC.IMI-. I7II-III21!
Ixjurgcois scuiiig. llu- conf idcnl t'lijoymciit o f
the lra])|)ings o f great uca l l l i cx idciiccd Ijy
the Tui kish car|X't. llic early rococo lirc]5lace
crowned with tlu' arms o f Bohen i / l ) u ( . ' a i i e
(e\ idencc o f tlic a\ant-garde in I 73()"s
interior decor), the opiiiciit g ihwood and
ii])iu)lstcred furniti ire (\ery siniilar to tiie
lainoiis set which sur\ i\es at Stoneieigii
Ai)i)ey) are all tokens o f the prolot ind
change which ha|)])ens in ( ieorg ian
Eng land . I'he coimtry is beg inn ing to nio\e
Iroiii the Dom i n an ce o f the Landed Interest
to the D o m i n a n c e o f Independent (!a])ital -
and these arc amongst the |)rotot\pe
(:a|)italists, whose wealth comes l ion i trade
not agriculture.
'I'echnically, the ])ainting is a tonr-dc-l()r(c.
with a softness and lixelincss o f execution
which is un imag inab le a decade earlier than
I 730, and exc eptionally rare excii then.
The paint siii face is entirely fresh and
unabraded , and all the original gla/.es
entircK intact.
31
Jean-Louis Prevost area M&O-circa IfilO
Still Life of Roses in a Glass Vase on a Stone I^dge O i l on ca inas
16 X 12 in / 40.5 x 30.3 cm
i . n K R . v r r R K
Bcllicr Bcnczit
Fare, 1976, jjp. 1«8, 190. 294, 297
. M I S K L M S
Bf.san(;oii. iTancc
Fit/.william. C^ainhriclgc
Stoc kliolni. Sweden
Pirxost was horn in Nointel , Fram e. A ]5upil
oi' Bachclier, his s]3eciality was to he still-life
pa in t ing in both oil and watereoloiir, and his
mastery ol' the genre is shown in this
delieatc and sim]3ly composed study o f roses.
His dedication to this school o f ])ainting led
h im to be accepted to the Academic de
Sainl Luc where he exhibited in 1774. He
also exhibited at the Salon, l i om 1791 to
1810, and was a teacher. A contemporary
critic is C | t i o t e d as saying that with a little
more a]iplication. ... IVe\ <)st and his elder
brother Faigene Jose])h, ... would be the \an
Huvsums o f IVance."
37
French School, after FraiK^ois Bouchcr ana 1800
Fontaine de FAmour and L' Vieu\ Diseur de Bonne Aventme A pail-
O i l on caii\as
35 X 56 in / 89 x 142 cm
I . I I l . R A U R i :
Ananoir. F Bimcliey. Paris-Lausanne. 197().
nos. 149 and 150.
.Xnanoir & \\'ikk'nstiMn. Homhcr. 'ihe Cdiii/ilrlc
lloM-.v. Mi lan . 1980. nos. 150 and 151.
This line pair of" pastoral sceiics is based on
a famous series o f ])iclures exeeuted by
Frani^-ois Houeher (1 70:^-1 77(),i who was.
a long widi Fragonai'd. ihe primar\ influence
on Freuch 18lh century Rococo painting.
His softness o f line and colour, and ihe
charm and immediacy of his subject matter
became the yardslick by w hich pastoral
I j a i n l i ngand decoration was judged. The
two original |)icttu-es. ])ainted by Houcher in
17!^8. are now lost, but ihi'otigli a suite o f
engra\ ings by .Miamet and .\\eline called
h s CJmrmes de la \ 'ic Chainjielrc. lhc\ became
highly |)()|)ular. .Many other eminent |5ainters
in Houcher's circle, such as I luet and l,e
Prince copied or de\'elo])ed elemeuls from
litis suite. It is diflieuh to suggest the name of
the artist in this case, as this style was so
])opular. I)ut the skill with which the stairage
and drapery are jjainted. and the freshness
of colours is sell-e\idcnl. Di' .\listair l.aing.
the .Xational IVusl's sjjei ialisl in O l d M.ister
])ictures. suggests that this ]jair were painted
around 1800. after the death o f ISoucher.
but at a time when his ])opularity was still
\er\ high.
m
( jcrman School urea 17
set of six .sludics of (kime Birds:
Detail o/)/mil(' and lof) Icfl: A \ aricl\- o f cock
l)hcasanl (Ptmsianus Colchuiis): lop milre:
anol luT \ai ict)- ol' cock |)lu'asaiit ll'Imsiaiiiis
('.ohhuusj: top right: Rackc l l i rn (liyhrid
hclwci-n llu- 151a( k ( i rousc - '/etrao 'lctri\-
aiitl tlic ( ^apcrcaillir - 'letrao I 'roiJallii.sj: ai)ov('
left: ( :a])ci('ailli('. male t'letrao I 'rofiallns)-. above
eentrc: A \ aricly o f cock ]5licasanl (I'hasiaiius
Colcliuu.s): above riuht: ( 'a])ci 'caillic, Icnialc
('letrao I roualliis)
Watcrcoldiii '
Kacli ]IV . X 12' Mil / 17 X 32 cm
Continental School liira l(')9(l
A pair of fine late 17 th century oval fan paintings depicting noblemen and women in an arcadian setting, and a busy market place
( i o u a c hc o n silk
I j a ch U) x 14 in / 2 5 . 5 x 35 .5 c m
In or ig inal e l a b o r a t e carNTcl gill\vf)ocl f r a m e s
12
i:;
. . . V t - ' r '
WW--
0-
J o l i i i W o o t t o n
l(i!i2-17(i:)
l ' ' l\ in,<r C : h i l c l r r s beiug rubbed down at. Xeivmarket: His ownei; 11 'i/liain 2nd Duke of Devonshire and a group of admirers and conneetions looking on
()i l on canx as
4 0 X 5(1 in / 101.5 x 127 ciii
In a wood p e r i o d c a r w d a n d gi lded l i an ie .
I 'R()\ I .NANCr.
Bought f r o m I 'awsey a n d Payne in 192 1 hy
M a r s h a l l Sesxall i:s{|.
i . n i .R.vi I k i ;
Wa l t e r S h a w S | )a r ro \ \ . British Sporliun Artists. 1!)22. i l lustrated i)age 5!!.
The | ) resenl p a i n t i n g was i l lus t ra ted hy W a l l e r
Shaw Spari'ow in liis seminal liritish S/iortiii<i Artists as a "good e x a m p l e of the W o o t t o n /
Ti l lemans per iod", a l t h o u g h he seems to h a \ e
(•om])letely over looked the t r ue s igni t ieanee of
the ])ainting. I 'he seene re] ) resenled is I'ar
m o r e t h a n a "seene of t he r u b b i n g dow n
house at X e w m a r k e t " , in that it de]jicts the
most c e l e b r a t e d horse in ear ly r a c i n g his tory:
Flyin<; ChUdcrs.
hi 1721. the D u k e ol' l )e\()nsli ire"s Fhinn
ChUders c a r r y i n g !)st 21bs r a n a trial agains t
Ahnmizor (son of the Darin Arabian) and the D u k e of Riitland"s Brou n Billy (a d a u g h t e r of
Basto) over the r o u n d c o u r s e at . \ e w m a r k e t :
'.') miles, (i fur longs , a n d \ a r d s in (i m i n u t e s
4 0 seconds , his b e a t e n o p | ) o n e n t s c a r r \ ing fist
21l)s. In this race, he is said to have inoNcd
('{2.5 l e d in a s econd ol t ime, winch is close
o n a mile a m i n u t e . Whils t m o d e r n
scho la r sh ip suggests that this is oxc r s t a l ing the
case (due. no d o u b t , to i nadc ( | na t c t i m i n g
t e d i n o l o g y at the t ime) he is genera l ly a g r e e d
to be the liistest horse whi( h has e \ c r i tin.
• p a i n t i n g shows (Jiililns b e i n g r u b b e d
d o w n amids t s o m e o t h e r s of the Duke ' s s t r ing
ol race l io i ses (a l a m o u s print siiows he kept a
s i r ing oi twcntN o r m o r e horses in t r a i n i n g at
.Newmarket) . I he ( i r e \ o n the right ol the
i ()ni |)osition w c a i s the Duke ' s IJui l - t r in inied-
wi th -b luc liM i'X b lanke t , u n d e r his r ac ing
15
s a d d l f . inclit a l i ng llial he is l )cing prcparec l
lor a i r a i n i n g r im.
Fl)iii<i (Mdcrs was b red l)y Lcoiiarci (l l i iklors ol'
( l a r r H o u s e nea r I )oiu astci; a n d sold when
youim; to llic Duke ol' Dt-xonshire. H e was
I ' o a k ' d in 171."). irot by llic Ihilcr Arahiaii out of
Bcltr Imk\. by Old (,'tnr/rw !a son of S/)fiiik)'r) oiil
ol a sislcr to Lrdcs etc. His <|uality was so ajood.
that there were almost no takers to chal lenge
him in a niateli in th<' \ 'ears I 7'21-3 when he
ran . H e was retired to the Duke 's ])r i \ate sttid.
dy ing there in 1711. ha\ ing siicd liis last l()al
(Mr C o r n w aH's \y.\\ .Xc.sloii/f) in 1 740.
John W b o t t o n is the mos t d i s t ingu i shed of
the ear ly Engl i sh school of s])()rting pa in te r s .
His work was di rect ly in l l i ienced by the
c o n t i n e n t a l m a s t e r s 'l i l l emans a n d W'yck,
u p o n w h o m his ear ly style m u c h d e p e n d s . H e
is the lirst artist to gi\'e ns a \ isual r eco rd of
the ea i ly days of the h u n t a n d the tuii', a n d
his work was i m m e n s e h jj()|)ular with his
d i s t ingu ished cl ientele. W b o t t o n was b o r n at
Sni t ter l ie ld in Warwicksh i r e a n d m a n y of his
most im])or tant works a r e to be f o u n d in the
la igl ish m i d l a n d shires, at such houses as
l .ong lea t . I5erkele\- Cas t le , a n d Badni i i i ton .
. \ s Sir I'.llis W'ater l iouse po in t s out in his
Dirtioiinry of British IHth ( '.cntun I'aiiilers. he w as
' fo r fifty \ e a r s the horse p a i n t e r lor the
aristocracy." A | )a r t f r o m his s j jo r t ing j ja int ings.
W b o t t o n was also o n e of the p r i m e c r ea to r s of
the I'-iiglish landsca])e. a n d \ irtuall\- c o r n e i e d
the marke t in his ear ly c a r e e r loi- ba t t le
picttu'es soften f e a t u r i n g the D u k e of
M a r l b o i ' o u g h . a n o t h e r p a t r o n at B lenhe im) of
the W a r ol the S | )an ish .Succession. I his
| ) a in t ing m a y be d a t e d to the early 1 72()"s on
stylistic g r o u n d s , w h e r e W b o t t o n ' s I ' lemish
iiillueiices c a n be cleai ly seen in the t ightness
of his style. His latei' w o i k is b r o a d e r a n d
s o m e t i m e s less re l ined .
H)
if i'
'5?S -
James Seymour I7()2-17:)2
S('(ll)ur\- led hy a (irooiii
Siiiiu-d ()il oil cain as 2.") \ :)(! in / ();>..') \ 7() cm
111 original carvcd and gilded woiid liamc
l'R()\ i:\.\X(:i.: I lcnr\ Wnci. XcwIa I lall. \()rksliiri' una I (")7(l; and diciirr 1)\ descent.
James Seymour was ihe son of a l)anker wlio was a friend ol' hotii Sir I'eler l-ely and Sii' (:in isto])iier Wren, and w as i)orn to a life of some opulence. Loss ol' family lorUine. lio\\ t'\'er. i (instraiiied Seymour lo the life ol a |)rolessional painler. Here, his fadier's coniu'etions w idi such laniilies as dieJolliHes ((ioxcriiors of llie IJank of i'aitiland) ,s>a\e liim an entree to some of the wealthiest patrons, l or them he executed miinerous s|)orlini; |)aintin<;s. most olten ol the tm l. although his masterpiece .1 hill a! A Mon-n I'(trk 'l ate (ialler\ ) is a lumtinn piece.
Seymour is the yreat "primitive" painter of the ])eiiod and it is his obsession with miiuilely ol)ser\cd detail \\hilsl retaiiiins; the innoient eye for composition whi( h is his hallmark and has endeared him to ucneratioiis of collectors.
Sri/hiiij WAS l)a\ racehorse foaled in I 7:! I which eiiioNcd a considerahic success on the
later at stud.
17
John William Waterhousc RA 1849-1917
Flora and the ^ephyrs
Signed and dated } W'aterhouse 1897 Oil on ean\ as 44 X 81 in / 112 X 2()(i em
i 'R( ) \ENA\( : i - : ( ieorgc MeCkilloch, to his death in 1907; his daughter, M a r y MeCliilloeh: Christie's. MeClulloeh Sale, 23-30 M a y 1913. lot 92 (bought 1-jnile Mer ton for 78,') guineas); I'-niile Merlon 's daughter, Vivien Mer ton . and theiiee by direet deseent to the ])reseiit owner.
KXIIIBITKI) London, Royal .'Veadeniy. 1898, no. ()4; London , Royal . \eadeniy. Winter ExhihUion, 1909. no. 6().
i . m : R . v n R i ; 'The Tunes. 14 May 1898, ]). 16; Spectator. 1898, p. 694; .Uhenaeum, 1898, j). 572; Art Journal, 1898, pp. 174-6; Magazine of Art, 1898, p. 465; Art Journal, Clhristnias Number , 1909, ])p. 18, 21, 23, and illustrated in eolour op|)osite p. 10; Anthony Hobson , The Art and Life of J IC Waterhouse, R.A., 1849-1917, London , 1980, ])]). 104-5, 147, pi. 72, eat. no. 120; (Christopher Wood, Olympian Dreamers, London , 1983, p. 235; .•\nthony H o b s o n , , / H ' Waterhouse. ( )x lord , 1989. ])]). 64-70.
48
1 ! )
Flora and the ^ephyrs shows llic nioiiu-iU u i i c n
Z('])hyr, god ol' tlic wiiul. first sets eyes upon
and falls in l()\c witii I ' lora as she gathers
liowers in the fields with her maidens and
children. He flies down to her, a c c o m p a n i e d
by his w inged eom|)anions. and captures lii-r
by casting a garland o f white flowers around
her. The ])ainting takes its subject from
Ox id's l-'asli. whidi is a \ er.se chronicle o f the
R o m a n calendar, and w hich ineorporales
the mythologies and historical legends o f
R o m e where ihey can be associated w ith
specifii' times o f the year. Waterhouse. who
was elected a full .Academician in IJi!)"),
])r<)duce(l \ arioiis o f his most R o m a n t i c
works during the second half o f the Ifi9()"s.
Flora and Ihc ^eplirrs. o f I ! i97 . w as f()llowcd
after one year by J/rlas and llw .\'rni/)li.\
( .Manchester ( l i ty .Art ( iai leries) which is
])(•! ha])s his most admired and best known
])ainting. 15olh Hylas and I'lora were figtiics
of tem|)ting bcautx; I he former is seen as
the nym|)hs draw around him. enticing him
into theii' midst so that they might draw him
beneath the stirfaee o f their lily |)ond. while
I ' lora looks upwards with a m i x t i u c o f
a larm and exci tement as the Zephyrs fill the
branches o f the gro\e o f bay trees w ith the
c o m m o t i o n o f their flight. Both Hylas and
I ' lora face uncertain fates, and it is this sense
o f ])sychological inimitieiice - causing the
s|)eetator to search for clues as to the
dramatic outcome - which places both
|)aintings a m o n g the masterpieces o f l!)lh
centu iy Symbolist art.
Flora and Ihr ^cplirrs was exhibited at the
R o ) a l .\cademy in b'!!)!! w ith . l/vWwr'priv ate
collection), i wo \eai s later Waterhonse
showed '/hi' Awakaiinsi ()f Adoni\. \\ here again
the main protagonist seems hai'dK awai e o f
the unl()lding d i a m a .
'I'lu- critical responses to Flora arc intcrcstiiio'.
Ill the first instance, the painting was ])raiscti
lor its teclinical (nialities and as containing
the essentia! elements ol" Waterhoiise's
distinctive style. The Athenaeum found it 'a
subject eminently suited to the mode of art
that M r J \V \Vaterli()iise always affects. It
has alFordcd itiin an o])])ortuiiity of de])icting
witli exceptional brilliancy and sjjlendoiir of
colour a number of dreamy figures, such as
that of the goddess. Indeed, her beautiful
features are better ])ainted. un(|uestioiiably,
than anything he has done l)efbre of the
same sort." 'ihe 'Iimes, likewise, ap])r()\-ed it as
'a delightful ]3rescnlation of (the artist's)
f'a\'ourite colour scheme, ... (of wliich), as it is
by M r Waterliouse we need hardly sa\' that
the (lecoratixe element is cons])iciious, and
that the lines of the coni])osition make a
])attern charming in all resjjccls." O f those
who res])onded to the ])aintiiig in Ifi9fi, '[he
limes critic seems to ha\e been most alert to
its jjsychological nuances, referring to die
sense of sexual submission on the ])art of
f l o r a , for, while her com|)anions "are
innocently gathering flowers, and their action
shows that they feel the breath of s])ring
winds, F lora alone does more than feel: to
her is re\ealed the presence of the young god
of the wind and of his companions who
come floating through the trees, and, as
/e])hyr casts a girdle of roses round her form
and jiresses his li|)s u])on her a r m , her eyes
declare that she is suddenly conscious of a
mystery uiirevealed till n(n\. f h e contrast
between the conscious f l o r a and her
unconscious maidens is what takes the
])icture out of the merely dccoi atixe class'. In
connection with Flora, the Art Ji)uriial
declared: 'His art is to conceiitratc liimsell
on the ])ulse of the myth, and make his
whole |)ictinc ihrob in unison.'
W'aterhouse's re-iiiter])retalioii of the classical
dream idiom w as dis( usscd by v arious critics,
including that of 'Flu '/imr.\. who found that
the |)ainting was one "w hich tells its slory
\('r\ |)ei fectl\ and is liaiikK in\ thological
without being hlerar\." IhrAthniaeuni slated
that the artist 'had not looked al his iheme
from ihe staiid|)oiiu of ancient art' but lhat
the pa in l i i i gwas instead indcbled to
Renaissance prolot\])es: ' \ o t only in the
faces and atlitiicles, hut in tlic general
handling of the subject, lie has clearly
ado])led the point of \'iew of a designer of
the early Renaissance, nol (iiiile free from
(iol l i ie influences, such, for instance, as
those of Boiiicelli. whose Allci^ory 0/ Spriiis^
will he suggested hy M r W'alerhoiise's latest
work". T h e same issue was ex])l()red in the
Speclalar. the critic of which lotmd Flora "a
work of ])urc delight", hut who drew the
conclusion that "so delicate an idyll cannot
he desciihed. il must he seen". Il was the
critic's duty to 'poinl out how right the ai tist
is in ax'oiding all archaic alfcctations of
form: the natui al beauty of Flora and her
train convinces us of iheir e.xistence, and
that were we as fortunate as the painter. \\c
too migiit ha\-e seen this g r o w . T o |)aiiu thus
is lo ear iy out the s])ii it of the early
Renaissance moie truly than lo construct a
sham ])rimiti\ eness. Why should SIK h
ex(|uisite natural beauty as (hat of the
central figure and of the little child running
()\-er the grass he sacrificed.' Woebegone
]jeo])le we t(to often see in ideal pictures. ...
M r W'aterhouse ... has the secret of lyrii
charm, and knows soniethiug of meadows
which the \ene l ians lo\cd." 11; arc !J,ral(fiil to Cluislophcr. \nc(ill for his help in
rnhiloffii)!^ this paiiiliiio
52
54
John Atkinson Grimshavv 1 8 3 ( i - 1 8 9 3
Greenock Harbour at Mght
S i g n e d a n d dated 1 8 9 3
011 on can\ as
12 X 18 in / 3 0 . 5 x 45 . ' ) c m
r i u ' ])ainlint!;.s o f this Leeds artist are well
known a n d l o w d . part icularly in the north o f
Kngland where he did so m u c h o f his work.
T h e 18()()'s and 187()"s are often cons idered
his most creat ixe and format ixe years, htil it
is liis dock scenes o f L ixer j ioo l a n d the area
around ( i l a s g o w - which he began ]3aintino
in the 188()'s - that are ])erha])s. for most
|)eo])le. the (|ninlessential ( J r imshaw.
( i r e e n o c k Harbour , on the Firth o f CMyde.
was, like ( i lasgow, a rich and j i rosperous
a r e a in the l !) lh c e n t u r y and as with his
Li\er|)ool \ iews, ( i r i n i s h a w ])roduced se\eral
xers ions o f these pictures to satisfy the strong
d e m a n d for t h e m from local Inisinessmen.
As was typical o f this ])eriod, (ireemnk
Harbour at .Xitiht captures the ra ther dam])
and m a r i t i m e a t m o s j j h e r e o f the n o r t h e r n
port ; the row o f gas-lit shops cast ing their
r a d i a n c e o n t o tlie wet road and ])a\'ement,
and the tangle o f ships" masts and rigging
drawing otir at tent ion to the water on the
left. This pa int ing is a superb exam]) le o f
this ce lebra ted ])hase in ( i r i m s h a w ' s career.
John Atkinson Grimshaw 1 8 3 6 - 1 8 9 3
Newlay Wood, Leeds
Signed ; also s igned, inscr ibed a n d da ted 1861
on reverse
Oil on board
11 X 15 in / 28 X 38 cm
date f rom 1861, the y e a r in which he pa in t ed
this exquis i te ly deta i l ed still-li le na ture study
of Newlay Wood. T h e pa in s t ak ing w a y in
which he has dep ic ted the deta i l of the rocks
and ferns, the r ichness of colotu' and
luminosi ty - usua l ly ach ie\cd by j sa in l ing
]3 in ' e colours onto a wet wh i l e g round - both
strongly suggest the inf luence of the Pre-
Raphaeh t e Brotherhood.
T h e in.s])iration for this a n d other na ture
studies of this da te p robab l y c a m e f rom
wl ien Gr imshaw a n d his wife, I'anny, used to
wa lk from the town centre in Leeds a long the
M e a n w o o d Val ley to Ade l , p i ck ing up moss-
co\'ered stones, lea\es, twigs, f lowers a n d
feathers to take h o m e a n d a r r a n g e in the
studio to pa int . At this point in his ve ry ear ly
career, like the Fre -Raphae l i t e s , ( i r i m s h a w
se ldom produced ] ) re l in ih iary studies for his
])iclures, nor wou ld he ha\ e worked out of
doors (although one of his sur\'i\ ing
sketchbooks - now in the Leeds C^ity .'\rt
( i a l l e r y - conta ins a s tudy wh ich shows that
he did take on-the-s])ot notes for u.se in
l inished ]5aintings).
1
i ft" ••
k ^ ' J f c •
V >
\
• ' #
( i r imshaw ' s ear ly sli l l-l ifes we re ] ) robably
inneh inf luenced by Wi l l i am H e n r y Ihu i t .
who was w ideh knovs n lor his deta i l ed birds"
iiesls in the years be tween 18()1 and 18()3,
after which he began |)ainling landsea])es .
( i r i i n shaw would ha\'e l e a rned of l l ie Pre-
Raphae l i tes through fellow Leeds artist
Wi l l i am Inchbold. Inehbolcfs connec t ion
with the Hrothei'hood, par t i cu la r l y with
Rossell i , and also Ruskin from a round 1834.
would ha\e made him idea l ly well ] ) laced to
comnuin iea te iheir ideas.
1 ^^^^^^^^^^
- • ^ i . -.-'J^. ' . ^ . v M . - ; v . - ^
y. - . "
- V V'V'
V^-m/^-- % •.f i v. , v.-
i f V \
^ A- j i - ' - v .
Atkinson Grimshaw 1836-1893
The (Cradle Song
Signed and dated 1876
Also inscribed on re\ erse The Cradle Song. Alkinsoii (irimshaw. At the Castle-hy-the-Sea, Scarborough 1878+
Oil on canvas
32'/:!X48 i n / 82.5 X 122 cm
In 1870 (irinishavv ])urchased Knoslr()|3 Old
Hall, a handsome Jacobean mansion just
outside Leeds. This was a turning-point in
his life, and Knostrop was to remain
Grimshaw's real home for the rest of his life.
The family v\ere clearly \ery ha])])y there,
and the 187()'s were to be an enormously
successful and creatixe jjeriod. I he house
itself was lo insjjire many pictures, and it
was out of Knostrop that Cirimshaw ex'oK ed
one of his classic formulae - the tiioonlit
road wilh a house behind a wall.
As well as a painter of moonlight, (irimshaw
also produced a handful of interiors, of
which The Cradle Song is one of only four that
are now known. The others are Diilce Domim, Spring and Summer, all three painted al
Knostro]) Old Hall. These interiors and
other similar .scenes depicting (irimshaw's
wife Fanny (I-Vances Theodosia) in the
garden at Knostro]} owe a great deal in
ins])iration lo I'issot.
In about 187. (Jrimshaw was ]5ros])erous
enough to rent a second house, Gastle-by-
the-Sea, on the front at .Scarborough, on the
^brkshire coast. Here he jjainted some of his
finest harbour scenes, as well as this elegant
interior, 'Ihe Cradle Song. (Jrimshaw is known
to ha\'e made extensi\e alteralions lo the
house, installing old woodwork, tiles.
scul])ture(l reliefs and a studio. Ihe Cradle
almost l ertainly de]5iets ihe suidio. The
model is .Miss Agnes I.eele, ihe children's
go\eniess. (:aslle-by-the-.Sea was lo be a
place for enlerlaining. and according lo
(irinishaw's daughter I^nid's recollections,
(ieorge du .\Iaurier, Hllen Teriy and ] I,
Toole were all guests.
S i r E d w a r d C o l e y B u r n c - J o n e s
B i . , A R A
1 8 3 3 - 1 8 9 8
Katie L'wis
S igned wi th init ia ls a n d insc r i l )cd EB-J to (iBL
Dated 1886 on the ]5ainted book
Oil on c anvas
2 4 x 50 in / 6 I x 127 c m
1'R()VI:N'A\C:I,
S i r E d w a r d Biii ne-Jones, w l io ga\e it circa 1897 to S i r George Lewis and L a d y Lewis ;
Ka the r ine Lewis , the sitter, a n d thence by
descent to her niece, Elizal)et l i W'ansbrough.
K X H I I i i r i . l )
London , ( i ro svenor ( i a l l e r y , 1887. Exlnbition of Works hi Sir Edu ard Burne-Jones, Bt (1H98-9), no. 77.
London , Ta t e ( i a l i e r y , 1933. Cmleimrr Exhibition of Paintings and Draicings by Sir Edward Biirne-Joni's, Bt (1H23-1H9H), no. 32. London , Hav-ward Gal lery , .Southampton Art
( i a l l e r y a n d B i r m i n g h a m Cuty M u s e u m and
•Vrt ( J a l l c ry , 197(), Burne-Jones, no. 240 .
London , Sotheby ' s , C7iild/wod \odn exh ib i t ion ,
no .273 .
I.H KRAI I RK
NLalcolm Bell, Sir Edward Burne-Jones, ,1
Record and Review, 1898, ]3.()4.
M a r t i n Har r i son a n d Bill Waters , Burne-Jones, 1973, p l .38 .
Burne-Jones Talking - His Conversations 1895-189H Preserved by his Studio Assistant Thomas Rooke. ed i ted by .Mary Lago . 1981, ])]). l()4-.o.
l^ttfrs to Katie from Edivard Biirne-Jones, in t roduced by John CMiristian, 1988,
r eproduced (ig. 3, ]).20.
S i r I'-dward C^oley B u r n e - J o n e s w a s the l e ade r
of the second phase of Pre -Ra ] )hae l i l i sm , the
.\estheti i .Moxement , in the s a m e w a y
Le ig luon w a s l e ade r of the Class ica l
M( )\ement . He w a s born in 15 i rmingham. and
went to I'^xeter Gol lege, Oxford , in 18,52,
whe re he b e c a m e fr iends wi th Wi l l i am
•Morris. .\t this t ime lie w i shed to b e c o m e a
c l e r g y m a n , but w a s so impressed by the work
of Dan te ( i a b r i e l Rossetti that he dec ided to
(iO
()1
hccoinc a painter. H e later bceaine a pupil of Rossctti when he left Oxfo rd .
Like (Jeorge Frederick Watts a n d j o i i n Ruskin. Burne-Jones greatly admired the N'enetian School, especially Titian, ( i iorgione, I ' intoretto and Clarjjaccio. as well as the work
of Hotticelli, Andrea Xhnitegna. Leonardo and Michelangelo. He combined all his infliiences - Italianate, Classical, and Pre-Ra|)haelite - into a iiniciue .style of his own.
An impor tan t de\ c lopment in his career was his i^artnershi]) in the firm Morr is & C^o with William Morris . He was the firm's most prolific designer, and as a result there was a cont inual synthesis between jjainting and design in his work. Nearly all his ])iclures h a \ e their origins in designs for some other m e d i u m , eithei' stained glass. ta])estries. tiles, mosaics, ftn ni t inc. books or embroidery.
In 1877 the CJroswnor Gallery had its inaugural exhibit ion. 'Lhe brainchild of Sir ( lo iuts Lindsay and his wife Blanche, it was situated in a fine Italianate building on Bond Street. The gallery was in tended to ri\ al the Royal Academy and to p romote the more progre.ssi\-e artists of the day, bo th English and I'Airopean. Burne-;Jones was persuaded to exhibit eight paintings, which were all h u n g together on one wall. He b c c a m e famous overnight, and the British public realised that they had a genius in their midst. In his f amous review of the 1877 exhibition, H e n r y J a m e s singled out Burne-Jones and wrote: "In the ])alace of art there are many chamber s and that of which M r Burne-Jones holds the key is a wondrous museum."
His success had come late; by 1877 he was already in his mitl-forlies, and he always remained something of an outsidei'. He was elected an Associate of the Royal Academy in 1885 but only exhibited there once, and resigned in 1893. He remained faithful to the ( J r o s w n o r ( ial lery luilil its closure in 1887. and then transfci red his allegiance to (he .N'ew ( ial lery in Regent Street. Bui ne-Jones became a leader of die .Aesthetic Mcnemen t . but could n e \ e r lotalU' accept its phil()so])hy that ai t existed for ai t's sake and for no o ther piu |)ose. He was a
typically earnest mid Victorian moralist w h o wanted to i m p i w e the lot of mankind , bclie\ ing that this could be achieved through art . At the end of his life, howexcr, he felt a sense of failure and disap])ointnient: art had done nothing to check the s|)read of material ism and ugliness in the nineteenth century. Nonetheless, by the end of his career, his work was know n a n d admired all o\ er Europe - c \ e n in Barcelona, where the young Picasso admired his pictures in the pages of the Studio magazine.
Kat ie Lewis was bo rn in 1878. the youngest daugh te r of B u r n e j o n e s " close friends ( i eorge and Elizabeth Lewis. According to the catalogue of the New (iallery exhibition of 1898-9, the ])resent ]5ortrait was ]5ainted over the period 1882-6. and was therefore begun when Katie Lewis was foui' years old. Burne^Jones jjortrays her K ing outstretched on a sofa or day bed, reading a book which is o])en at a ]3age showing illustrations of St ( ieorgc and the dragon. She wears a dark green \ e l \ e t dress, and at her feet sits a small dog. The entire area of the backgrotnid - including the fabric on the piece of furni ture on which she lies, the pillows, and the dra])eries that fo rm the backdro]j to the com])ositi()n. even an a])]jle or o range ]3laced at the right side of the ])icture - are pa in ted in a restricted range of golden colours calculated to set ofT the lustrous dark tones f)f Katie 's hair and dress.
Bin ne-Jones" jjortrait of Katie Lewis was shown at the (Jrosvenor (iallery in 1887. It was not gix'cn a prominent ])osition. being placed in one of the side galleries, ra lher than the West (Jallery which was the ])i incipal exhibition space, and Ibr this reason il seems to IUIM- been Hide noticed. I'his was (he last year llial Burne-Jones
exhibited al ihe (irosN t'iior. In ( )c tober 1887 ihe dis])ule belwceii C Charles Halle and Joseph Coniyns ( larr . each supporled res]je( ti\ely by Burne-Jones and Sir ( loutts Lindsay (the gallery's l<)under and |jro])rielor) about how the gallery should be run. came inlo the o|)eii and in due course ihe .New ( ia l ler \ was sel u|). where Burne-
Jones began to exhibit instead. Il seems likely that Burne-Jones still owned the ])ainting at the t ime and that in fact he held on to it until the mid 189()'s, only then |)resenting it to Katie's parents. This at least seems to be imjjlied by the touching entry for 19 Oc tobe r 1897 in 'L M Rooke's diary account of coinersa t ion in Burne-Jones ' studio, in which the latter described ( ieorge and Elizabeth Lewis' reaction to the painting:
'Sir ( i Lewis was \ cry ])lcased with his daughter ' s ])orlrait that I sent him the other day. \ ' owed il was exactly like her now. tho" it isn't. For she is a young lady of 22. and when il was done she was only a child of 8. He didn't know whal to do to thank me. His wife did il c|uilc successfully, but he couldn' t . All he could do was to make me take away as m a n y boxes of cigars as he could lay hands on. He fidgeted about the room to try and find something that I would like, and couldn' t satisfy him at all. Ra ther |)alhetic, wasn't it, to see a m a n in that state who is the terror of the aristocracy of England a n d knows enough to h a n g half the Dukes and Duchesses in the k ingdom. ' [Burne Jones Inlking, o]) cit, p. 164).
It is not clear whose idea it first was that Burne-Jones should |)aint Kat ie - that of her parents or Burne-;Jones himself - or indeed in whose house the l iainting was in tended to hang, but its great originality may be unders tood as the result of the independence that Burne-Jones allowed himself when no ]3articular ex])ectations were ])laccd on him by sitter or ])atr()n. I 'he portrait abandons the conx'enuons of child ])ortiaiture as they opera ted in the Victorian age. el iminating all i r a i c of sentimentali ty oi- |)lay-acting. and refusing to p la ic the child on display Ibi- the delectation of an adult audience. The portrait is informal , and tin- s|)eclalor is allowed to calch the mood of utter absoipl ion ins])ired b\ the girl's allentioii to die book.
f /lis jminliiiii is lo he im hided in (,'liii.slo/)/ier Wood'sJorlheoininfi hook 'Ihe Life and Works of Sir Edward liurne-Joncs. h ici/l also he included in the Hnrne-Jones een/enarr exhibition at the Metro/wlitan Museum in . Veiv iiirk.
62
•
fti
T h o m a s H e n r y VVyatl 1 8 0 7 - 1 8 8 8
A riew of the (hiadran^le of the .\ew Liverpool Exchanae
Sitfiu-cl and inscrihccl '1 Iwmas Hei/rr l\'ra/l/
77 (heat Russell Stmi/1Mudon (on the I'aT'is
llxliihilion label on ihc rcwrsc) and
inscrihfd J'iew of /he.Yew Kxehani^e
Btiildiiiii/Liverpool/ 11)"'' Henry Wyatt/Arehileel/
77 (ireat Ru.well S/reel Lmdon (Honorary Memher
of the Ameriean liistitiile of Arehiteets) (And I'a.st
firesideiit of the Royal Institnte of British Arehiteets)
(on an old label on re\-erse)
Peiu il. ]5en and ink. and walereolour with
louclies o f wiiiU" heigiuenin<>, on three
joined sheets
,")(! X 7() in / 127 X 193 em
K M l l U i n . l )
I'ai is. Exposition I 'niverselle, 1878, pai t 1.
section I. no. 11)8.
I'hotnas I l en iy W'yatt was b o m in
Roseotnmon. Iicland. the eldest son of
Matthew Wyatt. a police magistrate. His
cousins were the distins^nished architects,
Samuel, Benjamin and James W'yatt. .M'ter a
]5ri\atc edncation in Brnssels he embarked
on a career in commerce, but soon
abandoned this for architectine and became
articled to I'hilip Hardwick. I la\ ins^ entered
partnershi]) with David Brandon in 1838. he
|)ractised alone from 18.'5l until his death in
1880 at 77 ( ireat Russell Street. W'yatt was
closely associated with the Royal Institute o f
British .\rchitects l iom its foundation; he
was elected to the Council in 1842. became
President in 1870, and was awarded the
Royal ( Jold Medal in 1873. His extensive
])ractice was mainly dexoted to the building
and restoration o f churches, |)rincipalK in
Wiltshire, but amongst his notable secular
()5
coinmiss ions were Kiii,<>litsl)ri(ls>;c- Barrac ks
(187fi-9) a n d the sout luTi i ])art of the
15roin])t()ii H()s])ital. I 'u l l iam R o a d . L o n d o n
1879-1882) .
W'yall's Mxchangc Hnildinsrs in Lixcrj jool .
Iniill Ix-twccn 18()3an( l 18()7. i'('|)lac('d
earl ier bni ldings on the s a m e site. |)rol)al)ly
e rec ted by his k insman James W'yatt. oi' John
I'oster the elder, in 18()!?-9. I 'hey s n r r o n n d e d
on th ree sides an a rea k n o w n as the Flails: in
the cen t re of the Fourth side s tood a
m o n t i m e n l to .Nelson. Built in a s t \ l e then
k n o w n as I'Vench Rena i s sance . the \
c o n t a i n e d two h u n d r e d a n d lil'ty |)iil)lic atul
p r i \ a t e ollices, as well as a news r o o m a n d
stock exchange . Little ex])ense was spa red in
littinsr ont the inter ior ; ]5ilasters of red
•Scottish gran i te , m a r b l e ])edestals a n d ca rxcd
s tonework l i o m C a e n a b o u n d e d . Tiie
bii i ldings also c o n t a i n e d a novel in\ 'ent ion
k n o w n as a iil't '. Thcx ' were rebuilt b\
( i t i n t o n & ( a i n t o n in 1937.
II(' arciiraUjul to F.ilirii !larri.s for her help in
latakmuni! this n akrcoloiir.
(i(i
i f
Andrew Nicholl 1804-1888
Bank of (srnftowers. Daisies, Poppies and olher flowers A |);iir
Pen. l)l;u k ink and wali ' icoloui '
10'/, X 17'/' in / 2() X 1 l.f) cm
AikIt'cvv Nicholl was the son ol' a hoot and
slioc maker and a])])cai s to h a w been totally
scH'-tauRht. thoiigli cnconras^cd by his elder
brother. Wi l l i am, who was in l)iisiness in
Hell'ast and an amateur artist. Both brothers
were fonnder members oC the Belfast
Association o f .Xitists in 183(j. Bell'ast at this
t ime being not only a thrix ing industrial city
l)iit also an intellectual and artistic centre.
.Xicholl's work falls into two categories. His
landsca]jes are loose and atmospheric and
this style was de\elo|)ed di ir ing a \ isit to
London made under the ])atronage of Sir
James Emerson I'ennent (a leading ligiire in
the 1798 rebellion). He made many \ isits to
the Dnlwich (ial lery and saw wf)rks by
(aiy]), de Wint and (Copley I'iclding. It was
at this t ime that he would also ha\e seen the
work ol rnrner. who was to ha\e a ma jor
inlluence thronghont his career.
The lirst ment ion o f his llower paintings is
in a sonnet written in 1830 by I'.merson's
sister. Eliza, on recci\ ing "a beautiful
coloured drawing o f llowers from .Xicholl".
These llower paintings are usually composed
with wild llowers - mostly ])0])])ies.
cornllowers and daisies - in the foreground,
and a landscape seen behind or through
them. The llowers are often imaginatixely
coloured, with blue ])o])])ies as well as red.
(i8
Robert Barnes 11.1873-l!i!) :5
.1 Mcrrv-do-Round on the Ice
Siirnrd and (lalcd A'. I'xirm's IfUtn
Pciiril. wau rcdloiir willi niim arable and
sc iau liinu oiil
1 . . X ill / 31.,') \ .')7 c m
I . M I l l U I 1.1)
London. Royal Soi icly o f I 'aintcrs in
Walc ivolours IfiSH. no. :i()!)
Robert liarne.s exhibi led at the Royal
.\eadeiny belwi-en 1 8 7 3 - 9 3 , and also at
the R . \ and O W S . His |)aintiiiss al the
R .\ inehided stieh works as Lil/k hiily
Boiiiilifiil 11J!73) and Mrjusike Ilawkbi.s
Sums rp
i'lte ontstaiKliim (|nality ol' this
watereolonr shows jnst how well N'ielori.in
artists eoiild adapt the medinni o f
watereolotir to a narrat ixf stibjei t. It must
eoimt as one o f the most deli^hthil
\ ietorian skatin<> scenes so lar known.
70
Emmanue l Stockier 1.'!!!)-11!!):!
hi CJuunhre dii Roi a \ersaillcs
Sii ncd W'aUTcoloiir I 7 I \ 2!i' ' in / If).,") x ,')!).5 cm
7 1
Index
Art i s t D a t e P a i n t i n g P a g e
Robert Bai iics F1 1873-1893 A Merry-(k)-Round on the Ice 70
Sir r.clwarcl Colcy Bunie-Jones 1833-1898 Katie IM'LS 6 0 - 6 3
C:()iitinemal School CArca 1 ( 3 9 0 Oval Fan Paintini^s (A jiair) 4 2 - 4 3
Jolianii Baptist Drcchslcr 175(i-1811 Still Life of Fruit and Flowers on a Stone h'dge 6 - 7
Freneii School ajier lioiicher C:ma 1800 Fontaine de L'Amour and JJ' I 'ieux Diseur de Bonne Aventure (A pair) 38 -39
(iermaii School Cma 1 740 .4 set of six studies of Game Birds 4 0 - 4 1
Jan Ciriflier The Elder 1645-1718 .4 panoramic view of (ireenwich. the City of Imdon and the Isle of Doas beyond
12-13
John Atkinson (irinishaw 1830-1893 (keenock Harbour .\ewlay Wood I he Cradle Song
5 4 - 5 5 56-57 5 8 - 5 9
Haarlem School Cirea 1650 Two Rabbits in a iMudscape 8 - 9
( iawen Hamilton 1697-1737 The Du (iane/Bohem Family Conversation (iroup 25-36
.\hiry Moser 1744-1819 Still Lifes of Flowers (A pain 14-15
Andrew Nicholl 1804-1888 Ban/i of Cornflowers, Daisies, Poppies and other flowers (A pair) 6 8 - 6 9
Jose]jh Xickolls F1 1731-1748 View of Old Horse Cuards Parade, with elegant figures promenading, with a view through to Inigo Jones' Banqueting House in [ 1 'hitehall
20-21
(;io\anni Paolo Pannini 1691/2-1765 Architectural Capriccio of the ruins of aruient Rome with figures 2 2 - 2 4
Jean-Louis Prexost 1760-1810 Still Life of Roses in a Glass 1 'ase on a Stone h'dge. 37
James Seymotn- 1702-1752 Sedbui y Ud by a Groom 47
John Rubens Smith 1775-1849 -1 scene from Oliver Goldsmith's 'The Vicar of Wakelield 10-1 1
I'.mmanuel Stockier 1819-1893 I/I Chambre du Roi a Versailles 71
Ste])hen Taylor 1-1 1817-1849 . 1 Portrait of a Fox at the edge <f a 11 ood Hi
(:hai les Towne 1763-1810 1 he Master oj the Holcombe Harriers riding a duii horse ill a river landscape, his hounds by his side.
18-19
Manin Theodore Ward 1799-1874 Portrait if a Dog in a iMiidscape 17
John William Waterhonse 1819-1917 Flora and the ,~ephyrs 18-53
John Woollon 1()82-I7(i5 I 'K ing (4iilders being rubbed down at .\ewmarket amongst a crowd of connections and admirers
H-4()
Thomas 1 lenry Wyalt 1807-1888 . 1 View I f f the (huidrangle of the. \cw Liverpool Fxchaiige (i4-(i7
