Isseur Illustrated Magazine for Collectors - Forgotten Books
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Transcript of Isseur Illustrated Magazine for Collectors - Forgotten Books
isseurIllustrated Magaz ine
For Collec tors
Edited b y C . Reginald G rundy
V o l . X L V I I .
(J AN UARY — APR IL , 1 9 1 7 )
LONDON
P U BLISHED BY THE PROPRI ETOR,W . CLAUDE JOHNSON ,
AT THE
ED ITORI A L AN D ADV ERT ISEM ENT OFF ICES OF THE CON NO lSSEUR,
AT 1,DU KE STREET,
ST. JAM Es’
s, S .W . I
PRI NTED “BY
BEM ROSE AN D SONS LTD . ,
DERBY AN D LONDON
INDEX
ARTICLES AND NOTES
PAGEAgasse. The L iie and W ork of Jacques Lau rent .
Part I I . By C . F . Hardy 9
Answers to Correspondents 59, 1 1 9, 1 79, 239
(Heraldic ) 60 , 1 20 , 1 80, 240
Armor ial Antiqu i ty , An 2 24
ARM OUR.
Casque,A Famous N egroli
M r. Townroe’
s Col lec t ion. By W . B . RedfernArt Co l lec tor ’s T reasures , An.
” Rev iewed by F redk .
L itchfield
AUTHORS AND CONTRI BUTORS .
B r inton,Selwyn
,M .A. D avenham Co l lec t ion,
The.
Ear ly I tal ian I l lustrated Books . Part I .
B rockwel l , M . W . Cook Col lec t ion, The. Part I .
The I tal ian Schoo lsEdi tor
,The . W
'
ar M useum s
F . G . R. Tombs of the Sm i ths at Ch ichester , The
F inberg , Alexr. J . Turners in the Nat ional Gal lery ,The
G ibson,Frank . John Thom son of D uddingston,
Landscape PainterHardy , C. F . L i fe and Work of Jacques Laurent
Agasse. Part I I .
Hemm ing , Ce l ia . On Stafi’ordshire Sal t-glazeHodgson, M rs. VV illoughby . Shakespeare in Potter)
and PorcelainJourdain,
M . Goan Ebony Furni tureL itchfield, F redk .
“ Art Col lec tor ’ s T reasu res , An.
(Rev iewed)M . W . B .
Bel l ini, The Alnw ick
Catalogue o f P ic tures b y the O ld M asters in the
Library of Chr ist Church , Oxford, ” by D r.
Borenius (Rev iew)M u rdoch , W . G . Blailcie. Bos ton M useuzn of F ine
Arts, The
Perc ival , M ac I ver. O ld “Fal l - papersPh i l l ips
,M aberly , P .S .A.
Bygones from the GeorgianTimes
Sport ing and M i l i tary BygonesPort , Char les G . j . , F .S .A. Some Uncommon P ieces
of PewterRedfern, W . B . M r. Townroe
’
s Col lec t iono f Ar
mourRich ter , Lou i se M . Portrai t by Franco is C louet
AnotherRoe, Fred, R. I . Oak joint S toolsSab in, A. K . Engl ish M ediaeval “T
al l - paintings at
the V ic tor ia and Albert M useum
iii
Rev iewed by
Bel l ini,The Alnw ick
Boox s
D avenham Co l lec t ion, The. Ear l y I tal ian I l lustratedBook s . Part I . B y Se lwyn B r inton, M .A.
Book s REVH NV ED .
“ Art Col lec tor ’s T reasures , An.
F redk . L itchfield“ Book P r ices Cu rrent . V ol. xxx .
, 1 9 1 6
Camera an H istor ian The,” by H . D . Gower
and othersCatalogue of Engrav ings and D raw ings , ACatalogue of I l lustrated Books and “7orks on Art.
(M essrs . E . Parsons Sons)Catalogue of the Inaugural Exh ib i t ion of the C leve
land M useum of Art
Catalogue of P i c tures by the O ld M asters in the
L ibrar y of Ch r ist Church , Oxford,
” by D r
Borenius
Co l lect ing Old Lustre W are, by W . Bosanko
D ance of D eath ,” by Hans Ho lbeinD evonsh i re House C i rc le, ” by Hugh StokesD iary of the G reat Warr , ” by Samuel Pepys
, Jun.
D raw ing and D es ign for Craftsmen, by R. S .
BowersFai r ies ’ Farewel l ,
-
The, by Richard CorbetFrom Harbou r to Harbour , by M rs . Arthur G .
Bel lGothic Ornaments , by Augu stus PuginHuman T ragedy , The, ” by Anato le France
'
L i tt le Towns of F landers , by Albert D elstanche
M odern War Paint ings , ” by C . R W . Nev insonOur Hosp i tal A B C ,
’by Jc e D ennys
P ic tures of War Work in England,
”
by JosephPennel lPoet ical Works of John Keats
,i l lustrated by
C laude A SheppersonPriu t Co l lector 5 Quarter ly
, The
Pr inted Book , The,” by Harry G . Aldi s , MA .
Rip V an W ink le ,
” i l lus trated by Arth ur RackhamRomance of a Raphael , The,
” by A. E Rav inaRm al Scott i sh Academy , 1 826 , The
,b y Frank
Rinder and W . S . M cKay , R. S A.
’
Russ ian Story Book , The , ” by Richard W i lsonShakespeare s England. An Account of the L i fe
and M annersti
oi his AgeSilxer Chain, The,
”by S ir Wm . B lake Richmond
Sir S idne y Lee’s N ew Edi t ion of L i fe of W i l l iamShakespeare. Some W
'
ords of C ri t i c ism,bv
Sir Geo. G reenwood, M P .
Boos s R1:v 1 1:w 1’
n PAC El‘hnses according to M ar ia. by
LaneFrom. The .
M u i rhead Bone
Wonder of W ork 1 07,
Year 's Art. The. Comp i led by A. C . R. CarterYorksh i re Potter ies . l ‘ots and l ‘otters , ’ b \' Ox le y
G raham ,
Bos ton M useum of F ine Ar ts . The .
M urdochIt ttAss . E
'
rc .
tnrth Buck lesBygones
M rs . J ohn
l ‘ar t l . D raw ings b \'
b t ''
l‘
| 1cot lorc D uret
R1? (7 . Blaikie
from the G eorg ian T imes . B\'
Ph i l l ips . F .S .A.
B ygones . Sport ing and M i l i tar y . BV M uberly Ph i l l ips ,F. S .A.
M aberly
C louet , Ano ther Portrai t b y F ranco is . By Lou i se M .
Rich terCorrec
'
rios s .
Boston M useum o f F ine ArtsBlaikie M urdoch
Cook Co l lec t ion, The. Part I .
By M . W'
. Brockwe l lDavenham Col lec t ion, The.
The . B v “7. G .
The I tal ian Schoo ls .
Earl y I tal ian I l lus tratedBooks . Part I . By Selwyn B r inton, M .A. 2 5
Tonnroe’
s C ol lec t ion,By “7
. B . Redfern 75Conno isseur Book she l f 47, 1 06 , 1 66, 235Cook Co l lect ion, The. Part I . The I tal ian School s .
B y M . W . B rockwel l 1 23Current Art No tes 5 1 , 1 1 6, 1 74 , 2 28
Davenham Co l lec t ion, The. Ear ly I tal ian I l lustrated
Books . Part I . Bv Se lw yn B r inton, M .A.
ENGRAV I NG S AN D E'
rCH I NGs.
M rs . Gwyn.
” By J . Y oung , after J . Hoppner
EXH I B ITIONS AN D GA LLERI ES .
Aeronaut ical Paint ings and Pr intsArts and Crafts Exh ib i t ionAus tral ian \Var Cartoons (M essrs . Arthu r Tooth
Sons)Belg ian Art i s ts at the Front (at M essrs . W'
ar ingG illow
’
s)Dowdeswel l Gal ler ies . Seven Sacraments
, The.
By Char les S im s, A.R.A.
F ine Art Soc iety . Cartoons by M r. Lou i s RaemaekersHerbert Hom e Co l lec t ion at the Bur l ington F ine
Arts C lubInternat ional Soc iety
, The
N ew Engl ish Art C lubPainted Furni tureRoyal Academy : Graph ic Art
Royal Soc iety of Painter-E tchersRoyal Soc iety of Painters in VV ater-Co lourShakespeare Tercentenary Exh ib i tionSoc iet y o f Women Art i sts
D raw ings by M u i rhead Bone
FURN ITURE .
Goari Ebony Furni tu re . By M . JourdainOak Jo int S tool s . By Fred Roe, R. I .
Oak-pane l led Room o f the W’ ren Per iod
G i rth Buck lesGu t ss .
Jacob i te Gob let, Rare
Painted G lass , A
i v
li bonv Furni ture. B \' M . Jou rdain
Sale Room , In the 42 1 97: 1 64 1 2 25
Sales ,'
P rov inc ialg
2 24
Shakespeare in Pottery and.
Porcelain. By_
M rs .
W i l loughby HodgsonShakespeare Tercentenar y Exh ib i t ionSport ing and M i l i tary Bygones. By M aberly Ph i l l ips
S taflordshire Sal t-g laze. By Cel ia Hemm ingS tamp N-
otes
Thomson of D uddings ton, John Landscape Painter .By Frank G ibson
Townroe’
s Col lec t ion, M r. By W'
. B . RedfernTurner , Cop ies of . By M i ss I sabel la JayTurners in the Nat ional Gal lery , The. B \' Alexander
J . F inberg
Wal l -paint ings at the Vic tor ia and Albert M useum ,
Engl i sh M ediaeval . Bv A. K . Sab in 90
Wal l Panel s , Ch inese M odern 233
Wal l -papers , Old. By M ac l ver Perc ival 79
War and the Ant ique T rade 2 29
War M useums . By the Edi tor 1 83
Wonder of Work . Letter from M r. Joseph Penne l l ,and the Cr i t ic ’ s Reply 1 07, 1 08
Nat ional Gal lery B i l l , TheNotesNotes and Queries
Oak Joint S too ls . By Fred Roe, R I .
l ’eru , A Tunic. from Old
l ‘ew ter , Some Uncommon P ieces o f . By Char les G . J .
Port , F .S .A.
AN D D RAW I NG S .
Agasse , The L i fe and W ork o f J acques Laurent .l ’art I I . By (J . F . I-Iarcly
Be l l ini , The Alnw i ck . By M . W . BBoston M useum
'
of F ineArts , The. B y G . B laik ie
M urdoch 63
Candle- l igh t Portrai t , A. B y H . Keyworth Raine 1 1 8
Cook Col lec t ion, The. Part It. The I tal ian School s .
B y M . “7 . B rockwe l lLes lie
'
Boy , The
Nat ional Gal lery B i l l , TheP ortrai t b y Francoi s C louet‘
,Another . By Lou ise
Rich terSm i th s , The Tombs of the, at W inchesterSp ier ing , Portrai t of Anne.
”B y Gerard D ou
Thomson of D uddingston, John, Landscape Painter .B y Frank G ibson
Tu rners in the Nat ional Gal lery , The. By Alexander J . F inberg
“fal l - paint ings at the V ic tor ia and Albert M useum ,
Engl ish M ediarval. By A. K . Sab inW
' rong Ident ification, A M i ss Ho lcroft .
” ByJohn Op ie , R.A
P late Notes“ Les l ie Boy
M rs . Gw ynPortrai t of Anne Sp ier ing . By Gerard D ou
PORCELA I N AND POTTERY .
Shakespeare in Pottery and Porce lain. By M rs .
W i l loughby HodgsonStaffordsh i re Sal t -g laze. By Cel ia Hemm ing
ILLUSTRATIONS
ARCH ITECTURE .
Inter ior of the \V ren Per iodARM OUR.
Casque, The N egroli 1 0 1
P isto ls 1 43 , 1 45
Townroe’
s Co l lec t ion, M r. Rapiers , Swords , etc . 75 - 78
ARTI STS AN D ENGRAVERS .
Agasse, Jacques Laurent.
B road-wheeled Wagon,The
Dogue d’U lm
F lower Cart , TheIns ide a S tab leLanding at W estm ins ter B r idgeLord Rivers Cours ing at NewmarketP lay-hou rsSecret, The
Andrea da . Solario. Portrai t cal led G iovanni Bentivog l io
Bel l ini , G iovanni . Feast of the Gods
Bone,M u i rhead. Br i t i sh T roops on the M arch to
the Somme
B ramantino . M adonna and Ch i ldCassatt , M ary . At the OperaCeccare l l i . M adonna and Ch i ldChar lier, J . LedaC louet , Franco i s .
E l i zabeth of Valo isFrancois I I .
M ary S tuartCorot , J . B . G . D ante and V i rg i lCosway , M ar ia. Georg iana, D uchess of D evonsh i re.
By V . G reenCuyp , A. Avenue at M edervort
,near D ordrech t
D elstanche, Albert . B ruges : Le Quai VertD omenich ino. Landscape w i th F iguresDownman, John. Portrai t of the Hon. M rs . Har
courtDou , Gerard. Por trai t of Anne Sp ier ingE rco le de Roberti . M edea and her Ch i ldrenFou lon, Benjam in. César
,duc de Vendome
G iorg ione. Por trai t of Cater ina CornaroGoya, F . Artist’ s Son, Por trai t of
Green, V. Georg iana, D uchess o f D evonsh i re .
After M ar ia Cosway
G reuze, J . B .
Portrai t of a LadyS tudy of a Y oung G i r l
Hogart h , “7. Cockp i t , The
Ho lbein. Knigh t and D eath , TheHop pner, Jo
‘hn, R.A. M rs . Gw y n. By J . YoungHoyen. CormorantIngres , J . A. D . M dme. de V ancay
Knigh t , C . Industr y . After G . M or landLawrence, S ir Thos . , P .R.A. Fannv and Jane
Hamond 62
Le B run, M dme . V ige’
e. Portrai t of a Boy in Red 93L ipp i , F ra F i l ippo . Adorat ion of the M ag i 1 24
M or land, G . Indus try . By C . Knigh t 2 2 1
Natt ier, J . M . Portrai t of a “7oman 33
P iombo, Sebast iano del . Portrai t of a Lady 1 29Raeburn, Sir Henry , R.A. Les l ie Boy , The 23Reyno lds , Sir Joshua, P .R.A. D o lores
, or the D eadB i rd 1 03
Ri le y , John. Scu l l ion, The
ARTI STS AND ENGRAV ERs—contz‘
nued.
S ignore l l i ._
Portrai t of N icco lo Vite l l iStanfield, W . C larkson, R.A. O rford on the River
Ore
Thiriar, James .
“ Last Rel ief,The
Thomson, John, of D uddings ton.
Aber lady Bay 1 93
Cas tle Baan 1 87
Fast Cast le 1 86
G len F eshie 1 9 1
H igh land Landscape 1 85
On the F i r th of C l yde 189
Ravensheugh Cast le 190
Storm on a Scott ish Loch 1 82
T i t ian. Portrai t of Laura de’
D iant i 1 28
Tura, Cos imo . Annunc iat ion, The ,and Two Saints 1 2 5
Turner , J . M . “7.
Boscast leCarnarvon Cast leConway Cast leHedg ing and D i tch ingLandscape near P lymouthPony and W hee lbarrowSun Ris ing th rough Vapou r , S tudy forTeas ing the D onkeyVenice : The D ogana
V an de Velde the Younger , W”
. Gale, AV an N oordt , J Boy w i th HawkW h i st ler
, J . M eN .
L i tt le Rose of Lyme Reg is,The 66
M other and Ch i ld 237
Young , J . M rs . Gwyn. After John Hopp h er, R.A. 2
Back Sc ratchersBone P r ic kerBoox s
I tal ian I l lustrated Books , Ear l y , in the D avenhamCo l lec t ion
fE sop’
s Fab les , Naples , 1 485 : \V oman M arr iedto a Robber
Bellinc ioni, Bernardo,Rime
,M i lan, 1 493 :
Bernardo Bellinc ioni
Boccacc io ,G . N infale F iesolano ,
F lorence, 1 568“Two Cu ts from
Bonaventura. D ivote M editationi, F lorence, c .
1 496 : P rocess ion to Cal varyEp istolzr: e Evangelii, F lorence , 1 495 : Ho l y Ch i ld
found in the TempleJacobus de Cessolis . G iuoco di Scacch i , F lorence,
1 493 : El Taverniere et Abbergatore
Landini Fo rmu lar io ,F lorence , 1 492 . T it le
Lorenzo de M edic i . Canzone a Bal lo,Florence,
T i t le Cu tM arphisa B i zarra. D ragoncino ,
F lorence, 1 532 .
T i t le Cu t
Bouquet Ho lderBox Carr ied at W ater looBox for Cu r l ing PapersB ronté
’
s , Char lotte , Th imb le Case
Bu l let M ou ld, M etalS tone
Buttons , Hand-made
Bygones from the Georg ian T imes
B y gones , Sport ing and M i l i tary
(Hurdle S hade and Candle Ho lderCharge-dunner . etc
Cock - ligh t ing in D raw ing - roomCockp i t, Pass to
Cockp i t . The. By HogarthCocks , Spurs for F igh t ingCockspur M aker . T rade T icket 0
Comb . M etal
D ress . I‘rc - lnca. found in G rave at Nasca Peru
linamel. Battersea. In the “En d U sher Co l lec t ionl‘iNCRAV l NC S AN D Ii
'
rc um c s .
Boscas t le . After TurnerLe Quai \'
ert . B y Al bert Delstanche
Cormorant . By HoyenB ruges
Devonsh i re . G eorg iana. D uchess o f . B y G reen,
after M ar ta Cosway
Gwyn. M rs . B y J . Young. after John I Ioppnc r, R.A.
Hedg ing and D i tch ing . After TurnerI ndustry . By C . Knigh t , after M or landKeion M ak imono detai l from Japanese 1 3 th
CenturyKnigh t and D eath
-
The. By Holbein“ F igh t ing Cocks Inn, S t . AlbansF lakes and F ini shed F l intsF l int and T inder BoxF l int' lock for Cannon
FURN ITURE .
Georg ian M ahogany S ideboardGoan-work Cab inet
Chai rPainted Bookcase
Chai rS tool s , Construc t ion of Goth ic
M ethod of S tack ing under Tab lePos i t ion of , at Tab le
S too ls , Oak Jo int .
Coffin S too l in G reat B raxted ChurchE l i zabethan S toolIn B rede Church , SussexIn M idhurst Par i sh ChurchIn Saffron “
Y
alden M useum
Jacobean, Smal l Square
Game Carr ierG i rth Buck lesG LA SS .
Jacob i te Gob letPainted G lass, A
Holsters and F l int- lock P i s to l s
I nkstand, Portab le
Kedge,” Falcons on the
Kni tt ing Sheath
Lady ’s Companion
M I N I ATURES .
Imam , Portrai t o f an Ear l y 1 7th Centurv
Nutmeg G rater
O B J ETS D’AR'
r.
B ronze F igure. B V D alouCandelabra, Emp i re
v i
0 uj ic'
rs n‘
AR —( o
I vor ies , late M r. “7. Y . Baker ’s Co l lect ion of
Japanese Art, the late S ir T revor Lawrence'
s Collec
t ion of
Lacquer . the late S ir T revor Lawrence’
s Col lect ionof
P ic ture on G lass , Old Engl ish
(It
Hedg ing and D i tch ing (Penc i l D raw ing) . By
J . M . W . Turner
PAGE
Patc h -boxPatches , how wornP EWTER.
Barber ’s Bas inBoot GobletBowlCandlesticksGu i ld F lagonsOrnaments , M antel shel fPatenPotato RingScent Bott leSt i ltTea CaddyTeapotsTobacco Boxes\Varm ing Pan
W ine TasterP I CTURES AND D RAW I NGS .
Aber lady Bay . By John Thomson of D uddingston
Adorat ion of the M ag i . B y F ra F i l ippo L ipp iAnnunc iat ion and Two Saints . By Cos imo Tu raArt i s t’ s Son, Portrai t of the. By F . Goya y
LucientesAt the Op era. By M ary CassattAvenue at M edervort, ne
'
ar D ordrech t . By A. CuypBent ivogl io , Portrai t cal led G iovanni . By Andrea
da So lar ioBoscas t le. (Penc i l D raw ing) . By J . M . W . TurnerBoy in Red, Por trai t of a. By M dme V igée Le
B runBoy w ith Hawk . By J . V an N oordt
B r i t i sh T roops on the M arch to the Somme. ByM u i rhead Bone
Carnarvon Cas tle. By J . M . W . TurnerCast le Baan. By John Thom son of D uddingston
Conway Cast le. By J . M . W . TurnerCornaro, Portrai t of Cater ina. By G iorg ioneDe
’
Diant i , Portrai t of Lau ra. By T i t ianDo lores , or the D ead B i rd. By Sir Joshua Rey
nolds , P .R.A.
Fast Cast le. By John Thom son of D uddingston
Feast of the Gods . B y G . Be l l iniF ie ld
,Nathaniel . From the Painting in the D ul
w ich Gal ler yF i rth of C l yde, On the . By John Thomson of
D uddingston
Franco is I I . B y Franco i s C louet(oil por trai t)
Gale, A. B y W . V an de Velde the YoungerG i r l , S tudy of a Y oung . By J . B . GreuzeG len Feshie. By John Thom son of D uddingston
Hamond, Fanny and Jane. By Sir Thos . Law
rence , P .R.A.
Harcourt , Portrait of the Hon. M rs . B y John D own
Index
P I CTURES AN D D RAW I NGS-
continued. PAGE PAGE
H igh land Landscape. By John Thomson of
D uddingston
Landscape w i th F igures . By D omenich inoLandscape near P lymouth . By J . M . “7. TurnerLast Rel ief, The.
” By James Thiriar
Leda. By J . Char l ierLes l ie Boy , The. By Sir Henry Raeburn,
R.A.
L i tt le Rose of Lyme Reg is , The. By J . M eN .
W h ist lerM adonna and Ch i ld. By B ramantino
M adonna and Ch i ld. By Ceccare l l iM edea and her Ch i ldren. By E rco le de Robert i G lobu larM other and Ch i ld. By J . M cN . W h ist ler w i th doubleo tw is ted HandleOrford on the River Ore. By W . C lark son S tan F igure Of a Cat, So l id Agate
field, R-A F igure of a Woman ho ldin'g B i rdPony and W heelbarrow .
- By J . M . W . Turner M ug , dated 1 70 1
Portrai t of a Lady . By J . B . G reuze Punch Kettle
Portrai t of a Lady . By Sebast iano del P ionibo TeapotPortrai t of a Young Woman. By J . M . Natt ierRavensheugh Cast le. By John Thomson of D ud
dingston 1 88- 1 90
Scu l l ion, The. By John Ri ley 1 07
Sp ier ing , Portrai t of Anne. By Gerard Dou 53
Storm on a Scott ish Loch . By John Thomson of
D uddingston 1 82
Stuart,M ary . By Francois C louet 87
Sun Ris ing th rough Vapour , ” S tudy for. ByJ . M . W . Turner
Teas ing the Donkey . By J . M . W . TurnerValois , E l isabeth of . By Francois C louetV ancay , M dme. de. By J . A. D . Ingres .
Vendome, César , duc de. By Benjamin Fou lonVenice : The D ogana. By J . M . W . Tu rnerV i te l l i , Portrai t of N iccolo . By S ignorel l iWal l -paint ings , Engl ish M ediaeval .D oom , Fragment of the
M adonna and Ch i ldSt. Ch r istopher and the Ch r ist child
P i sTOLs .
“ B rown Bess and P i stolsP
'
t 1'
th H I t15 0 5 W 1 0 S ers
Purse, S i lkPLATES .
Avenue at M edervort , near D ordrech t . By A. Cu y p 1 71 Sand D redgersBattersea Enamel in the Ward U sher Co l lec t ion 1 6 1 Sc rew-dr iverBoy ir
i3Red, Portrai t of a. By M dme. V igée Le SCU L PTURE AN D STATUARY .
rund h F 0 f . Ch . A I C t '
Boy w i th Hawk . By I V an N oordtu a
,igure 9 Inese bout 8t i en uri 69
Head of Aph rodi te, M arb le. 4th Century B .C. 68Chel sea Porcelain Oval D essert D i sh
Shakespeare in Pottery and Porcelain 3-
7D olores , or the D ead B i rd. By Sir Joshua Rey
h olds P RA. 1 03Shot and Powder B elt 1 47
Gale, A. By Wm . V an de Velde the Y ounger 1 3 1F lasks I 47
G i r l , Study of a Young . By J . B . Greuze 1 1 3S I LV LR’
Glen Feshie . By J . Thom son of D uddingston 1 9 1CUPS ’ S i l ver -g i l t
Gwyn, M rs . By J . Y oung , after John Hoppner, R.A. 2Snufl-boxes , Shoe
Hamonlt X
nny and Jane. By Sir Thos . Lawrence, Tube for Powder and Shot
Harcourt, Portrait of the Hon. M rs. By John D own V inaigretteman
Industry . By C . Knigh t , after G . M or land Wafer Stamp
Leda. By J . Char l ier W afers In BOX
Les l ie Boy , The. By Sir H enry Raeburn,R.A.
Wal l - paper , Ch ineseO rford on the River Ore. By W . Clarkson Stan O ld. I l lustrations of English F renCll ,
fie ld, R.A.Ch inese, etc
Portrai t of a Lady By J B G reuze W atches in the W ard U sher Col lec t ionPortrait of a Young W oinan. By J . M . Natt ier “70013 CARV I NG o
Sp ier ing , Portrai t of Anne, By Gerard Dou Armorial Ant iquity , A“
V ii
P LATES- continued.
S torm on a Scott ish Loch . By J . Thomson of D ud
dingston
V ancay , M dme. de . By J . A. D . IngresWatches in the Ward U sher Col lect ion,
Th ree\V atches , Th ree, and Char lotte B ronte’s Th imble
Ca'
se
PORCELA I N AN D POTTERY .
Burton Ware. Baggaley PotteryChel sea Porcelain Oval D essert D i shSal t-glaze , S tar rdsh ire.
Bott le
M edal l ions on
Vessel in the form of a B i rdShakespeare in Pottery and Porcelain .
Fals taff, Jas . Qu in as (BOW )
(Chel sea)(Staff s )
Hathaway 5 Cottage, Anne, Fenton Ware Box Lidw i th P ic ture of
Lear,K ing . Bow F igu re
Richard I I I ., D av id Garr ick as (Chelsea-D erby )
Shakespeare , B lack Basal tes Bust of
Earthenware ‘Bust Of . By EnochW ood
M edal l ion Por trai t in W edgwoodJasper Ware
M ode l in Terra-Cotta of . Roub itiac
’
s S tatue
S tatuette of (S taffs )W orcester M ug w i th Portrait of
Shakespeare’ s House at S tratford-on-Avon. M ode l,
made by Copeland, 1 840
S tat’fordshire. M ott led B i rd Ornaments and Snu ff
IN THE Sroom vu s .
Thackeray 's Let ter to Rob t . Hel l
BoonsS . j oannis Aposto l i
Barc la) . M ajo r R. W . D ispersal o f LibrnrvBurns . Rob t . l ‘ooms . | 780
(‘
ato (Caxton) . 1 483
Defoe. Rob inson C rusoe . | 7 19.
Go ldsm i th . O . \'
icar o f Wakefie ld,1 7t
G ray . E legy , 1 75 1
Lactant ins . l l c D iv inis lnstittttionib tts adV ersus
gentes c l Al ia Opera, 1 465
Pearson. M r. John. D ispersal o f L ibraryPrit lcaux . late Col. D ispersal o f L ibraryS ydne y , Sir Ph i l ip . Countesse o f P embroke’s Ar
cadia, 1 590
Ch r i st ie‘
s . 1 50 th Annh ersary of
Cons .
Carlvon- B r itton, M ajor P . _l D ispersal o f Collec t ion
ENGRAV 1NC S AN D Ercni NOs
Abbot t, L . F .
Baron Nel son o f the N i le . By -'
V . Barnardlnnes , D edicated to the Soc iet y of Got
’ters at
B lackheath . By V . G reenAlken
,H . F i rs t S teep lechase On Record . By J .
Harr is—\ llais . Tourtere l le Cherie. La. After Boillv
Annis , W'
.
Repai r ing to M arket and At M arket . After VV heatlev
Repai r ing to M arket,Com ing from M arket and
Retu rned from M arket . After VVheatleyArtaud,
W’
. Cakes and F inery . By T . Gaugain
Barnard,Baron Nel son of the N i le. After
AbbottBarto lozz i , F .
Lec tu re on Gadding . After W' heat ley
M onth s , The. After Ham i l tonReturn from Shoot ing . After VV heatleyS t . James
’
s Beau ty and S t . Giles’
s Beauty . AfterJ . H . Benwe l l
Baxter , Geo .
Coronation and Opening o f Par l iament
Parting LookBeechey , Sir \V .
.George I V . rev iew ing the D ragoon
Guards . By J . \VardBenwel l , J . H . S t . James ’ s Beauty and St . Giles
’s
Beaut y . Bv F . Barto lozz iB igg , R.
B lack M onday . By J . Jones 98 , 1 65
D u l ce D omum . By J . Jones 98 , 1 65
B lake, Industr ious Cottager and Idle Laundress . After M or land
Boilly .
Cadeau D é l icat,Le . B y S . T resca
Tourterel le Chér ie , La. By Al lai sB ranga , Frank . B r idge of S igh sBunbur y , H . Tale of Love. By J . K . Sherw inChalon, H . B . W asp , Ch i ld and B i l ly . By “7.
98
98
Chandler , J . “7 . Cottage G i r l . B y C . H . Hodges 98
C lark . V iews o f Sydney , in 18 10. After Eyre 45
vhi
PAC I
ALE ROOMNGRAV INC S AN D E
'
I‘
CH [ N G S—{oufi uuei(b uyers , Ju l ia. D uty‘ and Aff ec t ion. By P .
Tomk insDawe, P .
Ch i ldren F ish ing . After M or landCh i ldren G ather ing B lackberr ies . After M or land
98.Dayes, E . Ai r ing in Hyde Park and Promenade in
S t . Jaines’s Park . By T . Gaugain and I" . D .
So i ronD escourtis , C . M . L
’Amant Surpr is . After J .
Schal lE y re. V iews o f S ydney , in 1 8 1 0 . Bv (
“ larkGardner , D . F idel i ty . By C . W h i teGangain, T .
Cakes and F inery . After W . ArtaudGu inea P igs and D anc ing D ogs . After M or land
Gaugain, T. ,and F . D . Soi ron. Ai r ing in Hyde
Park and P romenade in S t . James’
s Park .
After E . DayesGendall . V iews o f Edinburgh . By T . Suther landG reen, V .
Col. Tar leton. After S ir J . ReynoldLady Bett y D elme. After Sir J . Reyno lds“7. Innes , D edicated to the Soc iety of Goff ers at
B lackheath . After L . F . AbbottG rozer , J .
G ips ies’ Tent . After M or landM orning , or the Benevo lent Sportsman. After
M or landHaden, Sir F . S . Shere M i l l PondHam i l ton, W . M onths , The. B y F . Barto lozz iHarri s , J . Fi rst Steeplechase on Reco rd. After H .
AlkenHelme , T . (pub l ished by) . S t . Alban’
s GrandS teeplechase
H ilditch ,M r. John. D ispersal of Col lec t ion of
Japanese Pr intsHodges
, C . H . Cottage G i r l , The. After J . W .
ChandlerHogg , T . B i l leted So ldier . After M or landHop pner, J .
D augh ters of S ir Thos . Frank land. By W . \VardLady Heathcote as
“Hebe.
”Bv J . Ward
M rs . Benwe l‘l . By W . WardHow i tt (after) . Woodcock
,P heasant Partr idge ,
and G rouse Shoot ingJones , J .
B lack M onday . After W . R. B iggD u l ce D omum . After W . R. B iggEdmund Burke. After G . Romne yKeat ing , G . Cottage D oor and S choo l D oor . After
VV heatley
Keat ing , G . , and W . Ward. Party Angl ing and
Ang ler ’ s Repast . After M or landKnight , C . Favour i te Rabb i t and Tom and his
P igeons . After Russel lLaur ie, R. Adm i ral Ear l Howe. After M aqu ig
nionM cBey , J . Apr i l in KentM aquignion. Adm i ral Ear l Howe. B y R. Laur ieM or land, G .
B i l leted So ldier . B y T . HoggBoys Bath ing , Boys Skat ing , Boys Robb ing an
O rchard, and The Angr y Farmer . By E . Scott
Ch i ldren B i rd-nesting . By \V . WardCh i ldren F i sh ing . By P . D ttwe
ENGRAV I NGS AND Ercm NGs—contz‘
nued. PAGE PAGEM or land
, G fl orz tz'
i zued .
Ch i ldren Gather ing B lackberr ies . By P . D awe 98, 1 65
Farmer ’ s S table. By XV . Ward 1 65
Gips ies ’ Tent . By J . GrozerGu inea P igs and Danc ing '
D ogs . By T . Gaugain 98
H is tory of Laet i t ia. By J . R. Sm ith 45
Industr ious Cottager and Idle Laundress . By W’
.
B lake 98
K i te Entangled. By W . Ward 98
Lucky Sportsman. By F .
- D . Soi ron 98
M orning and Evening : The F i rst O f SeptemberM orning , or the Benevo lent Sportsman. By J .
GrozerParty Angl ing and Angler ’s Repast . By G . Keat
ing and W'
.
-
’ard
St . James’
s Park and A Tea-garden. By F . D .
Soi ronV is i t to the Boarding Schoo l . By W .
-VardV is i t to the Ch i ld at Nurse. By W . WardNorthcote, J .
V i l lage D oc tress (after) .V i s i t to G randmother . By J .
.R. Sm i thPol lard, late M r. F . D ispersal of StockReynolds , Sir J .
" fi x
Col . Tar leton. By V . G reenLady Bett y D e lme. By V . G reen
Romney , G . Edmund Burke. By J . JonesRussel l . Favou r i te Rabb i t and Tom and his
PigeOns . By C . Knigh tSc hal l , J . F . L
’Amant Surpr is . B y C. M . D es
courh s
Scott , E . Boys Bath ing , Boys Skat ing , Bo y s Rubb ingan O rchard,
and The Angr y Farmer . AfterM or land 98
Sherw in, J . K . Tale of Love. After H . Bunbury 98
Sm i th , J . R.
Enamour‘
d SportsmanH is tory of Laet i t ia. After G . M or landLec ture on Gadding . By F . Bartolozz iPaint ing . By and afterP romenade at Car l i s le House
V i s i t to Grandmother. After Nor thco te\V-hat y ou W i l l\V idow
‘
s Tale . By W .
So i ron, F . D .
Lu cky Sportsman. After M or land 98
S t. James‘
s Park and A Tea-garden. After M or land 98
Su therland,T . V iews of Edinburgh . After Gendall 2 2 7
Tal l y-Ho, Ben. How to qual ify for a M el tonian 4 5
Tomk ins , P . W'
. D uty and Affec tion. After Ju l iaConyers 98
T resca, S .,Cadeau D é l icat , Le. After Boilly 98
Turner , C . Go ing out M i lk ing and Return fromM i lk ing . After W heat ley 1 65
W'
ard, J .
8G eorge I V . rev iew ing the D ragoon Guards. AfterSir W . Beechey 98
Lady Heathcote as“ Hebe. After J . Hoppner 1 65
“fard, W .
Ch i ldren B i rd-nest ing . After M or landFarmer ’s S tab le. After M or landK ite Entangled. After M or landM orning and Evening : The F i rst of Sep tember .
After M or landM rs. Benwel l . After J . Hoppner
V is i t to the Boarding School . After M or land
ix
ENGRAV I NGS AN D ETCH INGs—contz’
nued.
-"
ard,VV .
—f ont z'
m ted.
V is i t to the Ch i ld at Nurse . After M orlandWasp , Ch i ld and B i l ly . After H . B . (
‘ halonVi f
'
idow’
s Tale. After J . R. Sm i thF .
,R.A.
Cottage D oor and S choo l Door . By G . Keat ingGo ing out M i lk ing and Return from M i lk ing . By
C . TurnerRepai r ing to M arket and At M arket . By
AnnisRepai r ing to M arket , Com ing from M arket and
Returned from M arket . B y “7. Anni sRetu rn from Shoot ing . By F . Barto lozz i
W h i te, C . F idel i t y . After D . GardnerZorn, A.
D agmarSwan
, The
Th ree G races , The
FURN ITURE.
Adam .
Settee
SofaBou l le . Armo i reCh ipp endale.
Armchai rs,M ahogany
S ide- tableTab le
,Serpentine- front Carv ing
C locks .
B racket C lock , by Godfrie Poy
B racket C lock , by James Beverlev
C lock , by Tomp ionLou is X V I . C lock
,b y M artin
E l i zabethan.
Beds tead, Oak
Tab le , Oak
F lem ish Cab inet, Ebony , t 6th Centur yF lorent ine Cab inetFrench Cab inet , VV alnu twoodHepp lewh i te Chai rsJacobean Chai rs
, Oak
Lacquer,Ch inese.
Commode ,w i th pane ls
Su i teLou is X V .
L ibrary TablesSettee and Arm chai rs
Oak BuffetPainted, Engl ish , Arm - chai rsSheraton.
Cab inetChai rsCommode
S ideboard
M US I CAL I NSTRUM ENTS .
V io l in by Amat i
P ICTURES AND DRAW I NG S .
Alken, S . D raw ing Cover and Retu rning Home
Alma-Tadema, S ir L . Roman Fam i ly,A
Andreott i , F . M us ic Lesson, The
Ansdell,R.
,R.A. H igh land Park
Ansel l , C . Engl i sh D ress ing- room and D ress ingroom a la F rancarse
Aumonier, J . Hayfield, The
PICTl’
RES AND D RAW i Nc.s—continued’
.
Baker . late M r. Y . D ispersal o f Co l lec t ionBarber . C . Burton.
I n D isgraceNew The
Once B it . Tw ice S l lvRival Attract ionsSongs w i thout WordsT rust
liauernfiend, G . S treet in J erusalemBeechey . S ir Por trai t of \ 1rs . Farth ingBe l lotto, 13 . \ ie\\ on the b rand Canal , Veni ceBerkheyden. V iew in Am s terdam . A
Bonheur , lxosa. Young S tag and H ind in Fontainebleau Forest
Rosboom J . Housew ife, TheBoucher . Pastoral LandscapesBough , Sam R.S .A.
Common Scene. w i th “findm ill , c tc .
Hay field,The
Scott ish F i sh ing V i l lage : Sunset
B r istow ,E .
Donke y Ride, The
M i sch iefBuck , Adam .
Gent leman standing on the Seashore, look ing at
a M iniatu reG i r l Sk ipp ingLady and Ch i ldBurne- Jones , S ir E. Phy l l i s and DemophoonBurne-Jones , Sir P h i l ip . Portrai t of Sir Wal ter
Gilbey ,in his L ibrary at E l senham
Carpenter , M argaret . Portrai t of M rs . Hutch i sonCasteels , P . D ogs and VV aler B i rdsCatalonia, School of . Resurrect ion of the V i rg inCeders tron, Th . Checkmated
Char les , J .
D uck s ’ To i letLake Scene, A : M adeleine
Churc h i l l , Chas. D ispersal of Col lec tionCo la de l l ’ Amatr i ce. Al tar P iece, w i th M adonna
and Ch ild and Saints 2 26
Co le,V icat , R.A. Passing Shower , A : Harvest-T ime 42
Co l l ier,T .
After the S tormCommon,
A
Constab le, J . Sketch at Badham ,Norfolk
Conyers , Ju l ia. Afiec tion
Cooke, E . \V . VeniceCooper
,T . S . , R.A.
Catt le and Sheep by a S tream ? CanterburyM eadows
Cow and Sheep , AEwes and Lambs in the Sn0w
Th ree Cows on the Banks of the Thames
Copley J S .,RA Portrai t o f B rass Crosb y , Lord
M ayor of London,1 770
Cotes , F ., R.A. Por trai t of Ladv B radstreet
Cox , D .A
Cross ing Lancaster SandsM ountain Road w i th SheepOn the M oors
Creswick , T. , RNA Roads ide I nn
Crofts , E . R. .A Foray, A
D ance N ., .RA. Portrai t o f .Capt . James Cook ,
the
C i rcumnav igator 45
PAGEP ICTURES AN D DRAW INc s—con/ z‘nm-d.
D av is , M . W . R. ,R.A.
In Ross - sh i reM id-day She l ter
Dayes , E . Camp o f the Guards in St . James’s Park
on account of the Gordon RiotsDe Blaas , E .
F i rst C igar , The
Preposal, The
D e T roy, J . F . Portrai t of a Ladyde W int, ,
P .
D ai ry Farm , The
D olwyddellan ChurchD ic ksee
,Fr'ank .
‘ Romeo and Ju l ietD iepenbeeck , A V an. M adonna and Ch i ldD oss i , D osso . T r iumph of the BacchusD owdeswel l and Dowdes-wel l , M essrs . D ispersal of
S tockDownman, J .
, A.R.A. Portrai t of Harr iet LadyFo ley
East, S ir Al fred. On the River D ochart , K i l l inEngl i sh Schoo l .Portrai t of a Lady in Wh i te M us l in D ressPortrai t o f Lady in W h i t-e Sat in D ress
Evans , Bernard.
D uke’ s Country , W harfedale ,from the Woodman
’s
Seat
From the Westfie ldsRichmond, York sh i re
Fabre, F . X . Por trai t of M r. Sm i th , seated on the
bank s of the ArnoPaed, T.
,R.A. E r in, Farewel l !
Fielding , C .
Arunde1_
D unster Cast leH igh land Lake Scene w i th CattleRydal M ountains , W estmor land
F isher, M ark , A.R.A.
Catt le in a PastureEar l y Oc toberV iew near D ub l in
Foster , B i rket.At the Wel l 42
Cathedral Town on a River 1 64
D onkey-Cart , The 42
Farm Scene, A 42
Feeding the Cal ves 42
Refreshment in the Hay field 42
Returning from M arket 42
Returning from Shopp ing 42
River Scene,w i th W indm i l l and Boats 1 64
Spr ing - t ime 42
S tepp ing-Stones , The 4 2
S t i le, The 42
Y oung Angler , The : A Stream at Bettws-y -Coed 2 26
Fuse l i , H . , R.A. Portrai t of a Nephew of the
Art i stGh i r landaio , R. Alm ighty
, The in the C louds ,Adored by Angel s
G ibb , Robert , R.S .A.
Alma, The : Forward the 42nd
D eath of St. ColumbaTh in Red L ine, The
G i lbert , Sir I .
Batt le of the Somme
Richard I I . res igning his Crown to Bol ingbroke
Index
P I CTURES AN D D amrrNG s—contz’
nued. PAGEGoodw in, Al bert. S t . G iorg io , VeniceGow ,
A. C . , R.A.
L’Am i du PeupleLoyal B i rd, A
G raham , Peter .
M ountain Road, or Among the H i l l sSea-worn Rocks
G reaves , W‘
. Seamstress , TheGuardi , F . V iew near VeniceHaag, C . Kaheen AmranHalswel le, Keele y , A.R.S A. KilchurnCas tle, Loch
Awe
Hardy, J . , Jun. D ay ’ s Sport , The
Hardy , T . B .
Her M ajesty ’s TowerThames ofi Greenw ich
Harlamofi'
,A. Russ ian F lower G i r l , .A
Harp ignies , H . B r iareHayworth , late M r. W . W . D ispersal of Co l lec t ionHetf ner, K . On the Road to Ost ia, I tal yH ighmore , J . Portrai t o f a LadyH illing ford, R.
Napo leon’
s Per i l at B r ienne- le-ChateauOn the Eve of C iv i l -Var
Hobbema. Landscape, w i th a \Vater1nill and F iguresHo l land
, J Veni ceHonthorst , G . F ive G i r l s , in a LandscapeHook , J . C . , R.A.
Sand W’ ivesW ise Saws
Hoppner. Portrai t of a Lady in Wh i te M us l inD ress and Head-dress
Hurt, L . B .
H igh land Val ley , w i th a Herd of Catt leScene in the H igh lands
Janssens, C .
Portrai t of E l i zabeth , Queen of Bohem iaPortrai t of Lord Cliflord
Jones , G .
, R.A. V iew of E ton
Jordaens , J . Portrai t of a Lady and .her two Ch i ldren
Knel'er, Sir G . Portrai t of Pr ince Ru pertLambert , M r R. C . M .P . D ispersal of Co l lec tionLawrence , Sit Thos .
M i ss B loxam , afterwards M rs . \Valcot , the Art i st ’sN iece
Portrai t o f Gent leman in B rown Coht , w i th Wh i teVest
,in Landscape
P sycheLeader
,B . \V . ,
R.A.
Carting Hay : Shower y \VeatherGor ing Chu rch on the Thames
Hayfie ld, VV hittington, Worcestersh i reLast G leam , The : \V argrave
-on-Tl1ames
On the River M eavy , South D evon
On the Thames
Stepp ing Stones : Nor th -
'
alesWay s ide Chape l near Inter lachen
Legros,A. Rehearsal
, The
Le igh ton, E . B lai r .L i terary Lover , TheRomo la
Leigh ton, Sir F .,P .R.A.
Ant igoneGolden Hours
x i
P ICTURES AN D D RAW IN c s
L innel l , J ., Senr.
Harvest F ie ld, The
V Vatering-place, The
“b od- cu ttersL inton, Sir J D .
Admoni t ion, TheB lessed V i rg in appear ing to Fm Ange l icoNation’
s Grat i tude towards the B rave\Vanderers , The
Lotto,Lorenzo . Portrai t of a Gent leman w i th a
Red BeardM acW
'
hiI-ter, J . , R.A. S i l ver B i rches , The
M aes,N . Portrai t of a Gent leman in B rown D ress ,w i th Red Scarf and Wh i te Fr i l ls
M agnasco ,A. Landscape , w i th bandi tt i attack ing
travel lers on a road 98
M archetta,L . D epartu ie for the Hone ymoon 42
M eise l, E . S t i l l D ry 2 2 5
M i l lais , Sir J . E . Love of James I . of Scot land, The 2 26
M inderhou t , H . Frozen River Scene 97
M ontalba, C lara. D ogana, Venice, The 2 26
M oore , Henry, R.A. Ocean B lue, The 2
26
M organ, Fred. D on’
t be Fr igh tened ! 45
M or land. Bay Scene, w i th waterm i l l and figures 97
M u l ler , W . T ivol i 2 26
M y tens , D . Por trai t of a Lady in B lack D ress 1 6 ;
Nasmyth , P . V iew on the Thames,A 42
O’
N eill,G . B .
Chr is tmas Eve
Rehearsal , TheOp ie . Portrai t of a Lady in Wh i te M u sl in D ressOrchardson, W
I
. Q .
Housekeep ing in the Honeymoon 2 26
Rivals , The 2 26
Owen, \V ., R.A. Rus t ic M aiden, A 1 64
Pai l thorpe, F . W . I l lustrat ions to“ P i ckw ick 2 2 5
Panot , L . G . Portrai t of Lord Nel son in uniform 97
Patinir, J . Landscape w ith E l ijah and the Ange l 2 26
Paye , R. M . Portrai t o f a Ch i ld . . 11o lding a
K i ttenPeters , Rev . “
7. Portrai t of a G i r l in \'V l1 ite M us l in
T) ressPo l laiuo lo. Ch r is t at the Co lumnPo l lard, late M r. F redk . D i spersal of StockP rinsep , V al, R.A. Afternoon Goss ip on the Banks
o f the GangesP rou t , S .
M arket-place in a Normandy TownPorch o f a Cathedral
P yne, J . B . B elaggio ,
Lake Como,from the V i l la
Rotta M eneggio
Ram sden,late Arch ibald. D i spersal of Col lect ion
Reid, Og i lvy . K idnappedReinagle, R.A. , and S . G i l p in,
R.A.
D eath of the Fox
Go ing ou t in the M orningSportsman’
s Cab inet , TheRembrandt .
Portrai t of a Y oung M an in B rown C loakReturn of the P rodigal
Reynolds , Sir J .
Portrai t of General Pu l teneyPor trai t of a Lady in L igh t B lue D ressPortrai t of Penelope Bourger
Re yno lds , Sir J . (after) . M aster Hare
[ fi r/av
I‘tcr t RPS axn DRam aC s—ronn
‘
mz rd. m o t:
Richardson.
'
l'
. .\ l .
H igh land Reapers Loch Levon. l nverness -sh i reli vening
SorrentoSorrento . from t
‘
apo di M onte
V i l lage of S t . P ierre,tl rcat St . Bernard
Riv ibro. B r i ton.
D ouble lintcndrc
l'
na
Romnc v . Portrai t of a Lady in W h i te M us l in D ressLandscape background
Row landson, T . Cockp i t , The
Ruvsdael. Landscape, w i th a ru in and a hawk ingparty 97
Santerre, J . B . Portrai t o f Lady in dark dress 97
Sar tor ius . J N . Hunters at G rass 97
Seghers . H . F lowers decorat ing a S cu lptured 98
Sei ler, (S
. Chal lenge, The 42
Shaver, P lough Team 1 64
Snyders . F . D ogs attack ing a Porcup ine 97
S tark , J . W'
oody Landscape, A 97
S tone. M art‘ us , R.A. M arr ied for Love 42
S torck , A. V iew o f Am sterdam 1 65
S tuar t . G i lbert . Portrai t o f Adm i ra S ir Rob t .
Calder , Bart .2 26
S yer . J . Salmon River , A 2 2 5
Thorne~Waite , R. (‘
arting Corn, Al fr iston, Sussex 2 26
T i t ian. Y oung G i r l , A (The Young Lav inia) 2 26
Towne, C . S tar tled 1 64
Turner , J . M . W . O ld M i l l,An 45
V an de Ve lde,\V . Naval Engagement between the
Engl i sh and Dutch F leets 1 65
V an ( ler Cape l le, J . Sea V iew off the D utc h Coast 1 65
V an der Neer , A.
River SceneV iew in Ho l land : M oonl igh t
V an D yck . Two Sons of Lord NorthV an D yck , Abraham . Portrai t of a Lady in B lack
D ress wi th W h i te Co l lar 2 25
V an Go y en, J . V iew of the V alkenhof at Nymwegen 2 26
V an Huysum . Fru i t and F lowers on a M arb le S lab 97
V an V l iet . Portrai t o f a Lady wear ing large W h i teCo l lar and Coil
V erboeckhoven, E . Ewes and Lambs on the Banksof a H igh land Lake 45
V incent , G . Near Cottishall, Norfolk 45
W'
al ler , S . E . W here there’
s a \V i l l there’s a “lav 42
W i lson,R. River Scene, w i th an Angler : Sunset 1 64
XV imperis , E . M .
Arunde l Park , SussexHar lech Cast leHay
- t ime
O ld Foot -br idge , TheOn the Ouse, near Hem ingford
“Wigh t , J .
, A.R.A.
D r . Edward Tu l ly, the H is tor ian of Car l is le
Go lden.
Egg , The : The D augh ters of Rev . JohnV inicombe
Zoffany , J .
,R.A. Portrai t of M ary Be l lam y
, Ac tress ,in Y el low D ress
Zucchero . Portrai t o f Lady TracvPORCELA I N AND POTTERY .
Bow .
Bust of George I I .
F iguresG roups
x i i
PORC ELA I N AN D POTTERv
B r i sto l Cup and SaucerChamber lain D essert Serv icet.
“
helsca.
Candelab raCandles t icksF iguresG roupsVases
Chelsea-D erb y Scent Bo tt leCh inese.
Bowls and CoversKhang- l -Ie Bott le
D i shesF igureVases
K ien-Lung VaseVases
Nank inGerman Stoneware Be l larm ineLambeth .D el ft Bott le
JugLongton Hal l .Candlest icksSal t-glaze Teapot (L i tt ler)Nantgarw P lateRock ingham F iguresSevres F iguresS l ip Ware Posset-pot and CoverToft D i shWood, Ral ph . Toby JugWorcester .
BasketCup and Cover
JugServ iceTeapot and CoverTureens
Epergne,
1 760
M i lk-jug , O ld I r ishM ustard-
pot, 1 784
Porr inger , 1 673
n 1 674
Sal ver , 1 73 1
Spoon,Anglo-Saxon
Sweetmeat Basket, 1 768
Tankard, 1 683
Tankard and Cover , 1 669
Tea-kett le, 1 746
S tamp Sales
M RS . GVV YN'
E NGRAVED BY J . YOUNGA FTER JO H N HOPPNER, R.A.
JANUARY , 19 1 7.
S h ak e s p eare in Po ttery and Porc e la in
By M r s . W i llou gh b y H odgs on
THE year just c losed be ing the tercentenary of
W i l l iam Shakespeare, it has seemed to me not out of
p lace to rem ind co l lec tors of the many ex ist ing spec i
mens of old pottery and porcelain represent ing the
poet, his c harac ters and associat ions. These shou ld
be of spec ial interest in v iew o f the fac t that Shake
speare ment ions“c h ina”
inM'
easuref oi’ ”l emme
,and
that he must have been one of the first, if not the very
fi rst, great Eng l ish writer who speak s of th is fab r i c .
There is litt le doub t
that,in c om m on w i th
the rest of the educatedworld, the poet had
“
had
his attent ion drawn to
the wonderfu l poreelain of the Ind ies ”
(as
Ch inese porcelain was
then cal led ) , wh ic h in
his day was being im
ported into Eu rope in
ever - increas ing quant it ies by Portuguese and
other traders and travel
lers. That it did attrac t
ve r y general attent ionand c om m en t outs ide
the pottery trade therecan be no q uest ion
,for
wh i lst the p o t t er was
suffering persecut ion as
a votary o f the B lack
Art ia fru i t less endeav
o_
ur,.to rep r o d u c e i t,
Lord. Bacon,in one of
hisL essays, s p eak s o f
M ines o f Porcelain,
as if by some geological
m i racleitwasevol vedunderground, wh ilst otherwr iters averred t h at it
remained underground
V OL . X LVI I .—No. I SS.—A
NO . I .—SKETCH M ODEL I N TERRA -COT I‘A O F ROUB l LlAC
’
S
STATUE O F SHAKES PEAREEXECUTED FOR DAV I D GARRlCK , A N !) BEQUEATH ED BY
H IM TO THE BRIT I SH M USEUM I N I 799
0
for one hund red years before it came to per fec t ion.
I t is not su rp r i s ing that the potter shou ld take
Shakespeare as a model for his statuettes,bu sts
,and
medal l ions ; one can only wonder that the majori ty
are of so late a date, for, w i th few excep t ions,they
were madeat the endof the ei g h teenth and beginning
of the nineteenth centuryLou i s Frangois Roubiliac
’
s sketc h model (No . i . )was des i gned and made in ter ra- cotta by th i s ar t ist
for David Gar ric k , and
was bequeathed by himin 1 799 to t he B r i t i sh.
M useum . I t is s i gned“ F. Roubiliac
,1 7 5 7,
and is cer tainl y a most
attrac t i ve work . Th i s is,per haps, because ter ra
cotta l end s i t s el f t omodel l ing b et t e r thanr
g lazed pottery or poreelain. The features
,ex
p ress ion,and po i se of
the figu re are remark
abl y fine, and one gets
from i t an im p ress ion
of a g r eat and genial.
personal i ty .
Seeing t h a t he fi rst
made his reputat ion as
a d ram at i s t, it seem s
s t range that we have no,
statuettes o r paint ings
of Shakes peare in the
gar b of an ac tor in or
on pottery or po rcelain.
In 1 594 he be longed to ,
the Lord Chamber lain’
s
C o m pan y ,becom ing
one of its l eade r s in.
1 60 3 , yet he is general l y
dep i c ted as wearing the
C
d ress of his dav, and a some
what vo lum inous c loak . The
art is t has also bestowed upon
him certain manner i sms : he
rests his c h e e k on o ne o r
o ther o f his hands, and in the
statuette (No . i i . ) after Kent
and S c h eem aecker‘
s monu
ment he s tands w i t h leg s
c rossed in the att i tude ins is t
ed upon by pho tog raphers in
the fi ft ies and s i x t i es , who
persuaded the beaux of that
per iod that suc h a pos i t ion
lent to the v ic t im an appear
ance o f elegance and gent i l i ty .
I t i s t o t he StatTordshire
porters that we must look for
the majo r i ty of busts,medal
lions,and s tatuettes st i l l in
ex i stence, th ough , as I saidbefore, many o f these are of
l a te dat e. T he i (ll ll]0 l' tal N o. l l .
—S [\
a l uc ttc of S /z a/rcsp care fl’l odc'l/cd af ter( mt m ur
'
S c lweum ec/ ccr'
s [ Monum ent Ea rt /nvrz uarc
poet p ro bab ly had ll Ll lII el'
OUS S tq flurdx/u rc , 1 800 V ic /ar ia and .4Mar ! [H z / scum
connec t ions w i t h men
and m a t t e r s in t h i s
county , where it is re
membered w i t h p r ide
that he was an int imate
fr iend Of Ric hard Barn
held, t he Staffordsh i re
poet. Barnfield was a
noted sc holar, who, at
the age of ei gh teen,had
taken h is Bachelor of
Arts ’ deg ree at Oxford,
and as S h ak es p ea r e
had“ l i tt le Latin and
less G reek,
”wemay sur
m i se that so scho lar ly a
fr iend may have been of
u se to him in his work .
I t is interest ing in th i s
connec t ion to find that
two of Barnfield’
s sweet
est s ong s,
“ As it fel l
upon a Day and “ I fM us i c and sweet Poetryag ree,
’w ere f o r two
and a hal f c en t u r i es
attr i b u t ed to S h ak e
speare. Th i s was owing
to the dup l ic i ty of the
pub l isher Jaggard, who,
N O . ”L mwam en/ed in Mac/. l rans/ E'
r ,ruff/1 a
flor h'
art of af ter the ll’ estm r’
nsfer Abbey fl/omm u’nt
l la fc' abou t 1 760 F rnm M e Collec tion
hav ing co l lec ted a few genu
ine Shakespeare sonnets and
a var iety of poems by other
wr i ters,publ ishedthem
,under
the t i t le “ The Pass ionate P i lg r im
,as the work of W i l l iam
S h ak es p ear e. T h ey were
brough t out four years befo reJames I . was c rowned ,asecondedi t ion be ing i ssued in 1 6 1 2 .
No. model led after Kentand Scheemaecker
’
s m o nu
ment inWestm inster Abbey,
is of S taffordshireearthenware,wel l modelled and co loured .
The c loak is br i gh t redwi th a
soft green l ining ; the str i ped
yel low vest has a doub le bor
der in colours a nd spotted
p ink s leeves. Th i s model was
also cop ied at Chelsea and
other fac tor ies,perhaps the
most inter es t i ng spec imen
being one inwh i te saltglaz e at
the V i c tor ia andAl bert
M useum . Ro und thepedestal are b u s ts of
Henry V ., Queen E l i za
beth , andRichard I I I .In the Henry E vans
Bequest at the Derby
M useum are a pair of
figures o f M i l ton and
Shakes p ear e in wh i te
g lazed Derby porcelain,
s l i gh t ly g i l t,the onl y
co lour u s ed appearing
intheapp le~
green l ining
of the c loak s.
A s im i lar statuette in
Chelsea p o r c e l ain of
about 1 765 may be seen
in the Shakespeare Ex
hibition at the V i c tor ia
and A l b e r t M useum .
Here the l ining to the
c loak is p ink , and the
pedestal is s l i gh t ly orna
mented at the base in
pale b lue.
OntheWorcestermug
(No . i i i . ) we see again a
copy of theWestm inster
Abbey monument . The
p resented the bust to M r. l ‘ i ke.
p rop r ietor of the l ‘o ttery C la yQuar ries, a r eh am . Dorset .
In sp i te of its somewhat on.
attract i ve ap pearance,it is a
remarkab le s p ec i m en O f the
c raft of the potter . A s im i lar
bust was made by Jacob War
hurton, of Hot Lane, S taff ord
sh i re.
Of all S h ak e s peare’s cha
rac ters, Falstafi is the one who
tppears to have exc i ted the
greatest interes t amongst pot
ters. We h av e Chel sea and
Bow Falstaffs, Chel sea-Der by
and Derby Fal staffs in porce
lain, and many reprodu c t ions
in earthenware from the S taf
fordshire potter ies . O f t he
la t t e r,i l l u s t ra t i on N o. v i i .
Shows an excel lent spec imen.
M ade ab ou t 1 8 0 0 ,it repre
s ent s J am e s Q u i n in t h e
c harac ter of Falstaff, in wh ic h
he ap peared in 1 746-
7. The
base is model led in im i tation
of Chelsea-Derby . The figure
is rep resented as wear ing b lack boots, red trunks, a
7776 Connoz’
ssonr
No. V I I .—ST~A FFORDSH IRE F IGURE
RE PRESENT I NG JAM ES QU I N AS FA LSTA FFA BOUT 1 800
v icTOR1A AN D A LBERT M USEUM
str i ped vest,and p ink coat
,the sh ield being Of s i l ver insc ribed
lustre. A Derby model of 1 840 is exac t ly l i ke the
foregoino with the excep tion of the sh ield, wh ich isO ,
in gold .
i n ear l ier Stafiordshire figure possessing spec ial
attrac t ion is one in wh i c h Falstaff is represented asdrawing his swo rd ; th i s is in every way superior to
NO . V I I I .—M ODEL OF SHAKESPEAR-
E’
S HOUSE AT
M ADE BY CO PELAND , 1 840THE PROPERTY OF C . H . GABB
,ESQ.
STRATFORD -ON ’AV ON
of the rig h t-hand
0
0
0
0
Dav id Garr ick in the c harac ter of K ing Richard I I I .
NO. I X .—FENTON WARE pox LID ,
W ITHP ICTURE OF AN NE HATHAWA’Y 'S COTTAG ETHE PRO PERTY OF H . c . A NDREWS , ESQ .
later spec imens, wh i c h have lit
tle originalityandap pearto have
beencop iedfromDerby model s .
In the Sc h re i ber co l lec t ion
are two statuettes of James
Qu in in the charac ter of Fal
staff,afterJamesM CArdell ;O ii e
is in all-wh i te B ow porcelain
(No. x i i i ) , the second in Chelsea. The Chel sea s pec imen is
a remarkab l y fine figu re,about
1 2 inc hes h igh , wel l model ledand more tas te f u l ly painted
than themajor i ty Of suc h p ieces
(NO . The b l ac k “ b o o t s
have brown tops , the breec hes
are'
tu rquo i se b lue,the coat
p ink , and the vest, Cop ied froman ei gh teenth - century flower
brocade,is beaut i fu l ly painted.
The p ink hat has a wh i te fea
ther,and the brown sh ield on
the left arm i s studded w i th
gold bosses,w h i l s t the r igh t
h and g ra s p s t h e h i l t of a
sword . A very interest ing ad
di tion to th i s figu re is the b i l l
wh ich may be seen hang ing out
poc ket of the vest ; upon th is is
Snakespeare z'
n Pof z‘ery
—\VH ITE BOW F IGURE , K I NG LEAR
Porcelain
NO . X L—JAM ES QU I N I N THE CHARACTER OF FALSTA F F , A FTER JAM ES M C ARDELLN O . X I I .
—DAV ID GARRICK I N THE CHARACTER OF RICHARD ”L , A FTER A PA I NT I NG BY NATHAN IEL DA NCE
(NO . after a paint ing by Nathaniel Dance,is a
beaut i fu l Chelsea-Der by figure from the Sc h rei ber
col lection. The express ionof
countenance and the ac tion
depic te d are rema r k ab l e
when one cons iders the soft,
p l iab le nature of th is porce
lain,the c o l o u r ing being
equal l y str i k ing and p leasant.U pon the f l ow er - studdedbase wil l be seen the yel low
hat w i th wh i te feather ; thecoat is of scar let
,edged with
erm ine, the vest wh i te and
go ld in open scale pattern ;
the p ink trunk s are slashedw i th yel low and gold and havegreen continuat i ons . K ing
Lear,an all - wh i te figure in
BOW porcelain,ab ou t 1 75 5 ,
w i l l be seen in il lustration
N O. x . stand ing on a rococo
sc rol led base, wi th a broken
sword and orb at his feet .
At Swansea b lack basaltes
rec l ining figures of An t on y
and C leopatra,1 1 inc hes in
length,w e r e manufac tured ,
and upon some Der by p latesNO . X M L—W H ITE BOW F IGURE OF JAM ES QU I N
AS FALSTAF F , AFTER M C ARDELL
with green borders may be found a paint ing of the
Death of C leopatra, after M oreau de Jeune,in Bel l ’s
ed i t ion of Shakespeare, pub
lished in 1 786-88 . Th i s de
s i gn was usedat Derby du r ing
the B loor per iod in 1 820 .
The model Of the house inwh ic h Shakespeare was born
at Stratford -on-Avon
was made by C'
o
‘
p e l and in1 840 . I t is of wh ite stone
ware,w i th co loured roof and
beams,and is a c harm ing and
uncommon l i t t l e spec imen.
Neale, of Hanley , p roducedsomeattract i ve c lassical green
vases in l i g h t earthenware,dec o rat ed w i t h a bust of
Shakespeare, and wreath s of
flowers p ai n t ed in co lours .
Several Staffordsh ire pott-erso r nam en t ed p l at e s and
pot- l ids with co loured trans
f er- p r inted rep resentations
of Anne Hathaway ’s cottage
and other v i ew s assoc iatedwith the poet, one of wh i c h
may be s een in our ninth
il lustration.
Th e L i f e and W ork o f J ac q u e s
By C . F . H ardy
THE influence wh ic h bound Agasse to
Newman Street was not professional but domest i c ,and it grew stronger year by year with the g row ing
fam i ly of his friend l y land lord . Of these c h i ld renhe became the devoted companion and p laymate,espec ial ly of Lionel
,the eldest
,born in 1 8 1 2 , to
whom , as already stated, we are so largel y indebtedfor the materials of our b iograp h y . There st i l l ex ists
a large p roportion of the many por traits and subject
p ictures painted by Agasse from the Booth fam i l y ,wh ich attest an amount of loving and int imate stud y
bestowed upon them , only less in degree than that
wh ic h he had h itherto best-owed upon animal s ; and
in both is seen the mark O f his pecu l iar genius .
Other animal painters have stud ied perhaps as deep l yand worked with the same or g reater mastery Of
general technique. But the genius Of Agasse enab led
him to produce a per fec t ly na‘
i'
ve v iew Of his subjec t ,a view in wh ic h the human element
‘does not seem
to enter. He seems to have got beh ind the vei l , andin his animal sub jec ts we see animals painted,
as it
were, by themsel ves. So w i th his c h i ldren S i tters ; he
seem s to have forgotten that he was grown up , and
the c h i ld ren are as unsel fconsc ious as i f th ey weres i tt ing to a c h i ld art i st. Amongst many S im i lar worksrecorded, the fol low ing are extant 1— T/z eHara
’I/Vorrl *
(Royal Academy , 1 8 2 1 ) Shows L ionel Booth , aecom
panied by a cat,seated on a low stoo l and puzz l ing
over a book . T/ze F lower Cari nL(Royal Academy ,
1 823 ) Shows Agasse h im sel f sel l ing flowers from a
donkey - cart, w i th several Of the c h i ldren mak ing a
group on the pavement. The flowers, by the way,are exquisitely rendered . One of the two portrai ts of
Lou isa Booth,done in 1 8 29 and 1 830 ,
is a gir l,l ife
S i ze,sm i l ing as only a c h i ld can sm ile. I
“
,In P lay
lzours § (Bri tish Inst i tution,1 83 2 ) Agasse appear s as
Booth co l lec t ion, 24 in. by 20 in. ; engraved by Syer .A sketch is reproduced in P . G. ,
page I I 7 .
T P . G., page 1 1 8 .
I M usée d’Art , Geneva.
A smal l canvas in the M useum at Geneva. P . G. , page 1 19.
L au ren t Agas se
P . G. ,page 1 24 . A three-quar ter
i‘ M r. Lane-Fox ’s co l lec t ion.
Par t I I .
canvas .
a gardener , bu t, _against all sense Of p rop riety in
the p resence of the qual ity , he has th rown h imsel fcareless ly on a seat .
“ There is not a detai l ,”say s
M . Baud-Bovy ,“wh ic h does not ex press w i th inten
sity the del i g h t in l i ving that belongs to c h i ldhood.
’
T/Ie Seerez‘, painted in and exh i b i ted at the
Academy in 1 84 5 , shows port rai ts Of Georg ina and
E l len Booth , the latter wh i sper ing into the ear Of
her elder S ister, who ho lds her round the nec k and
sm i les, quite unconsc ious of our p resence,th ink ing
Of abso lutel y noth ing bu t the funny sec ret wh i c h
E l len ev ident ly regards as Of the g reatest im port
ance.
The downfal l Of N apoleon in 1 8 1 4 and the release
O f Geneva from F rench dom inat ion b rough t joy to
Agasse. He p roduced c lass ical des i gns for the i l l u
minations in Hyde Park , and painted T/ze Allies
entering Paris . But the though t of returning home
came to noth ing . W i thout money the. p rospec t in
Geneva was a b lank . I t must have been disappo int
ing to him that his nat i ve c i ty , now part O f the Swi ss
Confederat ion,had not
,afterall
,gained her absolute
independence, and in 1 8 1 6 he had sett led down in
his new home to a sort of domestic hap p iness wh i c h
he had g lad ly exc hanged for dependence on the
magnates of the Sport ing wor ld.
The I nside of a Slab/e, wh i ch we rep roduce from
the K i tcat canvas in the M useum at Geneva, is
probab l y identical wi th that painted in 1 8 1 0 and
exh i b i ted at the B r i t ish Inst i tut ion in 1 8 1 1,though
it may possib l y be the I nterior of an Ale/zonse S lab/e
recorded by the art i st in 1 804 . I t is a fine and
c harac teri stic work .
Of innumerab le stud ies at Cross ’s menager ie dur ing
the Newman Street period very few have been traced.
Notab le except ions are a j aguar, l ife-S i ze, belong ing
to M rs. W il l iam V icary , Of Bovey Tracey , painted in
1 8 1 1 T/ze F ox,l i fe- size, now at Bramhamfir wh ic h
The Conno/ssenr
THE FLOW ER CART OIL , 1 82
p robab ly dates from Feb ruary,1 8 1 3 ; and f olea, the
ourang-Outang , painted in 1 8 1 8
In the Academy Of 1 8 1 8 he showed the Landingat I/V eslnz inster B ridge d recal l ing
,according to M .
Baud-Bovy , an I tal ian subject by Corot. The figuresin the foreground also g i ve it ‘
an interest wh ic h is
A masterp iece. P . G. , page 1 1 5 .
Jr In the po ssess ion of M . W i l l y - M auno i r , of Geneva.
28 in. by 42 in.
1 0
not possessed by several other smal l Thames p ieceswh ich fo l lowed it, and two of wh ich , Lamoet/z and
B loc/{f riars B ridge, are in the Booth co l lec tion.
In 1 8 1 8 he painted Lord Rivers on Horseback,
rep resent ing his lordsh ip cours ing at Newmarket. ASa who le
,Agasse p robably. d id noth ing better of th i s
In Sir W . G ilbey’s sale , M arch ,Royal Academy , 1 8 19.
Canvas,19 I0 Now in the M useum at Geneva.
three-quarter length .
Tne L ife and Work of / aeqnes Laureni Agasse
PLAY -HOURS OIL , 1 832
k ind . There is a beautiful sunl i g h t effect del icately at B ramham,wh ic h we rep roduce, was painted in
spread over the scene, andan unconventional ity in the 1 83 5 .
posing of the figures wh ic h d istingu ishes it entirely The M ail Coae/z ,*painted in 1 8 1 9, is, owing to
from the ordinary sporting p ic tu re. The two g rey the coloured aquatint by Dubou rg , pub l ished in 1 824 ,
bounds are no doubt portraits, one being YoungSnowball . The S l i gh t ly varied repet i t ion of th is work Vl
'
ater-Co lour Soc iety , 1 820. Canvas, three-quarter length .
I I
T/ie Connoissenr
per haps Agas
se'
sbest -known
T h e
c oac h is de
w o r k .
scend ing a h i l l ,and t he accu
racyo f drawing
is c a r r i ed on
from t h e foresho rt en i ng of
the h o r s e s to
the de t a i ls o f
t h e d r i v e r ’ s
hands grasp ing
the reins . For
a c om pan i o n
p r i n t h e re
p a i n t ed t he
B road
I I'bggon,wh i c h
dates b ac k to
re p re
sentinganearly
front v i ew o f
the lumbering
car r ier ’s c a r t,
or rather cara
van, drawn by
ei g h t h o rs e S,
r e t u r n i ng t o
Ox ford S t r eetfrom L u d l owam id 5 t t h 6
open count ry . I twas p robab ly done on the Bayswater
Road,in thenei gh bou rhood of theKens ington g ravel
p i ts . Also ak in to the coac h is a co loured p r int, thejl/ ail Guard
,by Dubourg
,pub l i shed in 1 82 5 , show
ing that im portant func t ionary being dr i ven in a g i g
to jo in the coach,ap parent l y from the General Post
Office.
To 1 8 1 9 belongs a second port rai t of the artist’s
cous in,Lou i s AndreCossen
t who was then in London,
p robab l y the only adu l t sitter for a portrai t, excep t
Lord Ri vers,w i th whom Agasse ever real ly succeeded .
But in th i s case he had known and sketc hed his sub
jec t in boyhood. I t seems to have led him to attemp t
a great many others,of wh i ch only some half -dozen
have been traced. Two Of them,Edward Cross and
Ai rs. Edward Cross , done in 1 83 8, were l i thographedb y Gauc i
In 1 82 1, on the introduc t ion of Sir Gore Ouseley,
THE SECRET
Album , P late X X X ., Shows th is repet i t ion.
P . G. , page 1 1 6 .
I xlr'rs . Cross is reproduced in P . G .,page 1 25 .
1 2
Sti l l in the Royal co l lec t ion at Royal Lodge ; canvaseshal f- length . Reproduced in Zool. Soc . Proeeedings , 1 895 , to
accompany a paper by M r. R. Lyddeker.
forwhomAgas
se had recent ly
painted a stud
por trai t,hewas
comm i s s ionedby the Co l lege
of Su rgeons to
paint a set of
an i m a l p o 1
t ra i t s,w h i c h
are st i l l intheir
p o s s es s i o n .
They il lustrate
a-
theory,s ince
ex p l oded , o f
“t h r o w i n g
b a c k .
” An
Arab ian mare,
h a v i n g p ro
duceda h ybr id
by a q uag g a,
afterwards produ c ed b y an
Arab i an horse
two c o l t s and
a fi l l y Show ing
quagga charac
teristic s . These
animals are re
p res ented on
six c an v as es ,ea c h 2 3 in .
by 1 95} in.
,the
h yb r id being a copy by Agasse O f someone else’
S
work . They are now muc h obscured,but wou ld no
doub t be found,if c leaned
,to be very good Spec imens
of the artist’s accurate andmasterl y work Of th is k ind.
In 1 82 5 he d id a smal l repetit ion of his ful l - lengthof Lord Rivers, finished in 1 8 1 5 . A mezzot int by
Porter, pu bl ished in 1 82 7 by M . H . Colnaghi, was
dedicated to the K ing , who is sai d to have bough t
the orig inal . But it is not now traceab le in theRoyal
col lec t ion. Rivers is on foot, accompanied by two
grey hounds,in a wooded park , his strong , handsome
features and fine figure c harac ter ist ical ly rendered ;but the print, according to M r. Booth , does less thanjust ice to the or i g inal . Some cont inuance O f royal
favour is shown by the K ing ’s comm iss ion for the
portrai ts of the G iraf e and T/z ree Gnus, in his
menagerie under Cross’s management in W indsorPark .
“ These were done in 1 827—8. The girafle,
T/ze L ife and War/e of j acgzzes Laurent Agasse
I NS IDE A STAB LE OIL , I 8 I o
a p resent from the Pasha of Egy p t, and the first seen
al i ve in Eng land, is painted in p rofi le w i th spec ial
elaborat ion,accom panied by a rather grotesque group
of th ree figures, inc lud ing two turbaned Orientals.
The gnus are painted with more freedom in an open
landscape on a smal ler scale,w i th horses in the
distant backg round .
In 1 828 Lord Rivers died,and in 1 829 Cross took
his menagerie to his new Sur rey Zoo log i cal Gardens
at Kennington. The Soc iety ’s Gardens in Regent’sPark had been recent ly estab l ished
,but Agasse con
tinued to find his sub jects for study in the co l lec t ion
of his old friend , and later in another menager ie
belonging to one Her r ing in the E uston Road , nearF i tzroy Square
,to wh ic h nei gh bourhood he removed
between 1 83 3 and 1 83 6 . Here, at 2 , Lower South
am pton Street,he was c lose to his old al ly , Char les
Turner,and also to a very generous fr iend and patron,
Sir Charles Forbes. There can be no doubt that hismeans wereof the scant iest, and that many of the
numerous entries of por trai ts wh ic h we find in his
notebook from th is t ime onwards rep resent comm i s
s ions wh ic h were g i ven him by his fr iends rather outof c har i ty than because they valued his work . H is
name appears,however , in the Academy catalogues
I S
N ow at Bramham . Canvas , 68 in. by 54 in.
from 1 84 2 to 1 845 , but none of the exh i b its have
been traced excep t that of 1 845 , T/ze Secret, already
desc r i bed .
The copy of Lord Rivers ’s portrai t made for hisnep hew,
M r. Lane-Fox ,in 1 83 5 , has already been
mentioned. Th i s was fol lowed somewhat later by a
v isit to B ram ham,where he began anequestr ian g roup
of 110 . Lane-F ox,lz z
'
s Son and M p /zew ,
* fini shed in
1 839.
In 1 843 he had moved back to Newman Street ,and on the top floor of N o . 83 , near ly op pos i te M r.
Booth ’
s,he spent his last day s. He died on the
2 7th December, 1 849, and was bur ied in the churc h
yard of St . john’
s Wood Chapel .I t requ i res more than a superfic ial knowledge of
animals to fu l ly ap prec iate his work , but in that
department he may fai r l y be cal led unique. Landseer h imsel f, as reported to me by the late M r. M ar t in
Colnaghi, used to say of .him ,
“ He paints animals
as none of us can.
”
In his own sp here he deser ves p rec i sel y the en
comium bestowed by By ron in E nglis/z B ards and
Scale/z Rew'
ezerers upon Crab be, and summed up in the
Connoisseur
LORD RI VERS COURS I NG AT NEW M ARK ET
l ine, Though Nature’s sternest painter, yet the best.
In both the painter and the poet we recognise a nar
row range of art ist ic power , an obvious d i sregard ofcom position,
”a technique wanting in “
dist inc tion”
and abounding in nai‘
vete. As Agasse deal t with
animal and ch ild l i fe, so Crabbe in his out look took
m i sery and m isfortune for his c h ief theme. But each
of them made his sub ject beaut i fu l by a homely,int i
mate, yet master ly g rasp of detail, every touch of wh ich
exp resses a love of t ruth and a sym path y w i th natu re.
I S I S-
35
Agasse h imsel f put a h i gh value on his work,and
his native p r ide and honesty forbade him to accept
suc h pr ices as he m i g h t have received for it from his
unapp rec iat i ve contemporaries in Eng land . Thus it
seems he sent the best of it to his sister or his
cous ins in Geneva, who disposed of it where his ear lyp rofic iency and p rom ise had become an estab l ishedtradition. He rarel y condescended tosign hiscanvases ,and those s i gned very rare l y bear more t han his
init ials,the L andA being joined at the foot .
T/oe L ife mza’ Work of j acques Lemrer i Agasse
LAND I NG AT W ESTM I NSTER BRIDGE O I L ,
[POSTSCRI PT.
- The pub l ication of the p rev ious
art ic le on Agasse in THE CON NO I SSEUR of August,
1 9 1 6, has b rough t to the knowledge of the writer the
or iginals of two of Char les Turner’s fine eng rav ings
DOGU-E D’ULM
I S I S
of his works the l/Vellesley Araoz’
an,wh ic h has long
been in the fam i ly of M r. F. W . Dunn,of Gal
hamp ton, Somerset, and Yozmg Snowball , in the
possess ion of M r. T. Clarke,of Hove]
CRAYON AND SANGU I N E
Bygone s f r om th e G eorg ian T im es
THE l i tt le knick - knack s
that were to be found on the
work or d ressing- tab les of our
g randmothers are rap i d l y
becom ing m o r e and more
scarce. Unfortunatel y , to myway of th ink ing , ou r la r g e
museums sad l yneglec t art ic lesthat were in c o ns tant use
dur ing Georg ian t imes—say
1 740 to 1 83o—suc h th ings
not being c on s i d e r ed o ld
enough to attrac t the general
pub l ic . M y ex p e r i en c e is
that the f ew are interested in
artic les of t he Sax on and
Roman p e r iod,and stuffed
b i rds, foss i ls, etc .,etc .
, foundin every m u s eum ,
but that
the mam ' are more interested
in the artic les that our grandparents dai ly handled . For
some years my aim has been
to ob tain and p reserve suc h
treasu res, and my co l lect ion
now num b e r s o v er fou rhund red examp les. During
the last ten years the edi tor
of THE C O N N O I S S E U R has
pub l i shed,w i t h i l lustrat ions
and des c r i p t i ons, many of
my more im p o r tan t p ieces,and now k i nd l y g i v es m e
perm i ss ion t o b r ing t o i t s
readers ’ not ice, in a few short
ar t ic les und e r t h e head of
Bygones of the G eo rg i an
times,
”some of my smal ler , CANDLE SHAD E AN D CANDLE HOLDER
1 8
B y M ab e r ly Ph i l l ip s, P .S .A .
though not l es s interest ing,
exam p les.
Cami/e slzade,in green silk .
A b rass arm about 4 in. long
C lasps the cand le,and is held
in pos i t ion by a s l id ing co l lar,after the fash ion of the shadesof to day . At the other end
of the arm is a b rass tube,also held by another s l i d ingco l lar . I n t o th is is p laced
a s p l i t - b ras s up r i g h t wi th
tapered ends, h o l d ing t he
screen in p o s i t i on. W hen
not_
in use the sp l i t upri g h ts
can be taken out of the socket
and fo lded bac kwards l i ke afan
,when the shade co l lapses
and the w h o l e affai r backsinto a l i t tl e l eat h er case
that measures 4% in. by I } in.
by A} in.
B ack serrate/zen“
were also
found on“my lady
’
s table.
”
Two are i l lustrated— one an
i vory shaft, 1 7 in. long , w i th
four knots difi’erently co loured,but now very muc h faded ; ahand is carved at the end, but
the fingers are muc h worn.
The other has a handle of
wood, not qu i te so long,w i th
an ivory h and at t h e end,
most beaut i fu l l y cut and in
per fec t condi t ion. The ob jec t
was to a l lay any ir r i tat ion
down the b ac k b y the use
o f t h e sc ratc her . I bel ieve
from ihe Georg ian Tim es
TWO BACK SCRATCH ERS , M ETAL COM B , K N ITT I NG SH EATH , W ATCH HOOK’
, S I LK PURSE ,HAND -M ADE BUTTONS ,
W AFERS I N BOX , BOX FOR CURL I NG PAPERS
their manufac ture has been rev i ved for the use of the ladies wore r inglets. The cur l cou ld be combed
inval ids . out,then tw i sted round the metal bar rel , and, when
M etal comb,w i th bone hand le. A most c lever suffic ient l y cu r led,
a sp r ing wou ld be touched that
contr i vance,in all 9 in. long . A metal bar rel
,with d rew the com b into the bar rel
,when it cou ld be
a fine toothed comb p rojec t ing, ev ident ly used when w i th d rawn without di stur b ing the hair .
T/1e Coi l /roissear
PORTA BLE I NK STAND , BOUQUET HOLDER,SAND DREDGERS
B ox f or curling pap ers . Boxes were ev ident lyso ld containing one hundred papers
,su i tab le for
the purpose. On the cover of the box two lad iesare dep i c ted w ith their hai r p rofusel y cur led. The
paper ins ide the box is marked 1 oo Papillottes
de'
coupees.
”
A Raf/ring s/zeat/i . The one here il lustrated ismost ingenious ly cut out of a so l i d p iece of wood .
The hook at one end wou ld go into the g i rd le or
waistband of the user . A kni tt ing pin wou ld be
insertedi
into the ho le at the oth er end of the sheath ,so g iv ing the worker ful l p lay w i th her hands .
T/z e watc/c 110013 was used in the day s of the goodold “ fou r- poster,
”w i th its heavy damask back . The
two long p rongs wou l d be passed th rough and th roughthe damask , and form a good foundat ion for the hookwhereon to hang the watc h , wh ic h was much heav ier
than the present-day ar t i c le. The bed- hook is made
of b rass,w i th a mother -of- pear l centre. The com
b inat ion is ver y art i st i c , and the workmansh i p fineand strong .
P urses worked in co loured s i lk s and ornamented
w i th beads were in general use dur ing the t ime under
considerat ion, the leather purse com ing in at a later
period . The spec imen before me has one end round,
the other square, probab ly to show the user at a
glance in wh i ch end he car r ies his go ld or s i l ver.
Hand-made ozcctoas w i l l show what used to be donew i th need le and th read and patience. I am in
formed that two elder ly ladies who res i ded at Staines
(M idd lesex ) supp l ied the i r friends and the trade w i ththese marvels of neatness and pat ience.
Waf ers. G i l t wafers are contained ina dainty box .
V ar ious devices are shown— beeh ive,fly , peacock ,
b i rds at a fountain,being among the number . Paste
wafers were also used,wh i c h wou ld be fastened w i th
a stam p . The one il lustrated on page 2 1 I S carved
in bone, dep ic t ing an acorn sp ray .
Portable S i l ver- p lated , engraved, con
tains a glass ink-
pot on the r i gh t hand. A strong
cush ioned Sp r ing c loses on to the g lass rim of the
pot. W hen Shut, th i s is fi rm ly held in its p lace by
an outer sp r ing . On the left is a metal recep tac le
for wafers,the adhes i ve envelope com ing into use at
a later date. The letters K . K . P . are stam ped jus t
below the rim,p robably the ini t ials of the fi rst owner .
In the cent re is a candle socket, h inged so that it
w i l l fo ld down into the box . The lid is held by anouter sp ring—the whole being covered by a leather
case— I N K stam ped on the top .
The Connoissenr
They were ex pens i ve and cons idered great novel t ies .
C lever l i tt le pocket car r iers were made in s i l ver, oneo f wh ic h is here i l lus trated . When c losed
,it measures
about I % in. in hei g h t and 1 in. in d iameter . The
top sc rews o ff and di sc loses a fine per forated grater .Th is in its tu rn unsc rews, and the lower port ion con
ta ins the nutmeg . A l i tt le of th i s pungent sp ice was
cons idered a g reat im p rovement to hot negus and
other beverages of that nature. I t was eas i l y car r iedin the pocket . W hen wanted for use the top and
g rater wou ld be unsc rewed , the nu tmeg extrac ted,
and a l i tt le of it grated into the wine- cup, when the
var ious par ts wou ld be re- fixed and retu rned to the
If'
imugrette. In i vory or bone. In every way
su i table to s l i p into a lady’
s pocket. The top sc rews
off,
showing an inner perforated cap wh i c h also
unsc rews and di sp lay s a smal l p iece of sponge wh i c h
has been soaked in aromat ic v inegar . Who the last
HOW PATCHES W ERE W ORN
fai r owner was, or how many years s ince it was used,I cannot say, but the aroma from the v inegar is st i l l
very st rong .
Pate/roost . A smal l i vory box w i th eng ine- turnedtop for car ry ing b lac k patc hes cut out of adhesivep laster w i th wh ic h the lad ies (and, I bel ieve, some
gent lemen) adorned (or d isfigured) thei r faces.
I recent l y came upon a strange Ac t of Par l iament,
quoted in a newspaper, stat ing that all women, of
whatever age, rank , p rofess ion, or degree, whetherv irg ins
,maids
,or w idows
,t hat shal l from after the
pass ing of th i s Ac t, impose upon, seduce and betrayinto matr imony any of H is M ajesty ’s male subjects
by scents, paints, cosmet ic s,washes , ar t ific ial teeth ,
false hai r,Spani s h woo l , i ron stays, hoops, h i gh -heeled
Shoes, or bolstered h i ps,shal l incur the penal ty of
the laws now in force against w i tch - c raft,sorcery
,
and such - l i ke m isdemeanours, and that the marriage
upon conv ic t ion shal l stand nu l l and vo i d .
”
THE LES L IE BOY
B Y S IR HENRY RAE BURNIn Lord G lenconner
’
s Collec t ion
T h e D av enh am Co l le c t ion
Par t I .
I PROPOSE here to treat only one s ide of
the magni ficent series of ear ly p r inted books in the
Davenham col lec tion ; but a s ide wh ic h is rich ly
represented there, and one wh i c h is of very spec ial
interest. For al though it may g i ve us almost a per
sonal exaltat ion to hold , as I have done onl y lately,
that magni ficent fol io B i b le by Gutenberg, wh ic h
marks the dawn of early p r int ing,or to turn over the
exqu is i tel y il lu strated ear ly edit ions of the F renc h
Hours in M r. D yson Per rins’ col lec t ion, yet to my
m ind noth ing can ever excel the interest to be at
tached to the fi rst print ing of the I tal ian inc una/ncla.
P r int ing—a debt g i ven to the wor ld b y Germany
in the days of her old free c i t ies, M ainz, Co logne,
Strasburg , Liibeck , Augsburg , U lm ,N uremberg ,
when her best gi fts had not yet been sc hoo led by
Pruss ia into an eng ine of p i tiless destruct ion— came
very soon ac ross the Alp s to I tal y in the p rac t i sed
hands of two German master c raftsmen, the“ p roto
ty pographers of I tal y, Conrad Sweynheym and
Arno ld Pannartz,who estab l ished them sel ves in the
Bened ic t ine monastery of Sub iaco,some th i rty m iles
from Rome hersel f.I had the p leasure of motor ing w i th a fr iend to
Sub iaco two years ago on a morning of Roman
sp r ing - t ime, and spent a long,del i g h tfu l day there.
Ly ing on the fr inge of the Campagna, beneath the
shadow of the g reat mountains,the old c i ty
,ric h
in romantic beau ty , may be cons idered as the veryc rad le of I tal ian p r int ing .
For it was here that the two master p r inters p roduced thei r ed i tion of S. August ine’s City of God int hat smal l Goth i c ty pe wh i c h was so m uch adm iredby M r. W i l l iam M orris
,and wh ic h has been rep ro
duced by M r. St. John Hornby in his beaut i fu ledi t ion of Dante
’
s D ivina Commeclz'
a. T/l€ City ofGod (De Civitate D ei ) was wr i tten by the g reat
Father of the Ch urc h in the ter r i b le years fo l low ing
2 5
Ear ly I ta l ian I llu s trated B ooKs
By S e lw yn Br inton , M .A .
the sack of Rome (A.D . 4 1 0 ) by Alar ic the Goth , and
was d i rec t l y intended to combat the op inion that the
fal l of the imper ial c i ty was due to the deser t ion of
the old gods of Rome. I t was a popu lar work in
the fifteenth century , possibly because the v ic to r ious
advance of the Turk th reatened a s im i lar disaster to
Rome of the Renaissance.
But when the German c raftsmen p roduced their
second book,the Sp eculum Vitce f l u/nana’ , wh i c h is
also in the Davenham col lec t ion,they had al ready
m i g rated and set up thei r p ress at Rome, in clomo
Petri dc Af ax imo,w i th in the Roman palace of the
M assim i,under the p rotec t ion of Pope Pau l I I . ,
and
more d i rec t l y of the authorof th is work , the SpanishB ishop of Zamora, and governor at that time of the
Castel Sant’ Angelo, Roder igo Sanchez deArevalo.
Hoc op us, says the colop hon, w i th commendable
p r ide, Conradus S i t'ey u/zeynz ora’i/ Je miro Arnoldusc/
sz’
nzul pannarts Roma eap edicre soda/es
(“Th is work
,
”they here tel l us
,
“Conrad Sweynheym
and Arnold Pannartz wi th wond rous sk i l l aecom
plished in Rome as partners and the fine, c lear
Roman ty pe (for the imp ress of the land was on
them ,and they had abandoned thei r native Goth i c )
and ric h cap i tals just i fy the pride the ir co lophon
seeks to express .
I f I were to fo l low here the di rec t sequence of
ear l y I talian p r int ing I m ig h t turn at th is point
to V enice, where p r int ing,under the influence of
the F renchman N icholas jenson, and the German
E r hard Ratdolt,developed in the most Serene
Repub l ic from 1 470 onwards a very notab le ac tivi ty ;but I reser ve th is part of my sub ject for later treat
ment,keep ing my sel f at th i s stage to Rome (inc lud
ing Nap les and Southern I taly ) , and, above all, to
F lorence.
F lorence and V enice are real ly t h roughout the
true homes of book il lustration in I tal y ; and I say
T/ze Connoi sseur
th is w i th know ledge of the incwmlw/a p r inted int hese ear l y years at B resc ia
,M ilan
,I’errara
,Bo logna
,
and Parma.
F lo rence, above all,where art was in the very air,
FA B LE V I I I . , THE WOM A N M ARRI ED TO A RO B BER
was a par t of her v i tal b reath ; so that F lorent ine
p r int ing is from the first c lear , shapely , sat isfac tory ,F lorentine i l lustration alway s intr insical l y super ior
in ar t i st i c qual i ty .
Th i s super ior i ty is so marked that scarcel y can
even the best of the fine V enet ian book p roduc t ionscom pare, as far as purel y il lustrat i ve matter is con
cerned , w i th suc h ephemeral rel i g ious pamph lets asthe Savonaro la t racts
,or those “ Rapp resentaz ioni
to wh ic h I shal l later d i rec t the reader ’s attent ion.
The M alerm i B i b le (B io/la l talica) , a monu
mental work , r ich l y i l lustrated th rough all its later
edi t ions, being the fi rst vers ion of the Ho l y Sc ri p
tures in I tal ian,must stand out as an excep t ion to
AZSOP’
S FARLES NA PLES , 1 485
the above statement ; but it is to be noted that th i s
g rand work,though pub l ished in its first edi t ion
wi thout i l lustrat ions by N icholas Jensen at V enice
in the r ic h l y il lustrated edi t ion (1 490 ) of the
Davenham col lec t ion is stated in the co lophon to be
p rinted in the k indly c i ty of V enice by G iovanni
Ragazzo at the instance of Luchantonio G iunta of
F lorence ”
(Stamp a/a net aluza cit/a rte Venetz'
a p er
GiovaueKagaso a z
'
nstantia cli l uc/zantonio cli G iunta:
F iorentino,[If CCCC[ XXXX.
T/ze Davenham
Lucanton i o
G iunta of F lor
encewas a g reat
p ubl i sher, as we
S hou ld now de
s c r ibehim ; that
is t o say, nu
m erous b o ok s
o f th i s period
as stated in the
.above co lophon— h a v e b een
p rinted at h is
c ommand or in
s tance,andhave
h is b eau t i f u l
dev i ce a t thei r
c onc lus ion,the
G iglio of F lor
ence, p r inted in
b lack or red. In
t h i s ed i tion of
t h e M a l e rm i
B i b le t he i l lus
t rations are .of
ex traord inar ybeauty and p ro
f u senes s , in
e lud ing a real l ynob le first page
and c oun t less
p lates th rough-out the text.To any one
w h o h a s f o 1‘lowed cri t i cal l y
the evo lut ionof
I t a l i an art in
theRenai ssance
p e r i o d t h e
general superior i ty of the F lorent ine book il lustra
t ions wil l scarcel y be a matter for su rp r ise. The
V enet ian art ist— from the early painters of M urano
down to T iepolo—was essent ial ly a co lourist, for the
most part absorbed in the r ic h pageant of l i fem i r rored in his own empire- c ity . The F lorent ine,on the contrary
,feels form more directl y than colour ;
and hence came t-o book il lustrat ion w i th all the
advantages of his inher i ted trad i tion,wh ich trained
such painters as Bott i cel l i,as wel l as suc h c raftsmen
as Cel l ini , in that fine work of the jewel ler for wh ic h
F lorence was famous.
Hence we get in V enice the greatest richness and
outflow of book p roduc tion, in F lorence the finer
LAND I N I FORM ULARIO
CFFomiulariod: [mere8:dioran'
oniuolgariconla
propoflafitn’
t’
poftac6p0ft0p Chnftofano landini
Collection
qual i ty of i l lustrat ions com
b i n e d w i t h
b e au t y o f f ormat and ty pe ;and one some
t imes wond ersw h et h e r t h e
Duc de Ri vo l i ,in his immense
w o r k in fo u rnob le fo l ios inLes L z
'
z 'res afigu r es Vene
’
tiens,
fully realisedthe
c l a i m s o f the
greatest r i val of
V en i ce in th is
sideof theprint
er’
s art. Hence,
too,it is signifi
c an t t h at the
great i l lustratededi t i on of the
M alermi B i b le
owe s,i n t he
work now b e
fore us,its in
cep tion t o the
e f f o r t s o f aF lorent ine
.
pub
hshen
T wo o t h er
b oo k s o f e x
cep tional r i c h
ne s s o f i l l u s
tration,printed
in V eni c e for
L u c an t o n i o
G iunta of F lor
ence,are the P lutarclz
’
s Lives and the [ f istories ofTitus Lioius .
The :first of these I find,from the co lophon
now before me, to have been p r inted at V eni ce by
G iovanni Ragazzo, per [ oanuem Rigatium cle M onte
ferrato Anna Salu tis M CCCCLX X X X ] : wh ile be
side the co lophon and the benedi c tory words Laus
D eo ap pears Giunta’
s device, w i th the init ials L. A.
The il lustrated front page—rep resent ing the com bat
of Theseus and a centaur,su rrounded by a lovely
Renaissance border with medal lions and putti”
is of ex traord inary beauty . The type i tsel f is a
fine, smal l Roman type,and the Davenham copy of
t h is work has a spec ial interest from the fac t that
FLORENCE , 1 492 (T ITLE)
7716
th is w i th knowledge of the immm lw/a p r inted in
these ear l y years at B resc ia,M i lan
,Fer rara, Bologna,
and l’arma.
F lorence, above all, where art was in the very air,
FA B LE V I I I . , THE \VOM AN M ARRI ED TO A RU BBER
was a par t of her v i tal b reath ; so that F lorent ine
p r int ing is from the fi rst c lear, shapely , sat isfac tory ,F lorentine i l lustrat ion alway s intr ins ical ly super ior
in ar t i st i c qual i ty .
Th i s super ior i ty is so marked that scarcel y can
even the best of the fine V enet ian book p roduc t ionscom pare, as far as pu rel y il lustrative matter is con
cerned, w i t h suc h ephemeral rel i gious pam ph lets asthe Savonaro la t rac ts
,or those “ Rapp resentaz ioni
to wh ic h I Shal l later di rec t the reader ’s attent ion.
Conno/ sseur
The M alermi B i b le (Elli/[a a monu
mental wo rk , r i ch l y i l lustrated th rough all its later
ed i t ions , being the fi rst vers ion of the Holy Sc r i p
tures in I tal ian,must stand out as an excep t ion to
rESOP’S FA BLES NA PLES , 1 485
the above statement ; but it is to be noted that th i s
g rand work,though pub l ished in its first ed i t ion
wi thou t i l lustrat ions by N i cholas Jenson at V enice
in the ric h l y il lustrated edi t ion (1 490 ) of the
Davenham co l lect ion is stated in the colop hon to be
p r inted in the k indly c i ty of V enice by G iovanni
Ragazzo at the instance of Luchantonio G iunta of
F lorence ”
(Slam/rota uel al /na cit/a a’e Ve-netia p er
GiovaueRagaz o a instantia a’i Luc/zautouio (ti G iunta:
F iorentino,111 CCCCLX X X X .
Tbe
a t i t s end ap
pears.wr i t ten in
a f i ne ,c l e a r
h and,t h e fi rst
possessti r’
s name
— /1 ic l iner es t
fires/uteri F r an
i n i ( i af o r i
th the
price pai d for it.w h i c h was five
l i b r :e and t en
s o l d i . and the
d a t e 0 f J a n .
XV I I I .
,1 494 .
F r an c h i n o
Gafori,the mu
sic ian,w i l l come
beforeusagainin
the second p ar tG IUOCO D I SCACCH I
o f th is art ic le as
h imsel f the author of a fine work on the p rac t ice of
mus ic —P racticaM unoz— pub l i shed at M i lan on September 3oth, 1 496, wh ich I hope to il lustrate later.
The f i z’
storgt' of Lint», referred to above, is qu i te as
fine a p roduc t ion as the P lutarclz . I t was pub li shed
at V enice by Zouane of V ercel l i (Johannes Rubens)for our Lucantonio—ad instancia del nooile Ser Luca
Antonio Zonta F iorentino—and bears his dev ice,with
the date 1 493 . Here,too
,the front page, rep resent
ing a batt le scene of kni gh ts in med iaeval panop l y,s u r r o unded by abeau t i f u l Renai ssance b o rde r
,i s
excep tional l y ric h ;some of the smal ler
p i c tures ap pear tohave b een f r ee l ybor rowed from the
M ale rm i B i b l e ,
inc l u d i ng amongt h ese t h e seat edfigure who ap pearsunder the t i t l e o f
B a r u c h i n t h a t
pub l i cation.
Adelightfulwork ,a l i tt le ear l i e r indate is a
vers ion O f / f so/r’
s
F ab/es,
“V i t a et
falzulce/ E sop i,’
pub
lished by F rancescoTappoof Nap les . B ERNARDO BELLI NCION I
EL TAVERN I ERE ET ARBERGATORE
FLORENCE , 1 493
BERNARDO BELL IN C ION I , RI M E
28
Connoissenr
F ranc e s c o de l
T u p p o was a
j uri st as wel l as
sc ho lar,anddoes
not fo rget to re
m indus Of this inhis c o l ophon
1/ 1‘7
'i-ns one juris
di s c r / is s inz i cl
3 t n (1 ios is s i 711 i,
and the print ing
t is translat ion
o f t he F ab/es
s eem s t o have
been done fo r
him by a firm of
Germans . B u t
the i l lustrat ionsw i th wh i c h th is
v o l um e is am
p ly sup p l ied are
remarkab ly ind i v idual in des i gn ; and Dr. L i p pmannhas sai d of them “ There is no affinity whatever between the z lE
'
sop i l lust rat ions and thewoodcuts wh ichap pear in any other I tal ian book of that per iod .
”
I shou ld mysel f inc l ine to bel ieve in Spani sh ratherthan German influence in these interest ing woodcuts ; the decorat i ve qual i ty of the border
,wh ic h in
some cases frames a Saracenic arch enc los ing the
Labours of Hercu les, is unsurpassed in the hooki l lustrat ion even of th is t ime.
JACOBUS DE CESSOLIS
M I LA N ,
T/ze D aw n/cane Collection
cometu occli
sono c a r te
cx x iii.
and so on
a t m 0 r e
length, al l
th i s d ed icated very
personal l y
andalmost
af fe c t iona t e l y
Til) i lec
Th i s
fine w 0 r k
on the Ep ist les and Gospel s has been very beaut i fu l l yand per fec t ly rep roduced by M r. Dyson Per rins forthe Roxburghe Society . I selec t from it two il lustrations of excep t ional beauty .
In a not i ce Of th is k ind one is necessari l y ob l i gedto pass over muc h mater ial of interest in order
to concentrate on the most im por tant features of
a co llec t ion ; and thus I find mysel f com pel led to
t r e a t v e r y
briefly a num
ber of r ea l l y
i n t e r e s t i ng
works printedat F l orence
,
in wh ich the
name O f S er
P i er o Pac i-niof Pesc ia ap
pears not ih
frequent l y a s
publisher,and
thoseofM aes
tro Ant onio
M isc hornin i
orof SerFrancesco Bonac
corsi as print
ers,in order
to g i v e ver y
spec ial atten
t i on t o t h at
tor .
THE HOLY CH I LD FOUND IN THE TEM PLE
THE PROCESS ION TO CALVARY
0
EPISTOIJ E E EV AN S ELI I
BONAVENTURA D I VOTE M ED ITA'
I ION I
9
interest i ng
c o l l ec tionw h i . c h I
have men
t ioned al
read y a s
theRapp re
sentaz ioni.
B e f o r eth is I may,h owe v en
m en t i on
the Giuoco
cti Scacc/zi,
printed by
M i s c h 0
m i n i a t
F l o renc e
in 1 4 9 3 ,
wh i c h has
a fine il lus
tratedfront
p ag e, re
p roduced again at the end of the book ; wh i le the
woodcuts Of the di fferent p ieces in the game of c hess— k ing
,queen, kni g h t, etc .
—of wh ic h I il lust rate theinnkeeper (el taverniere ct aolrergatore) , who is one of
the pawns, are, as wil l be seen, adm i rab le in their
composition and handl ing of the b lack and wh i te.
An exam inat ion of th i s cut w i l l , I th ink , amp ly just i fy
all I have said here as to the intr ins ical ly h igh
q u a l i t y 0 fF l o rent in e
wood cuts .
The F ormu
lario cl i let
ter e,b y the
great sc ho lar
Cri s to f a n O
L a n d i n ip r i n t e d a t
F l o renc e in
1 492 b y An
tonio M ischo
m ini,is no t
t o b e o v e r
l o o k ed ; for
here,too
,how
fresh and true
in dr aw i ng,
h o w adm ir
ab le in spac
ing and bal
anc e o f th e
FLORENCE ,1495
FLORENCE , c . 1 496
Tli e Connoisseur
Strong b l ac k s
o f d o o r and
w i n d o w s
ag a i n s t t h e
c r 0 w d e d
figures is th e
l i t t l e s c ene
o f the F loren
t i ne t ea c h e r
and his c lass .
Y e t aga i n,
another w o r k
o f th i s per iod,
t h e L a u ri e
(F lorenc e : F .
B onac c o r sh1 490 ) of Frate
Jac o p o ne da
Todi .
Jac o p o dei
B en ede t t i ,c a l l e d af f e c
t ionately Jacop one ,
wa s a
m y s t i c p o e t
andmonk,who
a p p ear s here
on t he f r ont
p a g e i n t h e
m o m e n t 0 fmy st i c v i s ion.
H is [ o i/dc,or
h y m n s i 11
La t i n, o r, as
here,in I talian,
ex p res sed the
most p as s ion
ate r e l i g iou s
feel ing ; but th ei r author was excommunicated and
imp r i soned by Pope Boni face V I I I .,and onl y re
leased (in 1 303 ) after that Pope’
s death .
A large number, in fact, of the F lorentine pub l icat ions Of th is per iod
,wh ic h is now reac h ing the famous
epochi
of Savonarola’s ascendanc y,are of a definitel y
rel i g ious c harac ter. Among these may be inc ludedS . August ine’s sermons (Sermoni Volgari, F lorence,M ischornini
,1 493 ) the Confessionale of S. Antonino
(printed by M orgiani for $6 1 P iero Pac ini inthe F ioretti of S . Francesco ( 1 497, same printer and
pub l isher ) ; and the [Meditations on. Our Lord’
sP assion
o f S . Bonaventura (F lorence, wh ic h has some
very beaut i fu l smal l woodcuts,among wh i c h I il lus
t rate the scene of Ch r ist being scourged .
M r. Pol lard,who has done such excel lent work in
TWO CUTSZFROM G IOVAN N I BOCCACC IO
the catalogueor
the Davenham
book s,inan in
teresting ser ies
o f e s sa y s on
“ O ld P ic tureBooks
,notes
that the name
Bonacc o r s i is
the name o f
the fam i l y Of
Sav ona r o la’
s
m o t h e r,and
adds t h at “a.
few months be
foretheap pear
an c e o f t h e
Laurie”
(wh ic h
I h a v e j u s t
m ent i o n ed)“the great DO
m in iean had
been cal led to
F l orenc e b y
L o r en z o de
M ed i c i , andh i s f i r s t s er
In o n t h e r e
p r e a c h e dfi
The wood
cuts,
”he c on
t i n n e s,
“t o
the Savonaro la
tracts number
from fo r t y t o
s i x ty
and fall natur
al ly into three
d i v is ions,i l lustrat ing respec t i vel y the Pass ion of
Ch rist, the dut ies of P rayer and P reparat ion for
Death , and var ious aspec ts of Savonarola’
s act i vity .
”
Two works wh i c h I found at Davenham ,andwh ic h
are d irec t l y connected w i th Savonarola’s teac h ing ,are the E xp ositione del P ater N oster
,conzp osta per
F ra Giro/auto a’
o F erraro, and the P recl ica dell’arte
o’el oene morire (F lorence, both of the same
“ format,
”and ap parent ly wi th the same hand in the
il lustrations . These il lust rat ions are of very great
freedom and beauty , and I am d isposed to trace in
them the same ar tist as in those Of the Rapp resen
taz ioni, and in the work of S . Bonaventura wh i c h
I have ment ioned.
These Rapp resentaz ioni are a k ind Of moral i ty
p lay of th is period— that is, the latter par t of the
N I N FALE F IESOLANO FLORENCE ,1 568
7he D ave/mam
fi fteenth centu ry
a t F l 0 r e n c e.
T h e y are n o t
intended t o be
scho lar ly , but to
appeal d i r ec t ly
to the p u b l i c .
Thei r i l l u s t ra
t ions dep ict contem po ra r y cos
tume and scenes
of ac t ua l l i fe ;t heir c harac ters
ap pear in person
andaddress eac h
o theri-nverse,the
sub j e c t s being
general ly tak en
from t h e more
a t t r a c t i v e
legends o f t h e
Saints.
H e re are a
f e w w h i c h I
take at randomfrom those ly ing
b e fo re m e a t
Dav en h am
theRapp resenta
z z'
orze dl'
Sansone
Ang ie/0Raf ael/o
(o f t h e an g e l
Raphael ) ; t h at
o f the Con ver
s ion of S . M ary
M ag d a l en,the
Rapp resentaz z’
one (ii Sle/za, that of S M argaret,V i rg in
and M artyr,of Santa U l i va, the devout Repre
sentation of Josep h , son of Jacob that of “The
M i rac les of two P il g r ims,
”of S . Theodora, of S . Gug
lielma,of S . U rsula, and so on. They are written in
verse, somet imes w i th a l ist of the characters on the
front page, these c harac ters hav ing to ap pear later
and address one another. But what is of spec ial
interest to our study here is the extraord inar i ly fine
q ual i ty of the il lustrations .
I use the word extraord inar i ly because these p lays— l i ke the Savonaro la t rac ts— were quite
‘
obviously
p r inted as popu lar pam p h lets, c heap ly p roduced andfrequent ly rep rinted; yet— outside theM alermi B i b le,wh ic h I havementioned
,and the Hypherotomachia,
”
to wh i c h I shal l come later— none of the V enet ian or
Nor th I tal ian woodcuts seem to meat all on the same
T ITLE CUT LORENZO DE M ED IC I CANZONE A BALLO
Col/eez‘z
’
mz
level . The onl y
e x p l a na t i o n
wh i ch I can offeris that suggested
al ready, that the
very soulof F lor
ence was so im
pregnatedat t h i s
per iod wi th her
art genius t h at
even these ephe
meral and popu
lar p roduc t ions
had to share in
her u n fa i l i ngsenseofbeautiful
form .
I may be con
s ider ed t o be
c l a im i n g t o o
muc h h e r e for
these woodcuts,but I wou ld say
t o any c r i t ic
take t h e figu re
of the kneel ing
M agdalenonthefront page of thestory of her con
vers ion,and see
i f i t would not
ho ld its own not
m ere l y against
an y t h i n g i n
c ont em p o rary
V enet ian b oo k
i l lustration, b u t
against the very best of our modern l ine - work in
b lac k and wh ite.
Often, indeed , quaintness comb ines with beauty,
and th is is a part of the charm . Samson,for in
stance,when he meets his fate in the lovely form of
woman
FLORENCE , 1 568
Una f anciu /[afi lls/ea
D i la! bellez z a c/z e pare zm a D ea
or where he pu l l s down the palace on his enem ies,
the stage direc t ions here being,
“ E l p a/az z o fade,
e sa/sz'
zw a mom‘
e
M r. Pol lard , in the volume of essays wh ich I have
quoted above, says,p robab ly wi th truth
,
“Of the
l i terary qual i ty of the Rapp resen/az z’
om’
it is not
poss i b le to speak wi th muc h enthus iasm . They
fo l low,in fac t
,the accep ted legends of the Saints
T/ze Connoisseur
w i th fidel i ty, and,ior the most par t , in verse of very
modest mer i t.
But the same canno t be said of thei r i l lus trat ions.
Here. as in the fasc inat ing l—l y pherotomachia,”—that
romance of the Renaissance sp i r i t, to wh i c h I shal l
come later in speak ing o f the imwm z/w /a o f V enice,
we t race one or more ar t i s ts of very great power ,adap t ing adm i rab l y thei r talent to the i l lust rat ion of
these s im p le and beaut i fu l old s tor ies of our fai th .
Here, too, is a p rob lem wh i ch , though it l ies be
yond the l im i t of my p resent subjec t, seem s to me to
deserve c loser invest i gat ion than it has yet rece i ved .
That the des i gner, for instance, of the Arc hangel andTob ias in the [ Ca/p resenfaz ioz ze del Ange/o Raf ael/o
must have seen Bottic ini’s famous p ic tu re in the
F lo rence Academy , or (wh ic h is less l i kely ) thepainter h im sel f been insp ired by the wood cut, seemsforced upon our not ice by their com par ison. The
M agdalen,of wh i ch I have just spoken
,the marty r
dom of Saint U rsu la and her v irg ins,the scene in
_loseph
’
s story of the h id ing of the cup , the meet
ing of Sam son and his Ph i l ist ine fai r one, are so
adm irab ly rendered that they seem to suggest to
us the hand of one of the masters of F lorent ine art
emp loyed in these l i tt le woodcuts, wh i c h have beenth us c her i shed and constant l y rep roduced in later
edi t ions .
A good exam p le of th is last fac t is the exqu i s i tedesi gn wh ic h ap pears as a front page to a work by
Lo renzo de M ed ic i in the Davenham co l lec t ion
the Canz one a B al/o eompos/e o’
al M ag z z z'
fieo Lorenz o
M Agnoio Po/z'
f z'
afl o I n
F ire/rise L’Am zo AI D LX VI I I . Though it wil l be
T ITLE CUT FROM DRAGONCI NO M ARPH ISA B IZARRA , FLORENCE (P) , 1 532
3 2
seen that the date of pub l i cat ion is as late as 1 5 68,
the lovely front page, wh i ch dep ic ts a group of youngg i r ls s ing ing the i r “
carola, —wh i le they dance in a
round beneath the M edi c i Palace,and one of them
kneels to p resent her offering to the M agnificent ,
came from an ear l ier ed i t ion o f 1 5 33 , and may even
then have been transp lanted from some yet ear l ieredi t ion.
The same app l ies to the ed i t ions of Boccacc io s
[ Vin/ axe F iesom uo (also in the Davenham co l lec t ion)of the same date, p rinted , as the co lophon tel l us ,1 71 F iorenz a App resso Va/efl tePal z z
'
z z z'
,M D LX V [ I ]
Th i s work has s i x teen i l lustrations of great beauty,
and Dr. Kristeller remarks of these : “ Of .Boccacc io ’
s
1Vz'
nj'
a1e F z'
eso/m zo we know onl y a later edi t ion of
1 568, w i th cuts ev ident l y of the fi fteenth century .
Of course,there must have ex i sted a fi fteenth -centu ry
ed i tion for wh ic h the cuts were made,but no copy of
th i s has yet been found .
”
W i th these two works,pub l ished at F lorence in a
later epoch , but preserv ing the old sp i rit of beauty,
I conc lude my notice of these i l lustrated book s, thez'
f zew zaZ/u/a of F lorence and Rome,in the Davenham
co l lec tion.
The dom inant note of these seem s to me to be
c ho i ceness and selec t ion,both in ty pe and i l lustra
t ions ; wh i le in the ear ly p r inted books of V eni ce
and North I tal y— to wh ic h I shal l come in my
later not i ce of the Davenham z
'
namaoula— we shal l ,on the other hand
,find amaz ing r ichness and
fertil i ty , both of p rinted matter and invent ion, w i th
in those creative years‘
of th is wonderfu l fi fteenthcentu ry in Renai ssance I taly .
PORTRAIT OF A YOUNG W OMAN [Photo Manse“
BY J . M . NATT IERAt the Louvre
T/ze Connoisseur
M r. Usher at the. sale of the col lec t ion of Lord
l ridport, who was the adm i ral ’s great nephew.
The second part, com p r i s ing Battersea enamel s,
ac h ieves a success h i therto not attemp ted by co louredi l lus trat ion. The page selec ted
,wh ich w i l l also ap
pear in our next number,is a fai r samp le
,and real ly
The flat- shaped e'
tu i
case in the c ent re of the page is one of a favour i te formadopted by the Battersea enamel lers
,and was made
to containanum ber of ladies ’ to i let im p lements,suc h
as sc issors,bodk in
,t iny tweezers for extract ing super
fluous hai rs,and a penc i l . The other four egg- form
art i c les are th imb le cases and muffineers, so cal led
from their being used by fash ionab le lad ies of theperiod to dust the g rated nutmeg on to their muffins .
These, and the art i c les i l lustrated on other pages of
the book,are ty p i cal spec imens of Battersea enamel .
The th i rd part,wh ich desc r i bes some fine old
Eng l i sh and F rench go ld watc hes,is of g reat interest .
The ear l iest spec imen is the fasc inat ing l itt le t ime
keeper wh ic h belonged to M ary Queen of Scots,and
one of the latest is a watc h w i th beau t i fu l enamel ledback , by Ri gby , of Char ing Cross, date about 1 800 .
The others are by such noted horo log ists and
enamel watchmakers as john Ferron (London) , 1 692Duhamel (B lois) , 1 5 80 ; V auchez (Paris ), 1 770
—80 ;C heval ier (Par i s) , 1 760 ; and V ulliamy , 1 760
—70 .
They have all of them some spec ial beauty and
a t t rac t ion for the co l lec tor .
On the page selec ted for i l lustrat ion there is a
t iny spec imen wh i c h M r. U sher tel ls us is unique.
I t is drawn fu l l s i ze, and is the smal lest
needs no wr i tten desc r i p t ion.
repeater
known. Composed of 2 50 d i fferent parts, w i th a
c y l inder 31
; of an inc h in d iameter, a flywheel andp inion we i gh ing the seventeenth part of a grain
,th is
is indeed a mar ve l of mec hani sm,and though M r.
U sher tel l s us it is not an accurate t imekeeper, the
str i k ing and repeat ing ac t ion are in perfec t order .
The maker was Arno ld, who made it for K ing
George I I I . , and it is said that the Emperor of Russ ia
offered gu ineas for a rep l ica, wh i ch the maker
refused because he w i shed th i s m iniature repeater to
be unique. The l i t t le watch is enc i rc led by br i l l iants .
Space only perm i ts bare ment ion of the pendants,m iniatures
,and spec imens of old Eng l i sh p late ; al so
some carefu l drawings of the cab inets, w i th their
dainty and valuab le contents , wh ic h comp lete the
ei g h ty co loured i l lustrat ions all rep roduced from the
aut hor ’s draw ings,wh ich have occup ied all his lei sure
for near l y s i x teen years .
M any interest ing anecdotes as to the acqu i s i t ionof spec imens , the names of the col lec t ions wh ence
they came, and references to wel l - known author i t ies
as to the value of some of the'
artic les,add mater ial ly
to the value of the i l lustrat ions and as many of the
co l lec to rs whose d i stributed treasures form the sub
jec t of these rem iniscences were personal l y known to
the wr i ter, they add to the p leasure of contri but ing
th i s notice of M r. U sh er ’s al bum .
Thenote of the book is personal but not egot i st ical ,
and co l lec tors of any of these b ranc hes of indust r ial
art wh ic h are its sub jects w i l l find much interest in
referring to its contents.
Dr. George W il l iam son has wr i tten an excel lent
preface, and the Ch i swic k P ress has in ty pe and
general produc tion ach ieved a c redi tab le suc cess.
The num ber of cop ies is lim i ted to th ree hundred,more than hal f of wh ic h were subsc ribed for before
pub l i cat ion, and the remaining cop ies w i l l doub t lesssoon find ap prec iative owners.
[T/ze Editor invites t/ze assistance of readers of THE CONNO I SSEUR w/zo may be a/ne to imp art the
inf ormation required by Correspondents ]
U N IDENT I F I ED PA I NT I NG (No .
DEAR S IR,—I shou ld be glad i f any reader cou ld
ass i st me to ident i fy the painter of the po rtrai t of a
woman,of wh ic h I enc lose a photograph .
Yours tru ly, _I . C .
U N IDENT I F IED E NGRA V I NG (N o. 2 28,Nov .
,
DEAR S IR,— M r. West is qu i te r igh t in bel iev ing
th is to be by Adam Buck,
1 795— 1 833 . The figure
is by him ,and I recognise it
'
as s im i lar to his Tanz
boarina,excep ting that in M r. West
’
s copy a hat
takes the p lace co l lec t ion of
seven ori g inaltambou r ine.
draw ings and
th i rty - six en
g rav i ng s in
colour that I
posses s ed ofBuck ’s
,w e r e
both th e ori
ginal wat e r
Co l o u r s and
an eng rav ing
in c o l o u r of
Ta III /102571 7261 .
I regret that I
do not know
the engraver ’s
name. I wou ld
r e f e r t o m ys k e t c h o fB u c k 5 l i feand w o r k s
t h a t ap pears
in N otes and
Queries , 9 S . ,
V I I . ,p . 36 1 .
Yours
obedient ly,
HAROLDM A LE
'
T, Col.
3 7
THE ART or THECOF FERER.
S IR,
— Perm i t me to thank your correspondent,Helen Farquhar, for her contri but ion in y ou r November i ssue to th i s d iscuss ion
,and, in response to her
enqu i ry,to state that my al lus ion was to St. M ar y ’s.
Church , M erton,Surrey , wh ich contains a tomb , w i th
co loured figu res,to Gregory Lovel l , Esq ,
of M erton
Abbe y,and co fferer to Queen E l i zabeth , M arc h 1 sth,
I S97
Th i s interest ing old chu rc h also has several hatch
ments hanging on the wal ls.
Your obedient servant,
LAN D FEAR LUCAS .
UN I DENTI F I ED PA I NT I NG
Connoisseur
V c r beaut i ful rubr
c o lour g l as s bowls .
at n t l a r e . i n In
o p inion. undoub tedl ya set o f three.although
a t firs t glance they app rat to be a pair and
.a s ing le c up .
To h earr o ri t my
( aintent ion as to the i r
being a set o f th ree. I
shou ld l i k e y o u to
no t ice ( 1 ) The ruby
lass bow ls being of
t he s am e t int, and
found together,goes
.a long (2 ) The
g lo bular bases to the
baluster. and the c ur i
o us c u t and frayedsilverabove.
bases t o the t h r e e
finials o f t h e th ree
tops are exac t l y the
same. and bowls fi xed
to the baluster in the CU PS
same manner . (4 ) The open-worked baluster of the
c entre- p iece corresponds w i th the finials of the pai r .
(5 ) The base r im s wou ld be exac t ly the same but for
an indented rim having been app l ied at some later
date,I bel ieve. (6 ) The decorat ion of the th ree globu
lar p ieces are cur ious ly combined. There is a curious
leaf th ree t imes repeated on eac h . The pai r shows the
leaf in the same manner ; t.e. , the branches of the leaft o the left are very o rnamental
,and to the r i gh t severel y
DETA I LS OF A BOVE CU PS
8in
p l a i n,w h i l s t t he
centre one comb ines
them in that the leafis inverted
,and in
stead o f being only
var ied s z'
d'
e éy side,
is al so al ternated on
ear/t s ide. (7) The
pomegrzuiates of the
centre one are also
shown in the base of
the bowls ina curious
manner, in that the
flower is under one
and t he fru i t under
the other. The em
bossing by the s ide
of these is symboli
cal,t h e
“ pos i t i ve ”
and negat i ve”
s i gns
being shown,also the
leaf and another s ignwh ic h I cannot qu i teunderstand. I
,how
ever, r ead these as
meaning as the fru i t
is to the flower, so is the posi t i ve to the negat i ve, and
also the leaf to the other s ign. Th is seems rather to
lead one to th ink of one of the c i ty gu i lds ; i f so, p rob
abl y the M erc hant Tay lors,ow ing to john the Bapt i st
(who is shown four t imes ) being thei r patron saint. The
l ids are embossedw i th doves, butterfl ies , and v ines w i thbunches of grapes. Thei r hei gh ts are 1 2 in. and in.
I f you can hel p me in th i s matter, I shal l be greatlt
ob l iged—Yours fai th fu l ly, T HOM AS S . H AYWARD .
AFTER th ree hundred years of indi fference and
neglec t, conno isseurs and co l lec tors have begun to
ap p rec iateanc ient Peru. Thecharm
ing pottery , wonderful text i les, andother art o b j ec t s of p ie
—Spani sh
t imes,have been inc reas ingly sough t after in recent
years, so much so that the Peruv ian government foundit necessary a few years back to lav an embargo upon
hei r ex port. Thus the op portuni ty to acqu ire freshspec imens of real art i st ic value has been reduced to
A T unic f rom
O ld Peru
a m inimum .
I t is all the more important, therefo re. to note that
the smal l but ver y interest ing co l lec t ion of Peruv ian
PRE - I NCA DRESS FOUND I N G RAV E AT NASCA , PERU ,
PRESENTED TO THE V ICTORIA AN D ALBERT M USEUM BY H . M . THE QUEEN
39
[PHOTO G . c . BROOK ER
text i les in the V ic tor ia andAl ber t M useum has been
enr ic hed by the addi t ion of a fine 1mm,or tunic , the
g ift of Her M ajest y the Queen.
The 2mm,or short tunic , was a garment worn by
the anc ient Peruv ians beneath the y am/la, or c loak
(the so- cal led “ poncho I t was ordinar i l y formedof a single b readth of stuff, ei ther cotton or woo l ,folded in two . At the fold an opening was cut, back
and front, to adm i t of the passage of the head. I t was
seamed up ei ther side more than hal fway , suffic ientroom being left at the top , however , for the arm - ho les.
Usual ly , though not invar iabl y , it had no s leeves .
W hen suc h were added, they were short , and formed
T/ze Connoisseur
o f separate p ieces o f mater ial sewn on. The p resent
exam p le is s leeveless. and, as w i l l be seen bv the
i l lustrat ion. is a remarkabl y -
preservet'
l spec imen
of the t y pe.
Unfo rtunatel y we have no record of its h isto ry ,excep t that it 15 from a grave in the Nasca val le y
(Southern I’eru ) . So fresh are its co lours and so l i ttle
damaged its fabric , that, look ing at the ac tual th ing,
one can scarc el y real ise that it has laid for centur ies
in the tomb of some oldwarr ior or c h ief of non- Incan
t imes. I t is certainl y the most perfec t spec imen of
Peruvian tex t i le art in the co l lec t ion, though it is sur
passed by some in the matter of age and by others
in the matter of technique.
The tunic,measur ing nearl y 2 7 inc hes in width and
1 8 inc hes in length (inc luding the fr inge,wh ich is
4 § inc hes deep ) , is of adm i rabl y spun cotton of natural
b rown co lou r, p robabl y deepened by age. In texture
it is a fai r ly c lose weave of great evenness,and
,at a
rough est imate, has s i xty - four th reads and p ic ks to the
inch . In fac t,al though it is only what is known as
p lain tabby,it is safe to say that it was the work of
some master weaver of the t ime.
The co lour-scheme is wel l p reserved,in sp i te of its
age. I t is carr ied out in yel low and green on a
ground of deep red,w i th smal l eyes of yel low in the
centre of each “ head .
”
A cons iderab le amount of popu lar nonsense has
been wr i tten w i th regard to the enormous age of
Peruv ian arz tz'
eas . M ore espec ial ly is th is the case
when, the magic term pre- Incan being used
,vistas
of thousands of years are opened up— in imag ination.
N o such though t need be indu l ged w i th regard to the
p resent ob jec t,al though it is undoubtedly a produc t
of p re- Incan (or, more logical ly
,non- I nca” ) cu l ture of
the coastal distr ic t.
Nasca,from whence it comes
,was natural l y pre
Incan in cul ture unt i l such t ime as the d istr ic t wassubdued by the army of the Incas. To say then that
our garment is'
pre- Incan is to say only that it was
p roduced p r ior to that event,wh ic h took p lace qu i te
late in the rei gn of the Inca Pachacutij.
al ly accep ted dates for the durat ion of his rei gn are
34o—r4oo .
—C. G . E . B .
The gener
TH is most interest ing portrai t by Gerard Dou de
p ic ts Anne Sp ier ing, the daugh ter of his great patron,P i e te r S p i e r i ng
,the Swed ish
M ini ster at the Hague. I t
drawn (on vel lum ) in p lumbago,
heigh tened by red c halk,and is
s i gned and dated on the reverse,G . Dou
,Ano. 1 66o
,
Anne Sp iering.
” As agent for Ch r ist ina, Queen of
Sweden, Sp ier ing paid Dou a thousandfiorins annual ly
Po r t ra i t of AnneS p ier ing , " byGerard Dou
is
40
for the pri v i lege of having the fi rst c ho ice of his
Besides th is annual grant, Sp ier ing paid
the o rd inary p r ices,l ike any other purc haser
,for the
p ic tures.
p ic tures wh ich he c hose.
Dou painted Sp ier ing “s i tting at a tab le in his Art
cabinet,w i th his hand on the table- cover ; near him
the lady his wi fe,l ikewise seated
,w i th thei r eldest
daugh ter handing a book to her mother. ”
Don’
s drawings are of the greatest rar i ty . Dr.
M art in,in his Gerard D ou
,onl y records six
,and one
of these is, at least, doub tful
1 . B r i t i sh M useum,An old Woman.
2 . Bri tish M useum,A Lady o f a Sfi z
'
net,probably
by Jac de B ray .
3 . The Louvre,D ou
’
s M ot/zer.
4 . Beckerath’
s Col lec t ion (Berl in) , An old lVomcm.
5 . S tadel Inst i tute (Frank furt) , A Group of IVomen.
6. Fodor Col lec t ion (Amsterdam ) , An old I/Voman
mending a P en.
The p resent d rawing,wh ich was at one t ime in the
Schiefbaan-Hoviws col lec t ion at the Hague,is now in
the col lec tion of M r. Franc is Wel les ley . The rep ro
duc t ion (by Kei th Dannatt ) shows the exac t s i ze of
the drawing .
M ORE than ord inary interest attaches to Hoppner’
s
Portrait of M rs G wy n, for the s i tter was the
Jessamy B r ide,
” immortal ised by
Go ldsm i th . M ar y Horneck , the
daugh ter of a captain in the Royal
Engineers, was born about 1 75 5 .
Wh i lst yet in the early twent ies, she marr ied General
F ranc is Edward Gwyn, equer ry to George I I I . , whoseportrai t by the same .art ist formed the companion to
that of his wi fe. M rs. Gwyn d ied in 1 840. Our p late
is rep roduced from the scarce mezzot int by JohnYoung, wh ich was pub l ished in 1 79 1 , the same year
as the companion engrav ing of M rs . Gwyn’
s s ister,the wi fe of Bunbury, the car icatur ist.
M rs . Gw yn,
by I . Y oung ,after I . Hep p ner
RAEBURN’
S romant ic marriage w i th the widow of
Count James Les l ie, of Balquhun,in 1 778, b rough t to
him the care of her son and twoTheL3 5 1“
The art ist’s great re,daugh ters.
gard forhis step -c h i ldren is apparent in the sympathet ic
treatment of Tlze Les/[e B oy ,wh ic h is
, perhaps, one
of the most w idely known and app rec iated studies
of ch i ld - l i fe. The canvas, wh ic h-
is in the possession
of Lord G lenconner, measures 30 in. by 245 in.
G i rth Buck les
THE enc losed photograph s of th ree g i rth buckles
may p rove of interest to col lec tors of horse- trapp ings,
N ofes
and asbeing supp lementary to the art ic le on“ Engl i sh
Horse Amu lets,by M r. H . Rob ison Carter, wh i ch
appeared in the July , 1 91 6, issue of THE CoN N OiSSEUR.
I recently came ac ross them in an excel lent col lec t ion
o f I celandic i tem s made in Iceland dur ing the pasttwenty years by P ike Ward
,
-
of Tei gnmouth .
that it w i l l not m i slead any reader Of TEE CON N OISSEUK .
Stam p N otes
AN i tem Of some interest was offered in December
at Puttick CY Sim pson’
s auct ion room s,rep resent ing
the comp lete co l lec t ion Of M onaco,formed by the
No . I .—G I RTH BUCKLE DATED 1688 BRASS AND COP PER
N O. i., dated 1 688 measu res from bar to bar 2 1
1,in.
h igh by 25 in. W ide. I t is cast in b rass, with a copper
p in, or tongue, worked round a centre bar. NO . i i .,
dated 1 72 2 , is 2% in. by in.
,of the same metals.
No. I I .—G IRTH BUCK LE DATED 1 722
BRA'
SS AN D CO P PER
N O . i i i .,
23. in. by 2 } in. ,is who l l y of brass
,and
undated—H . TAPLEv-SOPER.
Painted Satinwood Furn i tureOW I NG to an overs i gh t in p roof- reading
,a ty p ist ’s
er ror wh ich made Robert Adam born in 1 82 8 insteadof 1 728, was over looked in M r. Litchfield
’
s art ic lein last month ’s i ssue
,but the m istake is so Obvious
(f
4 1
late Rev . G . E . Barber . The catalogue desc r i p t ion
occup ied several page
M essrs. Harmer,Rooke Co. Ob tained at the sale
of Count de Souza’
s col lec t ion some excep t ional p r ices,
NO . I I I .
—G IRTH BUCKLEU NDATED BRASS
prem ier p lace being given to the M oldavia 2 7 paras,wh ich so ld for £ 86
'
the 5 4 paras at was
perhap s the more remarkab le ; the 1 08 paras so ld for
£ 5 7.
Contrary to expec tat ions, there is a remarkab leshortage of better-c lass stamps , p r ices are cons iderably hardening . War stam ps seem to be monopol i s ing
attention in the absence of the rarer early issues.
THE co l l ec t ion o f p ic tu res formed by the late W . Y .
Baker,Esq ,
wh ich took p lac e at M ess rs . Ch r ist ie,M an
son \V oods’ on Novem ber 9th and
10th ,roth and 1 7th , was the first
notab le p ic tu re sale of the season.
The fi rst day opened w i th a number of draw ings,and
before many lots had been knocked down,A Cow and
S /z eep , by T . S . COOper, R.A.,1 865 , 1 75 in. by 24 in.
,
had secu red£60 185 . After two more i tems,some land
scapes by Bernard Evans were reached. The fi rst of
these, York's/ are,26§ in. by 40% in.
,wh i c h
had been exh ib ited at the Gu i ldhal l,1 896, and at the
I r i sh Internat ional Exh i b i t ion,
1907, secured £1 89 ;wh i lst another v iew of the same
,F rom M e Wes/fields ,
1 6 in. by 30 in.
,rnade £52 105 . These were succeeded
b y nine draw ings by B i rket Foster, of wh ich F eeding t/ze
Calves, 7 in. by 10 in.
,and Returning f rom M ar/ Jet
,
6 in. by 9 ia., real ised £ 162 1 55 . ap iece ; T/ze S tile,
92 in. by 65 in. (exh ib i ted at the Gu i ldhal l , £162T/z e D onkey
- Cart,6 in. by 8 ln.
, £ 1 3 1 55 . ; At t/z e Well,
6 in. by 8 in.
, £1 23 1 85 . Refreshment z'
n t/ze Hayfield,6 in. by 8 in.
, £94 1 05 . T/z e S taining - S tones , 6 in. by8 in.
, £78 i 5s. ; A F arm S cene, 5 in. by 7 in.
, £65 2 5 .
and Sp r z'
ng Time,a v ignette, £54 1 2 5 . Sir J . G i l bert ’s
Rte/lard H . reszf nz’
ng /z z'
5 crown to B olz'
ng brolee, 4912 in.
by 39-5 in. wh ich was exh ib i ted at the RoyalJ ub i lee Exh ib i t ion,
M anchester,1 887, and var ious other
p laces , was the nex t lot . The hammer fe l l upon the
final bid of £ 1 73 55 . The same art i st ’s B attle of t/ze
S omme,
2 1 in. by 36 in. fetched £1 10 5 5 .
Amongst other pr i ces, £1 3 1 5 5 . was paid for Harler/z
Castle, by E . M . W im peris , 1 875, in. by 30 in.
, ex
hibited at the Gu i ldhal l,1 896, and the F ranco- B r i t i sh
Exh i b i t ion, 1908 ; £1 1 0 55 . for T/ze T/zomes of Green
w z'
c/z, by T . B . Hardy
,1 889, 2 545 in. by 4 1 5 in. £73 1 05 .
forHer [Maj es ty’s Tower
,by the same
,1 55 in. by 395» in.
and £84 for A Loy al B ird,by A. C . C ow
,R.A.
,1 878,
I i i in. by 1 3 in.
,exh ib i ted at the I r ish Internat ional
( 1 907) and F ranco- B ri t i sh ( 1908) Exh ib i t ions, and at
Rome,19 1 1 .
Tu rning to the p i c tu res,the top p r i ce of the fi rst day ’s
sale was secured by C. Seiler’
s panel paint ing,The
C/zalleng e, 1 4 in. by 22 ia.
,1 880
,wh i ch was knoc ked
down for £430 1 05 . I t was succeeded in the company ’sest imat ion by E . M . W
'
imperis’
s T/z e Old F oot-bz z'
dge,
Paint ings and
Draw ings
23 in. by 3 5 in.
,1 890, wh i ch b rough t £336 ; and In
Ross - slz ire,by H. W . B . Dav is, R.A.
,1 882
, 331} in. by
59 in. ,exh ib i ted at the Gu i ldhal l , 1 895, and at the I r ish
Internat ional,1 907, £304 105 . Tue Watering
-P lace, by
J . L inne l l,sen.
,1 873
-
5, 275 in. by 385 ia.,fetched
£262 105 . T/ze P rop osal, by Eugene de B laas , 1 885, onpane l
, 3 1 in. by 19% ln.
,exh ib i ted at the Royal Academ y
,
1 885, £24 1 1 05 . ;A View on the T/zames,by P . Nasmyth
,
on pane l,1 1 5 in. by in.
, £220 The M usic
Lesson,by F . Andreott i , 4 1 in. by 305 ia.
, £ 147 ; T/teN ew W/z ip ,
by:C. Burton Barber
, 44 in. by 33 7} ia.
,ex
hibited at the'
Royal Academy , 1 880, £ 1 20 1 5 5 . Trus t
,
by the same, 495 in. by 39 ia.
,exh ib i ted at the same
,
1 888, £ 1 1 5 105 . A Pass ing S /zo'wer : Harvest Time
,
b y V icat Co le,R.A.
,1 877, 1 95 in. by 29 ia.
, £ 1 3 1 55 .
A F oray ,by E . C rofts, R.A.
,1 889, 1 8 in. by 271} in.
,
£1 78 1 05 . E rin,F arewell .
" by T . Faed,R.A.
,1 868
,
arched top , 1 85 in. by 1 3 in.
, £1 1 3 85 . On t/ze T/tames,
b y B . W . Leader,R.A.
,1 878, 235 in. by 3 55 in.
, £ 168 ;
The Last Gleam Warg ra'ue-ou - T/zames
,by the same
,
1 879, 235 in. by 3 5%“
in.
, £1 57 Carting Hay
S /zowery Weather,by the same
,1 882
,1 55 in. b 235 in.
,
£1 47 On t/ieRiv er M eat/y ,Sou /Ii D ev on
,by the same
,
1 877, 1 325 in. by 1 7} ia.
, £1 05 ; T/ze Literary Lot/ er , byE . B lai r Leigh ton
,1 886
, 37 in. by 1 5 in.
,exh i b i ted at
the Royal Academy,1 887, and at the I r ish Internat ional ,
1 907, £ 1 57 The Re/zearsal,by G . B . O
’N eill
,
1 75 111 . by 24 in.
, £1 05 ; tl/ arried f or Low ,by M arcus
Stone,R.A.
,1 88 1
,on pane l , 16 in. by 23 1} in.
, exh ib i tedat the Royal Academ y
,1 88 1
, £ 1 57 A Roman
F am ily ,by Sir L . Alma-Tadema, R.A.
,1 867, on panel ,
1 9 in. by 1 35,t in.
,ex h ib ited at the I r i sh Internat ional
,
1 907, £ 1 52 and W/zere t/z ere’s a 14471 t/zere’s a W ay ,
by S . E . W aller,1 880
, 45 in. by 3431 ia., £ 1 05 .
The second day al so opened w i th draw ings. £1 57 1 05 .
was b id for B ir‘ket Foster ’s v ignette, Returning f romShopping . Amongst the p ic tu res
,l e D ay
’s Sp ort , by
J . Hardy, jun.
,1 883 , in. by
A Ways ide C/zafiel near I nter/adieu ,by B . W . Leader
,
R.A.
,1 877, 19 in. by 29 in.
, £ 173 and Goring
C/zure/i on t/ze T/zames,by the same
,1 874, 1 55 in. by
235 in., £ 1 20 1 55 . On November loth
,l e D ep ar ture
f or t/ze Honeymoon,by L . M archett i
,1 880
,on pane l
,
10 in. by 1 6 in.,fetched£ 1 10 5 5 . and Clieckmated
,by
Th. Cederstro’m,205: in. by 2 5 in.
, £2 52. The h ighest
[ n the Sale Room
amount bid on the last day of sale was £73 I OS . for
Bernard Evans’s draw ing , TheD uhe
’s Country ,
VVharf e
dale, f rom the Woodman’s Seat , 265 in. by 395 in.
Towards the end of the sale, G . B . O ’
N eill’s p i c ture,
Christmas E ve, 145 in. by 1 8 in.,real ised £56 1 45 .
The K ing Street sale of November 24th commenced
w ith some draw ings the p roperty of the late A. G .
Rogers . Sorrento, f rom Cap o di M onte, by T . M .
Richardson, 1 854, 2 5 in. by 395 in.
,fetched £236 5 5 .
D olwydde/lan Church , by P . de W int, 26 -2in. by 235 in.,
£ 1 57 and Ry dal M ountains,Westmorland
, by
C . F ie lding , 1 852, 7 in. by 10§ in.
, £84. Amongst the
p ic tu res from the same source were Arundel, by C .
F ie lding , 1 839, 16% in. by 235 in. ,wh ich made £204 1 55 .
On the Onse, near Hem ingf ord, by E . M . W imperis ,
195 in. by 295} in., £ 1 78 105 . Venice, by E . W . Cooke,
R.A.,
1859, 24 in. by 4015 in.
,exh ib i ted at the Royal
Academy,1 859, £99 1 55 . N ear Cottishall , 1Vorf olh, by
G . V incent,on pane l
,1 5 in. by 2 1
7} in.
, £78 1 5 5 . AHayfield, Whitting ton, Worcestershire, by B . W . Leader ,R.A.
,1 888
,1 1 5 in. by 1 55 in.
, £76 1 3 5 . and Venice, by
J . Ho l land,1859, c ircu lar, 95 in. diam .
, £7 1 85 . Thesewere fo l lowed by the p roperty of the late F rederickF rank
,of wh ic h A H ighland Valley , w ith a herd of
cattle,by Loui s B . Hu rt
,1 899, 3 55 in. by 59 in.
,secured
£105 ; A S cene in the H ig hlands , by the same,1 898,
235 in. by 3941L in.
, £68 Ewes and Lambs on the
B anhs of a H ighland Lahe, by E . V erboeckhoven, 1 857,
on panel , 22 in. by 29} in.
, £86 25 . and a P or trait ofCap t. j anz es Cooh, the Cz
'
rcumnawgator , by N . Dance,
R.A.
, 50 in. by 38 in.,exh ib i ted at the Royal Naval
E xh ib i t ion,1 89 1 , £52 1 05 . A draw ing of An Old M ill,
by J . M . W . Tu rner , 95 in. by 1 35 in.
,made £63 . F rom
other sources,the paint ings a P ortrait of S ir Walter
Gilbey ,Bart
,in his L ibrary at E lsenhani , by Sir Ph i l i p
B urne- Jones,Bart ,
1909, 32% in. by 225 in.,exh ib i ted at
the Royal Academ y, 19 10,b rough t £89 55 . and D on
’t
be F r ightened ! b y F red M o rgan, 50 in. by 34 in.
,ex
hibited at the Royal Academy,1892 , £63 . The p roperty
of M ajor F . B . Ley land, The Rehearsal, by A. Leg ros,27
12L in. by 3 2 1: in.
,fetched £44 1 ; and An Af ternoon
Gossip on the B anhs of the Gang es , at the Cheo Sdti
Ghat,B enares
,by V al. C . Prinsep , R.A.
, 5 1 in. by 30 in.
,
exh ib i ted at the Royal Academy , 1 885 , and at the RoyalJ ub i lee Exh i b i t ion,
M anc hes ter,1887, £89 55 . Sir E .
Burne- Jones ’s draw ing , 1 870,Phy llis and D enzophoon,
36 in. by 18 in.,was knoc ked down for £472 105 . A
S cottish F ishing Villag e : Sunset, by Sam Bough , R. S .A.,
2 1 5 in. by 29} in., £ 199 105 . TheHayfield, by the same
,
1 86 1 2z é in. by 3 2 in.
, £ 1 52 55 . Crossing Lancaster
Sands , by D . Cox , 1 84 1 , 1 1 } in. by 1 83} in.
, £2 1 0 ; and
E wes and Lambs in the Snow,by T . S . Cooper
,R.A.
,
1 86 1,
1 5 in. by 22 ih .
, £63 . The four draw ings lastment ioned were from the co l lec t ion of the late Thos .
Dough ty P r i tchard,to whom be longed the p ictures deal t
w i th next. £52 105 . was b id for A Common S cene,w ith
I/Vindm ill,etc.
,by Sam Bough
,R. S A
,1 837, 1 1 3 in. by
1 8 in. £1 26 for Cattle and Sheep by a S tream Canter
bury lV/ eadows , by T. S . Cooper, R.A.
,1 862
,235 in. by
3 5 75 in. and £1 36 1 05 . for On the M oors,by D . Cox
,
45
1 85 1 , 1 1 5 in. by 16 in. ,from the co l lec t ion of G . B r iscoe.
The last lot of interest in the day ’s sal e cons i sted of
The Harvest F ield, by J . L inne l l, sen.
,1 854, 3 5 in. b y
565 in.
,wh ich was exh i b i ted at Bur l ington House, 1 883 .
The b idding started at £ 1 00 and ran up to £52 5 .
M ESSRS . PUTT ICK S I M PSON offered a num ber of
eng rav ings on Oc tober 2oth . £53 1 1 5 . was paid forWooa
’
coch,P heas an t
,P artridg e,
and Grouse Shooting ,a set of fou r
aquat ints in co lours,after How i tt,
pub l ished in 1 8 10,w i th uncut marg ins . A pai r of
aquat ints in co lou rs, Views of Sy dney , N ew S ou th Wales,
in 1 81 0, f rom the E as t and West side of the Cove
,b y
C lark,after Ey re
,made £28 75 . andHow to Qualify
for a M eltonian,by Ben Tal l y - H0
,six aquat int p lates in
co lou rs,in ob long fo l io
, £3 1 1 05 .
An im p ress ion of the we l l - known p late,W. I nnes
,
dedicated to the Society of Gofi rs at B lackheath,by
V . G reen,after L . F . Abbott
,real ised £70 at M ess rs .
Sotheby,W i l k inson 8: Hodge’s on November 3rd. A
set of six p r ints in b istre,The H istory of Lcetitz
'
a,by
J . R. Sm ith,after G . M or land
,secu red£50 andE dmund
B urhe,by J . Jones
, after G . Romney , £45 .
The co l lec t ion of Japanese p ic tor ial art,inc luding
a number of p r ints,formed by John H ilditch
,Esq ,
etc .
,was offered by M ess rs . Sotheby on
November 29th. The amounts real ised were most l ymoderate
,the total of the sale being £504 1 25 .
'6d.
M any of the lots had been exh ib i ted at the M anchesterArt Gal lery in 1 91 0 and 1 9 1 1 .
Engrav ing s and
Etch ing s
THE co l lec t ion of Cap t. E . Ph i l l ips made its appearanceat M ess rs . Ch r i st ie’s on November 1 4th. Short l y after
the commencement of the sale,a pai r
of Ch inese p owde r ed- b l ue vases,
painted w ith pane ls of ky l ins,etc .
,in
b lue and rouge-de—fer,1 7 in. h i gh
,were knocked down
for £99 1 5 5 . On the fo l low ing day the porce lain sec t ionof the late \V . Y . Baker came under the hammer
,when
a pai r of Che l sea figures of a lady and gent leman,w i th
musical instruments, 95- 111 . h igh
,made £36 5 5 . and a
pai r of Che l sea candlest icks,w i th fi gu res of a shepherd
and shepherdess in arbou rs,1 1 in. h igh
, £29 85 .
The late George Henry V i ze’
s co l lect ion came underthe hammer at K ing Street onNovember 2 1 st . Amongstthe Chel sea sect ion
,a pai r of vases , des igned as eel
pots, w ith b i rds in h igh rel ief at the base,and bu l rush
handles, 9} in. h igh,secu red£1 78 105 . a pai r of cande
lab ra,w i th figures of a boy and g i r l w i th b i rd- cage and
nest,in arbours
,1 1 5 in. h igh
, £63 ; a pai r of g roups ofN eptune
,Amph i t r i te and Cup id
,seated on do l ph ins
,
1 0 in. h igh, £60 1 85 . and a pai r of figures of a g i r l and
youth, car ry ing pou l try
, 9 in. h igh, £58 165 . A pai r
of Long ton Hall candlest ic k s,the stems mode l led w i th
figures of nym ph s and ch i ldren, 9
12» in. h igh
,b rough t
£50 85 . Of the Bow”sect ion
,a pai r of figu res of a
g i r l and youth,w i th flowers and fru i t
,on turquo ise and
go ld sc ro l l p l inth s, 95 in. h igh
,real i sed £162 1 55 . a
g roup of a lady and gent leman in Eastern costumes,
Pottery and
Porce lain
The
s tanding in arbou rs , 95 in. h igh, £84 : a pai r of figu res
o t'
childrcn. standing in arbours o f Ilowers , 9 in. h igh,
£09 and a group of two bo y s p la y ing w i th a goat,mode l led b y Tebo ,
(i in. h igh . £40 195 . Towards the
finish o f the day , £3 5 1 45 . was bid for a German stone
ware large bel larm ine, decoratedw i th th ree coats of arms
and mounted w i th a pewter top , 1 6 in. h i gh .
M ess rs . Ch ri st ie’s sale of N ovember 23rd opened w i tha quant i ty of m i scel laneous p ropert ies . The fi rst lotto real ise a sum of im portance was a pai r of Chel seandelabra,
w i th figures o f Cup id and P syche w reathedw i th flowers , and support ing wh i te and go ld b ranches fortwo l igh ts each . The h ighest b id for the pai r , wh ichwere mode l led b y Roub iliac , andmeasu red 1 2-
4L in. h igh
,
was £ 194 55 . Later a To ft di sh , deco rated w i th a k ing ,etc . , in t re l l is border , insc r i bed W
' i l l iam Talo r,
”1 7 in.
diam,was knoc ked down for £ 1 57 a s l i pware
posset-pot and cover,w i th loop handles and deco rat ion
in g reen on red g round, the l i p insc r ibed “ John Hugheson
,10 in. h igh
, £92 a wh i te Bow bust of
Geo rge H .
,in armou r
,on ob long pedestal , 1 53 in. h igh ,
£58 165 . and a Ch inese fam i l le- verte fi gure of a Dutchman
,his costume ename l led g reen, ye l low andauberg ine,
8} in. h igh,Rang -He
, £56 1 45 . Other p r ices were
£1 10 55 . for a pai r of Del ft gou rd—shaped bott les, paintedw i th Ch inese fi gu res and flowers in b lue, in panel s on a
trel l i s g roundwo rk,
1 1 5 in. h igh ; £73 1 05 . ap iece fora Ch inese gou rd- shaped bot t le, the body ename l ledw i th a landscape
,etc .
,in fam i l le- verte
,1 02? in. h igh
,
Kang -He,and a pai r of Ch inese fam i -lle- verte bow l s
and covers,enamel led w i th pane ls of flowers
,etc .
,w i th
e lephant ’s - head handles, 6 in. diam . £77 1 45 . for a pai rof \Vorcester oval tu reens
,covers and stands
,painted
w ith flowers,in oval pane l s w i th r ich l y g i l t borders on
mott led dark b lue g round ; £84 for a Worcester jug ,paintedw i th exot ic b i rds andmode l ledw i th leaves , part l yco loured g reen
,the spout model led w i th a mask
,8 in.
h igh ; £7 1 85 . for aWorcester teapot and cover, paintedw ith exot ic b i rds in pane l s w i th g i l t borders on app legreen g round ; £50 85 . for a W orcester oval basket
,
painted w i th exot ic b i rds in app le- g reen borders,en
c rusted outs idew i th p ink b lossom s, 73} in. w ide £ 1 73 55 .
for a Che l sea cande lab ra,w i th figu re of a lady seated in
a tre l l i s arbou r,w i th pagoda- shaped top ,
in. h igh ; and£ 1 1 5 1 05 . for a pai r of Chel sea candlest i c ks, w i th figuresof a boar
,wo l f
,and dogs among b ranches
,1 2 in. h igh .
A BOU L LE armoi re,inlaid w i th arabesque fo l iage and
sc ro l l - work , w i th o rmo lu mounts,8 ft . h igh
, 4 ft . 8 in.
w ide,fe t c h ed £86 25 . at M ess rs .
Ch ri st ie’s on Novem ber 14th. I t was
the p roperty of Capt . E . Ph i l l i ps . F rom other sou rces,
an E l izabethan oak tab le,the fr ieze carved w i th flut
ing , and the four legs formed as balusters carved w i thfo l iage and fluting , 5 ft. 2 in. w ide
,secu red £ 1 62 1 5 5 .
a commode,w ith fo lding doo rs
,const ruc ted of panel s
Furnitu re
Connoissenr
o f Ch inese lacquer, 37 in. w ide
, £ 14 1 1 53 . a Sheratonmahogany s ideboard
,w i th serpent ine front banded w i th
tu l i p - wood and sat in - wood,
fi tted w i th two drawersand two cel larettes, 7 ft. w ide
, £ 1 10 55 . and a
F rench walnut -wood cab inet,w i th two cupboards and
drawers in centre,carved wi th D iana and Ac treon,
etc .
,and enr iched wi th inlays and veined g reen mar
b le, 7 ft. 3 in. h igh, 3 ft. 7 in. w ide
,1 6th century
,
£99The same firm secu red £7 1 85 . for a F lem ish 1 7th
centu ry ebony cab inet,w i th mou lded bo rders over laid
w i th p laques of torto iseshel l, 3 5 in. w ide, on N ovem
ber 23rd. The inter io r enc losed drawers and an arc h itec tural centre
,the pane ls being mounted w i th copper
p laques painted in o i l s w i th D iana,
the sty le of
F rans F ranken theYounger. The cab inet was mountedon a Ch ippendale mahogany stand
,carved w i th fo l iage
,
rosettes and key - pattern on the frieze and cab r io le legs.
An old Eng l ish ch im ing b racket c lock,by Godfrie Poy,
London,2 5 in. h igh
,b rough t £68 5 5 .
M essrs . Evans Evans dispersed the contents of
T ixal l Hal l,Staffs
,on Oc tober 27th and four fo l low ing
days . A Ch i ppendale s ide- tab le wi th marb le top , the
under - frame being carved w i th shel l s and scro l l s, and
hav ing cab r io le legs w i th paw feet,was knocked down
for £ 1 70 ; and a pai r of Ch i ppendale serpent ine- frontcarv ing tab les, the fr iezes fluted and carved
,and the legs
shaped,each 6 ft. long by 3 ft . w ide
, £230 .
N U M I SMAT I STS found much to interest them in the
second po rtion of M ajor P . W . P . Car l yon- B r i tton’s col
lec t ion,wh ich came under the hammer at
Sotheby ’s on November 2oth and fou rfo l low ing days.
.Pennies of Offa so ld we l l,two scarce
var iet ies secur ing over £20 ap iece,wh i lst one of his
w idow,Cynethryth , b rought £29 105 . A penny of
Ceolwulf I . made £22 ; Beornwulf, £40 ; and E the lheard
,w i th name of Coenwulf
, £30. A cur ious i temwas a penny , temp . St. Eadmund
,wh ich wou ld seem to
bear the name of an unknown Dani sh k ing or leader,
Hem ing rex E ,
” wh i ch fe l l for £10 1 08 . A W'
essexhal fpenny of Aelfred real i sed £3 5 on November 2 1 st .
The unique Chester (P) penny of Howe l Dda,the ce le
bratedW el sh k ing , wh ich was incor rec t l y att r i buted to
Eadgar in a p rev ious sale, was knocked down for £ 1 1 5 .
On November 23rd,a unique penn y of Llywelyn of
W ales,struck at Rhyd-
y-Gors Cast le, made £46. The
nex t day inc luded the ex tens i ve ser ies of coins struckunder S tephen. A rare penny by W alchelinus (W al
ke l in) , of Derby,secured £20 ; one of the two known
genu ine examp les of Henr y of B loi s,B ishop of “l in
chester, £32 and Baldw in de Redvers (Dunster Cast le) ,
£26 . Th ree spec imens of the Empress M at i lda werealso offered,
the h i ghest b id being £22 for a very scarceB r isto l m intage. The total sum secu red by the sale
was 1 3 s .
Coins
THE sumptuous de lur e edi t ion of the Catalog ue of the
I naug ural E x hibition of the Clev eland (Ohio) lll useunz
of Art evokes chequered reflec t ionsCatalogue Of the in the m ind of an Eng l i shman. ItInaugural Ex h i is a recordof ar tistic t reasures t ransb i t iou Of the
fer-red from the O ld \Vor ld to theCleveland
N ew,and numerous as are the i tem s
M u seum of Art3
set forth,one knows that thev fo1m
(Cleve landbut a smal l port ion of the p ic tures,statuary ,
and objects of art wh i chAmer ica is no w a c c um u l at i n g .
Fo rmer l y Eng land was in a s im i larenv iab le pos i t ion ; she gathered the spo i l s of the Cont inentinto her co l lec t ions,_ and every man who had a masterp iece to se l l b rough t it to London as his best market.But now Eng land is a se l ler rather than a buyer
,and her
fine art i st i c t reasures are steadi l y finding thei r way ac rossthe At lant ic . Thi s movement shou ld not be the subjec tof unqual i fied reg ret ; not mere l y is our 105 5 Amer i ca’
s
gain,but to some extent it is al so a uni versal gain.
W h i le the works t ransferred are who l l y taken from p r ivate co l lect ions
,where they were seldom or never seen
by the peop le at large,a large propor t ion of them are
go ing to pub l ic gal ler ies,where thev are shown under
the best condi t ions and seen by everyone. In the nearfuture the C leve land M useum o f Art shou ld take h i ghrank among such inst i tut ions . I t is bu i l t on spac ious andcomp rehens i ve l ines
,w ith the intent ionof gathering under
one roof examp les of all those phases of art wh ich inLondon are rep resented at the B r i t ish M useum
,South
Kens ington,and the Nat ional Gal lery . The bu i lding
covers an area of about 300 feet b y 1 20 feet,the base
ment containing,bes ides numerous store-room s and
offices , a print - room,l i b rary
,and lec ture theatre
,wh i le
the fi rst floor comp r i ses anopen garden cou rt and seventeen handsome gal leries . The exh ib i t ion was containedin the latter, and, judg ing from the catalogue
,must have
formed oneof themost var ied and interest ing co l lec t ionso f p ic tures and objec ts of art wh ich has been shown inAmer ica. In the loan sec t ion there was a fine di sp layof old masters and modern wo rk
,ch iefly Amer ican
,one
M useum of Art ,
Clev eland, Oh io85 net )
47
gal lery be ing devoted to Dutch,S panish
,F lem i sh , and
German retrospec t i ve work ; another to F rench,and a
th i rd to Eng l i sh . The important p ic tures, the names ofwh i ch appear in the catalogue
,are too many to ment ion
indi v idual l y,but they appear to have inc luded worth y
examp les of some of the wor ld’
s g reatest painters . The
Amer ican. schoo l,pas t and p resent
,was st rong l y repre
sented,th ree gal ler ies being devoted respec t i ve l y to
contemporary art i sts,those of the nineteenth century
,
and the ear l y m en. The latter are perhaps most interest ing to Eng l i sh students
,for they formed an offshoot
o f the Eng l i sh ei gh teenth - century sc hoo l,and hardl y
one among them,at some per iod of his career, but set
up his ease l in London. Two of the best known,W est
and Cop le y,remained here
,and by do ing so probab l y
advanced the art of Amer ica more than i f they had goneback
,for thei r p resence in Eng land attrac ted over num
bers of young Amer ican painters,who were thus enab led
to fam i l iari se them se l ves w i th a h igher standard of workthan any they cou ld have seen in thei r own country .
W est was rep resented by two portrai ts and Cop ley b yth ree
,all the latter be ing i l lustrated
,and two of them
lV/ rs . A. B . Rogers and [Vathaniel Hurd—appear ing to
be espec ial l y fine examp les . Stuart, whose Ch r ist iannames
,by the way , were G i l bert Char les, instead of
G i l bert onl y, as Amer ican catalogues pers ist indesc r ib ing
him,was shown in hal f a dozen examp les ; andAl lston,
D unlap,Chester Harding
,Inman
,M al bouc
,C . W . and
Remb randt Peale, Su l l y , Trumbal l , and others
,who all
v is ited Eng land,were rep resented. One of the latter
was the i t inerant portrai t painter Ral ph Ear l,whom
,it is
c laimed,
was made a member of the Royal Academ y .
”
Th is is not the case ; he onl y exh ib i ted fou r p ictu resal together at that inst i tut ion
,dur ing the years 1 783 to
1 785 , and, one surm ises
,left Eng land because his art
was so l i tt le apprec iated here. Another interesting phaseof Amer ican art was shown in over one hundred p iecesof co lonia l s ilver
,ch iefly by Boston makers . The l i st of
these is espec ial l y interest ing,as the names of over fi ft y
makers have been ident i fied and the i r marks desc ribed.
There were important loan exh ib i ts in other sections,
The Connoisseur
but the lat ter were ch iefly occup ied by the permanentcontents o f the museum . wh i ch al ready fo rm a co l lec t ionof g reat impo rtance, and one wh ich , on the who le, is sinularly we l l chosen,
in v iew o f the c i rcumstance that ithas not been fo rmed as a homogeneous uni t
,b i tt is an
accumu lat ion o f g i fts and beques ts from var ious pri vatebenefac tors. M os t o f these
,however, have been en
l i gh tened co l lec to rs, and hence thei r contr i butions all
possess an art ist ic value, wh i le the y appear to .have beenhapp i l y se lec ted to supp lement e ach other
,so as to
rep resent man y phases o f art,instead o f onl y a few
of a popu lar charac ter . The gu iding insp i rat ion wh ichresu l ted in th i s des i rab le consummat ion may be largel yt raced to the late John P . Hunt ing ton
,from whose
estate seven- tenths of the fund for bui lding the museum
were p rov ided,the remainder being der i ved from a
bequest by the late Horace Ke l l y . His co l lec t ion of
c lass ical and Egypt ian ant i qu i t ies, Goth ic and Renaissance furniture and fab r ic s , and other works i l lustrat ingO r iental , Eu ropean, andAmer i canart, fo rmeda sp lendidnuc leus for a g reat museum . An im portant addi tion isthe co l lec t ion of I tal ian p ic tures fo rmed by J . J . Jarves,and p resented by M rs. Ho lden. Though not containingany masterp ieces by g reat painters , the co l lec t ion possesses a h i gh educat ional value as i l lust rat ing , by .means
o f well- selec ted exam p les by their pup i l s and fo l lowers,
the ear l y deve lopments of European art .
Other impo rtant dono rs inc luded M r. and M rs . J . H .
\Vade,who al so p rov ided the s i te of the museum M rs .
D udley P . Al len,M r. W orcester R. W arner
,M r. and
M rs . Ral ph K ing,M rs . John Hunt ington
,and M r. Dav id
Z . Norton. Thei r munificence has endowed C levelandw i th a museum and art co l l ect ion o f wh ich any townm igh t we l l be p roud, and wh ich b ids fai r
,i f the inst i
tution is developed on the same b road and intel l igentl ines on wh i ch it has been started
,to make the c i ty
one of the g reat art cent res o f Amer ica. The cata
logue is worthy of the exh i b i t ion,and does g reat c redi t
to M r. F . A. W h i t ing and his ass i stants in the task of
its comp i lat ion.
M RS . D ELANEY , in a letter to her s i ster Anne,w r i tes
Hogarth has p rom i sed me to g i ve some instruc t ionsabout draw ing that w i l l be of g reatuse— some ru les of his own that hesays w i l l imp rove me mo re in a day
than a year ’s learning in the common
way . One fee l s tempted to suggestth is quotat ion as a su i tab le motto for
M r. R. S . Bowers’s work on D raw ing
and D eszgn f or Craf tsmen. The autho r,indeed
,makes
no such p rom i ses as Hogarth,but he suggests such
s imp le, p rac t i cal , and expedi t ious ru les,that the most
i gnorant layman w i l l find no g reat di fficu l ty in master ingthe more e lementary ones ; and once he has done th is
,he
w i l l find h im se l f in a pos i t ion to draw in a c redi tab lemanner s imp le freehand patterns and objec ts di rec t fromnature
,p lace fai r l y elaborate arch i tec tu ral featu res of
bu i ldings in co r rec t perspect i ve, make p lans of bu i ldings ,and do a var iet y of other th ings wh ich are genera l l y
Draw ing andDes i gn forC raftsm en
,
" by
R. S . Bowers
(Cas sell Co.
65 . net )
48
Supposed to come onl y w i th in the scope o f the pro
fessional draugh tsman. It is a book wh i ch everyonew i th a taste for draw ing
,but who has no t been in a
pos i t ion to take it up serious l y,wou ld do wel l to possess.
To c raftsmen it w i l l be even more usefu l than to the
la ym an,for it fo rtu s 'a guide to the who le range of
prac t ical art,and though in the h igher b ranches it w i l l
not supersede the necess i ty of schoo l of art t raining,it
w i l l fo rm a most valuab le supp lement to the latter,and
a handy wo rk of reference for finding out,on the spur
o f the moment,how to make draw ings o f comp l icated
or unusual objec ts . The fifty- one chapters into wh i ch
the vo lume is di v ided are each devoted to a separatesec tion of work . Space forb ids the enumerat ion of thei rsubjec ts, but some idea of the i r scope may be g iven byment ioning that they inc lude a fu l l de
'
sc rip tion'
of all
inst ruments and mater ial s l ike l y to be requ i red by the
draugh tsman instruct him as to the s imp lest and mostexpedi t ious methods app l icab le to ob tain cor rect resu l tsin freehand and mode l draw ing
,inc luding the shading o f
the latter ; g i ve the ru les for the expedit ious del ineat ionof all p lane geometric forms ; and guide him th rough themyster ies of p rac t ical so l id geomet ry
,geometr ic , per
spec tive, and i sometr ical draw ing . There are chapterson letter ing , sketch ing from natu re in penc i l and penandink
,draw ing to scale and rep roduc t ion
,mak ing stenc i ls
,
pattern des igning,water - co lour paint ing
,leaded g laz ing
,
wood- carv ing,and var ious other matters . On all these
subjec ts the author g i ves his instruc t ions c lear l y and
conc i se l y, avoiding theor i s ing,and confining h im sel f to
pract ical ru les wh ich the student can master and app l yw i thout any very strenuous demands on his intellec tual
capacuy .
From Harbou r to Harbou r, " by M rs . Arthu r G .
Bell, w ith tw elve colourap lates after p aint ings by
Arthur G . Bell, R.I .,R.0 . I .
(G . Bell Sons , Ltd. 105 . 6d. net )
THE story of Ch r istchu rch,Poo le
,and Bou rnemouth
is to ld by M rs. Arthu r Be l l , in her book ent i t led F rom
Harbour to Harbour, w i th a weal th of archaeo log icalknow ledge and an apprec iat i ve eye for p ic turesqueinc ident that make it de l igh t fu l l y interest ing reading ,as wel l as a tho rough l y re l iab le h i story. Bournemouth now th reatens to envelop both other towns in itsfar- sp reading emb race ; but , comparat i ve l y speak ing , itis of modern g rowth
,cover ing what was
,not muc h
mo re than a centu ry ago, a stretch of moor land and
forest , remote from any main road and inhab i ted onl yby a few smugg lers . The fi rst known reference to it
appears to oc cu r in a survey made in 1 574, by LordThomas Po
'
u let,Ear l of Southam pton
,andothers, to find
out undefended landing - p laces along the coast wh ichm igh t be ut i l i sed by an enem y . One part of thei r reportruns F i rst
,wee finde at Bournmouthe
,w i th in the west
bay e at Christchurche, a p lace very easy for the ennemye
to land there, conteyning by estimacion oon quarter of amyle in leng th , being voyde of all inhab i t ing .
” Alum
and copperas m ining appear to have been car r ied on in
the neighbourhood unt i l after the c lose of the s ix teenth
The Connoisseur B ookshelf
BRUGES LE QUA I VERT
centu ry ; but the industry ceased, and the s i te of B ourne
mou th relapsed into its former state,unt i l the discovery
of its salub r ious p ine-woods and beaut i fu l s i tuat ion caused
it g radual l y to become one of the most popu lar wateringp laces in the count ry . Ch r istchu rch and Poo le are, of
course,old-wor ld towns, w i th h i stor ies go ing back to
Ang lo- Saxon t imes,and are the scenes of many st i r r ing
events and p i ctu resque legends , all of wh ich M rs . Bel l re
counts w i th a freshness and v i v idness that make them l i vein the reader ’s m ind. The country round possesses manyinterest ing l i terary assoc iat ions. It is in the heart of
W essex,wh i ch Thomas Hardy has made the scene of so
many nove l s . Conan Doy le has made it the backg round
for TheVVhite Company and“Sir N i gel , ” and Bou rne
mouth itsel f has been the home of Robert Lou is S teven
son and many other we l l - known w r iters . The twe l ve
p lates in co lou r, from water - co lou rs by M r. Arthur G .
Bel l,are so good that they deserve more than a b r ief
ment ion.Very charm ing and de l i cate in co lou r, nice l y
var ied in theme,and redo lent w i th that fee l ing of rest
fu lness and tranqu i l l i ty wh ich charac ter ises old—wor ld
FROM “ L ITTLE TO\V N S OF FLANDERS (CHATTO AND wu nus)
Eng l ish rural scenery , they add much to the att ract ion of
a most interest ing vo lume. I t is a book wh ich v is i tors
to Bournemouth shou ld buy , beg , or bor row ,for they
w i l l find its possess ion w i l l inves t the town and sur
rounding di st ric t w i th innumerab le fresh interests and
assoc iat ions .
THE g reat rev i val o f wood- eng rav ing dur ing recentyears shows that no art ist ic medium be long ing to the
g raph ic ar ts is l i ke l y to be perma
nea t l y superseded by mechanicalp rocess
,and
,indeed, inthe long run
,
the latter exerc i ses an inv igorat ingeffec t on the m ed i um w ith wh ic hit competes. Before the advent of
photog raph ic rep roduc t ion, the g reat bu l k of the wood
eng rav ing p roducedhadbecomemechanical and inart ist i c .
I ts exp ress ion was p ract ical l y s tereotyped. N o fu rther
deve lopments of themedium appeared poss ib le, andwhatwas being done had been done better before. How far
we have advanced s ince then is exem p l i fied in M . Al bert
L itt le Towns of
Flanders ," by
Albert Delstanche
(Chatto 81 W indu s
3 3 . 6d. net )
7710
Delstanche‘
s i l l u s trat ionsto his L i l / la Tow ns ofF /tnm
’crs . These o r ig inal
wood- cuts. bo ldand s imp lein thei r t reatment , w i thoutlos ing any o f the essent ialqua l i t ies o f wood- eng rav
m attain in the freedomand v igou r o f thei r l ine the
spontaneitv o f ex p ress ionwh i ch one. usual l y assoc iates w i t h e t c h i ng . The
art is t has used them as a
veh ic le for emot ional utteram_e. and ha s imp ressedhis own pe rsonal i ty deep l yon the w o r k . How r i chand man y -s ided t h i s personality is is s h ow n, notonl y b y t h e s e p o e t i c a li l l ustrat ions o f o ld - wo r ldF lem i sh c i t ies
,but in the
let terp ress wh ich accompanies them . In v i v id and p ic
t uresque language he g i ves an account o f their beaut ies—a few poignant fac ts wh ich recal l sp lendours and
ach ievements o f former ages and he l p one to real i sein memor ial s of the past how contented in its peacefu lp rosper i t y was the land before the Huns despo i led it .M . Em i le V erhaeren cont r ibutes an insp i ri t ing p refaceto the work
,rep lete w i th patr iot ism and confidence for the
futu re,when Bel g ium shal l be freed from the invader and
her shattered bu i ldings restored. The vo lume,wh i ch is
we l l mountedand p r inted,fo rms a beaut i fu l and touch ing
souveni r o f the land be long ing to the most gal lant andunfor tunate of our al l ies .
THE Russian S tory B ook , a co l lec t ion o f tales fromthe song - cyc les of K iev and Novgorod and o ther ear l y
sou rces , reto ld by M r. Ri chardW i l son
,shou ld p rove popu lar w i th
both young and old,for they int ro
duce the Eng l i sh reader to whati s p rac t i c a l l y unknown g round,
where the aspec t O f th ings is del igh t fu l l y nove l and the condit ionsru l ing l i fe are al together di fferent.
The opening stories,wh i ch are by no means the best ,
deal w i th the adventures O f I l ya, a legendary hero whoseac t ions are insp i red by al t ru i st i c mot i ves
,s im i lar to those
animat ing our pat ron saints in the popu lar tales con
cerning them . Though these sto r ies are over laid w i thmany inc idents exemp l i fy ing the deep and s imp lere l i g ious fee l ing o f theRussianpeasant , onewou ld hazardthe guess that in thei r or ig inal form thev ex i sted longbefore the int roduc t ion of Ch r ist iani ty to Russ ia.
Fur ther on,when we part com pany w i th th i s hero
,the
s tor ies become mo re barbar ic in thei r Sp i r i t,and we are
The Ru ss ianS tory Book ,
" byRic hardW ilsonI l l u s t rated byF . C . Pap é
(M acm i l lan Co.
78 . 6d. net )
50
Coz znoz’
ssenr
BURTON WARE , BAGGALEY POTTERYFROM “ YORKSH IRE POTTERI ES , POTS AN D PO
'
rTERs
(COU L’
I‘
AS AN D VOLANS,YORK )
the young readers,
intended.
PROBA BLY most readers of M r. Ox ley G raham ’
s
substant ial pamph let on P ol terz'
es,P ots and
P ol lers w i l l be surp r isedat the number O f ceram ic works wh ich at one
t ime or another have ex isted in the
county . The fine p ieces emanat
ing from Leeds and Sw inton are,of
course, we l l known, and there are
hal f a do z en o r s o other p lacesment ioned by Cli afiers in wh ich wares were p roducedw i th wh ic h the advanced co l lec to r is cogni sant
,but
M r. G raham adds largel y to thei r num ber . I t is t ruethat he inc ludes modern potteries in his wor k , but
,
e l im inat ing these,one finds that du r ing the eigh teent h
century or the ear l y years of the nineteenth , pottery wasmade at the fo l low ing p laces — B u r ton- in- Lonsdale,Cast leford
,Don (Sw inton) , Pal sg rove
,Fer ryb r idge,
Howcans (Ovenden) , Hudders fie ld,Hu l l
,K i lnhu rst,
Leeds,M exborough
,Newh i l l
,Rawmarsh
,Rotherham ,
Rothwel l , So i l H i l l (Hal i fax ) , S toc k ton-on-Tees,Sw il
ling ton B r idge, Sw inton, andYork . Th i s is a fo rm idab lel i s t
,the more espec ial l y when it is remem bered that the
indust ry was o ften car r ied on at several di fferent worksin the same local i ty . Of all these fac to r ies M r. G rahamg i ves a more or less detai led account
,wh ich in some
instances ex tends to eigh t or ten pages . M uch of his
informat ion has been ob tained at fi rst hand,and his
researches have enab led him to w ide l y ex tend our knowledge of Yo rksh i re potter ies . The work is rendered the
more valuab le bv the numerous i l l ust rat ions of typ i calp ieces and the desc r ip tion and rep roduc tions of potters ’marks .
Y ork sh i re Potteries , Pots andPot ters
,
" by Ox leyGraham
,M .A.
(Cou ltas
V olans,Y o rk )
introduced t o b ra g g i ngmatches
,in wh ich the par
tic ipants boasted o f thei rdeeds a nd possess ions , a
s tranger running t h e r isko f being t h o u g h t mean
Sp i r i ted i f he was o v e rinodest
,or o f be ing exe
cutedOr thrown into p r i soni f his boasts were not im
mediate l y s u s c ep t i b le of
p roof. The s i xteen i l l ustrations in co lou r and nu
merous l ine b lock s by M r.
F . C. l’ apé are wel l drawnand at trac t ive
,and though
they hardl y exemp l i fy the
unconvent ional and b a rbar ic fe e l i ng of some o f
the stor ies,they w i l l p rob
ab l y not be the less appre
c iated on th is account by
whom the book is p r imar i l y
T/z e Com zo/ssezr—r
the fo l low ing l ist of works pu rchased at and
upwards appears to o ffer poss ib i l i t ies
PICTURE Bo t‘
iz i i'
r as REM ARKS Pmc r:
M us ic Party Dc 11 00i Poor exampleLul l i and H isFel low M us ic ians
Rigaud Catalogucdas asc ribed
to RigaudFam i l y G roupAr ios toPortrai t o f I l is
Poor exampleDo. much restoredO f doubtfu l authen
l“ather ticity (hal f of)Gal iot in a Gale Cotman Catalogued as Schoo l
of Co tman
M anandHisW i fe M abuse Cataloguedas asc r ibedto M abuse
V elasquez O f doubtfu l authentic ity (one- th i rd of)
Adm i ral Pul idoPareja
Chr ist B less ing Rembrandt Catalogued as Schoo lL i tt le Ch i ldren of RembrandtTr ibute M oney T i t ian Catalogued as Schoo l
of T i t ianThe Trustees, however, have not yet suggested that
the y shou ld rai se money by dispos ing of some of thei rown unsat isfac tor y purchases . Thei r onl y conc rete proposal appears to be to raid the works of Tu rner
,wh ich
have the mer i t— rather an im portant one in the p ic turemarket—of being all authent ic . The number of Turners belong ing to the Gal lery may be set down as 1 00
fini shed p i c tu res, 1 82 unfini shed p i c tu res,about 300
co loured draw ings, and penc i l sketches—a stu
pendons number, but one wh ich w i l l be cons iderab l ydep leted i f the T rustees are al lowed to car ry out thei rp roject . How many Turners w i l l have to be di sposedof to rai se the sum of money—at least or
—wh ich w i l l be requ i red for the pu rchase of
the T i t ians is a di fficu l t p rob lem . There are p ictu res inthe co l lec t ion wh i ch m igh t eas i l y real ise or
each , a l ways p rov ided that no other importantexamp les by the art ist were l ike l y to come on the
market ; but i f a large number of works were offered,
the p r ice wou ld come down cons iderab l y . P robab l y a
dealer m igh t hes i tate to g i ve for the ent i re col
lect ion, because he wou ld know that the influx of such anenormous number o f work s by the same art i st wou ldp rec i p i tate a s lump in p r ices. The Turners came intothe possess ion of the Gal lery as the resu lt o f a
comp rom ise made between the author i t ies,the Royal
Academy , and the relations of the art i st,who were all
benefi c iar ies under his w i l l—a confuseddocument,w h i ch
invo l ved the par ties concerned in years of l i t igat ion.
The bu l k of his works were not ment ioned in the or ig inalw i l l dated J une 1 0th
,1 83 1 . In the fi rst codic i l of
August 2oth,1 832 , how-ever
,he made p rov i s ion for a
gal lery to be bu i l t to contain them,w i th suffic ient funds
for its upkeep. In the next codic i l,August 2nd
,1 848,
he left the p i c tures to the Nat ional Ga l lery author i t iesp rov ided a separate gal lery
,to be cal led the Turner
Gal lery , was bu i l t for thei r recept ion,and he di rec ted
that the y were to be shown in rotat ion,so that there
m igh t be a change of p ictures every one or two years .
In a th i rd codic i l of Feb ruary 1 st,1 849, he di rec ted that
i f the Nat ional Gal lery did not carry out the p rov is ions
5 2
o f the w i l l w i th in ten years,the p i c tures were to be so ld
ind the p roceeds g i ven to a chari tab le inst i tut ion for
decayed art ists wh ich he intended to found. The po intshe most ins i sted upon th roughout the will and codic i l swere the estab l ishment of the home for decayed art istsand the exh ib i t ion o f his p ic tures as a co l lec t ion. For
many years p rev ious to his death he was in the hab i t ofrebuy ing such of the finer examp les of his Own work ascame into the market. The S un rz
’
rz'
zzg M roug fi Vapou r
and D ido building Cart/log e, wh ich now hang amongthe C laudes in the Nat ional Gal lery
,are among the
p ic tures he repurchased in th i s way , and it is on recordthat, rather than al low his co l lec t ion to be di spersed, herefused two offers of for it . Turner kept hisco l lec t ion of p i c tu res together w i th the obv ious des i rethat after his death they wou ld form a monument to
estab l ish his fame as a g reat master of landscape. I t is
obv ious he never ant ic ipated that,when his reputat ion
was estab l i shed and the value of his works enhanced tenor twenty - fo ld
,a large por t ion o f them wou ld be so ld in
o rder to buy works by another art ist, and were he al iveto -day , no one wou ld p rotest more vehement l y againstsuch a course being ad0p ted. Poss i b l y such a sentimen
tal cons iderat ion as keep ing fai th w i th a dead and gonebenefac tor shou ld not be u rged in a p rac tical age l i ke thep resent ; but the matter has a p rac t i cal s ide as we l l .G i fts and bequests are made to the Nat ional Gal lery notonl y w i th the idea of benefi t ing the co l lec t ion
,but al so to
serve as a permanent memor ial to the taste or talent ofthe donor . I f the t rustees in futu re intend to ignore thedes i res of dono rs in th i s respec t
,one can onl y su rm ise
that the p resent flow of benefac t ions to the Gal lery w i l lbe devoted to other inst i tut ions where better fai th is kept .
Apar t from these reasons,
. it is quest ionab le whether itis des i rab le to part w i th a large num ber of Turner ’swo rks in exchange for two or th ree T i t ians . I t is not as
though we are w i thout any rep resentat ion of th i s art i st ’sworks
, as six exam p les are c redi ted to him in the
Nat ional Gal lery catalogue , one o f wh i ch,the B acchus
andAriadne,is anacknow ledgedmasterp iece. T hough
other important addi t ions by the art i st wou ld be h igh l ywe l come
,they are by no means indispensab le to the
comp leteness of the co l lec t ion from aneducat ional standpoint ; wh i le there are some hundreds of other art ists ofacknow ledged standing who are ei ther unexem p lified inthe Gal lery or exemp l i fied by poor
,dub ious
,or uncha
rac teristic wor ks . I f it is poss i b le to raise some hundredsof thousands of pounds
,e i ther by the sal e of p i c tures or
other means,surel y it wou ld be a mo re sens i b le po l icy
to expend it fi l l ing up these gaps rather than in pur
chas ing redundant T i t ians . It is t rue that T i t ian is oneof the g reatest names in art ; but fash ions in art are
cont inual l y f luc tuat ing , and there has hardl y been a
per iod in past h i story when works by painters of
estab l i shed reputat ion cou ld not be pu rchased for com
paratively smal l sums s im p l y because they did not
happen to conform w ith the taste of the moment . One
m igh t g i ve hundreds of exam p l es of th is,but a s ing le
instance w i l l suffice. In 19 1 6 the T rustees purchased apane l by M asacc io
,wh ich had formed part of an al tar.
PORTRAIT OF ANNE S P IERINGBY GERARD DOU
I n the collec tion of M r . F ranc is ll’elles ley
Current A rt N otes
They gave for it, a p r ice not deemed excess ive byexperts. A decade or two before, two panels 'belong ing
to the p redel la of .th is were ac tual l y offered to the
Nat ional Gal lery for someth ing l ike £300, and,being
dec l ined,were so ld to the D i rec tor of the Kaiser
F r iedr ich M useum at Ber l in. The anecdote i l lust ratesnot onl y the fluc tuat ion of p ic tu re p r ices
,but a l so the
advantage of hav ing an art ist ic inst i tut ion cont ro l led bya s ing le competent man instead o f a board of amateurs.
The former w i l l have the courage to buy a p i c ture on its
mer its ; the latter w i l l inev i tab l y be gu ided by the fash ionsof the moment.
I f on no other account,the Nat iona l Gal lery B i l l
shou ld be Opposed because of the enhanced powers itg i ves to the board of trustees . N o reflec t ion on the
di rec tor or on any of the indi v idual members is intendedby th is assert ion. One or two of them have h i ghreputat ions as judges of art
,‘ but an art ga l lery can be no
more edi ted by a“ board of di rec tors than a newspaper,
I t requ i res an indi v idual contro l ; and the di v is ion of
respons i b i l i ty,delays
,and ineffic ient comp rom ises con
sequent upon the necess ity of b r ing ing into ag reement
a body of e leven gent lemen who meet for a sho rt t ime
after long and uncertain per iods,are destruct i ve of any
speedy ac t ion,when occas ion cal l s
,or any coherent
po l icy . N o one w i l l dispute that it is more essentialthat Tu rner rather than T i t ian shou ld be adequate l yrep resented in the Nat ional co l lec tions . He is not onl yone of the g reatest of art i sts—how g reat peop le are onl yjust beg inning to real ise— but he is al so anEng l i shman.
H is work is racy of the so i l,redo lent w i th nat ional fee l
ing and tradit ion,and Eng l i sh s tudents can learnmore
from him than from any foreigner of equal ab i l i ty . But
is there any landscape arti st who can be said to r i val him—anyone who has so exp lored the who le range of natu reor mastered so comp lete l y the phenomena of l igh t andatmosphere? H is wo rk is a nat ional her i tage
,g row ing
every day more valuab le,and not to be l igh t l y scattered
to the fou r quarters of the g lobe,even to pu rchase two
or th ree redundant T i t ians. Of the hundred fini shedp ic tu res by Turner be long ing to the Nat ional Gal ler y
,
a large number— p robab l y th i rty or fo rty—are al readydepos i ted on loan at var ious p rov inc ial gal ler ies. The
remainder,i f a large rep resentat ion of thework of one
man,hardl y cover g reater wal l - space than the examp les
of Rubens at the Louv re,and yet the F rench Govern
ment,though harder p ressed for money than our own
,
has not suggested the sale of any of them . The draw ingsand sketches requ i re far g reater space for thei r p roperdisp lay
,but by show ing them in rotat ion—Turner ’s
or ig ina l suggest ion—they can be adequatel y exh i b i tedw i thout undu l y eng ross ing on the N at ional Gal lery wal ls .
If,as supporters of the B i l l suggest
,it is des i rab le that
the works of Turner shou ld be better known ab road,
l i tt le objec t ion wou ld be made to the selec t ion of one or
two smal l but rep resentat i ve co l lect ions of his p ic tu res,
draw ings, and sketches,wh ich m igh t be lent
,but not
so ld, to the governments of F rance and Aust ral ia or
Canada, in return for some o f thei r redundant p ic tu resof wh ich we stand in need. These works m igh t from
5 5
t ime to t ime be exchanged for others,so that no Turner
lover m igh t have to dep lore thei r permanent loss .
THE N ew Eng l ish Art lub appears to be fee l ing theeffec t of the war to a g reater extent than other soc iet ies.
The N ew Eng lishI ts fifty
-
si xth exh i b i t ionat the Suffo l k
Art ClubSt reet G al ler ies was composed
-
of
a heterogeneous mass of work wh ichfai led to look attrac t i ve as a who le
,and comp r ised few
i tems wh ich were indi v idual l y interest ing . The hangingmay have accounted for the fo rmer defic iency the s ing lel ine of works , st rung round the Central Gal lery, lookedth in and meag re— a co l lec t ion of samp les rather than a
homogeneous disp lay , the p ic tures being so ar ranged thatnear l y every uni t was iso lated by being p laced againstneighbours themost Oppos i te to it in st y le and treatment .
Thus M r. Char les M . Gere ’
s du l cet and del icate E arlyAutumnwas flanked on either s ide by a st rong l y co louredDeeora/z
’
weP anel by M r.Al fred M .W olmark . The effec twas m uch the same as though it had been p laced betweenstained- g lass w indows, and the juxtapos i t ion was equal l ybadfor M r.Wolmark ’s works . The co lou r of the latter wasmade to appear str ident , wh i le M r. Gere
’s was weakened.
Seen any distance away,however, M r. V
Volmark ’s deco
rat ions more than held thei r own, reso l v ing themse l ves
into gorgeous co lour - schemes , composed of undi lutedp r imar y hues
,massed together so as to form b r i l l iant and
refu l gent harmonies. M r. M ark Gert ler also attainedsumptuous co lour in his p ic tu re of F lowers
,but the work
fai led to be conv inc ing . W h i lst its t reatment was real i sti c ,the tones appeared to be more or less convent ional i sed,b r i l l iance of co lou r be ing at tained at a sac r i fice of truth .
M i ss Al i ce Far mer,in a strong l y painted p ic tu re of
Ham/ Mon Court , made efl'
ective use of the cont rast of thered wal l s of the old palace against the i r su r roundingg reenery . M r. C . J . Ho lmes contr i buted one of his
best work s in l e Grav el P it and M e Rainbow . He
is g row ing more natural i st ic in his out look , and wh i lest i l l retaining his fee l ing for decorat ive ar rangement
and masses of st rong co lou r,he is ab le to add to them
a percept ion of atmosphere and of local truth wh ic helevates his p ictures from deco rat i ve schemes suggested
by natu re to v i v id and int imate interp retat ions . M r. A.
M cE voy’s Tue Artis t
’s r
’li ot/zer,i f painted from a very
di fferent out look to M r.Augustus john’sArlnz z
'
ral F z'
s/zer ,
m i gh t have been coup led w i th it as one of the two most
attract i ve port rai ts in the exh i b i t ion. I t was onl y a part ialsuccess. The handl ing was subt le and atmospher ic
,the
s i tter ’s face we l l and sympathet ical l y charac ter ised, butthe interest of the wo rk was not suffic ient to permeate the
who le of the canvas,much of wh ich was covered rather
than occup ied. M rs . Swynnerton,in her po rt rai t of
Henry j anzes , went bac k to V i c tor ian t radi t ions—butV ic tor ian t radit ions at thei r best— ia wh ich comp leteness
of effec t was sough t by means of good co lour and searching model l ing
,as we l l as h igh sur face fini sh . T/zeDrift/ e
,
by M r. Derwent Lees,was happy in its exp ress ion of
sp lashes of sunl igh t penetrat ing th rough th ick fo l iage.
M r. P . W i l son Steer ’s Vale of Gloucester was sadl y
want ing in des ign,if not unpleasing in co lour. The fai l ing
,
Current A rt N otes
They gave for it,a p r ice not deemed excess ive by
experts. A decade or two before, two panels belongingto the p rede l la of .th is were ac tual l y offered to the
Nat ional Gal lery for someth ing l i ke £300 , and,being
dec l ined,were so ld to the D i recto r of the Kaiser
F r iedr ich M useum at Ber l in. The anecdote i l lustratesnot onl y the fluc tuat ion of p ic ture p r ices, but a l so the
advantage of hav ing an art ist ic inst i tut ion contro l led bya s ing le com petent man instead of a board of amateu rs .
The former w i l l have the cou rage to buy a p ic ture on its
mer its ; the latter w i l l inev i tab l y be gu ided by the fash ionsof the moment.
I f on no other account,the Nat ional Gal ler y B i l l
shou ld be Opposed because of the enhanced powers itg i ves to the board of trustees . N o reflec t ion on the
di rec tor or on any of the indiv idual mem bers is intendedby th i s assert ion. One or two of them have h ighreputat ions as judges of art, -but an art gal lery can be nomo re edi ted by a' board of di recto rs than a newspaper
,
I t requ i res an indi v idual contro l ; and the di v i s ion of
respons ib i l i ty,de lays, and ineffic ient com p rom i ses con
sequent upon the necess ity of b r ing ing into ag reement
a body of e leven gent lemen who meet for a short t ime
after long and uncertain per iods, are dest ruc t i ve of any
speedy ac t ion,when occas ion cal l s
,or any coherent
po l i cy . N o one w i l l di spute that it is more essent ialthat Tu rner rather than T i t ian shou ld be adequate l yrep resented in the Nat ional co l lec t ions . He is not on l yone of the g reatest of art ists—how g reat peop le are onl yjust beg inning to real ise—but he is al so anEng l ishman.
H is work is racy of the so i l,redo lent w i th nat ional fee l
ing and t radi t ion, and Eng l ish students can learnmorefrom him than from any foreigner of equal ab i l i ty . But
is there any landscape arti st who can be said to r i val him— anyone who has so exp lored the who le range of natu reor mastered so comp lete l y the phenomena of l i gh t andatmosphere ? H is work is a nat ional her itage
,g row ing
every day more valuab le, and not to be l ight l y scatteredto the fou r quarters of the g lobe, even to pu rchase twoor th ree redundant T i t ians . Of the hundred finishedp ic tu res by Turner be long ing to the Nat ional Gal lery ,a large num ber— p robab l y th i rt y or fo rty—are al readydepos i ted on loan at var ious p rov inc ial gal ler ies. The
remainder,i f a large rep resentat ion of the Work of one
man,hardl y cover greater wal l - space than the examp les
of Rubens at the Louv re,and yet the F rench Govern
ment,though harder p ressed for money than our own
,
has not suggested the sale of any of them . The draw ingsand sketches requ i re far g reater space for thei r p roperdisp lay
,but by show ing them in rotat ion— Turner ’s
or ig inal suggest ion— they can be adequate l y exh i b i tedw i thout undu l y eng ross ing on the N at ional Gal lery wal l s.
If, as supporters of the B i l l suggest , it is des i rab le that
the wo rks of Tu rner shou ld be better known ab road,
l i tt le objec t ion wou ld be made to the select ion of one or
two smal l but representat i ve co l lec t ions of his p ictu res,draw ings
,and sketches
,
'
wh ich m ight be lent,but not
so ld,to the governments of F rance and Aust ral ia or
Canada, in return for some of thei r redundant p ic turesof wh ich we stand in need. These wo rks m igh t from
5 5
t ime to t ime be exchanged for others, so that no Tu rnerlover m igh t have to dep lore thei r permanent loss .
THE New Eng l ish Art-C lub appears to be fee l ing theeffec t of the war to a g reater extent than other soc iet ies .
Its fift u six th exh i b i t ionat theSuffo l kThe N ew Eng l i sh St reet
)
Gal ler ies was composed ofArt Club
a heterogeneous mass of work wh ichfai led to look attract i ve as a who le
,and comp r ised few
i tems wh ich were indi v idual l y interest ing . The hangingmay have accounted for the former defic ienc y the s ing lel ine o f works, strung round the Central Gal lery , looked
th in and meag re—a co l lec t ion of samp les rather than ahomogeneous disp lay , the p ic tures being so arranged thatnear l y every uni t was i so lated by being p laced againstnei ghbours the most Oppos i te to it in sty le and treatment .
Thus M r. Char les M . Gere’s du lcet and del icate E arlyAutumnwas flanked onei ther s ide by a st rong l y co louredDecorative P anel by M r.Alfred M .Wolmark . The effec t
was much the same as though it had been p laced between
stained- g lass w indows,and the juxtapos i t ion was equal l y
bad for M r.W olmark’s wo rks . The co lou r of the latter was
made to appear str ident, wh i le M r. Gere’s was weakened.
Seen any distance away , however, M r. W olmark’s deco
rat ions more than he ld thei r own, reso l v ing themse l ves
into gorgeous co lour - schemes, com posed of undi lutedp r imary hues, massed together so as to form b r i l l iant andrefu l gent harmonies . M r. M ark Gert ler al so attainedsumptuous co lou r in his p ictu re of F lowers , but the workfai led to be conv inc ing . W h i l st its treatment was real i st ic ,the tones appeared to be more or l ess convent ional i sed,b ri l l iance of colour being at tained at a sac r i fice of t ruth .
M iss Al i ce Far mer, in a s t rong l y painted p ic tu re of
f l aw/ Mon Cour t , made effec t i ve use of the cont rast of the
red wal l s of the old palace against thei r su r roundingg reenery . M r. C . J . Ho lmes contr i buted one of his
best work s in l e Gravel P it and tire Rainbow . He
is g row ing more natural ist ic in his out look , and wh i le
st i l l retaining his fee l ing for decorat i ve ar rangement
and masses of strong co lour,he is ab le to add to them
a percept ion of atmosphere and of local t ruth wh ic he levates his p ic tures from decorat i ve schemes suggested
by natu re to v i v id and int imate interp retat ions . M r. A.
M cEvoy’
s T/ze Artis t’s M ot/zer
,i f painted from a very
di fferent out look to M r.Augustus john’sAdm iral F is/zer ,
m igh t have been coup led w i th it as one of the two most
attrac t ive port rai ts in the exh ib i t ion. I t was onl y a part ialsuccess. The handl ing was sub t le and atmospher ic , thes i tter ’s face we l l and sympathet ical l y character i sed
,but
the interest of the wo rk was not su ffi c ient to permeate the
who le of the canvas, muc h of wh ich was covered rather
than occup ied. M rs . Swynnerton,in her portrai t of
Henry f umes,went back to V i c tor ian t radi t ions—but
V i c tor ian t radi t ions at thei r best— in wh ich comp leteness
of eflec t was sough t b y means of good co lour and searching mode l l ing , as we l l as h igh su r face finish . T/zeD riv e
,
by M r. Derwent Lees,was happy in its exp ress ion of
sp lashes of sunl igh t penet rat ing th rough th ic k fo l iage.
M r. P . W i l son Steer ’s V ale of Gloucester was sadlv
want ing in desi gn,if not unpleasing in co lour . The fai l ing
,
7 Connoisseur
comb ined W i th its b road technique, p revented it frombeing effec t i ve. unless seen at a dis tance o f from betweenten and twent y feet . Nearer to. the paint did not reso l vei tsel f into defini te fo rm , wh i le further away the compos it ion ceased to be comp rehens ib le. Th is l im i tat ion wasow ing to the art is t hav ing set down an imp ress ionist i csketch on a canvas large enough for an impo rtant oil
p ic tu re,w i thout at tem p t ing to carrv it further .
Tu t-2Ro y al Soc iety o f l ’ainiers in -Co lou r , l ikethe Ro yal .\ cademv
,pu rsues a po l i c y o f p rog ress i ve con
servat ism , not part ing readi l y w i thold ideal s and s tandards o f art
,but
int roduc ing the best of the new whenthey have been p roved wor th y . In
th is way. though there are no v io lent changes in the cha
rac tc rof its exh i b i t ions , they never fai l to keep ab reast ofthe t imes . The ro7th exh i b i t ion was no except ion to th isru le. I t may not have been qu i te so st rong as usual , butit was fi l led w i th good work , p leasant l y varied, and noneof it show ing s i gns of degenerat ion from the usual h i ghstandard. The hor rors of war
,in var ious gu ises, have
late l y afl'
orded themes to so many b rushes, that M r. J .
E rin'
s/z l i ly /l , 1 91 6, wh ich gave a mo repleas ing aspec t of war- l i ke t imes
,was to be we lcomed as
a re l ie f. He showed a coup le of g i r l s,both in mascu l ine
att i re,one seated on a cart - ho rse and the other wal k ing
by its s ide,ev ident l y on thei r homeward way from fie ld
work . The subjec t was s l igh t l y but daint i l y painted,and i f the young ladies had rather the air of amateu rsat thei r vocat ion
,th is is not unt rue to l i fe. M r. Al fred
Goodw in’s Lig/z ting l/ze B eur'on F z'
re T/ze Com ingr of t/ze
Armada made a c laim for war- l i ke assoc iat ions wh i ch ithardl y possessed. One wou ld hazard the guess that heintended fi rst to make the theme merel y a matter of rubb ish burning aind then changed his m ind
,adding smoke in
the di stance to g i ve countenance to his idea. But the
beacon in the foreg round,so faras it can be seen th rough
the smoke,appears noth ing mo re thana nondesc r ipt heap
of b ram b les . N ot thus were beacons formed in the dayswhen the y were a necess i ty , but w i th p i les of tar bar re l sbu i l t up w i th substant ial bal ks of t imber into a cons iderab le struc tu re. Otherw i se thedraw ing was attrac t i ve andwe l l painted
,the g rey smokeand g reens of the foreg round
form ing a harmonious cont rast to the go ld and red of the
sunset sky . The S urf , b y M rs . Laura Knigh t , and herTw o C/z ila’ren,
both were concerned w i th her favour i tep rob lem of paint ing the undraped figure in the open air.
The latter was the less success fu l,as the two ch i ldren
rep resented were p rac t i cal l y stat ionary , and thus the
art i s t had l i tt le oppor tuni ty for di sp lay ing that fee l ing ofmovement and animated v i tal i ty wh i ch is general l y suchan essent ial charm of her wo r k . I t was shown to the fu l lin the other examp le
,rep resent ing abevy of g irls di spo rt ing
them se l ves On the bo rders o f an expanse of shal low frothing su r f
,some in the sea
,and O thers in var ious s tages o f
undress on its marge. N o sky was v i s i b le, and the ah
sence of anv di rect sunl igh t caused t-he dom inant tone of
the p ic tu re to be g re y,rel ieved by hardl y any posi t i ve
co lour . The handl ing,though s l i gh t
,was adequate, the
The Royal Soc ietyof Pa inter s in“l ater- Colou r
5 6
i c tion of every figure,however eas i l y sketched
,being
tho rough l y understood and exp ressed wh i le the g rouping was ar ranged w i th a hap py art, w h ic h , wh i le it p lacedever y uni t in its r igh t p i c toria l sphere, al lowed the who lecompos i t ion to appear natura l and spontaneous. M r.
Robert W'
. Al lan’s drawing o f peasants and catt le c rossing the Sou l/1 F ord
,Um
'
s l,suggested compar isons w ith
the handl ing o f s im i lar themes by Dav id Cox .
The o lder art i st was carefu l to compose his figures intocor re lat i vegroups , so that they toldout as masses of co lour,wh i le M r. Al lan emphas ises the indiv idual uni t. Th i s
,
though it p roduces rathera spotty appearance, is the mo retrue to nature
,where comparat i vel y smal l objec ts often
tel l Otit w ith g reat p rom inence at long distances . Thuswhat the arti st los t in p i c tor ial att rac t i veness was com
pensated for by the fee l ing of g reater ac tual ity wh ich heim parted to his rendering o f the theme. A good tonaleffec t of Edinburgh Cast le was by M r. Robert L i tt le,wh i le a rather dar ing t ransc r ipt of A Lane in. S ussex ,
w i th the v i v id summer g reens of the massed fo l iage ren
dered at thei r t rue val ues,was one of the best examp les
of M r. Arthu r Hopk ins . M r. Char les S ims was seen in
var ious moods . His S tormy Weat/zer was frank l y naturalis tic
, dep i c t ing a g ipsy g i r l in gaily hued garments,
backed bv a ty p ical‘
st retch of Eng l ish countrys ide.
Strong in co lou r,b road and v igorous in t reatment
,it
offered a strong contrast,in every th ing but its sk i l l , to the
wel l - fe l t academ i c fi gure study ent i t led T/ze N ee/slat e,or
the more fanc i fu l and free Cup id amt Cauzpase. Otherfanc i fu l themes inc luded the E nter F airies
,a scene from
the last act o f T/ze M idsummer N ig ht’s D ream
,by M r.
Robert Anning Be l l,very daint i l y concei ved and fu l l of
tender passages of co lou r ; and B yam Shaw ’s I/V/zenLove
came into t/te House of a Resp ectable Citiz en,a draw ing
wh ich put into paint a s i tuat ion s im i lar to many thatM r. Anstey has g i ven us in books . The decorous andp rosai c m id- V ic tor ian respectab i l i ty of the c i t i zen and
his su r roundings formed a p iquant cont rast to the nude
figure O f Love,who
,undraped and unashamed
,appeared
over a debris of furni tu re,apparent l y b roken
,in the ex
c itement caused by his advent . The s i gni ficance of thewo rk was l i terary rather than p i c tor ial , but the carefu lpaint ing and the ver i s im i l i tude w i th wh ich every detai lof the scene was real ised made it art is t ical l y interest ing .
T HOUG H a large number of des igns for mu ral deco rat ion in the Arts and Crafts Exh ib i t ion were rev iewed in
the last num ber,want of space p re
vented other exam p les equal l y worthyfrom being not i ced. T h i s phase of
art was espec ial l y st rong l y rep resented—a noteworth yach ievement
,when it is remembered how few have been
the Opportuni t ies afforded to painters of p roduc ing decorative work on a large scale. P robab l y the occasional
essays made in the V i c to r ian era did much to discouragemural paint ing ; the art was then l i tt le understood
,and
,
with a few noteworthy except ions,the men emp loyed
contented themse l ves w i th cover ing the wal l - spaces w i tho rdinary p i c tu res
,di st ingu ished by no spec ial decorat ive
feel ing,and not com b ining together in any homogeneous
Arts and CraftsExh ib ition
7710
p i c ture of The P lay S cene in Ham/ct , but what he takeshe makes ent i re l y his own. Inc idents on his canvasappeared rem ini scent of Gainsbo rough or Hogarth , butco lou r - sc heme and compos i t ion were who l l y orig inal ; theformer was a success , the latter want ing indramat ic uni ty .
G EORG IAN M AHOG ANY S IDE BOARD
I so lated figu res and g roups appeared scattered over the
canvas w i thout any ostens ib le reason. I t looked as
though the art i st had set out to compose a homogeneous
scene,but cou ld not res i st the temptat ion of introduc ing
var ious wh ims ical i t ies,wh ich occurred to him as the
work p rog ressed, hav ing no di rec t connec t ion w i th it.The Ariadne o f M r. Char les Ric ketts was an orig inal
vers ion of a much hackneyed subjec t, show ing the
deserted w i fe, p rostrate w i th an agony of despai r,on the
utmost verge of a storm - lashed rocky shore. I t was a
power fu l p iece of paint ing , but appearedover - tumu l tuous
in its l ineal ar rangement . M r. D . Y . Ca‘
rneron was seen
at his best in B en Craclzan,M r. A. D . Pep percorn
showed a charac ter ist i c examp le in T/ze Common,and
M r. A. J . M unnings’
s several examp les were di stinguishedby his usual st rength and feel ing for co lou r
,but showed
mo re refinement in thei r handl ing .
THE cu r rent catalogue of M ess rs. E . Parsons Sons
(45 , B rompton Road) is mainl y devoted to old i l lust ratedbooks and works on art. Among
the latter areseveral of theillustratedlarge paper edi t ions of exh ib i t ionsat the Bur l ington F ine Arts C lub ,
work s wh ich,from thei r fine p lates, learned notes
,and
we l l -w r i tten introduc t ions, are of g reat value to co l leetors . Anumber of books on costumes inc lude Lac roi x ’sCostumes H z
’
storz'
oues de la F rance,w i th 640 co loured
p lates and Gat ine’s set of eng rav ings,
co lou red,
of
Horace Vernet ’s des igns of Pari s ian costume. Anotherattrac t i ve work w i th co loured p lates is 25 vo l umes of
Acl 'ermam z’s Rep ository of Arts
,LiteratureandF as/z z
'
on,
rang ing from 1 809 to 1 827 ; wh i le a second and more
ACatalogue ofI l l us t rated Book sandWork s On Art
M ESSRS. DAV IS
58
Coni zoz'
ssez z r
valuab le book be long ing to the same per iod is a fi rstedi t ion o f Alfie/1 ’s Ala/tonal Sports of Great B ritain
,
1 82 1 - 3 , w i th 50 co lou red p lates. A handsome l y boundsubsc r iber ’s copy of Lord Lilford’s B irds of tire B rz
'
tz’
s/z
I slands w i th 490 p lates
SON S , GALLERI ES TOTTEN HAM COU RT ROAD
in co lour , shou ld be attrac t i ve to natural h isto ry lovers .
Among topog raph ical works are Roberts ’s Holy Land,
w i th its ser ies of 247 fine co lou r - p lates ; some valuab leworks on. N ew Zealand ; G i rtin’s P arz's Views ; Beaumont
’s Travels in t/ze M aritimeAlp s , w i th a comp lete
set of p roof p lates in co lou r ; and Ke l ler and F ussili’sSw iss Coloured View s . There are several impo rtantex tra—i l lust rated books
,inc luding Edwards ’sAnecdotes of
P ainters and Rudder ’s N ew H istory of Glouces ter, botho f which are enr iched w i th some hundreds of eng rav ingsand draw ings. The catalogue al together com p r isesabout 300 i tems
,all of wh ich are of interest to the book
or art co l lec tor .
EV E N submar ines are not an unm i xed ev i l,for one
fanc ies that, were it not for the h indrances these naval
pests p lace in the way of sh ipp ing
girl
friifdre goods to Amer i ca,there wou ld be
few sur lus a iand Obiec ts of Art
P,
t ues to be found in
the Eng l ish market . As i t 15,there
are st i l l a num ber to be di sposed of,so that
,desp i te the
war, the annual sales o f ant i que furni tu re and objec ts ofart w i l l be he ld by the leading fi rms as usual . The
fo l low ing are the announcements for January z—M ess rs .
john Barker Co.
,Ltd.
,Kensington ; D ruce Co.
,
Ltd.,Baker Street ; Hampton Sons
,Ltd. , Pall M al l
East ; Shoolbred, Tottenham Court Road ; and Wm .
W h i te le y , Ltd.
,Queen'
s Road. All these fi rms ho ldlarge stocks o f des irab le objec ts
,and Opportuni ty shou ld
be taken by the co l lector to p ic k up barg ains wh ichanother year may see g reat l y enhanced in p rice.
An examp le of a Georg ian s ideboardat M ess rs . Dav i sSons
’Gal ler ies is i l lustrated on th i s page.
S p ec ial N otic eENQU IRI ES shou ld be made upon the coupon whic h wil l be found in the advertisement pages. W h ile,
owing to our inc reased correspondence and the fac t that THE CoN N OtSSEUR is p r inted a month beforepub l ication
,it is im possib le for us to guarantee in every case a prompt rep ly in these co lumns, an
immediate rep ly wil l be sent by post to all readers who desire it, upon payment of a nom inal fee. Expert
Opinions and valuat ions can be sup p lied when objects are sent to our oflices for inspec t ion, and, where
necessary , arrangements can be made for an expert to examine sing le objects and collections in the countryand g i ve advice, the fee in all cases to be arranged beforehand. Objects sent to us may be insured wh ilst
they are in our possess ion,at a moderate cost. All communications and goods shou ld be addressed to the
“ M anager Of Enquiry Dep t. , THE CONNO ISSEUR,1, Duke Street, St. james
’
s,S W .
”
AN SWERS TO CORRESPON DENTS
B ooks .
V arious . B476 (D ub l in) , 8 523 (Dub l in) , and 8 524
(Kent) . —We shou ld prefer to see these before express ing a
defini te op inion, but should not cons ider them o f much interestto co l lectors , so far as can be judged from a descr ipt ion onl y .
They wou ld probably not exceed a few sh i l l ings ap iece invalue.
Eng raving s .
V enus at t ired by t he G races ,” by R. S t range ,
af ter G uido Reni , etc .— ESO4 (Stafford) . —I t is very
di fficu l t to value pr ints w i thout an exam ination of the
or ig inal s. From your descr iption, however , we shou ld ap
p raise those named as being worth app rox imatel y £ 1 or
£ 1 55 . apiece.
V is it ing Cards .—B545 (Bedford) .—As you are interested
in th is subject , we shou ld adv ise you to read the art ic le on
OldArt ist i c V i s i t ing Cards , ” wh ich ap peared in vol. x i . ofth is magaz ine (pages 84 and
F u rniture.
G randfather Clock .— B495 (Drogheda) . —W e do not
find Stokes of Stourbr idge recorded in any of the usualchannel s of informat ion. We shou ld require to see a photoof the c lock before pass ing any op inion on it. W i th regardto the other c lock , the quest ion of a brass or enamel led and
painted dial depends largel y on the maker and qual i ty of
execution.
S tandard.
” — B500 (Edinburgh ) . —In olddocuments th isname is somet imes ap pl ied to chests, and is general ly taken toindicate a p iece of strong construc t ion. The Ewelrne inventoryof 1 466 contains the fo l low ing entry : “ A gret standard of the
chapel l , bowden w i th ierne, w i th 2 Iolcks.
”
Painting s and Pa inters .
S am uel Prout .—B483 (Bournemouth ) . —Prout s igned his
works in diff erent ways , frequent ly w i th his name or monogram ,
S P . We shou ld requ ire to see any works attr ibuted to him
before express ing an op inion on them .
PaniCO .—B501 (Taunton). —Antonio M ar ia Panico was a
scho lar of Annibale Caracc i , by whom he is said to have beenass isted when paint ing a p i c ture of the M ass in the cathedral atFarnese. Pani co died in 1 65 2 .
Pottery and Porcelain.
Church Gres ley .—B488 (Oxon) .— The Church Gres ley
fac tory was establ ished in 1 795 by Sir N igel Gresley , and, afterpass ing into the hands of W i l l iam Nadin, became the propertyo f a company , wh i ch fai led in 1 808. Chaffers refers to the saleof the property in 1 825 , and adds that part of the bu i ldingswere standing as stables in the farmyard, and were repaired in
The founder of the fac tory was a member of the anc ientfam i ly of the Gresleys of Drakelow .
Dresden G roup .— B492 (Chester) . —I t is , of course, qu i te
im poss ible to be conv inced of the authent ic i ty of porcelain froma photograph . In th is case, however , we are inc l ined to suspec t
that the group is more or less modern, in which case it wou ldonl y possess adecorat ive value , al though it wou ld be expens iveto buy new .
S pode P Iate.—E507 (Barcelona) . —So far as we can te l l
from your descr ip t ion,we shou ld not th ink that the plate would
be l ikely to exceed about hal f a-gu inea in value.
Toulouse Plat es —13525 (M almo' , Sweden) . —Your platesare ev ident l y of French or ig in. They bear the F Amonogramemployed by the Tou louse factory , wh ich was establ ished in1 820. W e regret that we cannot recognise the other p iece fromthe descr ipt ion,
nor can we suggest a value. I t w i l l be perfec t lyagreeable to us i f you w ish to wr i te to us inFrench for the future.
S PEC IAL N OT ICEREADERS of THE CON NO ISSEUR who desire to take advantage of the op portuni t ies offered herein shou ld
add ress all letters on the subject to the M anager of the Herald ic Department,1,Duke Street, St . James’s,
London,S .W .
Only rep l ies that may be cons idered to be of general interest wi l l be pub l ished in these co lumns. Thoseof a d irect ly personal c harac ter , or in cases where the app l icant may prefer a p r i vate answer, wil l be deal tw i th by post .
Readers who des i re to have ped igrees traced , the accurac y of armorial bearings enquired into,.
or otherw ise to make use of the department, wil l be c harged fees accord ing to the amount of work invo l ved .
Part i cu lars w i l l be sup p l ied on app l ication.
W hen ask ing informat ion respect ing genealogy or heraldry,it is des irab le that the fu l lest detai ls, so far
as they may be al ready known to the ap p l icant, shou ld be set forth .
HAM NETT.—John, son o f John Hamnett , o f M alden, Surrey ,
gent . M atr icu lated at M agdalen Co l lege, 7 Ju l y , 1 637, at theage of 1 5 .
Robert Hamnett , son of Robert Hammett , o f Westm inster ,gent. M atr icu lated at L inco ln Co l lege, 1 7 Ju ly , 1 640,
aged1 5 . N o arms are ascr ibed to th is fam i l y by Burke.
L0\'E .— Confirmation of arms and grant o f crest were made
to Richard Love, o f Froxfield, co . Hants , gent . , and N icho lasLove , now Warden of S t . M acy ’s Co l lege, W inchester , sons ofJohn Love, of Bas ing , Hants , by Camden, 7 December 1 6 1 3 .
Arm s .—Arg . three bars , gu. and in ch ief as many l ions heads
erased of t-he second,lang. az . Crest .
—A cross pate'e fitchée
gu. , standing thereon a dove arg .
THE REV . W I LL I AM DERHAM , D .D . , F .R.S.—Dr. Derham ,
son of Thomas D erham,of Pax ford, co . Worcester , born at
S tourton, in the same county,26 November , 1 6 57. M atr iculated
at Tr ini ty Collegef Ox ford,1 4 M ay , 1 675 ; B A. 28 January ,
M .A. 4 Ju ly , 1 683 ; D .D . (by diploma) 26 June, 1 730.
\V as V icar Berks , 1 682 to 1 689 ; Rec tor of Upminster , Essex , in 1 689 ; andCanonofW indsor, 1 71 6 , unt i l his deathat Upm inster 5 April, 1 73 5 .
Dr. Derham was the wr i ter o f Astro- T/z eo/ogy and C/z r z'
sto
T/zeology , and was edi tor of John Ray ’s works.
Ab iography o f D r. Derham is being prepared, and the edi torsw i l l be very gratefu l for any informat ion, or the loan of any
books or M SS . deal ing w i th the subjec t , wh ich shou ld be
addressed to the Genealog ical Edi tor of THE CON NO ISSEUR.
Reg is tered fo r transm is s ion to Canada at Mag az ine Pos t Rates . Printed b y Bem rose 84 S ons Ltd 4 S now H i l l , London, E C
and Derb y. and pu b l is hed b y the P rop r ieto r, W . C laud e J ohnson, at I, DUKE STREET, ST. JAM ES '
S , LONDON , S .W Eng land .S u bsc r ipt ions—Inland Fo re ign to Canada 1 4 / p er annum . Pu b l ished the Is t of eac h month. Pu b l ished b y Gordon Goteh.
In Au st ral ia and New Zea land ; by The Central News Agenc y. in South Afr ica ; b y H ig g inbotham Cc . , in Bom bay and Ca lc u t ta ; andby The Internat ional News Co in U .S .A.
CHA NCERY PROCEED I NGS. Some of the
fo l low ing Su i ts in Chancery may prove of great value to
correspondents. Abstrac ts may be had for a smal l fee, on
appl ication to the Genealog ical Edi torAtk inson v . Shipsey .
Arno ld a. Hussey .
Asbery i r. Dav ies.
Allestry v . Benslcin.
Ayloffe v . Grimald.
Adams Troughton.
Atk inson v . Lacy.
Ayray 0. Ward.
Ap Humfrey z) . Hum freyes.
Ap Edward Rogers.
Ast ley Hood.
Arno ld v . ReevesAp Richard 71 . N icho las .
Andrewes v . Howland.
Archard 71 . Archard.
Appleby 71 . Nordon.
Arthur Barker.Ash Feildinge.
Andrews 21 . M annock .
Adam Adam .
Ashenhurst New ton.
Aston Tay lor.Al ward v . Al wardAp Richard 71 . Pr ice.
Ash Ash.
Aston v . Rothwel l .Amph lett v . Benyon.
Al ford z '. Chap l in.
Ayres Lawrence.
ngier Ty ler .
Abbington Rich .
Ac ton v . Rufl'
ord.
Ai re v . Aire.
moreimam :
Y AND J ANE HAM ONDTE RS OF THE REV . H ORACE H AM O N D , OF M AS S I NG H A M ,
NORFO L KR THOM AS LAW'
RENCE , P .R.A.
collec tion of M r . N icholas B acon
FEBRUARY , 19 1 7.
To bring wi th in the compass of a short art ic le
an adequate desc r i p t ion of the contents, or even of themore important i tems among them
,of an inst i tut ion
so r ich in art ist ic treasures as the Boston M useum of
F ine Arts is an
impos s i b i l i t y
that I shal l nottry to aec om
p lish, and my
rev iew must be
regarded less asan attempt at a
s u r v e y of the
ent i re c o l lec
t i o n t h an a
ser ies of casual
r efer enc e s tovarious interest
ing i t em s ap
peal ing espec i
al ly tomy fancy .
E v en t ak i ng
it at t h i s the
reader may besu rp r isedat the
absence of ex
t en (1e (1 refer
ence to var ious
famous works.
Yet p i c t u re s,
such asTurner ’s
S / cl 7} e S /z if ,
G i l bert Stuart’sheadsofGeorgean (1 M a r t h aW as h i ng t on
, PORTRA IT CALLED G IOVAN N I BE NT I VOG L IO
V O L. X LVI I .—No . 1 86 .—D 63
BY ANDREA DA SOLARIO
and many other works have been so ful l y and freel ydiscussed by p rev ious wr i ters that one may be forg i venfor adding to the c ri t ic ism s concerning them when all
suc h add i t ions wou ld be redundant. l'
he contents of
the gal ler yemp lify almost
ev e r y p e r i od
and st y le of art
compri s ed be
tween those two
poles of art ist ic
endea vour,so
unl ike in their
superfic ial cha
rac teristic s but
so s i m i l ar in
t h e i r essential
i dea l s t h e
G reek and the
M ongol ian.
There have,
indeed, been
only two races
in the wo r ld,
the G reek and
the M ongol ian,
ev i nc i ng any
t h i ng l i k e a
universal loveof
beauty,though
Egyp t ian scu lp
tu re, so muc h
v au n t ed and
em u l ated b y
many European
a r t i s t s of late
7725 Connoisseur
y ears. poss ib ly
embodies u few
w o r k s . tho ugh
certainl y onlv uvery few. hav ing
a subliinitv on
11 0 i i t‘
t‘
tl s i t l l l
ichieved oven
H e l l n s .
Never i h c le s s .
l ) v
thegeneralityo l'
ligyp tiun rel ic s
are as h ideousus inany English
or Frenc h c o
ra t i o ns of to
dav. whereas inG reece. in the
h e r
g l o r y, t h e r e
t i m e o f
was fash ioned
hardl y a mereutens i l but was
lovel y . M oreover. in bygoneC h i na a n (1
J ap an,i f not
t o o in Ko rea,
the ver y peasantry would seem
to h av e madeda i l y u s e o f
b e a u t i f u 1th ings. And all
th is is trenc hantly brough t to“
?m ind wh i lst v is i t ing the
BostonM useum wh ich is particularlyand just ly famous
for its G reek department and its M ongol ian sec t ion.
But walk ing in the main vest i bu les and stai rcases of
the gal lery,it is nei ther Hel lenic nor O riental art that
g reets the eager gaze,wh ic h
,wander ing unattrac ted for
a wh i le among sundry p ieces of modern Amer ican
and European scu l pture,notab ly some charac ter ist ic
Rodins, is short ly engaged by two b ig green vases, of
old the p roperty of the M edic i fam i ly,and both
demonstrating that pottery is a medium wherein a
noble grandeur may indeed be attained. These vases
harmonise to perfec t ion w i th every th ing around them,
and no less excel lent a harmony is sal ient in most
MADON NA AN D CH I LD
other parts o f the museum,al though here, in contra
di st inc t ion to the usual Eu ropean mode,works by
di fferent schoo ls are interm ingled w i th cons iderable
freedom . True that Eastern and Western th ings are
nowhere jux taposed,wh i le Egypt ianart is du l y isolated.
But in one b ig hal l magnet ic by reason of its Claude,
BY BRAM ANTI NO
64
1nd o f a l i tt le
p o rt ra i t b yG oya
,rem ind
ing w i th what
keenne s s and
t r i um p h h e
s o u g h t o c c a
s ionally for sub
tle nuances o f
c 0 1o ur— thereh ang t y p i c a l
p a i nt i ng s byRem b rand t
,
V elasquez and
Ri bera,V e r o
ne s e,Rubens
and Ph i l i ppedeCham p a i gnetogether wi th a
s i gna l l y good
examp le of the
e l d e r L u c as
Cranach . He,
too,strange as
it may sound,
is revea l ed inth is p ic ture as
a searcher afterdel icate shades
,
as also is van
V alckert in an
excep t i ona l l y
g o od c anvas
hanging near.
And passing from th i s hal l into a smal ler p lace, water
co lours by Burne-Jones and Rossett i are seen am id
furni ture by men of the Sheraton,Hep p lewh i te and
Adam schools,a cab inet, wh ich is i tself a model of
grace,being enhanced by containing sundry medal l ion
portrai ts by David d’Angers, the best of them figur ing
Al fred de M usset. Every th ing in th is mot ley array
seems the mo re del i gh tfu l becauseof the text i le of a
gent le, grey ish t int,w isely chosen as a repoussoz
’
r .
And there is muc h to be said for th is idea of arranging
a gal lery, s im p l y by creating a ser ies of beaut i ful rooms,
one th ing wh ich it serves to i l lustrate wel l being the
consangu ini ty of all tru ly great works of art. N or does
the use of th is method at Boston real ly make the
museum’
s geography as puzz l ing as may be supposed,
it being soon found equal ly easy to locate the old
F renc h fai'ence, or the Engl ish s i l ver of the ei gh teenth
century , the engrav ings by the Scotsman,Sir Robert
Strange, or the gather ing of Wedgwood’
s jasper ware.
Th is is a memorab le gather ing bes ides,and further
T/ze Connoisseur
wh i le in anadiacent room . o f l ike charac ter, stand two
wo rk s scarcel y less th ri l l ing than the last-named, the
THE L ITTLE ROSE OF LY M E REG IS
one cal led Head of a Goddess, the other s imp l y [ deal
Head. Th i s,however
,is dist inc t ly a redundant
,i f not
fool i sh t i tle,there being no fine art wh ich is not ideal .
Because, far from hav ing any concernw i th the ordinary
tedium of ex istence,art or iginates in those moments
of ecstasy,or deep sorrow
,
I
W hen the common ceases
to be commonp lace, emotion and imaginat ion cast ing
thei r po tent aureo le around all.'
l‘
ruc master y l ies inth ings as they appear in these i l lus i ve
BY J . M C NE I L \V HI STLER
moments, and,wh i le the fame of Hel las has been
largely won by her art ists who wrough t b ig statuary ,the sub jec t often drawn from my thology , there was
genius great as thei rs in those men who,occup ied w i th
so-cal led m inor arts, stated the l i fe pass ing before thei reyes
,
“the flowers of the ac tual season, in Wal ter
Pater ’s words, and attained in whatsoever th ings they
T/z e B os z‘ou Aduseum of F z
’
u-e A uz‘s
touched an air of enchantment,of remoteness. Look
,
for instance, at th i s wh i te ware from Arret ium,on
wh ich the v intage or the dance is model led or look
AT THE O PERA
at these s lender urns,wi th thei r p ic tures of wedding
processions or,again
,at these vases by Dou r is, and
others, depic t ing w i ld animals,games or love-scenes,
the technique inc idental ly evok ing wonder as to whythe term vase-painters ever acqu i red cu rrency . For
it was anyth ing but the atti tude of painters that Dour is
and his (074mm held,thei r p ic tures ow ing thei r
beauty,great ly
,to the sharpness of the l ines. These
men were the forerunners of the masters of etch ing
and d rypoint,wh i le dp ropos of ant ic i pation,
d id not
the Tanagra scu lp tors forestal l near ly everyth ing gooddone in portrai tu re ? Almost the most art i st ic art ists
the world has known,often mak ing w i th a handfu l of
BY M ARY CASSATT
c lay what is as transport ing fas a few words when
Homer uni tes them,the Tanagra masters were yet
ranked in thei r day merely as artisans, a l ike pos i t ion
being ass i gned by Hel las to her mou lders of bronze,
her decorators of fai'ence. But,then
,w i th their wel l
ni gh uni versal love of beauty,the G reeks demanded
that thei r art isans shou ld be art i sts,just as in bygone
Ch ina and Japan.
An impu lse r ises now to go strai gh t to the O r iental
sec t ion,the urgent feet being checked , however, for
T/ze Connoisseur
there is st i l l muc h good Oc c idental wo rk to be seen lake whose faint r i pp le is just v i s i b le. The wholein the gal ler y . Th is Roger van der that sentiment o f thc pic ture is cur ious l y modern
,suggest ing
i l tar- p iece b y Barto lo Fredi , and Jaco po del Sellaio ’
s as it does an art ist o f highlyo strung nerves, constant l y
M ARBLE HEAD or A PHROD ITE FOURTH CENTURY B .C.
[ i fs /om of Psy c/ze, its co lours everywhere l im p idas the
s i l very notes of a p iccolo— these are th ings wh ic h
no lover of art is l ikely to pass hast i l y ; wh i le more
enchant ing than all of them ,transcend ing l i kewise a
FraAngel ico, is aM adonna andC/z z'
ld by Bramantino,
that l i ttle-known master to whom Raphael avowed a
s i gnal devot ion. The former ’s gi fts surel y never reac hed
greater hei gh ts than when,paint ing th is p ic ture, he set
rose and b lack against a ground wh ic h is partl y of
pale yel low,partl y of a soft
,grey i sh b lue ; wh i le his
was a'
raremoment of insp i rat ion,too,
when he c reated
the beauty ly ing in the contrast between the suave
l ines of the V i rg in’
s form and the severe contours of
the bu i ld ing beh ind her, th is bu i lding jutt ing into a
68
at the mercy of his emotions,afin de almost ;
and compared w i th his work , a grand portrai t by
Solar io seems very c i rcum spec t, both of these last
di ffer ing again from a sp lendid study of a young gi r l ’shead. I t is by ananonymous member of the Lombard
school,who was c lear ly a man of huge v i tal i ty
,a sort
of early Hals or Sargent,his v igour w i thal tem pered
by a good taste forei gn to ei ther of these two. But,
i f Sargent’s fai l ing herein is accentuated at Boston,
tawdry co lour c harac teris ing the bul k of his many
paintings in the museum,its Amer ican wo rk s inc lude
much wh ic h is fine, in part icu lar a V enet ian scene in
water-co lours by M aur ice P rendergast,a portrai t by
Thomas Sul l y, and a Wh istler cal led Lit/ [e Rose of
T/ee B os z‘on M useum of F ine A rts
Ly me Reg is . There are
also several most beaut i
ful p ic t u r es by M ary
Cassatt, a nati ve of the
Uni ted S tates, though
her technique has de
ceived numerous writers
into rank ing her among
the F r enc h I m p r es
sionists, of whose own
works there are many atBoston
,the best being
a landscape by Cam i l le
P i ssarro. The ga l l e ry
is further r ic h in Frenc hworks of ear l i er date
,
among them a sketc h by
Watteau,whose g l i tter
ing draugh tsmansh i p isalways w h o l l y cap ti vat ing ;wh i le grant ing that,of a pai r of canvases by
Bouc her, one sav o u rsunm i s tak ab l y of thatc los ing per iod of his l i fewhen his power fai ledsadly , the other is among
the lovel iest decorations
ever m ad e w i t h paintand b rush . C o u t u re
,
somewhat t ed i o u s inthose b ig genre p ic turesby wh i ch he is c h ieflyknown
,is qu i te del i gh t
ful in two smal l portrai ts,
wh ic h tend to shed thei rmagnet ism
,as would a
Chard in or a M i l let.
One nex t t u r ns to
di vers ty p ical paint ings
by Corot and Delac ro i x,
those mas ters w h o s e
respec t i ve att i tudes to
wards one another were
so str ik ingl y ant i thet ic .
For it is to ld of Corot
that he was puzz led by
the homage the o t h e r
great painters of his dayaccorded Delacroix
,who
conversely,ex p r es s ed
passionate adm i rat ion for Corot and, seeing the two
men wel l rep resented v irtual ly s ide by s ide. thei rop inions in th is relat ion become understood. Corot
,
F IGURE O F BUDDHA CH I NESE A BOUT E IG HTH CENTURY
it ap pears,was insp i red
only by des i re to utter
the emot ions his belovedwoodland scenes evoked
in him,com pass ing his
beaut i fu l s t y l e almost
inst inc t i vely , w h ereas
D elac ro i x seem ingl y
worked under the im
pu lse of a defini te de
te rm i na t i on to c reate
art ist ic beaut y . Bes ideshe b ro u g h t a r i p e
sc ho larsh i p to aid him
in the quest, and the
sc holar,h ow e v e r ab le
his o u t p u t, is usual ly
p rone to bow low before
th e inst inc t i ve worker,who in turn is apt to
entertain a foo l ish con
t em p t for scho larsh i p,
regard ing its pursu i t asa confess ionof the lack ofor ig inal i t y . But desp i te
his very p r ono unc e ddeb t to art preceding hisown
,notab ly the best
work of theRenaissance
and the seventeenth cen
tury, Delac ro i x is fu l ly
as indiv idual and uniqueas C o r o t
,the former ’s
h y p no t ic pers onal i ty
b e i n g s t am p ed a s
strongly on his p ic tures
as in his i n i m i ta b l e
fournol. And,w i th his
su p erb tec hni que. he
forms a sharp contrast
to nearly all those other
painters resemb l ing him
in finding thei r sub jec ts
o ften in l i terature. In
total var iance from Rossett i
,for examp le, there
is no l i terar y canvas byhim but is a master ly
paint ing in thefi rst p lace,
wh i le s om e t i m es he
reaches a majest y nevervouch safed to other members of the F renc h schoo l .
H is l i thographs i l lustrat ing Sir Wal ter Scott, although
far the best i l lustrat ions ever done for that author, are
scarcely liner in l i terar yins ig h t than as p ic tures .
Li tho g ra p h s b y l le la
c ro i x grow dai l y harderto lind . ls
‘
o s t o n be ing
hence fo rtunate in pos
sessingagrandco l lec t ion
o f them. a muc h better
c o l l e c t i o n t h an t he
Bri t i sh M u s e u m has
and the p r ints show the
master in an unfam i l iarl i gh t. among them being
some delec table l i t t l e
l ands c ap es . No r are
these t h e o n l y g r ea trar i t y to be s t u d i edin the B o s t o n print
room. for it i nc l ude s
a r em ark a b l e gather
ing of e t c h i ng s and
l i thograph s b y Cé les t inNanteu i l . ofwhomTheo.p h i le Gaut ier wro te in
one of the best c hapters
o f the f f z’
stoz’
re dn Ro
nzan/ z'
sme, h a i l i ng the
ar t i st as aman of gen
Poster i t y unt i l recent l yp ronounced a di fferentverdic t
,we l l - n i g h for
gett ing Cé lest in’
s name.
Look ing t h r o u g h h is
p r ints r ev e r ent l y forGaut ier ’s sake
,there are
found many p rodig ies oftec hnical sk i l l
, adm i rat ion being k indledaboveall b y a l i t h o g rap h
,
wh ich ,w i t h it s ab l e
h and l i ng of e l e gant
peop le in a park in the
evening,art ific ial l i gh ts
l o o m i n g m y s t e r i
ously th rough the trees,
I ND I-AN M I N IATUREEARLY SEVENTEENTH CENTURY
T/ze Connoz'
ssenr
const i tutes a fasc inat ing antic i pat ion of W h i stler ’s
Cremorne Gardens.
W h i st ler ’s own l i thograph s may also be seen in
p lenty at Boston,a long study of them el ic i t ing the
conv ic t ion that u l t imatel y they w i l l be ranked h igherthan his etch ings .
W h i le . thus opu lent in p r ints,the museum has a
notable arra y of Ind ian m iniatures,wh ic h hang beside
Pers ian fai'ence and p ic tu res. the latter embrac ing a
PORTRA IT OF A N I M AM
I'
ew bv llihzad, whom the
better e x p e r t s in Per
s ian art mo stly Frenc h
men,c o m m o n l y sty le
“the Rap h ae l of the
East. (Zertainlv B i h zad
is a prince of draugh ts
mcn, and in his equest r ian p o r t ra i t o f the
Sul tan,Hos
'
e in M ir-z a
eas i ly the c rown of all
these Pers ian th ings
t he s harp,ex p ress i ve
l i nes o f h i s reed -
pen
make t h oug h t s travel
back '
to
'
the G reek vases.
At the same t ime, when
using a r ic h and var ied
palette he is often rathers t r i de n t
,a k i ndr ed
weakness being p rom i
nent in m any o f his
c om pat r i o t s,whether
painters of fa'
ience or of
p ic tures,and therein the
Pers ians form a valuable
fo i l to the M ongo l ians.
For these,ev en when
emp loy ing colou rs of an
intr ins ical ly showyorder,
w i l l V ic tor i o u s l y evade
the ornate,a rare test i
mony to these words lying in a c o l l ec t i on of
sev enteent h - c entu r y
J apanes e scr eens, of
wh ic h the most entranc
ing has a ground whol ly
of b r igh t gold,diapered
w i th C h r y santhemum s,
some wh i te,some bri l l i
ant red. Again,walk ing
in the Pe r s ian rooms,
the des i re is qu ic k ly fel tto single out gi ven i tems
,
because the [out ensenzo/e lacks repose whereas in the
M ongo l ian sec tion,the general effec t is25 0 charm ing
everywhere,that it is long before the tem ptat ion r ises
to make selec t ion. St i l l v iewing the one schoo l as a
fo i l to the other,in Persian art there is frequent ly an
exac tness wh ic h h ints at mere mec hanical dexteri ty ,recal l ing the verse of Pope. But the Ch inese or the
Japanese are abso lutely p rec ise and vet remain in
fini tely beaut i ful , as w i tness ln these great Buddhas
T/z e B osz‘on .M useunz of F ine A r z
‘
s
the p l inth s,eac h s imu
lat ing a lotus,its leaves
order l y and regu lar as
those in a p r inted wal l
paper. M u c h o f th is
scu lp ture dates from the
ei gh th century A.D .
,and
it -v i t iates the idea, oftenp ro p ound ed, that themasters of remote t imes
won thei r trium ph s un
consc iously . For near lyevery p iece is redolent
of the art ist’s joy in his
work,his fond l ingering
over m i nu t e passages,
and his constant loyal ty
to h i g h art ist ic ideals,
k indr e d as p i rat i ona l
trai ts pertaining as mark
edly to ne i g h b o u r ing
th ings dec o rated w i th
lacquer,to some utens i ls
in bronze,and to certain
s i xteenth -century pewter
jugs,thei r makers evinc
ing a w ise pass ion fo r
the severe strai gh t l ine.
But lovel ier than all th is
metal - wo r k,transcend
ing ,too
,t h e endless
kakemonos, a re di vers
very oldKorean teapots,
and some b i ts of Ch in
ese pottery,said to have
been made before the
Ch r ist ian era, the ten
der s h ades in t h ese
bowls com pet ing mo rewi th flowers t h an wi th
any th ing in art,unless
p o s s ib ly _
that o f the
di v ine U tarnaro K i ta
gawa. N owhewi l l c reatea mauve or green
,now
a p ink,so exqu is i te in
i tself as to be intox icating, and t o p raise hisco lou r ing ar i gh t it werenecessary to invent new language. M any men havedrawn w i th a power beyond his— Rubens
,Goya
,
Hokusai— but was there ever d raugh tsman rh ythm icas he ? the flow ing l ines of his draper ies hav ingthei r analogue
,not in the graph ic arts but in
CORM ORANT BY HOYEN N I NETEENTH CENTURY
music . Often his dim inu t iv e accesso r ies are
art ist ical l y i nte r est ing.
i r r es p e c t i v e o f thei r
func t i on as c om p o
nents in a des i gn, so
that he br ings to m ind
Lavreince, w h o se t iny
p r e r ogat i v e it was to
do just th is same th ing
w i t h t he m en /M es o f
Lou i s X V I . o f France.
Nev e r t h e l es s, look ing
fo r a b r o t h er t o th e
J apanese a r t i s t,th e
name of Lav reince is
qu ick ly forgotten, Con
der ’s l i kew ise com ing to
m i nd on ly of be dis
m i ssed. For U tamaro
is the Watteau of Japan,
c losely resemb l ing that
master in his genius for
mak ing a group of peo
ple ap p ear comp letelynatural
,al be i t composed
into a pattern of flaw lesseurythmy wh i lethe p ro
verbial p ens i veness of
Watteau has nowhere a
surer counter par t than
in U tamaro,h is ladies
hav ing p rec isel y the lan
guorous air of those of
the maitre p ez’
n t re des
f étes galantes .
U tamaro’s art is the
more engag ing by reason
of his tragic l i fe,for he
died young , i n prison,
hav ing i s sued a p r i nt
l i b e l l i ng the Shogun.
And the woodcuts by
the mas t e r at Boston,
together w i th the uniquea s s em b lag e o f book s
i l l u s t rat ed b y h im,
stand out very c learly in
the resemb lance carr iedaway from the museum : as c lear ly as the Jlf adonna
by Bramantino,the best Delac ro i x , the best Corot :
as c learl y as those cases wh ich , w i th thei r Shantung
s i lk mak ing a sett ing for gem s by the Tanagra scu lp
tors, fo rm a strangely happy tri bute to the innate
Connoisseur
DETA I L FROM THE KEION M AK IM ONO JA PANESE TH IRTEENTH CENTURY
conno i sseursh i p wh ich the bygone M ongo l ians shared been so near ly uni versal as w i th these,w i l l not the
w i th the G reeks. Only, i f the two races were at one art of Ch ina and of Japan be forgotten ere Hel las
in th i s, among no races has the love of beauty ever passes from the world ’s memory ?
DAN ’
I‘
E AN D e GrL av J . B . c . CORO'
I‘
72
M r . T ow nroe’
s
'
C o l le c t ion
V OLUM ES have been wr i tten,and numerous
papers have been read before learned and other
soc iet ies, on the h i story and development of the swordand rap ier. Yet there is st i l l a demand for more andmore matter
,in desc r ipt ion and i l lustrat ion
,by the
large number of amateurs and experts interested in
pons and arms of the past. V i scou’
nt D i l lon,
J . Stark ie-Gardner,Sir Guy Lak ing, Char les Ffou lkes,
and other em i nen t wri ters on
armourandarms,havedonemuc h
to enl i gh ten us on all connec tedw i th defens i ve weapons, but thereis yet room ,
t h o u g h in a less
amb i t ious way, for art ic les and
i l lustrat ions on som e o f th e
weapons in p ri vate co l lec t ions
wh ic h may have h i therto escaped
the not ice of suc h authors as
ment ioned above. Perhaps oneof the most p ic turesque per iodsof the sword and rapier occurs
during the late Tudor and ear ly
Stuart rei gns,when the sword
was wo rn and u s ed b y the
nobi lity,and t he duel l i st was
flou r i sh ing . I t was then that
gent lemen took a pride in thei r
weapons and the swordsm iths
found encou ragement from their
patrons,and t h e t w o interests
comb ined na tu ra l l y p roducedsuper ior and more art i st ic work
mansh i p . Several of the swordswh ich accompany th i s art ic le wi l l
be found to possess those art i st icresu lts ment ioned
,and the ela
borate and graceful h i l ts w i l l beseen to be of cons iderab le use
,
in a d ef ens iv e way, for thosewho were frequent ly using them .
By W . B . Redf e rn
M ORTUARY SWORD SEVENTEENTH CENTURY
7K
In these per iods the swordsm i th became an art ist,and the armourers of To ledo, So l ingen, etc .
, v ied wi th
each other in the p roduc t ion, in des i gn and temper,of beaut i ful weapons
,Germany and P russ ia being
among the foremost in workmansh i p , and spec imens
from these nat ions are contained in the co l lec t ion
here deal t w i th .
(A) An unusual ly interest ing weapon, commonl y
known as a “mortuary sword
, of
the seventeenth centu ry . I t gets
its name from masks engraved onthe basket h i l t, supposed to repre
sent the head of the M artyrRing.
On the h i lt here shown is a finely
c hased bearded head of qu i te a
Renaissance c harac ter . T h e r e
are also other masks w i th flow inglocks ; l ions heads and cup idsare also consp icuous addi t ions
to the decorat ion on guard and
pommel . On the b lade, wh ich is3 3 long
,appears the word
H ANT,together w i th the letter T
ten t imes repeated.
(B ) A rap i e r of the th i rd
quarter of the s i xteenth century ,w i th a bo ldl y curved guard and
sweep ing qu i l lons and a perfo rated shel l on the top . The b lade
is 40 in. long,double-edged and
grooved, w i th an inscri p t ionwh ic h
is undec i pherab le. P ro bab ly
German workmansh i p .
(C ) An elegant I tal ian seven
teenth - century rap ier, w i th its
lengthy b lade of 47 in.,is the
k ind of weapon in common use
by the duel ler of th i s age ,when
themain gauc/ze, or left- handdagger, formed part of the equ i pment
in.
SWORD SEVENTEENTH CENTURY
(F ) A sword of the seventeenth century , bear ing astrong resemblance to the preceding spec imen, buthav ing a rather more e laborated guard. Th is, again,
S \VORD SEVENTEENTH CENTURYPROBA BLY GERM AN
wh i ch , onboth s ides , occur the nameTAB AN N I ,together w i th a human facew i th in a crescent ,a mark somet imes used by Juan M art inez ,Pedro V elmonte, and other swordsm iths of
To ledo. A rap ier w i th a guard almost ident i cal to th is was in the S ir Samue l M ey r ickco l lec t ion, and is now in the possess ion of the
wr i ter. I ts blade is 371; in. long, and has onit a face in a sun w i th in an oval on one s ide,and a Turk ’s head on the other , w i th the
words M E FECI’
I‘
sou xc E and sou D Eo
G LORIA , and on the r icasso the letter S w i th ina sh ield. I t is interest ing to compare weaponsof a s im i lar character .(E ) Th is beaut i fu l ear l y seventeenth ' cen
tury sword is probably of German or ig in ; ther ing guard
,gracefu l qu i l lons , and fig - shaped
pommel are all finel y engraved. The doubleedged blade measures 35 ih . , and in the w idegroove running down the centre are, on one
s ide, the words V ERITATEM D lLLIG I’
I‘
andon the reverse, GOD V ERM AG S ICH
W AGS A s im i lar sword,but w i th shor ter
qu i l lons, is in H is M ajesty ’s co l lec t ion at
W indsor Cast le, and is descr ibed as hav ingbe longed to K ing Char les I . when Pr ince of
Wales , and as being of French workmansh ip. RA P I ER SEV ENTEENTH CENTURY M ORTUARY SWORD
76
77m COi l / 101 5 5 6 11 ?
of the gent leman o f
the p e r i o d. Sevenr ings are the usualnumber on the guardso f th is k ind o f rap ier ,but in th is case thereare onl y six , the plainshel l mak ing up for
t h e intent ional curtailment ; i t h a s a
s ing le knuck le-guardand swept qu i l lons .
There is an undeci
pherable insc r ipt ionin the groove on the
b l ade. E g e r t o nC as t l e g ives v iv idi l lustrat ions o f t h e
duel l ing m e t h odsw i th sword and dag
ger, or c loak , in hischarm ing bo o k en
t i t led S w or dr and
flfastev‘
s of F ence.
(D ) An exce l lentexample of an ear lyseventeenth centuryrap ier , w ith an ela
borate and gracefu l l ydes igned guard, w i threversed and lengthyqui l lons. The b ladeis 36 in. long, w i thdo u b l e grooves , in
77m Connoisseur
GROU P OF I NCLUD I NG TWO TY PES OF VENETI AN SCH IAV ONAS , A CUP ‘ H I LTED SEVENTEENTH -CENTURYRA P IER, A CLOSE HELM ET OF A BOUT 1 600 , AN D A GAUNTLET O F THE SAM E PERIOD
is beaut i fu l ly chased,wh i le the r ing guard has a perforated pat
tern. Thequ i l lons are bo ld and free in curvature, and the pom
mel is pear-shaped. The blade is ex tra long , being 381} in. , and
is double—edged and grooved down the centre. On the r i cassois a c ross . Th is sword
,l ike the prev ious ly desc r ibed one (E ) ,
came from the famous Th ie l co l lect ion,wh ich was dispersed in
V ienna some years ago.
(G ) An exce l lent Spec imen of an ear ly seventeenth - centuryrap ier , wh ich may have poss ibly been a g i ft from K ing James I .
to his son, the Pr ince of Wales,as the shell guard and knuck le
guard are free l y embel l ished w i th representat ions of the Pr inceof \Vales ’ feathers . I t has one qui l lon onl y
,wh ich droops
towards the blade. The pommel is globuse, w i th a deeplyindented pattern. The blade, 36 in. in length , is doubl ygrooved,
and has on both s ides the fo l low ing inscr iptionHAN S M OUM M E FEC ITHANS M OUM SOL I NGEN .
(H ) A mortuary'
sword. On the basket guard is engravedan equestr ian figure of K ing Char les I .
,c lad in armour , ins tead
of the usual masks of His M ajesty found on these swords.
Th is departure is of rare occurrence. There is also a coupleof heads w i th flow ing hai r inc luded in the decorat ions of the
h i l t . Occas ional ly , but very rarel y , the leather l ining and red
c loth cover ing is found w i th in the h i l ts of'
these Cromwel l ianswords , such as nowadays are added to the basket h i l ts of the
so-cal led H igh land c laymores. The b lade measures 325 in.,
is double-edged, and has inscr ibed in the groove, M E FEC ITSOL I NGEN .
Some interest ing weapons , inc luding some al ready descr ibed,appear in the group above, espec ial ly two good types o f V enet ian schiavonas , a cup
- h i l ted seventeenth - century rap ier , a
c lose helmet of about 1 600 , and a gaunt let of the same per iod.
The probable date of the remains o f a spur at the bottom of
the group is ear ly fi fteenth century .
O ld W al l=p ap e r s
M y w i fe all day putt ing up her hang ings in her closett ,
wh ich she do very prett i ly hersel f w i th her own hand, to m y
great content .
“ E can never be gratefu l enough to Pepysfor the many detai l s wh ic h he g ives us of his domest ic
l i fe and surroundings, but somet imes he om i ts to tel l
us th ings t h at
we shou ld verV
m u c h l i k e to
know. Wh at, for
i n s tanc e, was
the mater ial of
those hang ings
that M rs . Pepysb u s i ed hersel ffor awhole dayin ar r ang ing ?
As the d iary iss i lent on t h is
point,we can
not say for cer
tain,but it may
very likely have
been wa l l—pa
per. ]ust about
th i s t ime wal ls
were, as a ru le,hungw i th some
tex t i lemater ial ,
suc h as tapes
t ry s e r g e, or
vel vet ; gi l t lea
ther,to o,
was
in v o g u e, but
s u c h t h i ng s
wo u l d be too
h eav y f o r a
woman to deal
w i t h unaided i NO . I .
—TWO PAN ELS OF CH I NESE VVALL- PA PER
79
By M a c l v e r Per c iv a l
V ICTORIA AND ALBERT M USEUM
P r inted cottons of Ind ian or i g in are a poss i b i l i ty, but
they were too scarce and rare for Pepys to have beenl i kel y to have had them at th is t ime.
was Ch inese wal l - paper, wh ic h wou ld not have been
at all di fficu lt to hang i f the wal l were fi tted w ith
battens,as the paper wou ld be al ready pasted on
So possibl y it
c anvas. Suc h
a wal l - cover ing
wou ld spec ial ly
dehght Pepysas he loved to
be in the forefront of fash ionand to h av e
e v e r y t h ing“ h ands ome
”
a b o u t h im .
Th e s e wa l l
paperswere just
b eg i nn i ng to
b e r eg u l a r l y
imported i nt o
Eng land, an d
from h i s con
nec t ion w i t h
th e Adm i ral ty
h e m ay we l l
have found an
opportuni ty t o
buy some ro l ls
o f t h e n e w
fash ioned"
In
d i an p a p e r "
f r o m an in
c om i ng m er
c h an t or sea
cap tain,andwe
may i m ag ine
h im b ear i ng
.s pet‘ iztl r o o m ,
b u t l e a v i n g
to her l ‘u tu‘
the
task o f putt ing
them up .
'
l‘
hough nu
m mnron. (‘
hin
ese wal l—paperswere oc cas ion
al l y used ear l ierin the s e v en
teenth t‘
enttlrv,
and even in the
s i x teenth were
n o t unknown.
Thev are hand
p a i n t ed i n
c o l o u r s,and
dep ic t flowers,
trees,andbi rds.
in thei r natural
7776 Connoisseur
No . l l .
— ENG L ISH W ALL - PA PER LATE E IG HTEENTH CENTURYCOLOUR—PRI NT FRO M WOOD B LOCKS , GROUND PALE BLUE
t ints. Ther are no t arranged in repeats of an all -over
pattern l ike our modern papers, but each ro l l is di fferent. though a general scheme runs th rough the who le
set of panels, and the subiec ts are almost invariab ly
carr ied over from one p iece to the next,and when
I l l .—BLOCl{- PRI NTED W ALL - PA PER ENG L I SH , C IRCA 1 760
So
BLACK OUTL I N E ,RED AN D GREEN
hung s i de b ys ide in p ro per
sequence there
is no break in
th e p at te rn .
'
I'
b e y are ex
tremely deco ra
t i ve, and it is
no wonder thatth e i r v o g u eI a s t e d a l I
t h r o u g h t he
ei gh teenth cen
tury,though
,o f
c ou r s e ,t h ey
h ad the i r ups
and downs of
popular i ty . As
t r u l e,it ap
pears that they
w e r e c o n
s ide red most
su i tab le where
the rest of the
f u r n i s h i ng s
w e r e o f an
O r i en ta l cha
rac ter,and
'
the rooms desc r i bed by M rs. Delany in
1 766 were probab ly typ ical of many others of that
date :“The next room is hung wi th the finest In
dia paper ” Indian '
was the term most general ly
used for any th ing im ported from As ia, andwas app l ied
7Va: Connoissc/zr
s heets . no t as
c o n t i n u o u s
ro l ls . as we have
them now : the
paper i tsel f i s
ver y stout and
t h i c k . T h e
t e r m p a per
hanger is st i l l
u s ed fo r t h e
man who puts.up our p resent
t lay wal l -co ver
ings . and it is a
sur y i y a I fromthe t imes when
paper was fi ler
a/lr hung— fo r
i t was pasted
on c an v as o r
s t o u t l i n en .
‘
T h is was a ver yc o n v e n i e n t
p lan, espec ial ly
in the case o f
t h e expens i ve
C h i ne s e p a
pers,as it made
it poss i b le fo r
them to be moved from p lace to p lace as requ i red.
No . V .—FRENCH wALL- PA PER
The y may even somet imes be discovered stored away
in old houses,having gone out of use wh i le st i l l
serv iceable,and they are indeed treasure- trove for the
l uck y finder who unearth s them .
Apparent ly it was about the m iddle of the ei gh teenthc entur y before the custom of ap p l y ing the paper di rec t
to the wal ls was introduced into general use M rs .
De lany,wr i t ing on June 20 th
,1 750 ,
says : \V hen
y ou put up paper, the best way is to have it pasted on
the bare wal l when l inedw i th canvas it always sh r ink s
from the edges . She often ment ions the wal l - papers
in her desc rip t ions of the houses she v is i ts and in
her accounts of the decorat ion of her own home.
Among them,besides the
“ Indian ” papers men
tioned above,are
“ b lue and’
white paper (to accordw i th a b lue and wh i te l inen bed) ,caffoy paper
,the pattern is l i ke damask ,
” “ p lain b lue
a pear l - co loured
a er ind mohai r caffov a er a G ood_ b lue7 D
E IG HTEENTH CENTURY
s u r v i v e d ,
t ho ug h t h e i r
C h i ne s e con
t e m p o i a r i e s
( b e i n g,o f
c o u r s e. m o r e
val ued) are, in
no t a few cases,
s t i l l in ex i st
ence.
The i l lus tra
t ions g i v e an
idea of the dif
forent k inds o f
papers used for
wa l l hangingsin E n g l and
f r o m the end
o f t he seven
teenth centur yt o the ear l yp a r t o f t h e
n i ne t ee n t h ;t h o s e c o p i ed
f rom s i lks are
n o t r e p r o
du c ed,a s
, of
c o u r s e,t h e y
fo l lowed them
c losel y in de
s i gn. InNo . i.,
two panels of a Ch inese “all- paper are shown p laceds ide by side. Unfo rtunatel y
, they are not in thei r
proper sequence, so they appear more detac hed thanthey should do. A fragment of Ch inese paper g i venon a larger scale in N o . v i . enab les us to app rec iatethe decorat i ve charac ter of the paint ing. The draugh tsman who desi gned the Eng l ish paper (N o. i i . ) c learl yhad these Ch inese wal l - hangings in his m ind, buthe was handicapped severely by the necess i t y of con
fining his pattern w i th in the l im i ts of a repeat wh ic hwould not make the wood- b loc k s too unw ieldy . The
ear l ier Eng l i sh papers are often very rough l y co loured,
the block s seldom being keyed co rrec t l y t i l l near ly thec lose of the century . N o. i i i . was in too dark a cornerto be photographed,
but the sketc h shows how the
green and red colour ing of the flowers was app l ied in
a very haphazard way. In sp i te of— perhaps becauseof— these defec ts
,these quaint old papers have a ver y
dec ided c harm lack ing in some of the more swig/u"
ENG L I S H W ATCH , DATE 1800,S ET W ITH
E NGL I S H DATE 1800
THE F I NE ST D I AM ON D S AN D PEARLSBA 11
FROM LORD BATEMANKS COLLEON ON
LOU I S X V . VV ATCH , P URPL E ENAM E L ,D IAM O N D ORNAM ENT
RY CH EVA L I ER. Ci rca 1700
LOU I S xv i . RE PEATER“v anes RECE I V I NG THE A P PL E FROM
CU PTD”
THREE WATCHES AND CHARLOTTE BRONTE’
S TH IM B LE CAS E
I n the Ward Us her Col lec t-ion
Ano th e r Po rtra i t b y F ranco i s C lou e t
hal f a century ago the name o f
Franco is C lo uet was ei ther onl y vaguely attr i buted,or g i ven erroneo us l y together w i th that of his father ,under the name of
"
_
lanet, to whole ser ies of F rench
si x teenth - c entury portrai ture,it can at the p resent day
be ass i gned w i th muc h more certainty to portrai ts
wh ich bear the true mark of his genius. For as a
resu l t o f the indefat igab le invest i gat ions of the late
Henr i Bouc hot,of L. D imier, and recent ly of M o reau
Nelaton,l ) r. Th. von Frimmel
,and others
,we are
now in a po s i t ion to find our bear ings in what seemednot so l o ng ag o an in
ex tr icable c haos.
Unex pec ted l i g h t has
been th rown of l at e on
th is much vexed quest ionby the d i s c o v e r y of a
s i gned and dated l i fe- s i ze
portrai t by F ranco i s C lou
et— that of P ierre Quthe,now in the Louv re. N or
can there be anv doub tabout the l i tt le Due de
(‘
ru i se and the E l i sabeth
of Austr ia at the Louvre,
t h e M a r g o t o f Franceand the Due d
’Alencon
at C h an t i l l y,and the
Char les I X . a t V i enna
and Petrograd, a s beingworks by Franco is C louet .I t is
,however
,the famous
Lecurieux Al bum at the
B i b l iotheque N a t ionale,wh ic h came so muc h ez z
evidence at the exh i b i t ion
of F r enc h t h i r t een t h
to seven t een t h centu r y No . I .—CESAR DUC DE V EN DoM E
86
By L o u i s e M . Ri c h te r
portrai ts (painted and drawn) in 1 907 in Par i s, containing several drawings by the master
,wh ich have
c h iefly been the means of dist ingu ish ing him from
lesser and later hands ; for by a freak of fortune not
uncommon in the h i story of art,Benjam in Fou lon
,
F ranco is Clouet’
s nephew and pup i l,si gned his name
on one of the drawings of.
th is al bum wh ic h were
his work—a C i rcumstance by wh ich we m igh t infer,
as Bouchot said,that th is al bum
,containing some
of Franco is Clouet’
s finest p rototy pes, was, after hisdeath
,inheri ted b y Fou lon who used the blank pages
left over for his own draw
ings. Th i s ex p lains also
the fac t that the ser ies of
drawings wh ich date from
1 5 59 to 1 5 72 , therein con
tained,are /207 5 de pair
and heterogeneous as to
thei r or i gin and qual i ty .
They can,as has been
author i tat i vel y stated,be
by one hand Only— that
of F ranco is C louet, whose
ac t i v i t y,as w e know,
ceasedwi th the year 1 5 72 ;whereas the draw ings of a
later da te in t h e same
al bum,of t he per iod of
Henr i I V .
,are muc h in
ferior. F o r instance, to
name only one— thedraw
ing o f t he i n fant Due
de V endom e,a son of
H en r i I V . and Gabriel
d’
Estrée,wh ich is the very
d raw i n g that its author
si gned Foulonius fec i t(No. And h e r e weBY BENJAM I N FOULON
7 716 Connoisseur
may refer to a fac t. perhaps no t general l y known.
that l lcnri conferred the digni ty o f cou rt painteron l l , Fou lon.
Hut to c ome bac k to the draw ings in th i s al bum
No. I \7.—OIL PORTRA IT OF FRANCO I S
wh ic h are by Franco i s Clouet’s hand,we would d raw
attent ion to a portrai t (No. i i i . ) in c rayon,rep resent ing
Franco is I I . as k ing. W h i lst its companion p ic tu re
(No . ii ) , rep resent ing his consort,M ary S tuart
,has
been much commented upon by wel l - known authori
t ies as being the l ikeness of the young Queen of
France wh ich best conve y s her far- famed lovel iness,
the effigy of the k ing h imsel f seems to have been far
less not iced. Yet there is no doubt that it bears all thecharac ter ist ics of F ranco i s C louet and that
,moreover,
a portrai t in oil (N o . after it has been executed by
the master . I t is s i gned “ Franco is and we may
say that the letters of th i s s i gnature have unm i stakab leaffini ty w i th those on the above-named portrai t of
Pierre Quthe in the Louvre. I t reveal s,mo reover
,
the same qual i t ies wh ic h are so charac ter ist ic in the
bo rtrait o f I‘Ilisabeth o f Austr ia. There. is the same
so berness and subtlety in its exec ut ion, the - same way
o f p lac ing the model . Nor" . i s there any attemp t o l
flatter ing the ro yal s i tter. fo r Franco i s C louet, as muc h
as his famous father,Jean
,always exp ressed the truth .
The want of vigour,the air ma/z
'
ngre so charac ter is t i c
of the young k ing,is accentuated in th is port rai t by a
langu id exp ress ion about the eyes wh ic h is not iceab le
much more in the paint ing than in the drawing. A
good deal of care is devoted to the accessor ies, to the
erm ine fur, the p lumed b lack vel vet cap , the wh i te
ruffle,wh ich
,later on
,under the last V alo is, was to
take suc h eccentr ic dimens ions. Th is portra i t, wh ich
has come down to us almost intac t, is, we bel ieve, the
only likeness of the eldest son of Cather ine de M edic i,
rep resent ing him as K ing of France ”
(1 5 59Thereare, on the other hand, various l ikenesses of him
as Dauph in,’
rag ,the m iniature portrai t in the k ing’s
co l lec t ion at W indsor,and another in theWard U sher
col lec t ion. We also meet frequent ly wi th his effigy as
Eng l i s h M ed iaev a l W a ll=p ain t ing s a t th e V ic tor ia and
A lb e r t M u s e u m By A . K . S ab in
IT is not nature o f the manv fragments wh ich sti l l remain o f
suffi c ient ly th i s once so popu lar art.’
The oc cas ional paint ings
we l l r ea l ’ wh ic h come under indi v idual no t ice are frequent l yi sed that a in an i l l - lit position,
‘
and are often partial ly destro y ednat i v e art and rap idly fading the beaut i fu l flow ing l ines of theof di st inc t drapery in
.
figure subjec ts,the comp leteness Of the
lv indi v id composi t ion,and the sequence of ornament in s imp le
ual c harac decorat ion,are often so broken that one cannot
,w i th
ter ex isted out imag inat ion,feel much sat isfac t ion in what is left.
Paintings wh ic h have been bur iedfor th ree centu r ies ormore under constant ly th ickening coats of wh i tewash ,and then recovered
,even though w i th the utmost care
in the p rocess,are l ikely to bear heavy traces of these
v ic issi tudes and i nd eed it is a
matter for congratu lat ion that, de
sp i te it all,s o many remarkab le
fragments remain to us.
I t is not,however, unt i l one comes
into the p resence of a large number
Of painted cop ies,suc h as those now
being exh i b i ted in Room 72 of the
V ic tor ia and Al bert M useum,that
the great qual it ies Of our ear l y Engl ish work become reallv im press i ve— except, of course, to the few who
have been enabled to make a spec ial
study of the sub jec t. These cop ies,wh ich are inwater- colour, have been
made during the last ten years by
M r. E .W .T ri stram,who has brough t
sr . CH RI STOPH ER AND THE CHRIST-C H I LD, U PO N THE NORTH W ALL OF to his task an enthus iasm andab i l i ty
THE NAV E I N P ICKERI NG CH URCH , YORK SH IREwh ich cannot be valued too h igh ly .
p receding, the renaissance of paint ing in I taly . The They have been acqu i red recentl y for the museum ,
painted mural decorat ion of Engl ish c hurches from where they take thei r p lace in the nat ional recordsthe twel fth to the si xteenth century
,however
,is a of the h i story of art.
sub jec t wh ich has recei ved li tt le attent ion, and roused Though the exh i b i t ion cons ists of only a hundredenthus iasm in very few peop le
,partly because of our exam p les, many of the most remarkable of our Eng l i sh
nat i ve p roneness to qual i fy c laim s made on behalf of wal l - paint ings are rep resented in it. The M adonnaearly Eng l ish work w i th the erroneous assumpt ion and Ch i ldwh ic h adorns the south wal l of the B ishop
’
s
that its mer i t must be di rec t ly due to a forei gn infiu Palace Chapel at Ch ic hester (page and wh ich is a
ence,but probab ly more because Of the scattered p iece of exqu is i te colour and com posi t ion, rep resents
E ng /275 k M edie val Wall—pdz
'
fl f iflg s
the W i nc h es te r
sc hool o f m u ra l
painters at its best,and s h ow s p rob
ab l y less B yzant ineinfluence
'
i
than is
to b e found in
the p a i n t i ng s atW inchester i tsel f.The indi v idual i t yof the d i f fe rent
sc hoo ls of pa i n t
ers,par t i c u larl y
th rough the th i r
teenth centu ry ex
am p les,is c learly
m a r k e d,
a n d
makes compar ison
a matter of great
interest,as w i l l be
in
the th ree paint ingswh ic h h ere
re p roduc ed. A
draw i ng “
o f the
V i rg in and Ch i ld
from a pa i n t i ng
over the al tar of the c hurc h at G reat Canfield, E ssex ,shows poss i b ly our purest native art
,scarcely affec ted
by either Cel t ic , By zant ine, or contemporary I tal ian
influence. Equal l y remarkab le are a m i tred head
from theAnte-Rel iquary c hapel at Norw ich Cathed ral,
and the head Of a k ing from the south wal l of the
C lo isters at St. George’
s Chapel , W indsor. These
Engl ish artists dep ic t thei r subjec ts perfec t ly becausethe sub jec ts are real to them , and thus they convey in
the paint ings a sense of someth ing s im p le and int imate,
yet possessing a di gni ty and aloofness wh ic h cal l for
not iced ev en
are
THE
reverence.
On page 92 is awater-co lour copy , made w i th theaid
of a d raw ing by JohnCarter,of a fragment of the Doom
from the east wal l of the Chap ter HouseatWestm inster
Abbey .
appeared , though suffic ient traces of it st i ll remain
to indicate how rel iab le the d raw ing is. The whole
In the centre Ch r ist sat
as Judge,w i th His feet rest ing upona g lobe
,surrounded
by angels. To H is r igh t and left stood angels bear ing
the symbols of the Pass ion and beyond at ei ther
hand were Cherub im , thei r feet resting upon wheels,
bear ing s ymbols in their hands,and w i th wings folded
and inter laced p lumes. The heads of other angels are
all around,and on the p lumes of the one Cherub are
insc r i bed the Beat i tudes. Our i l lustrat ion is of the
The or ig inal paint ing has now almost dis
com pos i t ion was a large one.
M ADON NA AN D CH I LD , ON THE SOUTH \VALL OF THE
B I SHO P ’S PALACE CHA PEL AT CH I CH ESTER
9 1
p ic tu re—stor ies was shared also by k ings.
c herub that bears
a c rown in ei ther
hand.
One cannot in
a b r i ef note do
more than touc h
upon several out
stand ing featureso f t h i s su b j ec t,though it wou ld
be of great interest
to trace how fromthe fi rst i dea of
decorat ing the in
terior wal ls of the
c hurch wi th colour
and masonry pat
t e rns and other
simp le ornament.
the th i rteenth cen
tury,w h i c h was
so fu l l of popu larfeel ing, saw these
wal l s become the
ac tual story-book
for the unletteredl a i t y
,fo r whom
were painted the sac red subjects of thei r devot ions,the great deeds of saint l y legend, and occasional l yeven the heroes of secular romance.
The popu lar nature of th is art in England is wel l
worth emphas i sing for it is an unfai l ing indicat ion of
the greatness of an art when it real ly becomes part
Of the peop le’
s everyday l i fe. I t is true that records
ex ist of paint ings in the hal ls of great cast les,and the
sump tuous paint ings in the Painted Chamber of theRoyal Palace at Westm inster
,wh ich were discovered
in 1 8 1 9, and fortunately cop ied by M r. Char lesStothard
and M r. J . G . Rokewode before the fire of 1 834
ent i rely destroyed them ,are suffic ient to indicate, i f
evidence were want ing,that the popu lar love for
For the
most part, however, it was not the hal l of the great,
but the churc h—and every churc h th roughout the
land— wh ich was enl i vened w i th the painted legends
of hero and saint for everyone to read.
Thus the sub jec t most frequent ly rep resented is thelegend wh ich more than anv other made an appeal
to the populace, symbolismg, as it does, the struggle
of men against sin and adversi ty, and the u l timate
w inning of eternal l i fe. Of St. Ch ris topher and the
Ch r i st-Ch i ld near ly two hundred mu ral paintings,or
fragments of mural paint ings,st i l l remain in England.
The gi gant ic figure of the Saint, bearing upon his
T/zo
s hou lder the infant C h r ist. as he waded th rough the
waters to the sho re. was the first o bjec t wh ic h met the
eve upon enter ing a church. its pos i t ion being upon
the no rth wall oppos i te the enth l l tt‘
c . ”C was the
Saint o f the poor. his task o f carrving peo p le w i thout
c eas ing o ve r the turbu lent s tream being emblemat ic
o f thei r st ruggles and endurance. .\ lanv o f the repre
sentat ions bear an insc r i pt ion saving that tho se who
gaze upon S t . shal l that day feel no
wear iness : and p ro babl y the pos i t ion vis i b le from the
porc h o f the c hurc h was c ho sen fo r the. paint ing of
th is saint, so that even those to i lers for whom there
was no pause from labour m i gh t look in at the dooras the y passed and go strengthened on thei r way.
The i l lust rat ion of S t . Ch r istopher wh ich we gi ve is
from a c o p y o f a paint ing upon the no rth wal l of the
nave in P ic ker ing Chu rc h . Yo rksh i re. I ts com panions
upon the same wall are the other ver y po pular subjec ts. the inartvrdtnn of St. Edmund
,and a fine
S t . Geo rge“ . I t is of ' the fi fteenth century,by wh ic h
t ime muc h of the earl y s im p l ic i t y in the tel l ing of a
Thus it says in the Go ldens to r y had been lost.
C Hois tserr7'
Legend that when Ch ri sto pher came fo rth the nex t
mo rning he found the staff he had p lanted at Ch ri st’sb idding l ike a palm , bear ing llowers and leaves and
dates . In th i s rep resentat ion the sto r y is ant ic i pated ,
fo r the saint is onl y just reac h ing the land,and is yet
o f his c ross ing but al ready
the dry staff,touc h ing the earth
,has burgeoned and
scarc ely safe from the per i ls
brough t fo rth leaves.
As to the technical s ide,the paint ings were in
tem pera—the o ldest and the s im p lest p rocess of mural
paint ing for th is method of m ix ing co lours dates backto the inter io r deco rat ion of the Egy pt ian tombs
,and
p robab ly to the t ime of the early Cretan deco rationat Gnossus. Parc hment s i ze, eggs and vinegar were
the mediums used for m i x ing the co lours in England
dur ing the M iddle Ages. The ear l y co lou rs . were
s im p le : many paint ings are in monoc h rome red and
yel low och res, lam p black and wh i te,were then the.
p i gments ch iefly used , t i l l in the fourteenth centurym i l ionwas added , andamuc h greater var iety soonafter .In almost all instances a th in p laster of l ime and s i ze
covered the masonr y as a ground for the paint ings.
FRAG M ENT O F THE DOOM ,FROM THE EAST OF THE CHA PTER HOUSE AT A B BEY
92
[T1xc E ditor invites t/ze assistance of readers of THE CONNO I SSEUR m/za may be ao/e fo imparf l/ze
inf ormation required by Correspondenlsj
U N I DENT I F I ED PORTRA IT (No.
DEAR S IR,
—I send you a photograph of an old oil
portrai t,done on b lack oak . I t was b rough t into th i s
country from Eng land. The party of whom I pur
chased bel ieves it was stolen from its or i ginal c i rcu lar
The wo rk is wonderful ly executed,and the
(23 2 )
beauty and charm of the unidenti fied portrai t must
exc i te the interest of vour many readers.
Bel ieve me, very fai th fu l ly yours,M ARGARET CH A PM AN L ITTLE (Geneva, I l l . ,
U N IDENT I F IED PAI N TI N o (No.
7?
DEAR S IR,— Herew i th I subm i t a photograph of an
oil paint ing in my possess ion. I t is not s i gned, and
I w ish to have the p ic ture ident i fied,w i th a v iew to
gett ing its ap p rox imate value. You wi l l see from the
photograph that it is in excel lent condi t ion,
the
UN ID ENT I F I ED PORTRA IT
or iginal bears ever y indicat ion of its dating the
V enet ian school,both as to its draw ing and co lour ing,
the latter being part icu larl y beaut i ful .Yours faithfu l ly , L I L I A NOLD F IELD (Sydney,Australia)
7718
Tu t: . \R‘
r or THE t‘
o IvrIc -atu
l l l“ S IR.
— l have fo l lowed the corresp tmdence
ar is ing o ut o f th is valuable art ic le w i th great interest.
l‘
bere would seem to be no do ubt that the des i gnat ion
Connoisseur
c harac ter, as the name imp l ies. In the Chancery su i t
( 1 5 3 6 ) ar is ing out o f the di sputed w i l l o f S ir Geo rge
l lervey, o f'
l‘
hurleigh, references were made to the
co ffer in wh ic h the document had been locked up ,
(233 ) U N IDENTI F I ED PA I NTI NG
o f co fferer as app l ied to a public officer was der i vedfrom the furni ture in wh ich valuab les were kept, and
had no connec t ion wi th the Gu i ld of Cofferers wh ic h
certainl y ex i sted in the M iddleAges. In th is respec t
M r. Landfear Lucas’
s cofferer ” may be l ikened to
the almerer who der ived his t i tle from the almery ”
or aumery .
However loosel y the terms may have been emp loyed
in later t imes,there wou ld seem to have been a ver y
and“chests ”
to
the medizeval m ind , as M r. F red Roe has argued .
'
Two entries in the inventory of the P r ior of Durham(1 446 ) hel p to po int th is. The p ieces mentionedwere all s i tuated in the Garderobe.
c lear dist inc t ion between “co ffers
Una larga C ista de opere F laundrensi.iij. par ia del cofors.
The spec i fic reference to a“ F landers chest is
-of interest. The inventory attached to the w i l l of
t he V icar of Gainford (1 4 1 2 ) mentions Unum par
de Trussvngcofers, iiijd.
”
These were of a portable
96
and the Hengrave Hal l inventory of 1 603 tel ls of a“ l i ttle coffer wth locke and keye for spicebread
wh ic h stood'
in ye U pper St i l l House. These are
only a t i the of the documents wh ic h m igh t be quoted.
I t wou ld be grat i fy ing to know i f M r. LandfearLucas
or any other of your readers can th row further l igh t ona subjec t of so muc h importance to furni tu re col lec tors.
Yours tru l y, J . CODRl NGTON BRETT.
U N IDENT I F IED PA I NT I NG (No.
DEAR SIR,— Sir joshua Reynolds did paint two
Gifisy F or fune Tel/er subjec ts,one of wh ich is en
graved by Sherwin,but
l
l suggest that th is photograph
is af ter Thomas Barker (of Bath ) , and that M r. Carter
would do wel l to see his wel l - known W’
ooa’man and
The Giosy (No. Th i s Shows,in its ev ident ly
exqu i s i te fini sh and drawing, a strong resemblance to
the work of Godfrey Sc halken,w i th his r ic h co lour
ing, verm i l ion p redom inating . M r. Ph i l l i ps may beab le to‘ determ ine as to the examp le he inqu ires o f.
You rs tru ly,HAROLD
"
M ALET, Co lonel .
T/l c’
£30 185 . F lowers decorating n sculp tured F rame, by H .
Seghers . enc los ing the . l/mtonna and Cl u'
ld, in gri sai l le,by A. van ll iepenbeeck , 405 in. by 33 in. , £54 1 25 . and
A Landscape, w it/1 banditti ( i t/acti ng tra'r'cllers on a.
road, b y M agnasco,inoc tagonal shaped frame
, 495 in.
by 43 in 1 1 1 5 1 0 5 . Towards the c lose o f the sale,a
Portrait ol d/ rs . Hu tclz ison,w ife ot D r . Hu tc/ u
'
son,who
accompanied one o f F rank l in‘
s Arc t ic Expedi t ions, byM argaret Carpenter , 29} in. b y z 4§ in. , real ised£95 1 55
wh i ls t the final i tem o f note was an Interest ing P or traitof a {Veyfi/ wrc' of t/1c Artist
,by H . F ttseli, R.A.
,295 in. b y
3 4 in on wh i ch the hammer fe l l at the fina l b id o f
1 220 105 .
The co l lec t ion o f modern p i c tu res and water - co loursbelong ing to the late l lay worth was put up
'
at
K ing S treet on D ecember 8111 . The draw ings inc ludeda number from the brush o f Al bert Goodw in, and the
h ighest b idforanv-onewas £56 1 4s. forS / . Giorgio, Venice,
1 2 in. b y 19 in. E . M .
-
'
imperis was al so we l l repre
sented, his Haw- time
,1 882 ,
14 in. by 24 in.
,secur ing the
sum o f £89 55 . The p r ices of the oil paint ings weremuch ona leve l , few wo r ks exceeding £40 . J . Aumonier’s
T/ze Hayfi eld, 305 in. b y 421} in.
,attained to £50 85 .
and the c lever D ucl " s Toilet, o f James Char les , £44 25 .
Seven landscapes by Sir Al fred East were al so in evi
dence,the t0p p r ice being reached by the fi rst on the
l i st,On M e River Doc/zart, A
’
illin, 23} in. by 3 51 in. ,
w h i ch b rough t £33 1 25 .
W' H E N the late F . Po l lard’
s stoc k was di spers ed at theK ing S t reet rooms on Novem ber 27th, 28111 , and 29th
»
,it
was arranged that the two last daysshou ld cons i st ent i rel y of eng rav ings .
A number of framed p r ints were int roduced fi rst,when
£52 1 05 . was bid for P ainting ,by and after J . R. Sm i th ;
£38 1 75 . for D u lce D onzunz and B loc/a lV/ onday ,a pai r
b y J . Jones , after W'
. R. B igg ; £33 1 25 . for M rs .
Benn/ell,by W . Ward
,after J . Hopp-ner
,w i th w ide
marg in ; £3 2 i l s . for An Airing in Hy de P arts
and
n o P romenade in S t . j anzcs’s P ar/J
,a pai r by T . Gau
g ain and F . D . So i ron, after E . Dayes ; and £3 1 1 05 .
for Tbc Cottag e Girl, by C. H . Hodges,after J . W .
C handler,p r inted in c010urs ; A Taleof Love, by J . K .
Sherw in,after H . B unbu ry , made £26 5 5 . These were
fo l lowed by some sporting subjec ts,
o f wh ich L'
Vasp ,
Cl u’
ld and B illy ,by \V . \Vard
,after H . B . Chalon
,
p r inted in co lours,real i sed £42 and Tbc F irst S teefi /e
c lzase on Record,a set of four aquat ints
,by J . Harr is
,
after H . Al ken,p r inted in co lours
, £38 1 75 . £25 45 .
was secured by a set of fou r aquat ints p r inted in co lours,
p roofs before any let ters , of S t . Alban’s Grand S teep le
c/zase,pub l ished by T . He lme wh i l st a set of p r ints of
the same fetched £23 25 . After F . W heat ley,R.A.
,
T/ze Cottag e D oor and l e S clzool Door,by G . Keat ing
,
2. pair,made £1 73 5 5 . Tbc Return f rom Snooting ,
byF . Bar to lo z z i
,a p roof
, £79 and Repairing to
[War/J et,Coming f rom lll arbet
,and Returned f rom
.M arbet,by W’
. Anni s,open let ter p roo fs
, £42 . Thesewere p r inted in co lour
,and were succeeded by several o f
G . M or land’s subjec ts . O f the latter
,the h ighest p r ice
Eng rav ings
Connoisseur
was attained by the pai r,p r inted inco lours, by B lake
,
Industrious Cottag er and 77m I dle Lam /dress,wh ich was
knoc ked down for£77 145 . Two proo f imp ress ions of
A Visit to M e C/ n'
ld at N urse,by W . Ward
,w i th the
early pub l icat ion l ine, real i sed £39 185 . and £36 1 5 5 .
ap iece wh i l s t a coup le o f pai rs o f S t. j anzes’s Park and
A Tea- Garden,by F . D . So i ron
,made £34 1 3 5 . and
32 1 1 5 . respec t i ve l y . The last -ment ioned was a pai ro f p roo fs befo re the eng raved borders . A P arty
Ang ling and Angler’s Re/Sast, by ( l . lx eating and
Ward,a pai r
,secured £3 1 105 .
Eng r av ings in the fo l io were offeredonNovember 29th,o f wh ich the fo l low ing were all p rinted in co lours T/i c
L uc/ sy Sfiortsnzan, by F . D . Soi ron,after G . M or land
,
£60 1 85 . A B illet/ed Soldier,by T . Hogg
,after the
same, £ 1 9 1 95 . D u ty andAf fection, by P . W
'
. Tomk ins,
after J u l ia Conyers , £7 1 85 . T/z e V is it to Grandmotlzer,
by J . R. Sm i th,after Northcote
,and l e Villag e
D octress,after the same
, £44 25 . Le Cadeau De’
licat,by
S . Tresca,after Boilly, and La Tourterelle Clze
’
rie,b y
Al lai s,after the same
, £43 I S . Georg e I V . rev iet t 'ing
tlze D rag oon Guards , by J . Ward,after S i rw . Beechey ,
£30 95 . ; and T/ze F avourite Rabbit and Tom and bis
P idgeons , by C. Knigh t,after Russe l l
, £ 1 8 1 85 . A
further se lec t ion of~
_
M orland p rints then came up .
Gu inea P ig s and D ancing D og s , both by T . Gaugain,
made £42, but the next lo t, wh i ch was com posed of the
same p lates, beat it by six gu ineas . £50 85 . securedB oy s Bat/ring ,
B oy s Skating ,B oys Robbing an Orc/zard,
and T/ze Ang iy F armer, all by E . Scott ; wh i l st the
hammer fel l for £37 1 65 . on l e K ite E ntang led, byW . Ward £34 1 3 5 . onA Visit to tbc B oarding Sc/zool,
by the same ; £26 55 . on Children B ird—nesting ,by the
same 28 75 . on [Worning and E vening : M e F irst of
Sep tem ber , by the same ; and £ 19 195 . ap iec e on C/z il
dren Gal/ wring B lackberries,by P . Dawe
,and Tbe
Gibsies’Tent
,by J . G rozer. The day was c losed by a
quant i ty of m i scel laneous lots,when T/ze Widow ’
s Tale,
by W . W ard,after J . R. Sm i th
,was bough t for £40
and Cakes and F inery ,by T. Gaugain, after “7. Artaud
,
f0r £ 1 5 1 55 .
A SET of twe l ve old Eng l ish painted arm - chai rs (onedamaged) , in b lac k and go ld, w i th oval cane pane ls in
the open-work bac ks and cane seats,
and a p a i r o f torchere tr ipods,in
b lac k and go ld,en su ite
,late 1 8th centu ry
,real i sed £ 190
at M ess rs. Sotheby ’s on Novem ber 28th . They were thep roperty of the late G eo rge Carr ing ton
,of M i ssenden
Abbey .
The most impo rtant b ids at M essrs . Ch r i st ie’
s on
December 7th were for furni tu re. A set of ten Hepp lewh i te mahogany chai rs and two arm - chai rs
,the bac ks
p ierced and carved w i th P r ince of W’
ales ’s feather andlaurel festoons
,was the subjec t of much exam inat ion
,
unt i l the hammer fe l l upon the final offer of £ 1 3 1 1 55 .
Six Sheratonmahogany chai rs, w ith sh ie ld- shaped backs,
carved w i th fo l iage and inlaid w i th fan-o rnament in
sat inwood, real i sed £99 1 5 5 . a p r ice exceeded by the
last lot of the sale,a Sheraton sat inwoodw inged cab inet
,
Fu rnitu re
[ n the Sale Room
w i th fo lding d00rs in the upper part,a drawer in the
cent re fo rm ing sec retary,and cupboards be low and at
the s ides , the bo rders banded w i th rose and tu l ip - wood,
wh ich b rough t £ 1 20 1 55 . A Ch i ppendale mahoganys ide- tab le, w i th th ree drawers
, carved w i th latt ice-workborders part l y g i l t
,surmounted by a veined wh i te marb le
s lab, 5 ft . 7 in. w ide
,was knocked down for £57 1 55 .
A few old Eng l ish c locks were al so in ev idence. One
by Tomp ion, w i th chased b rass dial,in tal l walnut—wood
case w i th p ierced fretwo rk pane l s on the hood, 7 ft . h igh
,
fetched£68 55 . and a ch im ing b racket - c lock,by James
Bever ley , London,w i th chased b rass dial
,in ebonised
case w i th metal - g i l t mounts and dome,
1 8 in. h igh,
£50 85 . Th i s wou ld appear to be the same Bever leyquoted by B r i tten as being app renticed to Robert D oorein 1683 .
M ess rs . Knigh t, F rank Rut ley so ld the p roper ty ofa gent leman, removed from E lm Park Gardens
,on
December 7th and 8th . £59 1 75 . was the final b id for a
pairof Emp i refour - l igh t cande lab ra, com posed of bronz efemale figu res support ing ormo lu b ranches
, 32 in. h i gh .
Th i s was beaten by an oak buffet,enc losed b y five doors
,
w i th carved Goth i c pane l and figu res of sam ts , 5 ft. 6 in.
w ide,6 ft, h igh , wh i ch b rough t £73 1 0s . Several
Pers ian carpets were al so so ld,one w i th a b lue g round
,
1 4 ft. 3 in. by 6 ft . 6 i r1 .
,fetch ing £ 1 36 105 . and another
o f silk, l igh t g round, 8 ft. 6 in. by 6 ft. 6 in.
, £94 1 05 .
A F lorent ine ebony cab inet of drawers,arch i tec tu ral
des ign, decorated w i th inset landscape pane l s of colouredmarb les ,
“taken by Napo leon Bonaparte in 1 8 1 1 from
the Royal M anu fac tor y at F lorence, ” real i sed £23 1 at
M r. D owe l l ’s (Edinburgh ) sale of Decem ber i 6th.
THE p r i ces real ised by the 3 5 1 l ots com p r i s ing the
co l lec t ion of the late Lt .
-Co l. Hopton Basset Scott,
wh ic h appeared at M ess rs . Ch r i st ie’son November 29th and 3oth, weregeneral l y good
,al though there was
noth ing of paramount im portance. AW o rcester two-han
dled cup , cover , and saucer,paintedw i th fruit and insec ts
in app le- g reen bo rders,g i l t w i th sc ro l l s
,made £75 1 25 .
on the fi rst day , wh i lst on Novem ber 3oth , £94 105 .
was b id for a fam i l le- rose vase,ename l led w i th pane l s
of landscapes and figures on a floral g roundwork,1 59; in.
h igh , K ien- Lung ; and £42 for a pai r of fam i l le- verted ishes , ename l led w i th b i rds
,etc .
,in st i pp led g reen
borders,1 53} in. diam .
,Kang - He.
A sho rt ser ies of porce lain opened M essrs . Ch r ist ie’ssale on D ecember 7th. The most not i ceab le p r iceswere £57 1 5 5 . for th ree Nank in vases
,of inverted pear
shape, paintedw i th flowers in petal—shaped panels , 1 85. in.
h igh , and £52 105 . for a pai r of Kang—He fam i l le - vertevases and covers
, of inverted- pear shape,enamel led w i th
ladies and boys,1 6—5 in. h i gh . Later in the day a pai r
o f Sev res b i scu i t figures of Cup id and P syc he, 33 in.
h igh , made £60 1 85 .
December 5th, 19 1 6, was the 1 5oth anniversary of
Ch r i st ie’
s,and the event was marked by the exh i b i t ion
o f a few rel i c s connec ted w i th the h is tory of the house.
The most interest ing of these was undoub tedl y a vo lume
Potter y and
Po r celain
99
containing the catalogue of the fi rst sale,conduc ted
under the ausp ices of the Spec ious orator,
” wh ich tookp lace on December 5 th , 1 766 . Lot 1— p rogeni to r of avery length y l ine— was s imp l y desc r ibed as “
six b reakfas t p int basons and p lates
,wh i ch secu red the modes t
sum of 1 95 . Its immediate successor was a Che l seaink stand for a lady ’s w r i t ing - tab le
,
” wh i ch a p resent -da y
co l lec to r wou ld p robab l y be g lad to pu rchase at the
or ig inal se l l ing b id of 1 5 5 .
THE s i l ver sale at M ess rs . Ch r i st ie’s onNovember 22ndcommenced w i th m i sce l laneous p ropert ies . A two
handled cup and cover,r i ch l y c hased
w ith mar ine dei t ies,etc .
,the handles
chased w i th fo l iage and scale pattern,14 in. h i gh
,1 740 ,
1 10 oz . 3 dw t .
,made 5 1 5 . per oz and a s i l ver - g i l t
tankard and cover,decorated w i th b road bands of mat
t ing,w i th sc ro l l handle and b i fu rcated thumb - p iece,
h igh,1 669 (maker
’s mark a key w i th mu l let - shaped bow
between two pe l lets) , 1 3 oz . 1 4 dw t .
, 3005 . per oz . So ldall at
,
”an E l i zabethan cup , w i th cocoanut bow l
,w i th
ini t ial s C L M and the arm s of the G rocers’ Company ,85 in. h igh
,b rough t £ 189. £3 2 5 1 05 . was secu red by a
parce l - g i l t Ang lo- Saxon spoon,the bow l pear - shaped
and attached to the stem by a figu re of a serpent,and
strengthened at the bac k by a two - legged rept i le,the
stern cy l indr ical,enc i rc led by inc i sed bands
,and term ina
t ing in a figure of a recum bent beast, 75, in. long . Th i s
interest ing lot,wh ich was the p roper ty of Bas i l Oxenden,
E sq .
,was found on the B room Park estate about 60
years ago. The p roperty of a lady , a cy l indr i cal caster ,55 in. h i gh
,by Samue l Pant in, 1 702, 7 o z . 1 dwt .
,real i
sed 1 605 . per oz . a por r inger, 4} in. diam ,
1 674,
maker ’s mark N W w i th a c inquefoi l and two pel lets below
,1 1 oz . 1 8 dw t.
,1 50 5 ; anda pai r of candlest i cks, 8 in.
h i gh,1 69 1 , maker
’s mark RS w i th th reemu l lets and th ree
pe l lets,27 oz . 3 dwt .
,1 2 5 5 . These were succeeded by
the p roper ty of a gent leman,w hen
,amongst other p r ices
,
275 . per 02. was bid for an epergne,by T . Powe l l
,1 760,
223 oz . 285 . for a pai r of tab le candlest i ck s, by ThomasW i l l iam son
,Dub l in
,c. 1 740, 1 05 oz . ; 3 1 5 . for a tea
ket tle,by Samue l Tay lor
,1 746, 70 oz . 5 dwt . 405 . for a
s i l ver - g i l t cup and cover, 1 3 in. h igh,by Thomas Hem
ing , 1 77 1 , 54 oz . 10 dw t . ; 4 1 5 . for a p lain sal ve-r,1 1 5 in.
diam .
,1 73 1 , 3 5 oz . 3 dwt. ; and 1 555 . for a s i l ver - g i l t
por r inger and cover,6 in. h igh , 1673 , make-r 5 mark K S
w i th mu l let above and be low,28 oz . 1 8 dw t.
S i lver
THE fi rst por t ion of the late Co lone l W . F . Prideaux ’s
l i b rary was so ld by M essrs . Sotheby on six days,com
menc ing O c to b e r 2 6 t h and end i ngNovem ber 2nd
,1 916 . £ 1 20 was g i ven
on the fourth day fora 1 st edi t ion of Defoe’
sRobinson Cru
s oe (W . Tay lo r , w i th I st edi t ions of T/z e F art/z erAdventu res and Serious Ref lections during t/ze
L if e of Robinson Crusoe (ib. together 3 vo l s .
uni form . A fi rst i ssue o f the l st edi t ion of Go ldsm i th ’
s
Vicar of Wakefield, w i th the er ro r VV aekcfield in the
headl ine of vol. 2 made £ 1 00 on the fi fth day .
The excel lent total of 95 . was real i sed by
Book s
Tbe Connoisseur
M essrs . Sotheb y ’s on November 7th and 8111 for the
3 54 lots wh ich comprised the th i rd po rt ion o f M r. J ohnl ’earson
'
s l i brar y . large. c leancopy of the excess i vel yrare fi rst edi t ion o f G ra y ’s E /eg r wrote (s ic ) in a
Count/ fr Cll ur t’lirar it (4to , R. Dodslev , in Pal l M al l ,
1 75 1 ) real ised £480. This vo lume possessed addi t ionalinterest b y reason of the autog raph inserted E l i b r isThom zc G ray Scho l E ton alum . 1 733
” w i th four - l inequotat ion from De l iu re as to a book
,al so in his
autog raph . A fine, c lean copy o f the excess i ve l y rarefi rst K i lmarnock edi t ion o f Burns
’
s l’oezns
,c h iefly in
the Scott i sh dialec t (81-0 ,K i lmarnock , p r inted by J ohn
secured onl y th i rty pounds less, the
hammer fal l ing 0 11 a b id of £450 . Another vo lume of
g reat rar i t y was a fi rst edi t ion o f Sir Ph i l i p Sydney ’sTll c‘ Countesse of Pembro/ce
’s Arcadia (5m . 4to,
London,
p rinted by J ohn forW i l l iam Ponsonb ie,Anno
Dom ini a fine, c lean copy, but s l igh t l y repai red,wh ich seCured £390.
M ajo r R. Barc lay ’s l ib rary was dispersed by the
same firm on Novem ber loth and 1 7th, the 545 lotsreal is ing a total of 1 3s . The clou of the co l lee
t ion was an almos t uni que b lock book , p robab l y one of
the ear l iest edi t ions, Apocalypsis S . j oannis Apostoli ,on 48 b loc ks, imp ressed on one s ide onl y , and eac h b lockseparate (not pasted together) , w i th contemporaryco lou r ing . £950 was the sel l ing bid for th is vo lume
,
wh ich is in a very fine s tate,for though inlaid and
re- bound,the marg ins are intac t . Keen b idding was
aroused by a per fec t, genu ine, sound copy (want ingonl y the th ree b lank leaves) of Cax ton
’s Cato
wh i c h real ised £8 1 0, as against £30 195 . 6d. in the
G . \V atson Tay lo r sale of 1 823 . £600 was paid for the
editiop rz'
ncep s of Lactantius, De D iv inis l ns titu tionibus
adversus g entes et alia Opera Th i s was the
fi rst book p r inted in I tal y , and the second for wh ichG reek type was cast .M ess rs . Sotheby so ld some co l lec t ions of autog raph s
and KISS. on Decem ber 4th and 5th, real is ing a total of1 3s. Thac keray ’s now famous letter to Robert
B el l (3 pp . 8vo,Sept . 3rd where he di scusses
Vani ty F air i f I had made Amel ia a h i gherorder of woman there wou ld have been no vani ty inDobb ins fal l ing in love w i th her, whereas the imp ress ionat p resent is that he is a foo l for his pains, that he hadmarr ied a s i l l y l i tt le th ing and, in fac t, has found out his
er ror,
aroused cons iderab le interest,being
secured for £1 1 5 . I t formed part o f the co l lec t ion of
M i ss M ar ianne Lowe.
THE late Sir T revo r Law rence’s co l lec t ion of lacquerwas offered by M ess rs . Ch r ist ie on Novem ber 6th and
two fo l low ing days. A smal l t ray andtwo m iniature cab inets
, 3% in. by in.
by 2% in.
,eac h w i th th ree drawers
,decorated all over
Objets d'Art
1 00
w i th the herbs o f the four seasons,etc . ,
in raised go ldand s i l ver lacquer
,and in go ld
,red
,and s i l ver “
tog idash i ,
”s i l ver handles and lock s
,s igned on the edge o f
the doo rs Kwansai (Koma) , real ised £ 1 89 ; a com
p lete set of imp lements o f the Incense Game,
”the
box ent i re l y “takamakiyé
”on decorated
w i th trees and p lants,w i th s i l ver detai l s (from the
G u rney Sale : exh i b i ted at the Burl ing ton Art C lub,
1 894, and at the Red C ross Loan Exh i b i t ion,
£94 105 . Suzu r i Bako,
”
75; in. by 8} ia.,w i th a land
scape,etc .
, £ 1 1 0 Bunko,”
1 75 in. by 1 4 ln.
,
and“Suzur i Bako
,
”1 02in. by 95 in.
,late 1 8th cen
tu ry , w i th go ld“takamak iye
’ ” des ign (D r. B . H ic ks ’co l lec t ion
, £1 1 5 105 . cab inet , 1 7 in. by 1 1 5 in‘
.
by 1 2 in.
,box - shaped
,w i th nine drawers
,the outer
su r face ent i re l y covered w i th imb r icated n10ther-o’- pear l
scales,the inner sur face decorated w i th “
karakusa ” in“hiramak iyé and
“dogai inlay
,part l y w i th orig inal
b rass fi tt ings,the others being emp i re addi t ions
, £3 1 5 ;and a
“Tsuishu
”decorati ve hang ing p laque
, 3 ft . 8 in.
by 3 1 in. h igh,w ith sages and ch i ldren on an is land
pav i l ion, £1 10 55 .
The late M r. W . Y . Baker ’s co l lec t ion of i vor ies wasdeal t w i th at the K ing S treet rooms on November i 5 th.
In the European sec t ion,a set of four female fi gures
,
emb le-maticalof the seasons,19 in. h igh
,real ised£1 62 1 5 5 .
A v io l in by Amat i made £70 at Puttick ’s on November 28th. The same firm had al ready disposed of a
ser ies of co ins , medals,and Royal i st badges on the
i 5th November, when 1 5 gu ineas was paid for a s i l verg i l t oval badge (1 8 by w i th floral border andloop , commemorat ing the Dec larat ion of Par l iament
,
1 642 . Th i s rare p iece had been rather badl y t reatedin an attempt to remove the modern g i lding .
At Ch r ist ie’s,on December 7th , a b ronze figure by
J . Dalou,
“ Femme sortant du Bain,
22 in. h i gh,on
mahogany pedestal , fel l for £65 25 . and a pai r of wh i temarb le vases
,fluted and mounted w i th o rmo lu beadings
and caryat id fi gure handles, in the Lou i s X V I . taste,
2 1 5 in. h i gh, £50 85 .
The second portion of the T revor Lawrence co l lec t ionof Japanese art
,wh ich was dispersed by the same firm
on December 4th and two fo l low ing days,general l y
maintained a moderate run of p r ices,and few lots
exceeded a £40 l im i t. The top pr ice was £99g i ven for a J isshu K0 Bako
,circa 1 700, 75 in. by
6 in.,decorated w ith cher ry b lossoms
,go ld and s i l ver
,
fal l ing on a stream l ined w i th j abag o, wh ich is said to
have been the p roperty of the Taimyo M i zuno. A
hexagonal Jukogo, in two t iers decorated w i th landscapes of Yosh ino in s p r ing , go ld
“takamak iyé
”on
“ hiramé,
” r ich giobu ins ide, real ised £63 ; and a fan
shaped box,1 2 in. ac ross
,w i th des igns in go ld and
co lou r of the h i l l s of Yosh ino,etc .
,from the Hodgson
co l lec t ion,1 906 , £52 1 05 .
nashiji,’
7 Com zo/ssc /u '
li t ‘ ll t l l lt‘ t ‘ t l .
however. that
li t ‘ l t l t‘ l l l illt’ s‘
the p ic ture as
b e i ng a po r
trai t of M i s s
I sabel la -\l
t o O p i e ’
s
second w i fe.
and. l ike M i ss
l l o lc ro f t , a
friend o f the
a rt i s t . Th e
p i c t u r e was
pa i nted b
O p ie in 1 80 2 .
and exh i b i ted
at the Royal
. \ c a d e m y
(No . 2 1 8 ) in
the same vear.
Ac co rding to
.\ l i s s Ada
Harland, in
her we l l - known work, f o/ m Op ie and H is Circle, por
t rai ts of both M i ss Ho lc roft and M i ss Alderson were
so ld at Ch r ist ie’s, M arc h 1 1,1 87 1 , so that the names
of the two work s may have become acc idental ly
THE,FEAST OF T I I E GODS
t ransposed when the catalogue was made
"
D EAR Sm,Forg i ve mv troub l ing you w i th a
letter, but I have been extremel y interested to see in
the cu rrent issue of THE CON NO I SSEUR a rep roduc tion
in co lour of a p ic ture in the Lo rd M ayor ’s col lec t ion
wh ich y ou cal l [Miss Holcroft, by Op ie. The portrai t
is real l y that of my great aunt, M i ss I sabel la Alderson,
and was ori g inal ly in the possess ion of her brother,
m y grandfather , Sir Edward Hal l Alderson,Baron of
t he Exchequer,who died in 1 85 7. At my grand
m other’s death in 1 87 1 , when the p roperty had to be
d i v ided,it was so ld for the sum of £ 40 ,
I bel ieve !W hen the M ie
’
v i l le co l lec t ion was so ld my father wassent the catalogue by M essrs. Ch r i st ie, to gi ve him the
opportuni ty of buy ing it bac k for the fam i ly , wh ic h ,alas ! he cou ld not afford to do. M i ss I sabel la Alder
son died at the age of twenty—one,in 1 807. I have
a record of her in the fam i ly B i b le, wh ich has been
handed down to me . Op ie, as doub t less you know,
was c losely connec ted w i th th is fam i l y , having marriedM iss Amel ia Alderson
,a cous in of the Baron’
s. W i th
renewed apo logies for tak ing up your valuab le t ime,
Bel ieve me,yours very fai th fu l ly
,
“ RA LP H E . ALDERSON .
G IOVAN N I
1 0 2
BELL I N I
T he Alnw ickBel l in i
(20 N s '
r15 R
N A T I O N has
b een caused
b y the an
nounc ement
of the sale o f
the Duke o f
Nort h um berland’
s famous
canvas repre
s e n t i ng
B accanale or
the F east offile Gods, by
G iovanni Bel
l ini . The set
t ing is gener
a l l y held to
be that of the
country round
Cadore in the
D o l om i te s .
The com pos it ion contains in all seventeen figures. Fac i l i t ies forexam ining the p ic tures at Alnw ick ~ have not alwaysbeen eas i ly obtainab le
,even by serious students of
art- h istory in fac t,few have been p r i v i leged to form
an indi v idual op inion of the canvas,wh ic h is one of
the outstand ing works— both autograph andcom pos i te—of th i s art ist. Again
,the shape
,p roport ions
,and
l igh t ing of the room wh ic h so long contained it ratherm i l i tated against a fu l l apprec iat ion of its many beaut ies. Th i s masterp iece, wh ic h is about 6 ft. square,has not been exh i b i ted s ince its appearance at the
B r i t i sh Inst i tut ion in 1 85 6, the y ear fo l low ing its purchase from the h istor ical painter Camucc ini;
V asar i rec ords that in the year 1 5 1 4 , Alfonso,
Duke of Ferrara,had a smal l chamber p repared.
The Duke then w ished to have some p ic tures by thehand of G iovanni Bel l ini , who painted on another
wall space a vat of red wine w i th Bacc hanals inside
it—mus ic ians,
saty rs,and other men and women
inebr iated ; and near them S i lenus,w i th figu res near
by holding fru i t and grapes in their hands . Th i s work
is in t ruth executed and co lou redwi th great di l i gence,so that it is one of the most beaut i fu l works that
G iovanni Bel l ini ever d id . On th i s vat he wrote these
wo rds : ‘
Ioannes Bellinus V enetus P . and not
hav ing been ab le ent i rely to finish the p ic ture h imsel f,
be entrusted it to T i t ian to complete, as he was the
most excel lent of all the other painters.
I t is known that Al fonso of Ferrara paid Bel l ini
DOLORES OR THE DEAD B IRD
BY S IR JOS H U A REYNOLDS , P .R.A.
I n Lord G lencomwr’s Collec t ion
THE D ance of D eal/z is p robab l y the best known of
all Ho l be in’s wo rk s . In var ious forms it has attained a
c irculat ion greater than that of anyother i l lust rated book
,and is the
onl y one of all the numerous worksdeal ing w i th the same theme
,wh ich
were p roduced du r ing the M iddle
Ages,that has attained perennial
(Freder ick H .
popu lar i ty . The des i gns.
fo r it
Evans , 32 , Rosewere drawn by Ho l bein du r ing the
m ont Road, Actonyears— 1 5 19
- 1 526—h e was l iv1ng at
Base l,the same per iod in wh ic h he
p roduced his near l y equal l y famous
ser ies o f i l lust rat ions to the B ib le. W hen he left forEng land in the last—named year
, 4 1 of the des igns hadbeen rep roduced in wood b locks by the famous eng raverHans Lutz elberger, whose death inter rupted the com
p letion of the ser ies . I t was not unt i l 1 538 that the fi rstedi t ion of the wo rk was b rough t ou t by - the b rothersTreschel
,at Lyons . Th is contained onl y the 4 1 wood
cuts fini shed by Lut z elberg er, wh ich were ac companiedb y F rench quatrains by G i l les Corroz et ; a second edi t ionW ith the same number of cuts
,and Lat in instead of
F rench verses,was issued by Jean and F rancoi s F rellon
in 1 545 a thirdedition,more comp lete—also by Frellon
w i th 1 1 addi t ional cuts,in 1 547 wh i le in 1 562 the mos t
comp lete of all the ear l y edi t ions was issued,though it
was mar red by being also the worst p r inted. I t is
obv ious that an yone des i rous of rep roduc ing Ho l bein’s
des igns is faced by a cho ice between tak ing them froman ear l y edi t ion or one wh ic h
, though more com p lete,
contains cuts wh ic h,hav ing been pr inted later
,were p re
sumably st ruck off when the o r ig inal b locks were mo rewo rn. M r. F reder ic k H . Evans and M r. Arthur R.
Sab in,in thei r new re- i ssue of Ho l bein’
s famous wo rk,
have rep roduced the woodcuts from the 1 547 edi t ionthe fi rst that was prac t ical l y comp lete—and added to
them the two cuts of T/ze B ride and T/I e B rideg room ,
wh ich were fi rst i ssued in the 1 562 F rench edi t ion,and
have taken the latter as thei r autho r i ty for the verses andtexts wh ich accompany the i l lust rat ions . Thei r cho ice is
The Dance of
Deat h ,
" by
Hans HolbeinEdi t ion l im itedto 200 cop ies , onhand-.m ade p ap er
25 5 . net )
large l y jus t i fied by the resu l ts,for the i r reproduc t ions of
the or ig inal cuts attain a h igh general level of exce l lence.
They have e l im inated certain p lates wh ich were inc ludedin the 1 547 edi t ion
,v i z .
,the P it /ti (g roups of ch i ldren)
and the . l/ emento M orz'
(coat of arm s) as hav ing no con
nec tion w i th the subject of the wo rk,and 7 710 Last
j udgment as not being the work of Ho l bein. They haveal so rear ranged the o rder of the p lates so as to b r ingthem mo re into the sequence of interest . Th i s re-edi t ingof the book when no attempt at a fac - s im i le i ssue isintended is per fec t l y -justifiable, for one suspec ts thatHo l bein h imsel f had l i tt le or noth ing to do w i th the
ar rangement of the work when it was fi rst issued. He
was in Eng land at the t ime,and they never had had a
copy of the book sent to him,otherwise one wou ld th ink
that an Eng l ish vers ion of the book,so g raph ic in its
p ic tor ial i l lust rat ion and So didac t ic in its intent ion,wou ld
have been pub l i shed dur ing his l i fet ime. The p resentre- issue is one of the best' ever p roduced
,and
,indeed
,
from an art ist ic or l i tera ry standpo int,there is l i tt le scope
for imp rovement . Its p roduc t ion has obv ious l y been a
labou r of love,and nei ther labou r nor mater ial has been
spared to make it as attract i ve as poss ib le. T he repror
duc tions in l ine p rocess work by M r. Evans have beenenlarged to fou r t imes the s i ze of the or ig inals
,an innof
vat ion by wh ich Ho l bein’s des igns gain in impress i veness ,and the bo ldness andcertainty of Lutz elberger’s master l ywork can be better app rec iated. The fine photog raph icrep roduc t ions of M r. Evans are seen to great advantageby hav ing been hand p r inted on hand-made paper
,a
task wh i c h M r. Sab in has per formed w i th sym pathet i ctouc h .
The latter is also respons i b le for a num ber of the
Eng l i sh vers ions of the F rench quat rains wh i ch accom
pany the p lates ; and, wh i le fo l low ing the sense of the
or ig inal s very c losel y , has succeeded in impart ing to his.
own vers ions a freshness and ease wh ich makes themread more l i ke o r ig inal work than t rans lat ions . The
type, sett ing , and mount ing of the book fi ttingly correspond w i th the excel lence of the plates
,and it al together
forms a most des i rab le edi t ion of Ho l bein’
s famous work .
The Connoisseur B ookshelf
To M e E ditor of THE
CON NO I SSEUR.
S IR,I
— I do not know i f
you ever al low those youc r i t ic i se to
The
Wonderr e p l y
.
F O
of Workthei r c r i ticsi n y o u r
pages ; b u t t h e r e a re
some statements in you rnot i ce of my book , T/zeI/Vouder of IVorl ’
,wh ich
I shou ld l i ke to c r i t ic ise,
so that,even i f not your
custom,I w ou l d c rave
perm i ss ion to be al lowedto do so .
I do not p retend to dispute you r c r i t i c ’s op inionO f m y work as etcher or
I i thog rapher . l w o u ld
onl y say that i f my etchngs are so much betterthan my l i thog raphs, whydo e s he m ent i on as
“amongst the best of all
the i l lustrat ions in t h e
book a l i thog raph —and
then p roceed to p rai se ith igh l yAs to T u rne r
,whose
work alone, among that
of art i sts from the ear l iestt ime to the p resent
,he
s ing les out from the in
troduction to the book,I
have al ways known thatTurner was a g reat art ist
,and I have said so in The
I/Voflder of War/z,but as your c r i t i c quotes
,and I
repeat ,“ when he came to fac t he was often r idicu lous
or p i t i fu l . ” You r c r i t ic then g i ves a l ist of Turner’sworks wh ich he says wou ld condemn me for th is statement.
V ery we l l .
THE SCULL ION
Near l y all the subjec ts in the c r i t ic ’s l i stare
“ag r icu l tural
,
”and I spec ial l y said I was not
refer r ing to “ag r i cu l tural subjec ts inart in Ti m f/V 07Zdé’7'
of Work,but to indust r ial and commerc ial work ; but
inc luded in his l i st is the pr int from theL z'
oer S tudz’
orzm z,
and Lori, by wh ich I am to be spec ial l y
condemned. N ow I know th i s L z'
oer p late well, and Ihave al so looked up Rusk in
’s desc r i pt ion of it
,[Modern
P ainters,vol. iv .
,page 7 and onward. We are to ld there,
in most pathet ic and sent imenta l mus i c,all about the
func t ion and meaning of the m i l l but not that the sai l s,
as far as can be made out,are put on w rong , that they
wou ld not tu rn,that the lever wou ld notwork— at least I
never saw one l i ke that,in fac t
,the mi l l is drawn w ith
all the care lessness Tu rner cou ld c raminto it , and any
m i l ler, or anyone who has real l y drawn a w indm i l l,
wou ld tell you 50. Fur ther,the
“ lever,
”out of wh ich
1 07
Rusk in w r i ng s so muchpathos , is not a lever atall
,but a hand- rai l w i th
meal - bags hang ing on itthe real lever is the fl ightof s teps
,wh ich he never
m ent i o n s ! As to the
lock—we l l,both the sets
of gates open the w rongway , that is i f the men
work ing them mean any
th ing ! And th e upperones wou ld be smashedthe m inute the lower oneswere Opened
,onl y
,as a
matter of fact, the y cou ldnot be C l o sed
,and the
men try ing to shut themwou ld be chuc ked by thesmash - up on to the canalb oa t dr aw n ac ross the
canal,wh ich wou ld dam
up the water long enoughto drown the horse eat ingthe doc k as b ig as him
se l f. T h e c ana l b oatwou ld co l lapse
,and the
who le count ry be floodedb y the r u s h of all the
water between th is loc kand t he ne x t above !And th is wou ld onl y haveb e en th e beg inning of
the deesaslr .
”
There are mo re fac ts Of
a s im i lar natu re in th i sg reat work
,but the com
pos it ion and warm sunset are fine. But in discuss ingsome of Tu rner ’s fac ts , it is j ust as we l l to regard others
of them as fanc ies,and not be hypnot i sed by Rusk in’
s
sent iments or humbugged by Turner ’s carelessness .
N or was“ag r icu l tu re, as you r c ri t ic says
,
“the g reat
industry of Tu rner ’s time, ” any more than of any othert ime. The g reat
,the charac ter ist ic industr ial W onder
of W ork of his t ime was the bu i lding of rai l ways , and,save in S leam ,
Rain,Speed, he almost igno red it . Pro
bab l y all Rusk in’s fau l t. There is some study of bu i ldingin the L z
'
oer .
He i gnored,too
,so far as I know ,
industrial works
com p lete l y,but I am not fam i l iar w i th all the twenty
thousand num bers in the Nat ional co l lect ion.
You r c r i t i c al so says,in com par ing m y sh ipp ing to
Turner’s in Ti mHarbour,Genoa— I am honou red— that
my sai l s are not well drawn that I have onl y suggested
the sh i ps by a confused netwo rk of st rokes, and that
most of the st rokes are meaning l ess ; that I do not g i vedetai l or defini te form to any of the vessel s rep resented.
“We l l,as to the sai l s
,there are onl y two sai ls that I can
find in the l ithog raph,and they are suc h l i tt le ones , but
I do not see any th ing wrong w i th them any way . As to
BY JOH N RI LEYFROM DR. BOREN IUS
’
s“CATALOGU E OF THE P ICTURES
BY THE OLD M ASTERS AT CHRIST CHURCH , OX FORD ”
7716
want of detiniteness , as the l i thog raph was made at twi
l igh t , after the lam ps were lit , l shou ld have though tanother
c r i t ic has cal led it a masterp iece, and y ou can take you rcho ice. Yet I made th is l i thog raph because the subjec trem inded me. as did that of the 1Ve7u fi uj
'
of Bate, in
T/ u' ”inn/ar ty H'
orK', o f the mo t i ves—the same mot i veswh ich the y found in the same p lace—O f two g reat art i sts ,C laude and Turner
,whose wo rk I have al ways studied
,
and whose t radi t ions l have a l wa y s t r ied to car r y on as
best I can.
Yet g reat menmake great" messes somet imes,as Tu rner
did when he invented fac ts out of his head, and thereis no reason to be foo led by him as Rusk in was .
Yours,
JOSEP H PEN NELL.
detiniteness was the last th ing needfu l .
Adel/ M1! Terrace House,
l t‘
obert S treet,S trand.
M R I’ EN N ELL’S letter is m is leading . M y c r i t i c ism
that perhaps the best of the draw ings inc luded (inT/ze IfVo/ zder of War/e) a re t h o s e
The Cr i t i c 's n
Rep lyex e c u ted i n e t c h i ng
,has been
twi sted into the assertion that M r.
Pennel l ’s l i thog raphs are so much better than his
etch ings.
” I never infer red that M r. Pennel l cou ld notmake a good l i thog raph
,and
,when I came to one I
l i ked, was g lad of the opportunity to “ p raise it h igh l y,
though for meri ts other than those I po inted out as
charac ter i s ing his etch ings . M r. Pennel l complains thatI s ing led out his al lus ions to Turner
,but Turner was the
onl y art ist against whom he made a lengthy attack ; andthe po int in it to wh ich I took espec ial except ion was notthe assert ion that
" ‘when he (Turner ) came to fac t he
was o ften r idicu lous or p i t i fu l,
” but the mo re sweep ings tatement that Turner “
had not observed work ”or
“noted facts .
” M r. Penne l l fai led to qual i fy th i s bysay ing he was not refer r ing to ag n
’
eu ltura/ subjec ts inart in T/ze Wonder of War/c
,but to industr ial and com
merc ial work,
” for his onl y statement on the subjec tdoes not occu r unt i l seve ral pages later, when he mere l yexp resses a w ish “
to speak onl y of industr ial work,
and,as a matter of fac t
,he S ing les out many art i sts for
h i gh p rai se who never attem pted to dep i c t wo rk of th ischarac ter . I did not select any indi v idual p r int in the
L z'
ber S tzm’
z’
orum by wh i c h M r. Pennel l was to be
espec ial l y condemned,
”but ment ioned the Windm ill
and Look , in company w ith eight other subjec ts from th i spub l icat ion
,as a few instances among many hundreds in
wh ich Tu rner had Observed wo rk and recorded fac ts .
\V hether Rusk in was co r rect or not in his desc r ipt ion of
the p late is al together immater ial,as Rusk in was not
al luded to in my rev iew. I cannot acknow ledge the
correctness of M r. Pennel l ’s nar row ing theor ies regardingthe lock gates ; to me they appear to be accu rate l y drawn
,
and the men engaged in c los ing them to be in thei rp roper pos i t ion. I am not suffic ient l y versed in aerodynam i cs to know i f M r. Penne l l ’s objec t ions to the
m i l l sai l s can be sc ient i fical l y substant iated, but i fthey are not based upon a surer foundat ion than hisassertions regarding ag r icu l ture and rai l way bu i lding
,
Connoisseur
they may be dism issed very l igh t l y . M r . I ’ennell flat l ydenies that “
the great industry o f Turner ’s time was
ag ricu l ture,
and subs t i tutes for it the“ bu i lding o f
rai l ways .
”N ow, dur ing the g reater po r t ion of Tu rner ’s
l i fe rai l ways did not even ex ist ; the Li verpoo l andM anches ter Rai lway—the fi rst th i rty -m i le stretch everbu i l t—was not opened unt i l he was fifty
-six,and at the
t i tu c of h is death rai l way makers and workers comb ineddid not amount to a t i the of the number of agric u l tu ralworkers . M r. Penne l l asserts that Tu rner “ igno redindustrial wo rk comp letel y,
”and imp l ies that the art i st ’s
record o f non-ag r icu l tural wo rk is confined to his S team,
Rain,and Speed, and
“some study of bu i lding in [be
L it/er”
; but in his reference to C laude,he g i ves the
latter espec ial p rai se for finding the “ W onder of W o rkin commerc ial harbou rs dom inated by necessary l i gh thouses and in hust l ing c i t ies .
”Is he ignorant of
Turner ’s more numerous records of s im i lar themes ? I fso
,he is scarcel y qual i fied to c r i t ic i se the art i st ’s work ;
i f not,wh y does he, in The I/Vona’er of War/e
,ho ld up
Turner mere l y as an unsuccess fu l im i tator of C laude ?W i th regard to M r. Pennel l ’s com p laint about myc r it ic i sm of his Harbour
,Genoa, I said nothing about
his sai l s not being we l l drawn ; I must confess,indeed
,
I never real i sed that he had intended to draw any . He
asserts that he has discovered two,but
,so far
,I have
fai led to find them . P robab l y some of m y adversec r i t ic ism on T/ze I/Vonder of I/Vor/e may have resu l tedfrom my hav ing di fferent concep t ions to those he ld byM r. Penne l l as to the meaning of th i s ph rase. M r.
Penne l l takes a we l l - known sentence from W h ist ler tosuggest his idea ; show ing
“how in London ‘
the poorbu i ldings lose themse l ves in the dim sky , and the tal lch imneys become campani le
, and the warehouses are
palaces in the nigh t,and the who le c i ty hangs in the
heavens , and fairy land is. before M r. Penne l ladds :
“That is the gospe l of Tbe lVona
’
er of bVor/e.
’
N ow,W h ist ler ’s statement is perfec t l y log ical ; he was
p reach ing no gospel,but Show ing how the darkness of
ni gh t vei ls the ug l iness of mean and uns igh t l y th ings,
and,by enve lop ing them in m ystery
,renders them fit
subjec ts for the art ist . But where does the“ wonder
of work ”come in ? Is one to infer that M r. Pennel l
cons iders work in all its aspec ts to be so wonder/ MWug l y that it shou ld be onl y dep ic ted when the l igh t issuffi c ient l y dim to vei l its true appearance ?
M R. PENNELL ’S p reface and much of the substance
of his notes to his Pictures of I/Var I/Vorb in E ng land
m igh t be e l im inatedw i th advantage.
The former is rendered redundantby the exce l lent introduc t ion w r i ttenby M r. H . G . W e l ls
,w h ich says
all that is necessary ; wh i le the
notes are onl y usefu l when they
P ic tu res of
War Wo rk in
England,"by
Josep h Pennell ,w i th an Int rodu c tion by
ch'
i omc le defim te fac ts . The imH . G . W ells
po rtance of the work,however, 15
(W i l l iam Heinenot to be measu red by its author s
m ann. 68 . net )l i terary cont r ibut ions
,but by his
draw ings and these are very good— better on the who le
7 726?
M OST peop le who go to Ox fo rd v is i t the Hal l at
Ch r ist Church ,but re lat i vel y few pass into the adjo ining
I’eckwater Q uad to see the p ic turesin the l i b rary . Indeed, a v i s i t to therather fo rb idding and uninfo rm ing
D r. Boreniu s'
s
Cata l ogue of
P i c tu res by t heO ld M as ter s in
the L i b rar y o f
C h r i s t Chu rc h,
O x fo rd
exh i b i t ion- rooms on the g round floorhas hardl y been cal c u lated to leadthe average tou r ist to insc ri be th isi tem O f his tour on the tab lets o f hismemorv w i th a c
‘
rt'
ssa nota . How
many t imes has the p resent w r i ter v iewed,fi rst w i th
amazement and then w i th amusement,the t ime-worn
,
tat tered s l i ps o f paper wh ich too long passed as labe l s.
”
\s the y ears wo re on, and the pos i t ions oc cup ied by the
p ic tures came to be regarded almost as thei r finalrest ing - p laces , manv o f them assumed a pecu l iar and
not - ver y - wel come aspec t wh i ch dist ingui shed them fromthei r fe l lows. W here there was no morpho log icalc harac terist ic in the paint ing
,the c rum p led labe l had
o ften co l lec ted a pecu l iar nest o f dust on its lower edge.
O r its spec ial featu re m igh t be the penc i l - record o f
5 op inion o f 1 83 5 , reinforced in 1 850 , the con
sidered v iew o f some M orellian a generat ion later,or
the fortunate - recorded attr ibut ion of M r. Berenson on
his latest v i s i t .
The unquest ioning layman m igh t from th i s verySpec iousness of ant iquated IOre onl y too eas i l y persuadeh im se l f that he had had the good fortune to “
bag” in
a s ing le room a coup le of M argaritones, a coup le and a
hal f o f C imabues,and a brace and a half of G iottos !
For did not the“ labe l s say so ? And was he not
al so lucky to come upon a wo rk hang ing near by,and
ass i gned to that t ru l y m y th ical painter Alissio’
(sic)B onderett i (s ic) ? Perhaps a wanderer who had strayedout of the beaten t rack to some such inac cess i b le p laceas M onte O l i veto M agg io re, Sub iaco,
or Todi,in searc h
o f ant iqu i ty rather than beauty,m i gh t regard these
offi c ial t ime- battered attr i but ions w i th some of the
venerat ion accorded to the super - sc ratch ings on a
pa l impsest . B ut even the sc r ibe who left his markon the once - used parchment did not , in his care lesst ransc r ipt ion, perpetrate qu i te so many er rors as wereafforded unt i l recent l y by the Ch r i st Church “ labe ls .
”
Even the mere nov ice in art h i story,i f accompanied by
an inform ing friend, wou ld learn that “ Alissio Bonderett i ” was the c reat ion of an over - fecund imag inat ionthat had not p ierced the g loom ex tending bac k to the
fi fteenth century,in wh i ch l i ved that att rac t i ve F lorent ine
painter , Aless io Baldovinetti,who
,by the way , did not
paint the p icture (N O . 43 ) once ass igned to h im . But i fthe less - c redu lous were di sposed before long to scoff atthe aforesaid t ime- consec rated labe l s
,how were they
to app rai se the sheets O f th ic k paper in eac h roomwh i c h passed as the hand- catalogues ? M o reover
,were
not the at t r ibut ions in the hand- catalogues in st renuousconflic tion w i th the two ,
t h ree,or four names wh i ch had
long been sc r ibb led,sc ratched out
,and again sc ratched
in on those bothersome b i tsi
o f paper to wh ich we haveal ready refer red ? In fac t
,it onl y needed the quest ion
ing look of a fe l low—v i s i to r (who m igh t perhaps recal l
I I O
Connoisseur
Hal lam ’
s ment ion O f the ce leb ri ty o f Ox ford’
s scho l ast icdispu tat ions ”
) to draw fo r th an exchange o f op inionwh i ch almost instant l y developed into m i ld badinage.
But these unregenerate da y s have now passed away,as
D r. Bore nius ’s Catalogue of P irtnrrs by M e O/d [ Was/ersin M y Library of C/l rist C/ mrr/l
,pub l i shed
at 55 . not by the Ox fo rd Uni vers i t y P ress and M r.
l-l umphrey M i l ford,
conc lus i ve l y p roves. The Intro ~
duc t ion p laces before us a succ inct summar y o f the
h i sto ry o f the co l lec t ion,wh ich owes its foundation to
General G u i se,whose death is recorded in the Gentle
man’s Alag az z
’
ne for 1 765. I t seems that the L i b rarywas no t com plete l y finished unt i l 1 76 1 , a year after theGeneral had made his w i l l . Subsequent to the Gui seBequest
,wo rks were p resented in 1 828 by the Hon.
\V . T. H . Fox - St rangeway s, who, hav ing spent much t ime
in F lorence as a young man,eventual l y became fourth
Ear l of I lchester. (Cu r ious l y enough , there is no port rai to f him to -day at Ho l land House. ) M oreover
,M i ss
Lando r and M i ss Duke,in 1 897, p resented many wo rks
wh ich had once formed part of the co l lec t ions of Wal terSavage Lando r in F lorence.
The pedig rees of very few o f the i tems in the co l lec t ionhave been handed down or can be now ascertained.
M o reover,the majori ty of the 34 1 paint ings are of l i tt le
aesthet ic or financ ial value, and, even s ince they have
been s i fted w i th the scho lar l y care invar iab l y shown inthe wo rk of D r. BOrenius
,thei r asc r i pt ions are vague .
Th ree hundred of them belong to the var ious schoo l s ofI tal y
,and a certain p roport ion O f the ear l ier works have
that attrac t ion and Sp i r i tual content wh ich always accompany pr im i t i ve art . The F lem i sh
,F rench
,German
,
Dutch and Spani sh schoo l s together p rov ide us w i thth i r ty others
,and the c lass i ficat ion c loses w i th an ex
am p le of the seventeenth - centu ry Eng l i sh painter johnRi ley
,T/ze Seal/ion
, andan ear l y port rai t by Reyno lds.
W hen we cons ider how many cop ies and al togetherneg l ig i b le canvases are here catalogued
,and that onl y
fi fty- five have now a defini te attr i but ion
,it is to be
reg retted that the autho r has l im i ted h is notes,as
now pub l i shed,to the p i c tu res at p resent on v iew in
the L ib rary,and has thus made no mention what
ever of the autho rsh ip,subjec t
,or measu rement of the
fo rty nondesc r i pt wo rk s St i l l remaining in store. Again,
we cou ld have w i shed to have some desc r ip t ion,how
ever short,of those wh ic h may now be inspec ted
but are not inc luded among the S ix ty - fou r i l lust ratedpaint ings.
D r. Borenius quotes certain passages from W aagen,
who he ld that whoever sees Ox fo rd for the fi rst t ime
has seen an ent i rel y new th ing and laid in a sto re of imp ress ions as ineffaceab leas they are novel
,
” but p robab l yow ing to an inaccu rate reference ourauthor fai led to note
that Tne B u tc/zer’s S /lo/fi g i ven to Annibale Carracc i
offended the German c r i t ic (page 47) by“the vu l gar i ty
of the idea. M al vas ia w i l l be searched in vain,we
th ink , for any confi rmat ion of the tradi t ional c i rcumstances under wh i ch th i s large canvas came to be painted. (By the way , it al ways used to be hung too h igh inthe L ib rary
,but perhaps th i s is no
'
longer the case. l
T/ee Connoisseur B ookshelf
Our author m igh t w i th advantage have po inted out thatthe smal l up r igh t pane l b y Sano di P ietro (N o. 72 ) is in
compos i t ion and techni que c losely related to, but judg ingfrom the i l lustra t ion infer io r to
,the [ Madonna w it/z M oo
S aints and 1700 Ang els in the co l lec t ionof M r. Berensonat Sett ignano. W e may remark that the same p r i vateco l lec t ion near F lorence contains a [Madonna by LorenzoM onaco wh ich exceeds in beauty that here ass i gned (N o .
19) to an unknown pup i l o f Lorenzo,wh i ch has also
points o f contact w i th paint ings o f the same subjec t in theco l lect ion of Conte Vec ch iett i at B i bb iena
,in the Louv re
,
and at Ber l in. I t is di fficu l t to understand on what
gi ounds the autho i wou ld p lace the b i 1 th of Co1 regg io
“sho i tly before a date five years ea1 lier than that
usual l y ac cep ted. F urini’
s death may have taken p laceth ree years later than the date here g i ven
,a remark
wh i ch app l ies al so to Cal car . There can su rel y be l i tt ledoub t that Baroc c io was bo rn in 1 526 , and Catena may
we l l have been born ten years ear l ier than the date hereoffered. In any case, we cons ider it imposs ib le to fix thedeath of Pontormo anyth ing l i ke as ear l y as 1 537. W e
mo re usual l y read of Bernardo than Bernardino Stroz z i ,who
,like I ppo l i to Galantini, was nic k -named not onl y
I] P rete Genovese,as our autho r po ints out
,but also
Cappucc ino. In a book s ingu lar l y free from typog raph ical er rors we have found onl y two m is - spel l ings—in the name of the B u rgomaster painted by Calcar
(N o . 20 1 ) and in the title o f N o . 206 . Seeing that thep resent author has had to some ex tent to make b r ic ksw i thout st raw
,and yet has taken his own l ine w i th con
sp icuo us enterp r i se and c r i t ical judgment,he is to be
cong ratu lated on ach iev ing a fu l l measure of success .
M . W . B .
A D iary of the G reat Warr ," by Sam l. Pep ys , jun .
(SS . net ) ;“ War Phases ac cording to M ar ia
,
"by M rs .
john Lane (2 5 . 6d. net ) : Our Hos p i ta l A B C,
"
Pic tu res by o ce Dennys , V er ses by Ham p ton Go rdonand M . C. Tindall (3 s . 6d. net ) (John Lane)
I F g rat i tude is to be measured by benefi ts recei ved,
we owe a heavy deb t to Eng l ish humor ists for thei rserv ices du r ing the war. That we have nei ther g i venway to unmanl y panic
,nor lost hope when the po l i t i cal
hor i zon was mos t teneb r ious w i th g loom,is large l y ow ing
to the i r efforts. Zeppe l ins have v is i ted us,submar ines
devastated our commerce,and the second m igh t iest fleet
in being,assemb led w itliin a da y ’s easy steam ing in
readiness to raid our unfortified coast towns, yet there
has been nei ther te1 ror nor m isg i v ing, for how cou ld we
be fear fu l when ou 1 w i tt iest authors and at tists wereinc i t ing us to laugh ter at the humorous aspec t of suc hdangers ? And so fleets and arm ies
,wh i ch m igh t other
w i se have been kept at home to a l lay alarm,have been
rendered free and mob i le for offence. Another serv ice,
hardl y less important,that humo r i sts have rendered
,is
to good- naturedl y expose the unconsc ious h ypoc r i sy of
that large sect ion of the communi ty who make pat r iot isma c loak for sel f-advert isement
,and decei ve t hemse l ves
into be l iev ing that they are he l p ing’
in war work when
they are merel y wo rk ing for thei r own soc ial or pecuniaryadvantage. M rs . john Lane
,in her I/V ar P /zases
according" to M aria
,and the author of A D iary of tile
Great I/Varr , who w r i tes under the pseudonym of Samue lPepys
, jun.
,have done yeoman wo rk in t h is di rec t ion.
The D iary has al ready reac hed its fi fth edit ion, and,
judg ing by its del i ght fu l humou r, the keen ins igh t intohuman nature wh i ch it di sp lays , and the v i v id p ic ture ofwhat may be termed the egot ist ical s ide of London war
l i fe it p resents , there is no reason wh y it s hou ld not
doub le the num ber of its edi t ions. Pepys , h imse l f a
l i tt le'
more egot i st ical than his famous ancestor , sedu lousin effect ing econom ies wh i c h shal l not inter fere w ith hisown com fort
,ever mak ing reso lut ions onl y to evade
car ry ing them out, and c redu lous of all the goss i p concerning the war, is inim i tab l y drawn, and his c lub
c ronies , i f m o re s l igh t l y sketched,are equal l y good.
Best o f all,perhaps , is the record it g i ves o f the war
from day to day , and the contempo rary rumours concern
ing it and the Government . In th is way it forms a v i v idp ic tu re of the t ime th rough wh ich we passed, and the
amaz ing stor ies wh i ch were passed from mouth to mouth ,most of wh ich never gained the digni ty of p r int . The
i l lust rat ions are wo rthy of the text,M r. M . W atson
W i l l iam s portray ing the di fferent personages ment ionedin the diary w i th a keen eye to thei r charac ter i st ic s, andreal is ing them w i th a humou r that is never fo rced or
exaggerated ; wh i le the individual p lates are marked bygood l ine wo rk and fine decorat i ve qual i ty in the ar rangement of the mas ses o f b lack and wh i te.
M rs. john Lane’s M ar ia has al ready been introducedto the pub l ic . She is one of those charac ters whom once
we meet we fee l that we have al ways known. The war
has not al tered her one wh i t it has mere l y di verted her
attempts to get Soc iety into another c hanne l , and caused
her to adopt var ious fash ionab le econom ies wh ich,in
the long run,general l y serve onl y to inc rease expenses .
M ar ie ’s naive/e is al ways de l igh t fu l ; her egotism is so
art less and t ransparent that it commands the readers’
sympath ies, and they become her stalwart part isans inher effo rts to v ie w i th the equal l y egot i st ic though farmore c lever M rs. D i l l - B ink ie. The ep i sodes o f M ar ia’sencounter w ith the Duc hess
,her rout of the redoub tab le
M rs . D i l l - B ink ie by reveal ing the latter ’s di re margarinesec ret, and of the convalescent who fled bac k to the
t renches because his face was near l y all washed away ”
by the_
amateur nu rses , are among the best of the scenes
in a book wh i ch is b r im full of humou r, sh rewd observat ion
,and good-natu red sat i re from fi rst page to last .
M iss A. H . F ish,who has added a new phase to war
humour by her inim i tab le E ve draw ings, is espec ial l yhappy in her i l lust rat ions. She has hit off the eng ross ingearnestness of M ar ia’
s indi v idual i ty to a ni cety,and the
air of suburban smartness wh ich she manages to impar tto the latter ’s most resp lendent att i re
,more by suggest
ing that M ar ia is fu l l y consc ious of its gorgeousness thanby dep ic t ing it as not conform ing w i th the latest dic tatesof fash ion
,is a sh rewd p iece of charac ter isat ion. M iss
F ish ’s econom y of l ine and the comp lex env i ronment o f
twent ieth - century l i fe in a method wh ich ent i re l y discards
T/z e Calum/wear
rea l i s m and i s es sent i a l l y d ecorat i ve in i t s a i m ,makes
her w ork h igh l y interest ing t rom an a rt i st i c st and po int .t h i rd top i ca l work , emanat ing from the same pu b
lishing house, is Our a / u'
lu/ -'
I I f C, an al phabeta ccompanied b y fac i le and easy verse by M ess rs .Ham p ton G ordon and M . C . T inda l l
,i l l u st rated b y
p la tes in co lou r a fter c lever d ra w ing s by M i s s j oyceDenny s . The d r aw ings t ake o ff the hum ou rs o f hosp i t a ll i fe w i t h unfa i l ing good nat u re, and wou ld seem to denotean int i mate acq ua int ance by the a rt i s t w i t h the scenesshe dep ic t s . They are marked by a ha ppy power ofcha rac teri sa t ion, sound d raught smansh i p , and an ab i l i t yto a t ta in h i gh l y effec t i ve resu l t s w i t h s i m p le fla t w a sheso f co lou r . l’ robab lv no book that h a s been pu b l i shedlatel y w0ttld be more w elcome as a g i ft to the numerou sm i l i t a ry hosp itals and conva lescent homes
,wh i ch are
appea l ing for l ight l i tera t u re,for i t wou ld cer t a inl y
p rovoke many a hea rt y l augh from bo t h pa t ient s and
nu rs ing s ta f f.
IT is unfort unate for the post h umou s fame of Augu st u sWel b y N orthmore Pug in t hat h i s name i s not more
genera l l y a s soc i a ted w i t h the bu i lding of the Houses o f Pa r l i ament a tW es tm inster. Th i s may not con
stitute the mos t p e r fe c t G o t h i cb u i ld ing o f i t s t i m e
,b u t i t i s
unq ues t ionab l y the l a r g e s t and
mos t i m p res s i ve,and the one t hat appea l s most st rong l y
to the popu la r i mag inat ion. Though B arry p racti
ca l l y monopo l i ses the c red i t o f t h i s,he had Pug in
as co l laborato r,and the la t ter was respons i b le for mos t
o f the Goth i c t racery and ornament wh i ch const i t u tes
s u ch an i m por t ant feat u re of the wo rk,and wh i ch p ro
bab l y no otherman a t t hat pe r iod cou ld have su ccess fu l l yevo l ved . O t her of h i s i mpor t ant work s inc luded the
Roman Ca tho l i c ca thed ra l s a t Sou th w a rk and K i l l arney ;bu t perhap s h i s g rea tes t ach ievement was sho w n les s inac tual d es ign than in the lead ing par t he took in the
rev i va l o f Got h i c arch i tect u re. B y examp le and p recep the led the way
,from the S t ra w berry H i l l Go th i c ini t i ated
by W’
a l po le to the bes t and pu res t form s wh i ch were tobe found in the F rench and Eng l i sh bu i ld ings belong ingto the great per iod s . One o f h i s mo s t u sefu l contribut ions to w ard s th i s end was h i s wel l - kno w n book On
Got/tic Ornaments,for w h i ch he made some hund red s of
det a i led d rawings,i l l u s t rat ing every descr ip t ionof decora
t i ve det a i l w h ich i s exemp l i fied in the Got h i c bu i ld ings ofEngland and France from the elevent h to the beg inningo f the s ixteent h cent u ry . P ug in b rough t an a lmos tunri va l led archaeo log ica l know ledge and a finely ed u catedeye to ai d h i m in hi s t ask , and h i s selec t ion of p rac t i ca lexamp les of the best k ind o f Got h i c work s t i l l rema insone of the most u sefu l work s o f i t s k ind to the work ings t udent . Orig ina l ly i s sued in 1 83 i , and aga in rep rod ucedin 1 854
—two years after Pug in’s deat h—bo t h ed i t ionsh ave long been out of p r int . I t seem s a l i t t le su rp r i s ingt ha t a th i rd ed i t ion of t h i s va luab le work ha s not beenp u b l ished before
,bu t the .new ed i t ion now pub l i shed i s
onl y the more wel come on t h i s account . I t i s hand y in
NEARLY a cent u ry has elap sed s ince W ash ing tonI rv ing w rote Rip Van bu t o f the many i l l u s
trated ed i t ions of the s tory i t i sques t ionab le whether any h a v ebeen more who l l y charm ing t h anthe onei s sued in 1905 , embel l ished
Rip V an W in
k le," illu s t ra ted
by A r th u r Rackham . (W illiam w i t h M r . A rthu r Rackham ’s deHem em ann l igh t fu l des igns . Severa l ed i t ions63 . net ) have appeared in the interva l
,and
now a fresh one ha s been i s sued a t a popu lar p r i ce.
Abou t half the co loured p lates of the or ig ina l have beenel i m ina ted , bu t , as some com pensa t ion
,severa l fresh
des igns in b lack and wh i te have been added,and the
number st i l l ret a ined— over twenty— inc l udes the bu l k oft hose concerned w i t h Rip V an W ink le h im se l f. M r .Rackham has entered thorough l y into the S p i r i t of thes tory ; whether in h i s d ra w ing s of the hero,
h i s w i fe and
ch i ld ren,or the l i t t le men p lay ing a t ninep ins , he
a lway s interp ret s the ‘au thor in a conv inc ing manner,set t ing do w n every det a i l ment ioned in the na rrat i ve,and su per im pos ing on every scene a charm of manner, ada inty w h i ms i ca l i ty of fancy , and an ins t inct i ve feel ing
fo rm , excel lent l y p rinted , and the rep roduc t ions of l’ ug in’sd raw ings do fu l l j u st i ce to the orig inals . The work i sthe mo re va l uabl e becau se these d ra w ings were made b ya p rac t i ca l a rch i tec t thorough l y cogni sant of w hat feat u resto selec t and em pha s i se. They i l l u s t r ate numero-as
speci mens o f w ood -wo rk as wel l as s tone, and, w herever
neces sa ry , the sect ion o f the carv ing as well as the frontv iew i s g i ven. A s a book for st ud y or reference i t i sdifiicult to over - commend i t s va l ue to the young a rch i tec t .
A VALUAB IJ Cadd i t ionto t he Co l lec tor ’s Pocket Series,
ed i ted by S i r J ames Yoxa l l , M . P .,i s the vo l ume on old
l u s t re ware by M r . W . Bosanko .
The work t reat s on a su bjec t on
wh i ch com parat i vely l i t t le has beenw r i t ten
,and i s not a. mere comp i la
P k St ion, bu t i s informed w i t h much
0c at,
er iesorig ina l research . Perhaps onemay
(W. Heinem annques t ion the t i t le of the work a s
2 5 . 6d. net ) being too b road for the scope of the
lat ter, for M r . Bosanko makes p ract i ca l ly no a t temp t todea l w i t h any wares bu t Eng l i sh . On t hese
,ho w ever
,he
w r i tes w i t h authori ty,t rac ing the deve lopment s of a l l the
d i fferent forms o f lustre from the t i me t ha t i t s manufact u re was int roduced into - t h i s count ry up to the midd le of
the las t centuryf He i s not a fra id o f contes t ing op inionsad vanced by ear l ier w ri ters
,and in every case b rings
forward sub s tant i a l ev i dence to support h i s v ie w s . He i sab le to i dent i fy mos t of the ind i v i d ua l types of w are w i t hthe fac tor ies from wh i ch they emanated—a by no meanseasy task , for the a t t r ibu t ions g i ven to p ieces are oftenh igh ly cont rad i c tory
,and in many inst ances t hey are
a l lot ted to makers w i t h whom they have no connect ion.
The i l lu st rat ions to the vo l ume are we l l rep roduced andselected from charac teri s t i c examp les
,and
,a l together
,
the a u thor may be congratu la ted on hav ing p roduced ausefu l
,au thor i t at i ve, and wel l -wr i t ten book .
Co l lec t ing OldLu s t re Wa re,by W . Bosanko
Co l lec to r ’s
T/z e Cormoz'
ssez zr B ookshelf
for beau ty w h i ch are pecu l i a r l y h i s own. Tastefu l l ymounted and wel l p rinted , the vo lume fo rm s one of the
mos t a t t ract i ve of the season’s i s sues .
TH AT dainty l i t t le Amer ican per iod i ca l The Pr intCollector
’sQuarterly
”contains some unusually interesting
art i c les t h i s mont h . That by M r.
The Print G . A . W i l l i am s on “ Robert H ave l]
,
Co l lec tor 5 J unior,
”the eng raver O f Au d ubon’s
Q uar terlyT/ze B irds o/ Auzer z
’
m,i s obv iou s l y
the fru i t of much or ig ina l researchand forms a va lu ab le add i t ion to
Ang lo-Amer i can b iography . M r .FrankW eitenkamp f wr i tes lea rnedly on Fant in Latou r ’ s l i t hog raphs
,
t hough one w ou ld suspec t t hat in h i st rans fer work the ar t i s t d id more retouch ing on the s tonet han M r. W eitenkamp f sugges t s . O ther cont r i bu t ionsinc l ude “
Corot as a L i t hographer , ” b y M r. W . A . B rad
ley , and“ Ado l f V on M enzel
,by M i ss E l i zabet h Lu ther
Cary . The nu merou s h a l f - tone i l l u s t rat ions are wel lse lected and adm i rab ly p r inted .
(Pu b l ished for theM u seum of F ine
Ar t s,Bo ston, by
Hou gh ton M iff l inCo . , Bos ton32 a y ear )
I N T/zeRomanceof a Rap / me! M r . A . E . Rav ina w r i tesan interes t ing monog raph on a p i c t u re now in the posses
s ion of M r . Hough ton,of B rom lev ,
Kent,wh i ch the au t hor at temp t s
to sho w i s a por t ra i t o f V i t to ri aCo lonna by the famou s Um b r i anmaster . P robab l y the mos t con
v incing ev i dence on a m at ter of thisk ind
,where no d i rec t document a ry proo f can be add uced ,
wou ld be the favou rab le tes t i mony of some of the lead ingau thor i t ies on Raphae l ’s work . M r. Rav ina
,ho w ever
,
fa i ls to p rod uce t h i s, and unt i l h i s Op inions are re inforcedby t hose O f o ther ex pert s , i t i s p robab le t ha t the d i scerning reader w i l l ho ld h i s verd i c t in abeyance. The p i c t u repos ses ses no ped igree
,bu t so many mas terp ieces have
come to l igh t w i t hou t t hei r h i s tor ies hav ing been dis
covered that t h i s fact need not w eigh undu l y aga inst i t sa u t hent i c i ty . M r . Rav ina shows how,
t h i r ty yea rs a fterthe dea th O f Raphael ’s fr iend and pat-Ton
,B a ldas sare
Cast ig l ione,a m i rror w as d i scovered in h i s house w h i ch
Opened w i t h a secret sp r ing , and ins i de the mi rror was apor t ra i t O f a l ad y by Raphae l , toget her w i t h two sonnet sin the hand w r i t ing O f Cast igl ione ex p ress ing h i s hopeles spass ion for her. The p i c t u re d i sap pea red
,and Bet t a
N egrini, the h i s tor i an O f the Cas t ig l ione fam i ly,who
recorded the d i scovery , onl y descr ibed i t a s “the por t ra i t
of a very beau t i fu l and mos t i l l u st r iou s lad y by the handO f Raphae l . ” Sub sequent w r i ters , apparent ly w i t hou t dueau thor i ty
,j um ped to the conc l u s ion t ha t the l ad y repre
sented was E l i zabet t a Gonzaga , w i fe of B a ld assa re’smaster
,the Duke Urb ino ; bu t as at the t i me of the
wr i t ing of the sonnet s E l i zabet t a was a w i do w of for ty - s ix— severa l years o lder t han h imsel f— it is ha rd ly poss i b let hat Ba ldassare cheri shed a sec ret and hopeless passionfor her. On the ot her hand , M r. Rav ina b r ings fo r w ardev i dence wh i ch show s that i
it was qu i te feas i b le t hat thepoet cheri shed a pass ion for Eliz abetta’s niece
,V i t tor i a
The Romanceof a Rap hae l , " byA . E. Rav ina(G raf ton 8: Co .
5 5 . net )
1 1 5
Co lonna ; t hat the p i c t u re c lose l y correspond s w i t hV i t tor i a ’ s known por t ra i t s and a l so w i t h Raphael ’s worka t the per iod
,and t h at i t answers to the descr ip t ion o f the
p i c t u re refer red to in Ba ldassare’s sonnet s . The w r i terconfi rms h i s c ontent ions w i t h numerou s rep rodu c t ionst aken from Raphael ’s p i c t u res and oth er por t rai t s of
V i t tor i a,and i f
,a s h as a l ready been sa id , he does not
p rove hi s case,he at leas t inves t s i t w i t h grea t pro
bab ility . The l i t t le vo l ume i s ab l y w ri t ten,and the
ev i dence,wh i ch has been co l lected from many sou rces
,
i s p resented w i t h g rea t forens i c sk i l l .
I N T/z eHuman Trag edy M . Ana to le F rance retel l s theO ld legend of Fa us t and M eph i s topheles
,b u t p resent s it
in a d i fferent s e t t i ng and w i t hd i fferent charac ter s enac t in g the
p r inc ipal p a r t s . M a r l ow e and
Goet he p resented the fa i l u re O f manto at t a in happ ines s t h rough knowledge. M . F rance g i ves the reverse
s ide of the p i ct u re— the los s of man’s happ iness cau sed byh i s ga in of know ledge. H i s hero, F ra Giovanni , i s ahum b lemonk o f t he order o f St. F ranc i s , who endeavou rsw i t h naive s i m p l i c i t y to fo l low l i tera l l y the p recep t s of
h i s pat ron. For a t i me a l l goes wel l w i t h h im ,for
t hough he meet s w i t h contemp t and persecu t ion, h i sconsc iou snes s of h i s good intent ions and h i s fa i t h t hat a l lh i s ac t ions are p romot ing the cau se of r ighteou snes sca u se h i m to regard h i s unmeri ted su ffer ings as a p r i zeof v i c tory—the w inning of the crown of marty rdom .
Sat an in var io u s gu i ses imp lant s doub t s in h i s hea rt b yshon h i m tha t h i s act ions are p rovocat i ve O f ev i l a sw el l as good ; t ha t no s ing le t ru t h i s who l ly t rue and
,
fina l l y,b y resc u ing h i m from p r i son
,and let t ing h i m
tas te some of the del igh t s O f the wor ld,leaves h i m w i t h
h i s s i mp le scheme o f happ iness shat tered, yet unreg ret fu l
becau se, t h rough i t s loss , he has t as ted the fru i t of theknowledge O f good and ev i l . ” The a l legory p resent ssome of t he deepes t p rob lems O f mora l ph i losoph y
,and
,
i f i t leaves t hem unso l ved,i t i s becau se every reader
mu st so l ve t hem inh i s own w ay . The charm of the worki s much heigh tened by the beau t i fu l manner in wh i ch i ti s p resented . The p lates
,in co lou r
,from dra w ing s by
M . M i chel Sev ier,wh i ch serve as i l lu s t rat ions
,are espec i
a l l y good . Conce ived in the same s ty le a s the m ini at u rep ic t u res form ing an adornment to O ld i l lum inated manus c r ip t s
,t hey adm i rab l y sugges t the medimval env i ronment
of M . F rance’s narra t i ve,and
,by g i v ing an ai r of re
moteness to the scenes rep resented,make the s t range
happenings wh i ch occ ur among t hem the more c red i b le.
The ar t i s t , moreover , shows a l i vely feel ing for fine co lou rand we l l - ba lanced decora t i ve arrangement
,wh i le he ha s
not perm i t ted the arch a i c s ty le w h i ch he has adop ted tohamper h i s power O f dramatic exp ress ion or of p resent inga scene v i v id ly and w i t h fu l l a t tent ion to the det a i l s 0
the set t ing . M r . A l fred Allinson,who i s respons i b le
for the t rans lat ion,has made the Engl i s h ver s ion read
w i t h the ease and ch a rm of an or ig ina l,so t hat a l toget her
the pu b l i shers may be warm l y congratu lated on t hei rp resentment of M . Anato le F rance’s la tes t w ork .
The HumanTragedy
,
” byAna tole F rance(Joh n Lane1 05 . 6d. net )
lT 'is diti icult to find an inc l u s i ve t i t le for the exh i b i t iono f earlv Engl i sh w ater - co lou rs held a t the B u r l ing ton
The Herber tHorne Co l lec t iona t the B u r l ing tonF ine A r t s Cl u b
co l lect ion,lent
F ine A r t s C l ub ( 1 7, Sav i le Row ) .I t com p r i sed the H erbert Hom e
b y M r. Ed w ardMarsh , i t s p resent happy possesso r,and eigh teen exam p les by A lexan
der Cozens borrowed from var iou s co l lec to r s to re inforcethe a l read y s t rong rep resenta t ion of th i s a rt i s t among theH om e d ra w ings . The Cozens work s a l l to ld
,ho w ever
,
d id not com p r i se more t han a fi fth of the exh i b i t s,and
among the l at ter w ere item s o f eq u a l or even g reaterind iv i d ua l interest .rcgardedCoz ens
as the fat her o ft h e B r i t i s hschoo l of w aterco lou r pa int ing .
One wou ld be
m o re d i sposedto enter tain the
c l a i m i f t h e
adjec t i ve “mod
ern”
was p re
fi xed . \Vaterco lour pa int inggoes back to the
days of illum ina ted m i s s a l s
,
and i t may be
su spec ted t hati f an adeq uaterep resent a t iono f B r i t i s h ar tfrom the ear l ies tper iod s c o u l dbe gat hered to
gether,a l l t h e
links in thechain
b e t w een t he
work of t he Celt i c i l l um inatorsin the seventhcent u ry and the
imp r e s s i on i s t
The l ate M r . Horne unequ i voca l l y
LOW ER PA RT OF PA I NTED BOOK CASE
1 1 6
work of to- day wou ld be found exem p l i fied . Cozens ,who was the nat u ra l son of Peter the G rea t , p rac t i sed ata t i me when Eng l i sh water - co lou r pa int ing was a lmos tinonOpolised by topog raph i ca l art i s t s ; i t was an epochwhen the Engl i sh pa t r i c i an had become a t ravel ler, anddes i red v iews of the p laces he had v i s i ted or ough t tohave v i s i ted . The l and scape d raught smen of the t i meocc up ied the role w h i ch i s now fi l led in a more humb lemanner, t hough w i t h a grea t l y enlarged pat ronage
,by
makers of pho tog raph i c v iews and p i c t u re pos t - ca rdp r inters. S i de by s i de w i t h t hese men were a number ofart i st s whose work cons t i t u ted a p rotes t aga ins t merelytopograph ica l record
,and who p laced tone
,feel ing
,and
compos i t ion ash igher qu a l i t iest han the superficial r e a l i s mthen in vogue.
A lexander Cozens w as amongthe ear l ies t of
t hese. Thedate
of h i s b i rt h i snot kno w n
,bu t
hewas thesenior
of R i chard W ilson by at leasta decade
,and
came to Eng
l and,a fter com
p leting a longcou rse of s t ud yin I t a l y
,in 1 746
_ tli ree years before the youngera rt i s t set off forthe lat ter count ry
,and nine
before he set uph i s ease l inLondon
,
a s a lands c a p e a r t i s t .
W i l s on,wh o
had no pr i vatem ea ns , d ri fted
T/ze
the pau c i t y of b r igh ter p igment s for water - co lou r w o rk .
T h i s t heory , however, i s negat i ved b y the fac t s t hat onthe Cont inent w ater - co lou rs were em p loyed from veryea r ly t i mes : t ha t m ini a t u re pa int ing on wh i ch they wereu sed w a s a t the zeni t h o f i t s popu la ri t y in the la te eighteenth cent u ry ; and t ha t engrav ings , ei t her p r inted in
c olouror hand - pa inted in w a ter - co lou rs , were ex tens i ve lyi ssued long before Tu rner and ot her a rt i s t s vent u red to
enerally emp loy the fu l l ch romat i c sca le in thei r w o rk .
Probab l y the rea l rea son was the ab sence o f a p u b l i cp repa red to bu y w a ter - colou r d raw ing s for their ownsake.
made for t rans lat ion into b la ck and wh i te, a pu rpose forw h i ch b r igh t co lou r appeared not onl y unnecessa ry bu tundes i rab le. In the H om e co l lect ion one cou ld t racethe g rad ua l abandonment o f t h i s l i m i ta t ion. W
'
h i le johnRober t Cozens, fo l lo w ing in h i s fa ther ’s foot step s , t houghw i t h mo re poet ica l ins igh t and g rea ter techni ca l acc omp lishment
,was rep resented a lmos t exc l u s i ve l y by
monoch romes , severa l o f whi ch were eng raved work s ,G a insborough , who pu rs ued l and scape for past ime
,w a s
s hown in some del igh t fu l c rayon sketches, fu l l O f tendert hough convent iona l co lou r . Row l and son and some of
h i s contempora r ies made a th i rd grou p , w i t h exam p lesd ra w n in w i t h the pen and s i mp l y t inted
,so as to be eas i l y
rep rod uced in aq uat int , and s ub seq uent ly co lou red byhand . B ut the art i s t ch iefl y res ponsib le for enfranch i s ingw ater - co lou r to i t s fu l l p i c tor i a l pos s i b i l i t ies was Tu rner .He
,i t m u st be remembered
,earned the g reater part of
h is for t une by w ork ing for engraver s,and one o f h i s
g rea t ach ievement s was to show tha t co lou r, so fa r frombeing a h ind rance to rep rod uc t ion
,w as an ac tu a l hel p
,
as ca l l ing for t h a greater exh i b i t ion of sk i l l on the par to f the engraver in order to make an adequa te t rans la t ion.
I t i s on t h i s ac count t ha t the pa i r of d raw ings num bered6 9 and 70 in the exh i b i t ion w ere so interes t ing . The
lat ter w as an effec t i ve rendering in sep i a of a Sw i s sm ount ain pass , p robab l y bet w een Chamouni and Mart igny
,by j . R . Cozens , w h i le the companion
i
was a copy
o f the same by Turner . The lat ter had not a l tered anyo f the p r inc i pa l fea t u res
,t hough w i t h s u re ins t inc t he
had mod i fied many of the minor det a i l s,a lway s mak ing
more interes t ing the part s w h i ch he tou ched . But b yu s ing b l ue in conj unc t ion w i t h h i s sep i a he had marvellously inc reased h i s range of tona l va lues , and inves tedh i s cop y w i t h an atmospher i c feel ing wh i ch the o rig ina lf a i led to at t a in.
The major i t y o f su ch d ra w ings w ere p r imari ly
THE: s ucces s of Lad y K inloch ’ s effor t to p rov i de w orkfor a r t i st s d u r ing the w a r by rev i v ing the pa inted furni
t u re ind u s t ry w a s p roved by the
exh i b i t ion o f the s u i te of fu rni t u redecorated for Her Majes ty the Queen
,a t Mess rs . Trede
gar ’s,L td. (7, B rook S t reet
, The enl ightenedpat ronage of Her Majes ty w as sho w n in acqu i r ing acomp lete su i te
,o f w h i ch a l l the component s w ere in
harmony , in p reference to merely one or two p ieceswh i ch w ou ld seem incong ruou s among p ieces of a moreo r thodox s ty le. The t reat ment of the su i te
,t hough
fo l l o w ing on the old l ines,w as less of a d i rec t i m i t a t ion
P a in ted Fu rnit u re
Connoisselrr
t han an adap ta t ion o f the beau t i fu l p r inc i p les of the old
makers to modern req u i rement s , and t h u s the influenceof bo t h H epp lewh i te and the contempora ry w ork of t heF rench vb/m
'
J /es w a s hap p i l y shown,the des ign of M r.
A lexander M ac lean, ha v ing happ i ly com b inedt hese e lement s . Anot-her innovat ion was the use o f white
—not the dead w h i te o f commerce,bu t a bea u t i fu l shade
o f i vory - a s the g ro und for the pa inted decorat ions , theold des igners a lmos t inva ri a bl y adop t ing da rker hues .Th i s innovat ion i s the more to be commended as i t co inc i ded w i t h the modern t a ste for l ight fu rni t u re. The
ac t ua l techni q ue of the a rt i s t ’s work,more espec i a l ly in
the flo ra l des igns,sho w ed a g rea ter apprec i a t ion of the
requ i rement s of fu rni t u re decora t ion t h an was genera l l yev idenced in the ear l ier p ieces p rod uced by Lad y Kinloch ’s worker s
,and the ch a rm ing appearancel
of the su i teshou ld indu ce ot hers to fo l low Her Majesty ’s examp leand as s i s t t h i s new l y - founded war indu s try
,and t h u s
est ab l i sh a fresh opening for a rt i s t i c endeavou r .
S IR josHUA REY NO LD S,in his fou rteent h d i scourse
,
wh i le S peak ing of G a insborough ’s hab i t of pa int ing bynigh t
,sugges ted tha t t h e tw o
g rea t co lou r i st s , T i t i an and Cor
regg io formed thei r h igh ideasof co lou r ing f ro m the effect s of
objec t s seen by cand le- l igh t,when
not onl y do t hey appear more beau t i fu l , bu t from therebeing a g reater b read t h and uni form i ty o f co lou r
,nat ure
ap pears in a h igher s ty le ; and even the flesh seems tot ake a h igher and ri cher tone
.of co lou r . ” M r. H .
Keywor t h Ra ine quotes t h i s s t a tement in his account ofh i s met hod of paint ing b y cand le- l igh t . One does no tknow i f Reynolds ’s d i scou rse gave h i m a c l ue to t h i smet hod
,or whet her he ar r i ved a t i t by independent
inves t igat ion,for the l igh t ing of H o l bein’s por t ra i t s and
o t her work s belong ing to ea r l y per iod s of art has beenthe su bjec t of cons i derab le research du r ing recent years .H owever
,t here a p pea rs to be no o ther pa inter who
ha s pu t h i s d i scover ies to p rac t i ca l use on an ex tendeds ca le
,and M r . Ra ine in t h i s respec t deserves the cred i t
o f being a p ioneer,he hav ing
,s ince 1 897, exec u ted a
l arge num ber of t hese cand le- l igh t por t ra i t s . H i s lates tw ork in t h i s mé t ier— a fu l l - leng t h canvas of the Ear l ofE ffingham ,
now on v iew at the G raves G a l ler ies (6, Pa l lMa l l , S .W . )—has the mer i t of being a remarkab l y goodl ikeness . There i s far les s cont ras t in l igh t and shado wt han t here i s in mos t modern w ork
,the p i c tu re being
i r rad i a ted t hroughou t w i t h an even glo w w h i ch l igh t sup a l l the p r inc i pa l objec t s w i t h eq ua l intens i ty . M r .R aine
,however
,has found com pensat ion for the uni
form i ty o f h i s Ch i a roscu ro in the r i ch tones of w a rmco lou r
,happ i ly arranged and ha rmoni sed
,w h i ch dom inate
the p i c tu re. I t i s a d igni fied por t ra i t,w el l pu t on to the
canvas,and cer ta inl y sho w s t ha t a l ikenes s pa inted in
th i s manner a l lo w s of a more exac t and uni form v iew of
the feat u res and cos t umes being g i ven than one in w h i chthei r a spect i s mod u la ted and t hei r loca l co lorat ionpar t i a l l y t rans formed by the inc idence of s t rong l ight sand shadow s .
A Candle l igh tPo r t ra i t ,
"by
H. Keywor t hRaine
T/i e Connoisseur
E nqu i ries sfiou/d be made on Me E nquiry Coupon.
F urnitu re.
Tab le.—B 532 N ystos
—j udg i ng from the photographsen t for i n spect ion,
your table i s of Chippenda le des ign, bu t i tis imposs ible to determi ne i t s au thent ic i ty w ithou t an examinat ion o f the p iece i tsel f. Under the c i rcum s tances , we shou ldapprai se its val ue as being from £ 1 2 to £ 1 5 .
Dis covery '
of a Ches t .—B54 r (Perth ) .—The curious
d iscovery to w hich you refer was commented on at the t ime bythe H istorical Regi ster (i s sue for M arch 26th to Apri l 9th ,
Let ters from A ln w ick,in Northumber land , ment ion
MOTTLED B I R D O RN AMENTS AND SNU F F - BOXthat in pu l l ing do w n the part i tion of an old study a ches t ,fi l led w ith ant ique papers , has been lately di scovered , i n w hi chw ere found many curious p iece s of ant ien t poetry , that are to beimmediately t ran smi t ted to hi s Grace the D uke of Nor thumberland, and w h ich , i t is - thought , w i l l furn i sh no smal l entertainment to the cri t ical w or ld .
Thom as Tom p ion, J unior. B 547 (M acclesfield) .Thomas Tomp ion , j unior , w as the nephe w of the “ father ofEngl i sh w atchmak i ng.
”In 1 694 he was app rent iced to Char les
Kemp,and entered the C lockmakers ’ Company i n 1 702 .
W orm in Furnitu re.—B 5 53 (Kel vedon ) .—Your enqu i ry
is one w h ich i s often asked of us . I t is very d i fficu l t to r idfurn i ture of the w orm w hen once the pes t has a firm ho ld .
Co l lectors somet imes p refer . to tes t their own theor ies on the
subject . One method of ex t i rpat ion i s to soak the infestedp iece in a w eak solu t ion of glue, another to soak i t in paraffin .
I n any case,it w ou ld be u n w i se to attemp t the w ork yoursel f.
You shou ld refer the mat ter to an expert res torer . Too muchs tres s cannot be laid on the fac t that the treatmen t shou ld not
tend to remove the old s urface of the w ood , w h ich i s es teemedby con noi sseurs . W e have heard i t stated that if a p iece of
fresh sap w ood i s p laced near w orm - eaten furni tu re the i n sect sw i l l gradual ly deser t the harder for the softer material
,when
t he lat ter can be burn t .
P ainters and Paint ing s .
J os ep h Lee. B522 (H u l l ) .—A l though Joseph Lee cal ledh imsel f a pup i l of Zi ncke, he never s tudied under that art i s t .Thus he w ou ld be more accurately described as a fol lo w er o f
t he o ther painter , by whose w ork he was great ly i nfluenced .
. See Advertising P ages .
Joseph Lee exh ib i ted at the Royal Academy from 1 809 to
18 53 , and was ap po inted enamel pai n ter to the Pri ncessChar lot te and the D uke of Sussex . He was the younger sonof j ohn Lee
,by a Yorksh ire lady , Rachel O ldroyd , and the
ename l portrai t , from l i fe, of Mr . Oldroyd , w hich was hungat the R.A. in 1 837, doubt les s represen ted a member of her
family . Lee’s las t con tribu t ion to the R.A. (i n 1 853 ) was a
posthumou s portra i t , in enamel , of h is mother . He died in1 859, and was buried at Gravesend , hav i ng married and hadi ssue. Accoun t s o f h i s l i fe are to be found in D r. W i l l iamson ’sH istory of Portrait M iniatu res
,the D ictionary of N at ional
(H A NLEY MUSEU M )etc . H i s min iature o f Queen Adelaide, i n the
Ear l of Mayo ’s collection,was reproduced inTHE CON NO I SSEU R ,
vol. 23 , page 2 59.
Labrador .—B 524 (Tu nbridge W'
el l s ) .—]uan Labrador ,who died at M adrid in 1 600,
was a p up i l of M orales , andat tained success i n the representat ion of st i l l - l i fe scenes .Kam p er.
— G . Kamper,who flou ri shed abou t 1 700, was an
imitator of Van der Neer , to w hose hand hi s p ictures are oftenat t r ibuted ,
al though they do not possess the qual i t ies w hichs tamp the w ork of the greater art i st . V an A len.
— jan V an
A len was an im i tator of Hondekoeter.
'
He was born in 1 65 1 ,
and died in 1 698 .
J osep h Connor.—B5 38 (Dubl in) . —joseph Connor was a
m i n iature painter who flouri shed in I reland abou t the las t hal fof the eighteenth cen tury . L i tt le i s kno w n abou t h i s hi s tory .
P ottery and P orcelain.
E ig hteent h - Centur y Var iegated W areas . B5 3 1
(Ips w ich ) . —The pa ir of b i rd ornamen ts sho w n in the i l lus trat ionare good examp les o f Whieldon. They are mot t led w i t hmadder -bro w n, en l ivened w i th sp lashes of copper-green. The l i t t lesnu ff-box , shaped as a g ir l ’s head , i s also p robably by ‘Nhieldon.
You shou ld read the art ic le on the subject of e ighteenth—cen tu ryvariegated w ares w h ich commenced on page 1 39, vol. 3 1 , of
th is magaz ine.
N iderv~i ller.— ES50 (G lasgo w ) . —The BN monogram
w h ich you descr ibe w ou ld seem to be the mark of the
N iderv i l ler fac tory , near S trasbourg , w hich was founded by theBaron de Beyerlé abou t 1 760. The monogram stands forBeyerlé , N idervil ler . ”
S PEC IAL N OT I C E
READ ERS of THE CONNO I SSEU R who des i re to take advantage of the op por t uni t ies offered “ herein shou ldadd res s a l l let ter s on the s u bjec t to the M anager of the Hera ld i c Dep ar t ment
,1,D uke S t reet , S t . J ames ’s
,
London, S .W .
Only rep l ies tha t may be cons i dered to be of genera l interes t wi l l bep u b l i shed in these co l umns . Thoseof a d i rect l y per sona l c ha rac ter, or in ca ses where the ap p l i cant may p refer a. p r i va te answer
,wil l be dea l t
w i th by pos t .Reader s who des i re to have ped ig rees t raced , the ac cu racy of armor i a l bear ing s enq u i red into, or other
w i se to make use of the dep ar tment , wil l be charged fees ac cord ing to the amount of work invo lved .
Pa r t i cu lars w i l l be s u p p l ied on a p p l i ca tion.
W hen a sk ing informa t ion res pec t ing genea logy or hera ld ry,it is des i rab le
“
th a t the fu l les t deta i l s , so fa ras t hey may be a l ready known to the ap p l i cant
,shou ld be set for th .
CH AM BER L AY N E . Robert Chamber layne, gent . , son of
R ichard Chamber layne, late A lderman and Sheri ff of London,
and Anne h i s w i fe, who was the daughter and hei r of RobertDownes of Yalling in Ken t , gen t . , bore—I and 4 , Erm . on a
pale sa. , three leopard s faces or ; 2 and 3 , or, on a ch ief az . two
an t ique cro w n s of the field . Crest .—From an ant ique coronet
or,a demi os tr ich , i n the beak a key w ards up w ard all p roper .
P I N SEN T .
—J0hn P i n sen t of Devon matr icu lated at WadhamCo l lege 2 1 Feb .
,aged 20. He became v icar of Corn
w ood in 1 624 , and rec tor of Tallaton i n 1626 , and was a l so a
canon of Exeter Cathedra l . He w as seques tered i n 1 645 but
re ins tated at the Restorat ion , and died i n 1 66 1 .
RA.\ ISEY .—In S . Michael ’s Cathedral i n the I s land o f Barba
does , \Ves t I nd ies , there i s a mon umental i n scr ipt ion to the
memory o f Nathan iel Thomas Ramsey , who d ied 8 J une, 1 847,aged 44 years ; a l so hi s mother , An n Ramsey , who d ied Dec . 25 ,
1 859, aged 76 years .
LAM BE —Tbe w i l l Lambe,freeman and c i t i zen o f
the C i ty of London and o f the Mi s tery of Clothworkers , was
dated 1 3 J u ly , 1 573 .
Swans — John Swa le, son of John S w ale, at torney -at- la w ,
London , was educated at Charterhouse admitted at pens ionerto the Co l lege o f S . John the Evangel is t , Cambridge, 5 J une,1 760 , aged 1 6 . Tu tor and su rety , Dr. Brooke.
I n the Chu rch of M i ldenhal l , Sufiolk ,there are several monu
ment s to the S w ale fam i ly .
CH A NC ERY PROCEED I NG S. (Continued ) . Some of the
fol lo w i ng Su i ts i n Chancery may prove of great value to
Reg iste red f or t ransm is s ion to Canada at M agaz ine Pos t Rates . P r inted by Bem ro se 8c So ns Ltd . , 4 S no w Hill, London.
and De r by , and p u b l ished by the P rop r ieto r, W . C laude J oh n so n , at 1 , DUKE STREET , S T. J AM ES ’ S . LONDON , S .W . , Eng land .
Su bsc r ip t ion s—In land 1 6 / Fo reig n 1 7 / to Canada 1 4 / p er ann um . Pu b l ished the lst o f eac h m onth . Pu b l ished by Go rdon Gotc h ,
in A u s t ral ia and New Zealand ; by The Cen t ra l New s Ag enc y , in Sou th Af r ica ; by H ig g inbo tham Co in Bom bay and Calc u t ta ; andby The Inte rnat iona l New s Go in U .S .A.
correspondents . Abs tract s may be had for a smal l fee . on
app l icat ion to the Genealog ica l Ed i torAtk i n s v . Barker .Andre w es Lady Cambel l .Andre w es v . Lomas .Anderson Tu rner .Alderne z '. Smy th .
Ear l of Anglesey v . Smy th .
Ap W i l l iam ar. Thos . Dav id .
As tbury Bransby .
Anderson M ynn.
At w aters Mayor of
Roches ter.A l tham v . Dereham .
Andre w es z '. Tan ner .Andre w es Parker.Ap Johnap Morganz t .Conway .
A tk i n s ar. Burges .A l ford Lucy .
Awsiter z f . Chibbald.
Ayrey z '. Ayrey .
A l sop S leigh .
Awsiter v . Chibbald.
A l tham 27 . Adams .
Ascot t Lady Carnesewe.
Al len 71 . E l ton .
A rnold M i l ler .A l len Cabin.
Ashford Sear le.
As tel l v . Neale, K t .
Ap R ichard Green w ay .
Al len Sp icer .Arrundel l v . Lea a l s . Kemp
thorn.
Ayshweeke zz . Copp les tone.
A l ford z) . Barec roft .
Allen Parsons .Ap Rober t L loyd .
Al len Hal l .Ap John a. 112 Rees .Ameredith Jen n i ngsArnold Fox .
Ash ley 21 . BashA i l i ff ”
u. Palmer .A i l i ff v . Stubben a ls . Curt
lo w e.
Armestrong z} . M ynn.
A l len Yeo .
Adams Titterell .
A l ston als. Benson v . M at
tocke.
Andre w es 7a Bro w ne .
Avery 9 . LaneAps ley ‘
Z’. AiliFfe.
Apleton rt . H ildesley .
Aps ley Haw ker .Ashton 0 . Byam .
Al ford z ». Greene.
AnStie z'. W i ther.
A l len Wa l ler.A i sh z '. Aish .
Am vill ‘
Z’ . Am v ill.
Aggerd v . Ringrowes .
A l l nu t v . Braybrooke.
Andre w es z ». Russel l .Ashfeild,
KL , z '. Weedon .
Alsopp v . Briddon.
Antiz er 7x. U p ton .
A l ford M arch .
Atk i n s z '. W i l l iamson .
Anderson , K t , Anderson .
Ashton W inks .Art i s z '. Seaborne.
Anwell at . Jones .
cerlalnWUIt‘ liilu ill
bf It has I
”it! its
PORTRA IT OF THE HON . M RS . HARCOURT
BY J OHN oowNMAN ,178 1
FRO M THE DRAW ING in THE Pos ses smn 01: M R S . REYNO LD S - PEY '
I‘
ON
MA RC H , 1 9 1 7.
T h e Cook C o l le c t ion Part I . Th e I ta lian S c h oo ls
B y M au r i c e W . B roc k w e l l
FEW wou ld expec t to find a t the top of Ric hmond H i l l one of the larges t of the p r i va te col lec t ionsof p i c tu res in th i s country . Yet tha t of S i r Freder i ckCook a t Dough ty Hou se
,look ing over the Terrace
Gardens , w i th a command ing v iew of the Thames,i s
d u r ing the las t fou r years under the ed i tor sh i p of
Herber t Cook , the grand son of the founder, conta ins
5 47 i tem s , and to these have been added two more
d u r ing the las t few month s .
I t is rough ly comp u ted tha t the co l lec t ion of Lord
a l so one of the mos t
acces s i b le g a l l er ies .The late Sir Franc i sCook , the f a t h e r ofthe p resent owner, is
known to havebough tc ertainworks inRome
as long ago as 1 840,
when h e was on l ytwenty - th ree years ofage, b u t hecanhardlvbe said to have become th e colla tion
nezar enr ag e’ before
abou t 1 860 . By 1 876he had acc um u la tedover 5 1 0 pa int ings ofd i fferent k i nd s andq ua l i t ies . However,few now rema inof thenu c leu s of about 1 00
p i c t u r e s a c q u i r edf r om S i r C h a r l e sRo b i n s on, as j ud i
“weed ing out ”
t o o k p l a c e d ur ingthe decade p reced ingS i r Franc i s ’s d e a t hin 1 90 1 . T h e ex
haustive and s ump
t uons t h r ee - vo l umecata logue c om p i l ed
V OL . X LV l I .
—N o. 1 87.—G
c ions
NO . l .— MADON N A AND C H I LD
1 23
BY CECCARELL I
Le c on f i e l d a t Petwor th— none of the
content s of wh i ch isever e x h i b i t ed in
London— c an,w i th
its 600 p a i n t i n g s,
c la im to be the largest aggrega te ih a Sin
gle p r i vate hou se inEng land ; b u t in allp robab i l i ty no Sing leowner
,re ckoning all
h is hou ses together,
can vie w i th the Dukeof Devonsh i re in the
vas t number wh i ch heowns a t Devonsh i reHou se
, Ch a t swor th ,Hardwi ck , and el sewhere.
The aggrega te of
549 pa int ings in the
Richmond co l lec t ion.
ismade u p p r inc i pa l lyof 2 1 1 ex a m p les ofthe d i fferent s choo l s .of I ta ly— f o r em o s t
among whic h comes .
tha t of V eni ce w i th.
79— and 1 94 of the
D u t c h and l a t eF lem i sh schoo l s . The.
T/ze Connoisseur
No . I l . -ADORAT ION OF THE M AG I
o u t s tand ing fea t u re of the Cook co l lec t ion is its comp rehens iveness , p rac t i ca l ly every schoo l of Eu ropeanpa int ing down to a cent u ry ago being rep resented .
Th u s o f the grand to t a l here seen,S pa in has p rov ided
us w i th 3 6 work s , France w i t h 3 1 . and Eng land w i th30 ,
wh i le we a l so have 2 2 p i c tu res of the ear l ier per iodo f Flem i sh pa int ing .
P r ior i t y in a ch rono log i ca l conspec tu s m u s t beac corded to Ugo lino
’
s P atr z'
arc/z s , wh i ch may or ig ina l ly ha ve beenm sp z
’
dz'
,or pointed u p per compartment s
o f a large a l ta r—p iece,and were acq u i red in Chel tenham
for a sma l l sum . They are now h ung,together w i th
30 ot hers , in M r. Herber t Cook ’ s hou se a t Eshertit ret rea t for a poet
,
’
to q uo te M rs. Ros s,
"
s tanding a lone on Copseham Common
,near the fi r wood s
beh ind C laremont Pa rk,where George M ered i th ih
s ta l led h im sel f in 1 858 . M oreover, some ha l f-dozen of
B Y FRA F I L I P PO LI PP I
the les ser I ta l i ans have found a home in S i r Freder i ck ’sv i l la a t M onserra te, near C int ra , wh i le 9 are, for var iou sreasons , p laced at 2 2 , S t . Pau l ’s Chu rchyard .
By the k ind perm i s s ion of S i r Freder i ck Cook , wei l l u s t ra te (No. in the S ienese school
,Naddo Ccc
ca rel l i ’s 111 adom za,a s i gned and da tedpanel of 1 347,
the frame being in one p iece w i th the p i c t u re. We
may pa ss in rap id s u rvey Fei’s_F emale Sam/5 , the
dex ter panel of a d i smembered po lyp tyc h , and F rancesco d i G iorg io’s N ani -
vii) ; and his Tmam/ M: ofthe la t ter being the front panel of a m ssoae,
or marr iage ches t . Long after this schoo l of q u ietrap tu re and sa cred peace had begun to dw ind le intoone of tr i te copy i s ts and sha l low q u iet i s t s, we come to
Francesco V anni ’s [ 104V F amily .
From S iena we pass to F lorence, and so to G iovannidel B iondo s Coronation, wh i ch shows the infl uence of
T/ze Connoisseur
i t tnarks a great technit al ;tt lvant‘e on ear l ierand mo re r ig id t rad it ion. On the stab le isperched a pea co ck , the
s ymbo l o f imm o r tal i ty .
as inwo rks by his pu p i lBo t t i cel l i . l f anvdoub‘
.
ex i s ted t ha t we are nowon the t h resho ld o f lllc
Rena issance. i t wou ldbe d i s p e l led by thec ho i ce O l
~
T/I z ’ [ faf 6 (ffli e/cw as the s u bj ec t o fthe off nast
‘
z
'
fa,or
trav , onwh i ch i t was customary innob le F lorent ine fam i l ies to servedishes to lad ies inch i ldbed. I twas u s ua l insuchca ses to emp loy an a r tist of rep u te to pa int ad i sh in p repa ra t ion forthe b i r t h of an hei r tothe head of the hou se.
T h i s d o d e c a g o na lpanel has a r i val in thedesco by Bacchiacca inthe co l lec t ion of M r.
F . A . W h i te.
Tha t ma ster of l inew h o m w e
,t h
cha rac ter i s t i c modern
brev i ty, ca l l Bo t t i cel l i , is not certa inly to be s tud ieda t Ri chmond . P ier Francesco F iorent ino
,an adap ter
of ot her men’s p i c tor ia l idea s and a decora t i ve work
man of too led go ld background s,who is by the fl i p
pant often unceremoniou s ly referred to a s “ P . F .
,
cer ta inl y gave us the loz lolo here exh i b i ted . N o s u chcer ta int y of au thent i c i ty has ever been accorded to thez lfim’om za ca ta logued a t the Na t iona l Ga l lery underthe name of Fra Bar tolommeo
,who
,however, gave us
the la ter s i gned and da ted work of the Cook collec
t ion. I t is no t i ceab le for the py ram ida l compos i t ionwh i ch a t t h i s moment is so dom inant a fea tu re inrel ig iou s F lorent ine p i c t u res
,wh i c h now come to be
more genera l l y pa inted on canva s . The eigh t p ic tu reshere cata logued w i th vary ing degrees of uncertaintv toAnd rea del Sarto do not ca l l for comment . Aga in
,
canvases by Pontormo and Sa l v ia t i merel y mark the
dec l ine of a s choo l wh i ch c hu rned up rem ini scences
of the grea t mas ters before i t passed into dec l ine inthe per iod of Fontebuoni.
P r ior i ty of da te among the Umb r ian p i c tu res a t
No. V .—M EDEA AN D HER CH I LDREN
Do ugh ty Ho u se m u s t
be a c c o r d ed to Ale
gret to N uz i’
s Corona
tion of M y ”new.
P resefi talionin”wTem
p /ewas long a ss igned toP iero del la Francesca
,
bu t the p rop tn‘
tionsand
les s m a s s i v e fo rm o f
the p r inc i pa l figu re arehard ly s u ch as we meet
w i th ina u thent i c wo rk sby h im .
'
l‘
o-day the
c r i t i c s are s t i l l d i v idedas to therela t i ve mer i t sof Lorent ino and Fra
Carvevale o f L'
rbino,
the la t ter of whom ha sby some been regardedas t h e a u thor of the
a l l ied work a t Ch r i s tCh u rch , Ox fo rd . So
magnifi cent ly d r a w nand so modern- look ingare the Studies of t/ze
.s de by Lu ca S i gnorel l i , tha t we momen
tarily lose s igh t of thefac t tha t these panel sm u s t be fragments o f
some inj u red and los tB ap t is m ofF r om L u c a
’
s h a nda l so comes one of the ear l ies t of Umbr ian por t ra i t s
. (N o. In it we see the c lean- shaven face, in
p rofi le to the r igh t,of N i c co lo V i tel l i . Th i s remark
ab le c harac ter ih the h i s tory of the rarely v i s i ted townof Ci t tad i Ca s tel lo,
a fter res i s t ing the po l i t i ca l ac t i v i t iesof Amadeo and Lorenzo G i u s t ini and become h im sel fan ex i le, never theles s overcame a l l op pos i t ion. Th u s
by the t ime of his dea t h in 1 486 he had made hisfam i ly lords of the c i ty fOr some y ea rs to come.
C losely ak in to th i s por tra i t are the two other p rofi lesof younger member s of the same fam i ly wh i ch wereformer ly in Eng land
,and are now in a p r i va te collec
BY E RCOLE DE ROBERT I
t ion in F lorence. Su ch p rofi le rep resenta t ions inpor tra i tu re obv iou s ly have a meda l l i c or ig in. The
Scozz rg z'
ng of Clzrz'
st, of the schoo l of Perug ino owes
someth ing to tha t mas ter ’s St. Sebastian in the Louv re,as a l so does the p i c tu re of t ha t subjec t by G iannicolaM anni
,who therein,
dou b t les s,fo l lowed one or other
of the seventeen vers ions wh i ch Perug ino pa inted of
th i s pop u lar s ubjec t . For Rap hael an ex t remel y ea r lywork is c la imed in the S t. j erome p lan
'
s/l ing t/ze
T/ee Coo/e Colleez‘z'
on
N o. V l .—PO RT RA I T 0 1: CATE R I N A COR NA RO
Herefie Saoz'
m'
amz s,a p redel la panel wh i ch may wel l
ha ve been p laced under the Crucifix ion p i c tu re—now
in the M ond col lec t ion -wh i ch former ly h ung in the
c h u rch of S . Domeni co a t C i t ta d i Ca'
s tel lo,and is
now there rep laced by a h i gh ly co lou red cru c ifix seenaga ins t a wa l l tha t is pa inted to sim u la te a red, wh i teedged c u rta in. The Roman schoo l of Ra phael isrep resented by P ier ino del V aga ’s s i gnifi cant rVatztz z'gt'.
G IOR G IO NE ,F I N I SH ED B Y T I T I A N
In Rome,a t a m u ch la ter per iod , the a lmos t modern
note of lands cape is sounded in the large and wel lshown canvas by Agos t ino Tass i
,who became the
fi rs t mas ter of the poetic C laude.
Ret rac ing our s tep s to the more p r im i t i ve schoo l ofFerrara
,we adm i re someth ing of the fi rmnes s of des i gn
tha t charac ter i ses Cos imo Tu ra ’s work s . These fou rpanel s (No. i v . ) set before us the d im inu t i ve figu res of
T/ze Connoisseur
NO . V I L—PO RT RA I T OF LAU R A DE’
D IAN'
I'
I
Franc i s , the archangel Gab r iel , w i th the annun
c ia te V i rg in,and on the ex t reme r igh t S t . M aurelius.
Ano t her work ‘ by Tu ra,a l t hough no longer in a p u re
s t a te, is the Crua'
fi x z'
on,recent l y a cqu i red a t a u c t ion
for the Esher por t ion of the co l lec t ion. The elabora tea rch i tec tu ra l background
,the c itv of Ferrara symbo l
i s ing Jeru sa lem,and the s t rong co lou rs
,a l though
faded , lend an a i r of ma ss i ve grandeu r to th i s sma l la rched panel . Tu ra ’s pu p i l
,Erco le de Rober t i
,
pa inted the unu sua l inc ident of flames bu rs t ing th roughthe ch ink s of the floor in the foreground of wha t waslong though t to rep resent M edea br ing ing back herch i ld ren t h rough the bu rning pa lace (N o. I tmay pos s i b ly revea l the w i fe -of Hasd ruba l t h rowinghersel f
,together w i th her ch i ld ren,
into the bu rning temp le of .
r’
Esculapius a t Ca rthage. M a zzo l ino ,
BY T lTIAN
poss i b ly a p u p i l of Rober t i , freq uent ly g i ves co ldmarble background to work s tha t have a certa in same
ness ; b u t t h i s, cer ta inl y , is not the case in his sma l lP z
'
eta. Bough t for an even sma l ler sum was the Jl/ az z ,
bv Ba ldassare d’
Este, who came under the infl uenceof Tura . Erco le G rand i ’s Annunaotlon shows us thera re mol z
'
f of a sma l l cab inet open in front and dis
c los inga she l f, on wh i c h are a lmos t as many objec t sas are seen in the background o f Crivelli
’
s Azm im
in the Na t iona l Ga l lery . The schoo l of
Padua M arco Zop po g i ves us a s i gned jWaa’om za,
and the elabora te d raper ies and jewel led ornamenta
t ion of Crivelli’
s fine c i rc u lar - top ped f l/ adomm are wel lrendered .
Ano ther pa inter who ca rr ied on the V ivarini t ra
d i t ion,b u t was infl uenced by G iovanni Be l l ini—a no t
T/16’ Connoisseur
No . I X . W I TH F I GU RESso s t rangely w i th the Perseus armed lzy M
'
nerva and
s igned by Pa r i s Bordone,who
,i t i s c lea r
to see,pa inted w i th one eve on the fash ion- p la te
for his celes t ia l s are mere morta l s fash ionab l y at
t i red . Decora t i ve in a d i fferent sense are the th reecanva ses by And rea Sc h iavone
,and the landscapes
bv M i chele M arieschi and G uard i . To“
the V eronese
tlf an and l n'
s Secretor i ' i t seem s to have been an after
though t to add the la t ter ’s por tra i t,b u t the two
Venetian Senators g i ven to T intoret to are wel l composed , a l though thei r cha rac ter i sa t ion is largely one
o f ex terna l s .ha ve s u c h rep resenta t i ve Lombard work s by
G ianp ietrino, Cesare M agni , Cesare da Ses to, Sodoma,and Lu ini , tha t wedo not immed ia tely rea l i se in cer tainca ses the a rcha i s t i c tendenc ies of the backgrounds
,the
over- c levernes s of the t r i ck l ing fo ld s,and the a lmos t
pet r ified pose of a few of the figu res . Yet th i s i s anadded s treng th in a sense, for these defi c ienc ies areno les s demons t rab le here than they are in the B rera .
An excep t ion may be made in the case of the S t .
George by Sodoma , i f we are to p lace h im in th i ss choo l .Anni ba le Carrac c i , in his render ing of the a t tendant
fema le figu re d res s ing the ha i r of V enu s in the large
1 30
BY DOMEN I C H I NO
Toilet of Venus of the Cook col lec t ion,was imp ressed
by the s ty le of Corregg io, wh i ch is so adm i rab l y ex
p res sed,ia the figu re of S t . John the Bap t i s t , in the
Parmese ma s ter ’s M adonna of S t. George of the D res
den ga l lery . Th i s great Bolognese teacher,who g ives
u s a l so a Polyp /zemus and Sea-nymp /zs, natu ra l l y prepares the way for G u ido Rentand Domeni ch ino . The
var iou s infl uences under wh i ch G u ido andhis Spani shcontemporary Ri bera passed in I taly cou ld not be
bet ter exem p l ified than by the Saint Peter“ by each ofthese ar t i s t s, h ung in the organ- room . A sem i-modern
note is a fforded by
'
Domenichino’
s Landscape wit/zF igures (N o . a l though the
'
s ubjec t os tens i b l y,
and even apologet i ca l ly,rep resents
.
as its p r inc ipa lfeatu res S t . john the Bap t i s t and the r i ver Jordan.
I t,indeed
,shows po int s of contac t w i th the c lass i ca l
land sca pes of N i co la s Pou ss in, his j unior by a fewyears . I t does not s u rp r i se us tha t Parm i g ianino ’s
Holy F amily once belonged to S i r Thomas Lawrence,who wou ld be a t t rac ted by the ra ther s u perfi c ia lM adonna in pa le p ink robe, sea ted in a s tr ik ing a t t itude, w i th apergola in the backg round .
In a second ar t i c le we can dea l wi th the F lem i shand D u tch sc hoo l s, and in a th i rd w i t h those of
France,Germany, Spa in, and Eng land .
T/z e Connoisseur
NO . l l . orr s'
rac itm c. S'
I‘
OOLS U N D ER TA B LE
examp le o f wh i ch . known as lenny ( ieddes’ S too l ,
and da ted 1 5 65 . is in the posses s ion o f the S co t t i shAnt iq ua r ian Soc ietv.
The mo s t anc ient s pec imens o f jo ined (or jo int )s to o l s wh i ch the wr i ter has exam ined belonged to the
fifteent h cent u ry and i t may be remarked tha t spec imens o f so ea r l y an epoch are exceed ing ly ra re. I twas no t unt i l the compa ra t i vel y sec u re t imes of
Ii liz abc th had been reached tha t fu rni tu re becamemore abundant
,t h u s o bv ia t ing the neces s i ty of carry
ing c ha i r s and s too l s abou t from p la ce to p lace,cont ingenc ies wh i ch rendered co l lap s i b le a rt i c les ,s l i t
‘ ll as lenny (‘
xeddes’ ra ck—s too l
,a lmos t unavoid
‘
tb le. Before domes t i c l i fe in the grea t ha l l s of our
Nos . “L, AN D V .
— c onsraucr 10N or GOTH I C sroor.
1 34
mans ions fel l into desuetude, the p lan of the fu rni t u rewh i ch l ined such vast zztpartments was a lmos t inva r iab l yrranged somet h ing a fter the method on page 1 3 3 .
A q ua int and very p rac t i ca l o ld- t ime way o f s ta ck ingthe ta l ler jo int s too l s tem porar i ly out of use may beseen in the d iagram No. l l .
,wh i ch exh i b i ts the
'
ground
p lan of an ob long tab lew i t h the s tool s res t ing on its
s t retcher s, p laced a l terna te ways . Th i s c u s tom is , Ibel ieve, not yet abandoned in some o f ourmore remo te
countrv hou ses .When repas ts in the. banq uet ing ha l l became a
th ing of the pas t,owing to changes in l i v ing and
manners,the h uge tab les and form s were too wei gh ty
and c umb rou s to be u sed in any o ther parts o f the
Oa/e j oint S lools
r e s i d enc e ; inthe w i th d raw
ing room they
wou ld obv iou sl y h a v e beenrega rded w i t hd i s f a v o u r .
T a b l e s andform s rema inedthereforea p rey
to the co ld andd a m p o f th e
f l a g g ed floor ;bu t the s too l s
,
w h i c h w e r e
former ly p laceda t thei r ex t remeend s
,were rele
ga t ed t o a l lp a r t s o f t h e
h o u s e as ser
viceable c om
modities wh i chneed no longerc on t i nu e un
u sed . Theva l uab le deta i l s of
fu rni tu re s u p
p l i ed b y the
wel l -known Heng rave Ha l l Inventory,made in 1 603 ,
ment ion tha t in the G rea t Cham ber were fower -and
twenty hye jo ined stooles,” bu t in th i s ca se they were
“
covered wi th carpet -work l ike the ca rpets,fr inged
wi th crewell.” Sub sequent to the age of oak came
the per iod s of wh i tewood and mahogany,and jo int
s too l s d i sap peared into the k i t chens,ga rret s
,ou thou ses
,
ad jacent tenements,or the neares t ch u rch .
Rough ly speak ing,jo int s too l s may be p laced under
two d i fferent c la sses or head s(A ) The s lab -ended or key ed va r iet y , wh i ch is the
ear l ier ty pe, and cont inued down to approxi
ma tely the end of Henry V I I I .
’
s rei gn.
(B ) The fou r - legged s too l w i th s t ret chers , wh i chty pe ap parent l y came in somewhere abou t therei gn of P h i l i p and M ary .
Of cou rse,as is u sua l w i th mos t types of c ra ftsmansh i p
,
the s ty les over lap ped,and both were a c tua l ly made
a t one and the same t ime,though the method s of
cons t ru c t ion were qu i te d i s s im i la r and worked out
under d i fferent schemes of though t . The senior s ty leis s imp l i c i ty itsel f as regard s form a t ion
,and the key ing
together of the var iou s pa r ts was often h igh ly ingeniou s ,red u c ing the use of trena i l s to a m inim um .
Th i s method cons i s ted in fa sh ioning fou r fla t board s
No . V I .—st oor. AT M I D I-{URST PA R I S H CH U R C H
into very m u cht h e a e c o m
pany ing shapes .
N o . iii. is thc top ,
wh i le N o s. i v .
and v . respec
t i vely rep resentthe s i d e sup
p o r t s a n d
s t re t c h e r s , of
wh i c h two ea ch
we r e req u i red .
I n t h e s i d es lab s were s lo t swh i ch ex a c t l ycorres p o nd ed
w i th the th i ckn e s s o f t h e
s t retcher s . Havi ng w r o u g h tt h e s e f o u r
p ieces of woodinto t he fo r e
go ing s h ap e s .the c ra f t smen
h a d o n l y t o
t h e
re ca
p u s h
s t r e t c h e r s
t h r o u g h t h
s lot s,fas ten them together wi th a cou p le of t renai l s on
ea ch s ide, then fi t on the top , and the s too l was com
p lete . Somet imes these ear ly sea t s were s treng thenedby the add i t ion of a cros s—bar, wh i ch was inser tedt h rough the lower end s o f the u p r i gh t s and then
keyed w i th a cou p le of wedges . Th i s,however , is
more often found in forei gn than in Eng l i sh examp les .
The more recent pa t tern fo l lows u pon the u su a ll ines of framed fu rn i tu re, and ca l l s for no spec ia lremark , save tha t in the ta l ler s too l s the legs a lmos tinvar iab ly sp lay out towa rd s the ground for the pu r
pose of g i v ing ex t ra s tead ines s to wha t wou ld otherwi sep rove a narrow- sea ted and somewha t uns teady ar t i c leof fu rni t u re.
Enq u i r ies are often made by nov i ces as to the
a p p rox ima te da te of jo int s too l s,the s t re tchers of
wh i c h are fash ioned into the q ua int,dep res sed ogee
arch,wh i ch g i ves them su perfi c ia l ly a lmos t an Or ienta l
ap pearance. The answer is ea sy . I f the s tools bearing th i s cha rac ter i s t i c are of the s imp le ear ly A t y pe
of cons t ru c t ion,keyed together and posses s ing b u t
t res ses , the chances are tha t theybelong to thedec l iningper iod of Go th i c ar t coeva l w i th the rei gns of our las ttwo Henry s . The a pex of the ba rge board s of the
Bel l Inn, a t H u r ley , a bu i ld ing be long ing to these
C
t i m e s . pro
v ides a go ode x am p le o f
t h is a rch ini t l .a s wel l
as t ho se on
t h e 0 l ( l(
‘ h e rl u e r s
Inn at To n
b r idge. and
in n u m e r
ab le ch u rc hporches andm ed i a ev a lbu i ld ings allo y e r t li c
co unt ry . On
t he o t h e rhand . s u c h
a r c h es are
o cca s iona l l yto be found
on f ram ed
f u r n i t u r e ,
s u c h . for in
s t anc e, as
g a t e tab les0 r c o f f i ns too l s of theB r a x t e d
and t h e s ecan onl y betaken a s a
s p e c i e s of
s u r v i v a lw h i c h descend ed to
the rei gn of Char les I .
,the Commonwea l th
,or even
l a ter. B u t i t may u s ual l y be rel ied u pon tha t in con
s t r u c t ion l ies fi rs t of a l l the so l u t ion of the eni gma asrega rd s epoch
,and the s t udent wou ld be wel l adv i sed
to study the skeleton of the cra ftsman’s a r t before tha t ofthe a c tua l carver and decora tor . * Even the awkwardim i ta t i venes s of s u c h bela ted th row - back s as the
M idh u rs t examp les can ea s i ly be detec ted by th i sdefi c iency in tha t or i g ina l i ty
,ingenu i ty , and ap tnes s
wh i ch came as second na tu re to the ear l ier c raft smanin his own spec ia l method of set t ing u p (No. v i ) .These rel i c s —a pa i r of undoub ted coffin s tool s wh i chs t i l l carry out t he i r or i g ina l func t ions— ex i s t in the
beau t i fu l par i sh c h u rc h of M idh u rs t,in S u ssex
,and
No.
'
V I I .— Gorm c JO I NT! sroor. I N BRED E C HU RCH ,
sussnx
See The A r t of the Cofl’
erer,Part I . THE CONN OIS
SEUK , N o. 1 70 , Oc tober, 191 5 .
1 3 6
the ini t ia l s,
o b v i o u s l yt hose of the
c h u r c bwar~dens
,being
c o u n t e r
changed t o
a s s e r t the
e q u a l i t yo f t h e s e
persona ges,
and p reventone f r o m
tak ing p recedenc e of
the other . The inscr i p t ion M IDHVRST PARIS H CHVRCH,
on the s lab faces of the s too l s, is of modern da te.
The M idh u rs t s too l s,interes t ing as a p rob lem , pre
sent a queer and somewha t weak s ugges t ion of
Go th i c ou t l ine and cons t ru c t ion, wh i ch sugges t slo i ter ing craft smansh i p in the d i s t r i c t abou t th i s da te
,
as wel l as a su sp i c ion tha t the maker was p robab ly aman of very ord inary per sona l i ty
,who
,wh i le en
deavou r ing to ac commoda te old t rad i t ions w i th hisown t imes, cou ld not s u cceed in evolv ing any th ing .I t is
,however, ex cep t iona l ly rare to find s too l s da ted
in the manner j u s t descr i bed .
A s too l of a m u ch finer and ea r l ier ty pe is tha twh i ch ex i s ts in the par i sh ch u rch of B rede, in the
same county . The B rede s too l is cons tru c ted of
t h i cker ma ter ia l,and the legs sp lay ou tward s more
The C
t here is a d
ba s em en t in
t h e bu t t ressesmd the ( io thit ‘
perfo rat ions inthe s ide boa rdswh i c h as s i gn i tto a da te p ro bab l y some y ea rs
late r (No .
Th i s t y p e is
t y p i cal o f t he
lias tern Cour»
ties .man_
vspec i
mens e x i s t i uin No rfo l k . Suf
fo l k . andEs sex .
( in the who le.
a Flem i s h influence may beo bserved in theSa ffro nWa ldens t o o l w h i c hgrea t l y r e s emb les the example in the wel lknown p i c tu reo f 7716 F eay f ofS f . by
Ian S t een. a t
A m s t e r d a m .
ev ident ly pa inted from an anc ient rel i c in hou seho lduse. the testhetic l ines of wh i ch took the ar t i s t ’s fancy .
ha ve cons idered in the forego ing a lmos t exc l usively the ea r ly or keyed ty pe of p u zz le cons tru c t ion.
Th is is p robab l y the mos t a t t ra c t i ve,b u t spec imens o f
the framed s too l w i th turned legs are infinitelv the
more numerou s . Frombea u t i fu l and da inty exh i b i t at the Wh i techapel Exhibition some few years ago, down to the l a tes t p i l l ar - leg
S i r George Dona ld son’s
coffin s u p po rt,there is a w ide range of decora t ion.
t hough in s ub s tance the framework p ra c t i ca l ly rema insthe same. I ha ve even been informed of a cou p le of
ec c les ia s t i ca l ins tances where the decora t ion was sa idto be pa inted
,tak ing the form of a b lack—let ter insc rip
t ion on a scro l l,b u t I have not seen them . Even
where co ffin s too l s rema in in thei r mother ch u rchesthey are not a lway s set a pa rt for the use t hey were
p rev iou s ly intended . The ch u rch of A l l Sa int s,a t
Grea t Brax ted ,in E s sex , pos ses ses a cou p le of p i l lar
leg co ffin s too l s wh i ch are now u sed for other p u rposest han init ia l ly intended , tha t in the sanc t uary beinghei gh tened by the add i t ion of a carved top for the
p u rpose of being emp loyed as a fa ld s tool . Th i s
No. X .—COF F 1N STOOL 1 x G REAT B R AX TED C H U R C H , s ssex
additir) l ‘l t‘hl‘ tnvs
the who le th ingout o f p ro po r
t ion,and is a.
p i e c e o f nu
nec essary van
dalism w h i c ho ugh t to be re
T he
l i t tle p o i n t e dmedied.
a r c h e s in the
end s t retcherso f these o therw i sepurelyc la-i ssic e x a m p l e sare no teworth y(N o . x ” )E l i zabethan
jo int s too l s o f
f i ne q u a l i t y,
w i th g r o o v edo r inc i sed legss im i la r to t ha tshown in o u r
i l l u s t r a t i o n(No . are
ra re ly met w i tho u ts ide count ryin a n s i o n s ,t h o u g h oc ca
sionally in our
co l leges and other anc ient fo unda t ions . S u c h i tem sd i ffer only from the Ord ina ry domes t i c art i c le in the
su per ior ex cel lence of thei r des i gn and the bet ter fini shand m u l t i p l i c i ty of thei r mou ld ings .
The l i t t le sq u are-b u i l t s too l dep i c ted in i l l u s t ra t ionNo . x i i . belongs to
_a type wh i ch d i ffers somewhat
from the ord inar i l y accep ted jo int s tool,and may cor
respond to su c h ent r ies as the fo l low ing in theHengra veHa l l Inventory a l ready referred to :
[ lam—One l i t t le low stoole w h ich was covered in crem son
figured saten , and fringed w i th crimson s i lke ands i l ver .
S too l s reta ining thei r or ig ina l s t u ff sea ts are so
sca rce as to be p rac t i ca l ly unob ta inab le. A t the same
t ime,i t m u s t not be over looked tha t the fu rni tu re a t
Hengrave was ev ident ly of a very sp lend id ty pe. The
forego ing references are merely g i ven to d i fferent ia tebetween the
“ bye jo ined stoole and the“ l i t t le low
Foot s too l s seem to be ment ioned defini tel yunder thei r modern name. In these l i t t le s too l s thelegs
,ins tead of sp lay ing ou tward s
,are u sua l ly perpen
dicular, unl ike the bet ter known var iety . The part i cu lars too l i l l us tra ted , wh i ch is of seventeenth - centu ry da te,
stoole.
”
Oo/e j oz'
m‘S tools
was d i s c overedno g r ea t wh i leago inthehistoric
neighbou rho o d
of Pensh urs t,de
g r a d e d t o the
use of a s t a n d
f o r a p o t a t o
b u cket . I t had,
in a l l probabili ty
,fo rmed part
of the o r i g ina lfu rni tu re in use
a t Pound s B r idgeP a r s o n a g eH o u s e d u r i ngjacobean t imes .
V ar ia t ions o f
theordinaryjoint
s too l inc l ude thebofet or bu ffets t o o l , ” m en
tioned by Parkerin h is D omes/12"
Arc/z z’
z‘ertu r e of
NO . X I .—A F I NE EL IZA BETH AN STOOL
as being p laced benea th the b u ffet. and p robab ly u sedfor s tand ing on to rea ch the ves se l s or p la t ter s wh i chwere lodged on u p per shelves , and the ing le-nook sea t .wh i ch lat ter was s im p l y a p iece of s l i gh t ly grea terleng th than the ord ina ry jo int s too l
,being
,in fac t
,a
connec t ing l ink between tha t and the long form .
Ant i q ue oak s too l s w i th box sea t s are not unknown,
b u t by fa r the grea ter pa r t of the jo int s tools t h u sfi t ted ex i s t ing a t the p resent day are modern im i ta t ions.wh i ch ma ke no a p pea l to the connoi s seu r . The vanda l ,however, is not unfreq uent ly p rone to conver t genu inespec imens to th i s u t i l i tarian pu rpose, i gno rant o f the
fac t t hat the p roces s m u s t necessa r i ly les sen the va l ueo f s u ch p ieces in the eve of the ant iqua ry . Ins tances
,
a l so, are not lack ing where venerab le spec imens of theframed va r iety are tu rned into umb rel la s tand s by theremoval of the i r top s and the inser t ion of sma l l meta lt rays between the foo t - ra i l s .I wou ld ra ther be s i lent . a s i t need hard l y be po inted
To these convertionists
out tha t s u ch a r t i c les of fu rni t u re had former ly no
ex i s tence.
D i scover ies of rea l ly fine ear ly examp les,s u ch as
S i r Cha r les Lawes- IV ittewronge’
s s tool,or the m id
fifteenth ' century rel i c from the Pey re collec t ion, are
ex ceed ing ly rare nowaday s , b u t the commoner lacobean
t y pes may yet be found in numbers,and somet imes
even a t p r i ces wh i ch are any th ing b u t p roh i b i t i ve to
the sma l l co l lec to r . I t is only a few yea rs ago I saw
th ree o ak la co
bean s t o o l s o f
g o o d o u t l i n e
s tand ing in the
o p en m a r k e tp la ce at B u ry S t .Edm und s awa i ting a p u rcha sera t som e t h in
ov ertwo sh i l l ingsa p i e c e ; and a
very l i t t l e t ime
l a t e r I c a m e
ac ross a genu ineea r ly examp le a tCol ches ter ( t hela t ter m u c h re
semb l ing t hat inSa ffron W a l d enM u seum ) wh i chcou ld have beena cq u i red a t q u i tea sma l l amount .
I t is only fa i r tos ta te tha t a l l o fthese spec imens
were too far gone to at t ra c t fa s t id iou s c r i t i c s,wh i le the
l a s t ment ioned , being cons tru c ted o f some l igh terwood than oak, was in the way of becom ing a wreck .
A word as to modern forger ies , o f wh i c h the numberThe co l lec tor
,be be bo ld orbe be cau t iou s ,
who a sser t s tha t he has never made a m i s take in his
is leg ion.
co l lec t ing,never been decei ved
,or has never t r i p ped
into a p i t fa l l— wel l, you may safel y sum h im up in a
cou p le of word s,though i t wou ld p robab ly be as wel l
to do so menta l l y . To -day the manu fa c t u re of im i tat ion ant i q ues in the sha pe of j o int s too l s has p robab l ya ssumed grea ter d imens ions than tha t of any o ther
a rt i c le of so- ca l led old oak . S imp l i c i ty of cons t rue
t ion,the ea se w i th wh i ch mos t p ieces can be t u rned
out to meet the demand for a u t i l i ta r ian a rt i c le a t nogrea t cos t , has fos tered the p rod u c t ion to a remarkab ledegree. Some few years ago th ree or fou r ant iq ues tool s of excep t iona l ly rare and unu sua l types wered i scovered by as many d i fferent co l lec tors , c u r iou s l yenough a l l p ret ty m u c h abou t the same t ime. Inmore
than one ins tance these stoo l s were a l lowed to be
cop ied for commerc i a l pu rpo ses . S ince tho se da y s
exper t s have been wo rr ied t imes w i thou t number bywou ld -be co l lec tors of the O ldbu ck pa t tern,
w i t h theannouncement that another exam p le has been dis
covered s im i lar to the celeb ra ted B lank stoo l ,” mos t
of the owners exu l t ing in the crude t heory tha t l/zez'
r
n
own copy p robab ly formed one o f the or i g ina l'
set.
7Yxe Connoz’
sseur
'
l‘
o su ch an ex tent has this ex i sted . that some ha veeven vent u red to ca s t do ub ts u pon the au t hent i c i ty o f
the ver i tab le p ro to t y pes , who se genu inenes s is— or
o ugh t to be—above s u sp i c ion. I shal l no t ea s i l y fo rget ,
I l ‘
X I I .—SM ALL SQUARE JACOBEAN STOOL
after t ry ing to convince an ind i v id ua l of the modern
or i g in of one of these Cop ies,seeing 1 DOZ.
“
of the
same ty pe, nea t l y packed for t ranspor t, being del i vereda t some b u s ines s p rem i ses devoted to Wardou r S t reettendenc ies . The l igh t cra tes w i th thei r ha l f—exposedcontent s s tood ou ts ide on the pavement for some
1 40
c ons iderab le t ime,and ough t to have been a very
exp lanatory objec t - les son to any hal f-fledged co l lec torwho ha ppened to be pa ss ing . I do no t say these waresare so ld wi th anv guarantee
,or even imp l i ca t ion,
that
they belong to any p rev iou s centu ry , bu t there is no
doub t wha tever tha t many of them are pu rchased bycomp lacent ama teu rs
,who imag ine them selves very
c lever and for tuna te a t hav ing d i scovered an ar t i c le som u ch out of the commonand exh i b i t ing s u ch excel lenta p pearances of age.
S p o r t ing and M i l i tar y B y gone s
OTHER day s , other way s , was never moretrulv quo ted than in regardweapons . P r ior tothe i n t r odu c t ionof the fl int - lock in1 70 0 o u r f ie l dspor t s were mos t lycarr ied on by thea id of hawk s and
c ros sbows .In K ing james
the Fir s t ’s t ime, his
gamek ee p er was
pa id 6s . 8d.
fOr keep ing th i r t ydozen p igeons forthe k ing ’s h awk s a tTheoba ld s P ar k ,from Augu s t 2 5 th,1 608
,to the I st of
M a rc h fo l lowing .
The doveco te wasa grea t ins t i tu t ionat all large es tablishments
, 400 to
500 p igeons beingO ften kep t .By a let ter from
C a p t a i n E s
monde in 1 6 0 8,
wr i t ten from I re
land to the“Ear l
of Shrewsberrie,a t
his hou se, B roadS treet
,Lond on
,
w e g a t h e r t h a t
field sportsand
H OL STERS FLINT - LO CK P I STOLS
B y M ab e r ly Ph i l l ip s , F .S .A .
hawks andwo l f- hound s were looked for in tha t count ry .
Th i s wr i ter regrets tha t canno t get a bound of the
colou r r eq u i red ,b u t names a dog
he c o u l d s end ,and add s : “ I doassu re you r Lop p .
there is not in th i sland t h a t I c anhea r of a bet ter tok i l l the wo l fe and
s tagg . He k i l ledthis l a s t sp r inget h r ee g r ea t oldwolves without thehel p of any o therdogg.
”Thewr i ter
then speak s of hisendeavou r to proc u re some hawk sfo r h is lord sh i p ,and of the m isfor
tunes tha t had befa l len h i m ,
for
tw i ce I had go t tenhawkes in mue, of
p u rpose to h a v esent them to you r
Lop p,b u t s t i l l
ca rr ied .
”
T he fa l c o n shere i l l u s t r a t edw e r e k e p t b yM a jor F i s h er a tRiddleha m h o pe,nea r B lanch land,
Connoisseur
Northuniberlmi tl. u n t i lq u i te recent t imes . '
I‘
hev
ha ve been g i ven up, ands
1 canno t b ea r o l anv
p lace where fal cons arenow kep t f o r spo rt ingpu rposes .
The intrtaluc tion from
the l lutcb in 1 700 o f the
use o f the llint fo r dis
c harg ing lield and m i l it a rv arms en t i r e l y d idawa y w i t h the c ro s sbowand s u ch weapons . The
f i n i s h e d a r t i c l e wasp r inc i p a l l y o b t a i nedfrom Brandon
,i n S u f
fo l k .where an ind u s t ry
had ex i s ted f r o m t ime
immemo r ia l for the p rodu c t ion of s t r ike-a- l igh t s—p ieces of fl int s u i tab le to use w i th the t inder-box
at tha t t ime the only way of p rodu c ing l igh t . Thencame the demand for flints su i tab le for spor t ing gunsand p i s to l s. A t B randon fine b lack fl ints are got
cha l k - bed s in the d i s t r i c t . Largeb locks of fl int are ob ta ined by the m iner s they dispose o f them to the knap pers
,who
,by a sk i l fu l b low
w i t h a hammer,knock Off “ flakes ” wh i ch
,by another
band, are c ros s- c u t into s u i tab le shapes for guns
va s tfrom the
p i s to l s . cons iderab le t radewas ca rr ied on unt i l the invent ion o f th e perc u s s ion '
cap,
abou t 1 8 20,and a fu rther s top
was pu t to the work when fr i ct ion matches were int rod u cedand the fl int and s tee l aban‘
doued . Our i l l u s t ra t ion showssome fini shed flints of var iouss i zes . The ind u s t ry is not q u i tedead
,as largenumbers of strike
a—l i gh ts and gun-flints are s t i l l
sent out to the A rab s . The
numberofdis
c harges a fl intcou ld b e re
l ied u p o n to
g i ve was ver\
uncerta i n so
the s o l d i e rand s p o r t s
man h a d t o
be f u rni shedw i t h e x t r a pu mas
FALCON S O N THE
AND F I N I SH ED FL I NTS1 44
fl int' s to insert into the
hammer o f h is gun as
Ishow a l i t t l e t in box
z fi in. by ih . by in.
I t is s tamped (Boa rdo f Ordnance) and the
b road arrow,andwas car
neces s i t y r eq u i red.
ricd by oneofou r so ld iersa t the ba t t le ofto hold his ex tra flints .
There was one fl int ini t when i t came into mypos sess ion ; i t w i l l ho ldabou t adozen. I t waspu rchased s o me years
ago from a woman who
was born a t the t ime of
the grea t ba t t le, and hadbeen carr ied by her father . Doub t les s every
so ld ier had one a t the t ime b u t so l i t t le care has beentaken Of them tha t I
i
cannot t race another examp le ;even the Uni ted Serv i ce M u seum does not y ield one.
The old“ B rown Bes s ” i s a form idab le weapom
i t mea su res 4 ft . over a l l , and wei gh s 8 lbs. The lockof the one here shown i s s tamped w i th the broadarrow
,a c rown wi th G .R. under, and the word TOWER .
Wa ter loo was undoub ted ly fough t w i t h th i s weapon.
The percu ss ion cap came into use soon after, and was
gradu a l ly adop ted by the m i l it ary ; b u t I fancy some of the
oldflint - lock s l ingered unt i l theear l y day s of the Cr imeanwar.
I know they were served out
to the so ld iers go ing to Ind iain 1 849, and a s men for the
Cr imea were d rafted from a l lpar t s o f the em p i r e, i t ish i gh l y p r o b a b l e tha t somebrough t thei r fl int - lock s wi ththem . The Ru s s i an s cer
tainly had th i s wea pon.
S o on after
the perc u s s ion
“KEDGE
cap was int roduced
,many
o f t h e o ld
l o c k s“ conve r t ed .
Of the ho rsep i s to l s shown
,
W C l'
e
the one on the
l e f t h a s the
77m
savsThe p rop r ieto rs o f t h is mac h ine (coa ch from N ew
ulvertisement in the D arling /on
ca st le (0 London) beg lea ve to a cq ua int the l’ublic
t hat the\' are determ ined no t to carrv money . p la te.
F L I NT -LOCK FOR CAN NON
jewel s , or watches u pon any cons idera t ion wha tever.Va r iou s ingeniou s ap p l iances were made for the spor tsman to carrv his powder and sho t and enab le h im to
load his gun as q u i ck l y as pos s i b le. Severa l arei l l u s t ra ted . The fi rs t
,a lea ther bel t to go over the
shou lder,carry ing shot of two s i zes . By a sp r ing
arrangement the wea rer cou ld c u t off ins tant ly j u s ts u ffic ient shot for one charge. Another form was
a lea t her sho t- ho lder for the pocket , tha t had m u chthe same ac t ion. Powder was carr ied in a flask of
BROW N BESS
tin or lea ther. By p lac ing a finger over the top and
p ress ing a sp r ing , j u s t s u ffi c ient for one charge cou ldbe relea sed . Ano ther cont r i vance was a met a l t ube31in. long, w i t h a d i v i s ion in the cent re
,one end for
shot , the other for powder ' a l id w i th a s t rong sp r ingconfined the contents
,wh i ch were eas i l y released
when load ing . Severa l of these cou ld be carr ied inthe pocket . V ar iou s comb ina t ion too l s were carr ied
,
as p r i ckers screw-d r ivers, ni p p le removers,charge
d rawer, etc etc . B u l let s were mos t l y ca s t a t home.
Connoisseur
1 show one bu l let -mo u ld in meta l , and a mo re unc om
mon type in stone,dated 1 806 . Game
,when sho t .wo u ld
be ca rr ied home in var io u s way s . The ca rr ier i l lu strated has ametal hand le carefu l l y c overed wi th lea ther.
AND P I STOLS , ON E FL I NT , ON E CON VERTED
use. One wr i ter says : “ He m igh t have set fire to
the p lace had he been fu rni shed w i th phosferous
ma t ches , tha t invent ion of modern t imes by wh i ch thechem i s t and the ph i losopher have so effec tua l l y forwa rded the pu rposes of hou se-b reakers and noc t u rna lassass ins
,bu t wh i ch
,l ike its contempora ry d i scovery
— the a i r ba l loon—canno t , I bel ieve, be ap p l ied to
any p u rpose of u t i l i ty or convenience.
"
M y fa t her wasa hou se -keeper before fr i c t ion ma tches became genera l .The grandfa ther of a fr iend of m ine wou ld never a l low
From a c rossbar j u s t below 20 lea ther thongs 9 in.
long are su s pended ; the end of each is d i v ided so
tha t the head of a b i rd cou ld be pa ssed th rough and
carr ied on the thong . These carr ier s may have beenin common use, bu t i t is the onl y one I have met
wi th . Every spor tsman wou ld ca rry a pocket t inderbox conta ining fl int
,s teel
,and t inder. Fr i c t ion ma tc hes
were b rough t out by M r. Wa l ker,a chem i s t of S tock
ton,in 1 82 7, and were fi rs t so ld a t I S . per box
—box
2d. I t was some years before they came into genera l
Sfiori iflg (ma’ M i/iz‘cz ry Bygones
S HOT AND POW DER FLASK S
thei r use. The Tyne p i lo ts though t them very un S i t t ing on the bank of the r i ver Derwent. near
l u ck y, and wou ld never go to sea w i th any on board . Newcas t le- on - Tyne,on a fine s ummer afternoon
F is/z z'
ng .
— The s tranges t form of fi sh ing tha t has more than fi fty years ago,I saw a p i tman wad ing or
come under my not i ce was wi th a s ledge - h ammer . wa l k ing u p the bed of the s t ream ,wh i ch was very
SH OT AN D PO\V DER BELT GAME CAR R I E R
1 47
rock y , w i t ha large hammer in h is
h a nd .
c uriositywas
aro used , S 0I wat t‘ hed
the g en t lem a n . a nd
t h e n s a w
t hat he was
f i s h i n g .
li verv large,
f l a t s t o nethathecamc
to intheshalo
l ow p a r t s
o f the stream
r e c e i v ed aheavy b l o w
T/ie Connoisseur
COCK - F IG HT I NG I N DRAVV ING - ROOM
from the hammer . Then the s tone was t u rned over,
and any poor t rou t tha t was s tunned bv the b low was
cap tu red and t ransferred to the pocket of the p i tman.
Corkfig/z tz’
z zg—One of the mos t fash ionab le pop u lar
sport s of a h und red years ago—now a lmos t
,i f not
q u i te,unknown. The p resent genera t ion has no idea
of the ex tent to wh i c h i t was ca rr ied in former day s .
The Roya l Cock p i t was a t S t . J ames ’s in 1 824 .
Hogarth’
s sp i r i ted p i c tu re g i ves some idea the
company tha t a ssemb led. V e r y l a r g es takes were fough t forand heavy bet t ing indulged in. I t wasthe cu s tom to p u t anydefa u l ter of b e t t ingdeb t s i n t o a basketand ha u l h im u p to
the rafters of the p i t .A carefu l look a t thep i c t u rew i l l revea l theshadow of a man so
s u spended . Anotheri l l u st ra t ion s h ow s ad r a w i n g - ro om en
counter . T h e o ld
gent leman w i t h hisd ou ty leg on a foot
res t , the young manw i t h a b l ac k pa tchon his face
,and the
S PU R S FOR F IG H T I NG COCK Sgenera l d res s of the company
,point to a bygone per iod .
Near l y everv v i l lage had its cock p i t . I t was a g rea td raw a t a l l fa i rs and ra ces . A newspaper of 1 772 ,
1 48
u nd e r t h e
h e a d o f
B a rne t,
tnnounc es
“Cock ing a t
t he (‘
x reen
M an a s us
ua l . ” After
c h u r c h on
S u n d a y
mo rningwasthe c u s tom
ary t ime in
c o u n t r y
p laces . Bygenera l cons en t th e y
w a i t ed t i l lserv i ce was
over,b u t i f a
s t range m ini s ter und u ly p rolonged ma t ters, p lay cou ldnot he s tayed . I t wou ld ap pear tha t some ch urchoffi c ia l s were fond of the spor t
N o w onder thepeop le of Rugby are st i l l in the dark ,W i th a card - p lay ing parson and a cock - fighting c lerk .
The b i rd s were tra ined and fedmos t carefu l l y th ei rown s pu rs were c u t off, and s teel or s i lver ones , l ikethose i l lus t ra ted
,were fas tened on. They were very
sharp . The leather end was s teeped in hot
wa ter,grea t sk i l l be
ing req u i red to fas tenthem on to the b i rd ’
s
leg, forif theywerenot
set j u s t a t the r igh tang l e, there was a
danger tha t the fighter,whenhe had p u l ledhis op ponent ’s heads u f f i c i en t l y low to
s tr ike,m igh t p ierce
h i s own ins tead . The
trade card of “ Sam
uel Tou lm in, S i lverCoc k s p u r M a k e r ”
(here rep rod u ced ) , ish i gh ly i n t e r e s t i ng,and the qua int verseshows the des i rabi l i tyof hav ing you r b i rdfu rni shed withSmith’
s
s i lver s pu rs . The la teChancel lor Fergu son, of Car l i s le, has wr i t ten some mos t
interesing papers on cock -fighting. He tel l s us tha t i twas carr ied on a t Eas ter - t ime a t a l l the p ub l i c schoo l s .
Cozmoissenr
l ike ligh t ing co ck s . and many o t hers . M any count ry on the o ther, one b i rd has vanqu i shed h i s op ponent,
inns ado p ted the s i gn o f The l ‘ igh t ing Co ck s . " 1nd is s tand ing on his p ros tra te body c row ing . The,
T RADE T I CKET OF S I LVER COCKS PU R M AKER
There no ted one on the ou t sk i r ts of S t . A lbans . pu b l i c—hou se i s a qua int bu i ld ing, c la im s a veryI t has p rogres s i ve v iews on the s i gn- boa rd . On one ear ly founda t ion. Su c h are some of the vani sh ingface p i c tu re of two game- cock s in fierce ba t t le c u s tom s in zfield spor ts and m i l i tary m a t ters .
T I IE F IG H T I N G COCK S I N N , ST . ALBAN S1 50
[Photo Manse/IPORTRA IT OF A LADY
BY J EAN BAPT I STE GREUZE
In the Wallace Collec tion
T/ze Connoisseur
No. I I . CA STLE
money we want,and not even m i s s the examp les so ld
from su ch a su perabundance. The t ru s tees of the
ga l lery seemed to have made out an overwhelm ingcase for thei r p rojec t of sel l ing the p roper t y they hadbeen ap po inted to take ca re of .
Th i s v iew of the case,I ma y say a t once, is ent i rely
erroneou s . I t is ba sed u pon a has ty and foo l i shinterp reta t ion of a s ta tement made by Lord D ’Abernon
in mov ing the second read ing of the B i l l . Th i s s ta tement , a s repor ted in l e Times
,was tha t “
out of
work s of art—oil pa int ings,wa ter- co lou rs
, and
sketches wh i c h the ga l lery pos ses sed were
by Tu rner and by a l l other ar t i s t s of a l lschoo l s . ” I t wi l l be not i ced tha t Lord D
’Abernon
d id not say tha t the na t ion pos sessed oil
pa int ings by Turner ; he canno t, therefore, be heldrespons i b le for the erroneou s interp reta t ion wh i ch hasbeen pu t u pon his word s. B u t his s ta tement as th u sreported is s t i l l not ent i rely acc u rate. The ga l lerydoes not possess work s of ar t by Tu rner.M any of the i tem s enumera ted among the d raw ingsof the Tu r ner Beq ues t are not work s of ar t in any
recogni sed sense of the words . They are merelysc rap s of paper on wh i ch we find wr i t ten no tes of
var iou s k inds . Among them are severa l rec i pes (onesa id to be “
an infa l l i b le c u re for the b i te of a mad
dog andanother formak ing canvaswa ter- p roof) , c0p iesof favou rab le p res s cr i t i c i sm s of his work s
,his own
1 54
desc r i p t ions and c r i t i c i sm s of other a rt i s ts ’ work s , l i s tsof the numbers of bank -notes, drafts of poem s he was
t ry ing to wr i te, deta i l s of his sav ings,inves tments
,
ex pend i tu re,and ap po intments, etc .
, etc . M os t of
th i s wr i t ing i s in Tu rner ’s hand , bu t some of i t is not.Tha t on page 2a of the Af ar/ 07d M Y! Skele/z B oo/é is
p robab ly by his fa ther; tha t on the fiy- leaves of the
Soul/z lVa/es Sleek /z B ook (one leaf ha s been p ub l i shedin fac - s im i le in V o l ume I I I . of the Wa l po le Societv’sAnnua l ) is by some unknown fr iend .
So m uc h ignorance ha s been shown a s to the
number and charac ter of Tu rner’s work s wh i ch belongto the na t ion
,tha t the ed i tor of THE CONNO I SSEU R
has asked me to at temp t to th row some l i gh t on the
subjec t . I fear tha t I canno t do m u c h w i th in the
l im i ts of a shor t maga z ine ar t i c le, bu t I am w i l l ing todo my bes t .The Na t iona l Ga l lery posses ses abou t a h und red of
Turner ’s fini shed oil pa int ings . A l l of these are
exh i b i ted (orwere before the war) ei ther in the Na t iona lGa l lery , the Ta te Ga l lery, or in the var iou s p rov inc ia lpub l i c ga l ler ies. In the Na t iona l G a l lery Repor t for1 9 1 0 i t was s ta ted tha t 1 9 had been “ reta ined a t’
l‘
rafalgar Sq uare to rep resent the pa inter in the
h i s tory of Eu ropean ar t . In 1 9 1 3 abou t 20 or 2 1
were exh i b i ted in the ga l lery . Among the p i c tu res onloan were important canvases l ike T/ze Golden B ong/z
(N .G . Regulus leaving Rome T/ze Opem'
flg
Tko Turners zn f lee N ational Gallery
No . I I I . —CA R N A R VO N CASTLE
Wal/zalla T/zeG z'
ndeeca,Venice and
Rz'
c/ nnond B ridge lent to the D ub l in Na t iona l; a l lery Hero andLeander (5 2 1 ) and W/zalers B olling
B lnlflzer lent to the G lasgow A r t Ga l lery and
M u seum ,Kelvingrove P /z rgvne going to l/ze B at/z
lent to the Corpora t ion A r t Ga l lery , O ldham ;
and Ronze, f r0nz ilze Vatican lent to the Wa l ker
A r t Ga l lery, L i verpoo l . So tha t,i f the t ru s tees got
the power s they a sked for,one of the fi rs t res u l ts
wou ld be tha t D ub l in and our ch ief p rov inc i a lga l ler ies wou ld lose thei r examp les of Turner ’s work s .D u r ing 1 905 a number of unfini shed canvases by
Tu rner were d i scovered in one of the l umber room sin Trafa lgar Sq uare. These had beencondemned bythe t ru s tees and d i rec tor s of the ga l lery abou t fi ft yyears ago as unfi t for exh i b i t ion
,and i f they had then
posses sed the powers of sa le demanded by Lord
D’Abernon’
s B i l l,there can be no doub t tha t thewho le
lot wou ld have been immed i a tely d i sposed of“ a t
ba rgain p r i ces . ” Between 1 906 and 1 9 1 5 , 7 1 of
these canvases had been framed and exh i b i ted,mos t l y
a t the Ta te Gal lery . Among them are exqu i s i telybeau t i fu l th ings l ike Ti mE vening S tar s u perbsketches l ike Yac/z t-raez
'
ng z
'
n t/ze Solenl ( 1 993 , 1 994 ,
and Storm of a Rocky Coast and
q u a int and interes t ing fai l u res l ike George I V. at S f .
G z
'
les’
,E dinburgh (285 7) and George I V . at a B anquet
in E dz’
nénrg/z
U p to 1 9 1 5 , 1 87 of these canva ses had been framedand exh i b i ted . Only the offic ia l s can say exac t ly howmany unfinished oil fragments remain unframed , b u tthe number cannot be large.
Ins tead of posses s ing oil pa int ings by Tu rner,
1 5 5
the na t ion therefore owns under 300, and th i s inc l udesmore th an 1 00 s l igh t and fragmentary work s of interes tonl y to ar t i s t s and ar t s tudent s .I now tu rn to the d rawings in water - colou r, penc i l ,
c ha l k, etc . The bu l k of these cons i s t s o f the sketch
book s u sed by Tu rner du r ing his long ar t i s t i c career.The ear l ies t of them conta in some of the fi rs t d raw ingsTu rner made from na tu re. He was then fou r teen
years old,and they were p robab ly made d ur ing the
ho l iday s wh i ch he spent w i th h i s unc le a t Sunningwel l , near Ab ingdon. They comp r i se his fi rs t sket chesof Oxford ,
and o ther d raw ings a t C l i fton N uneham ,
S tanton Harcou r t,and Rad ley Ha l l . The la tes t
sketch - book in po int of da te is a sma l l pocket - bookbound in red lea ther. I t was in use d u r ing 1 845 and
1 846 , when the ar t i s t was 70 and 71 years of age.
Turner was then too feeb le and i l l to v i s i t his favou r i tesketc h ing g round s on the Cont inent . I t containsnotes of h i s wander ings round Kent
,Canterbu ry,
Sandw i c h,Pegwel l Bay
,Ram sga te
,Dea l , and Ri ch
borough being among the p laces v i s i ted .
Between these two ex t remes we find p ra c t i ca l l y thewho le ser ies of his sketch - book s. In them we can
trace h i s rap id ly developed power s of d raw ing andcompos i t ion
,and the changing sp i r i t in wh i ch he
ap p roached na tu re a t d i fferent per iod s in his ca reer.
They conta in the fi r s t notes and sketches from wh i cha l l his mos t famou s work s were b u i l t u p . W i th thei ra id we can p iece together a fu l l record of a l l h i st ravel s and sketch ing tou rs . Thei r b iograph i ca l ihterest is a l so heigh tened by the fac t tha t Tu rner u sedhis sketc h - book s not only to d raw in
,bu t a l so
note-book s in wh i ch he jot ted down detai l s of his
T/ze Connois seur
lie des i red a p ro po r t ion o f thei r content s has a l readybeen ru ined by unw i se ex po s u re. and they inc l uded rawings wh i c h are not by '
l'
urner.
Na t iona l Gallerv au tho r i t ies . however, can p lead
NO . V I .—BOSCASTLE
an ex c u se for the scanda lou s neg lec t w i th wh i ch theTu rner d raw ings have been t rea ted , the fac t tha t thega l lery
,unl ike near ly a l l the p r inc i pa l Eu ropean and
Amer ican public ga l ler ies, does not posses s a depar tment of d raw ings . They have not, as a consequence,
N o . V I I .—BOSCA STLE
ei ther the ac commoda t ion ready to make these d rawings ac ces s i b le to s tudent s, or offic ia l s capab le of
c la ss i fy ing , arranging, or adm ini s ter ing su ch a co l leet ion. When we cons ider that one of the ch ief g lor ies
E N G R AV I N G
of the Eng l i sh schoo l of ar t belongs to the reg ion of
m i ter-co lou r pa int ing (inc l ud ing m inia tu res ) , the. u rgentneed of s u ch a depar tment seem s obv iou s . B u t thet ru s tees are too bu sy wi th wi ld schemes for raisinry
b
PEN C I L D RAW I N G
m i l l ions to sq uander on the pu rcha se of oldmas ters
and for bu i ld ing new ga l ler ies for forei gn modern
p i c tu res to be ab le to g i ve any a t tent ion to s u chq ues t ions of adm ini s tra t i ve efficiency.
I t i s imposs i b le in the l im i ted space a t my d i sposa l
to. g ive any deta i led informa t ion abou t the interes tand va l ue of th i s wonderfu l co l lec t ionof drawings . In
my book on T urner’
s Snott /ies and D rawings I havedea l t somewha t fu l ly w i th one s ide of the s ubjec t ,
7‘
he Turners in the N ational Gallery
v i z. , the rela t ion between these sketches and Tu rner ’sfini shed work , and I am ab le, by the cou r tesy of thep ub l i shers, M essrs . M eth uen Co.
,to rep rodu ce here
a few of the i l l u s t ra t ions u sed in tha t work . The
N o . V I I I . —H EDG I NG AN D D ITC H I NG
ea r l ies t in po int of da te is the sketc h of a pony andwheelbarrow (No made in 1 794 , when the ar t i s twas nineteen y ears of age. I t gives a good idea of
Tu rner ’s s ty le of sketc h ing a t th i s per iod—his determ ina t ion to gra sp the larger t ru th s of form and
No. I X .
—HEDG l-NO '
AN D D I TC H I NG
s t ru c t u re, wel l as his q u i ckness and versa t i l i ty .
The penc i l ou t l ine of Conway Cas t le (N o. i i . ) wasmade in 1 798 . F rom th i s s l igh t ma ter ia l the sombreand imp ress i ve oil pa int ing
,now in the posses s ion of
the D uke of was pa inted . The charm ingl it t le penc i l s t udy for a p i c tu re of Carnarvon Cas t le(No. iii. ) was made a year la ter. N o. i v . shows Tu rner ’sfi rs t idea for the des i gn of the p i c tu re wh i ch now hangs
PEN C I L DRA\V I NG
bes ide the C laudes in the Na t iona l Ga l lery Sun
rising through Vapour . F ishermen cleaning and selling
fi sh He had not yet fel t the neces s i ty for the
g rou p o f figu res and boa t s in the foreg round , and i tw i l l be seen tha t his fi rs t idea was to ca l l the p i c t u re
ENG R AV I N G
A Calm. The Landscape near P l) month (N o . v . )one of many deli gh t fu l penc i l d raw ings Tu rner madein Devonsh i re abou t 1 8 1 2 . The very s l i gh t sket ch ofBoscas t le, Cornwa l l (N o. v i . ) from wh i ch the wa ter
7‘
he Connoissenr
THE DOGAN A
co lou r engraved in the“ Sou thern Cros s ser ies was
elabora ted , shows from wha t meag re da ta Tu rner cou ldwork when he chose to do so . The h u rr ied h ierog lyph(No. v i i i . ) from wh i ch the del igh tfu l des ignof Hedging
and D itching in the Lilrer S /ndiornm was elabora tedis even more perfunc tory . I t is only interes t ing as anexam p le of Tu rner s method s of c rea t ion. Torn from
its contex t,mounted and framed and so ld by au c t ion
a s “ a Turner ” i t m igh t perha p s rea l i se a pound
or th i r ty sh i l l ings as a c u r ios i ty . As one of the
Tu rners ,’
wh i ch the man in the s treet
fondlv imag ines the na t ion m igh t sel l for th ree or fou r
t hou sand pound s . i t posses ses some top i ca l interes t .
NO . X L—TEA5 1N0 THE DONK EY
1 60
f f‘
The d raw ing of TheD ogana, Venice (No. wh i chhas not been p rev iou s ly rep rod u ced , i s a good spec imen of the note- tak ing to wh i c h Tu rner abandonedh im sel f d u r ing - his fi r s t v i s i t to V eni ce in 1 8 1 9.
Teasing the D onhey (No. x i . ) is one of the br i l l iantco lou r notes wh i c h Turner made d u r ing a v i s i t toLord Eg remont a t Petworth , p robab ly in 1 829. The
figu res,adm i rab le in movement and charac ter, are
da shed in w i th body -co lou r on b l ue paper w i thou tany p rel im inary penc i l d rawing .
These rep rod uc t ions w i l l serve to s ugges t bet terthan any word s of m ine some idea of the ar t i s t i c va l ueof the sketch -book s .
The Connoisseur
[The Editor invites the assistance of readers of THE CONNO I SSEU R who may be able to impart the
inf ormation required hi’ Correspondents. )
U N IDENT I F IED P A I NT IN G (No .
DEAR S iR,—Th i s canvas is 3 2 in. by 40 in. in s i ze,
and has been in the pos ses s ion of my fam i ly s ince the
year 1 85 1 , when i t was p u rcha sed by my grandfa ther ,t hen a res ident of New York C i ty . Bevond th i s Ihave bu t l i t t le informa t ion. I do know
,however
,tha t
p rev iou s to my grandfa ther ’s p u rc hase of the p i c tu re,i t was b rough t to N ew York from New Or leans
,and
i t i s a t rad i t ion tha t la te in the eigh teenth or ear lyin the nineteenth centu ry i t came from Eu rope, having been b rough t to N ew Or leans bv French or
Spani sh offic ia l s, co loni s ts, or ex i les in the dav s whenLou i s iana was a co lony of ei ther of these powerI rema in, you r mos t obed ient servant ,FLORENCE A . CODD I NGTON (Sea t t le, US A ) .
UN I DENT I F I ED PA I N T I NG1 63
St reet ) , N o . 295 , Play Hours 1 836 (2 , Lo w er Sou thamp tonSt reet ) , N o. 2 58 , A Portrait 1 844 (83 , Ne wman Street ) ,N o . 349, Portrait of a Young Girl—A Study .
I have no doub t M r. C . F . Hardy,who knows a l l
abou t Agasse, knows of these exh i b i t s,b u t he does
The
1 833 exh i b i t was doub t les s the same canvas as t ha texh i b i ted a t the B r i t i sh“ Ins t i tu t ion the p rev iou s yea r
,
pos s i b ly w i th a few la s t fini sh ing tou ches added . The
charm ing rep rod u c t ion you gave u s of th i s p i c t u re in
not ment ion them in h i s interes t ing ar t i c les .
you r J anuary number makes me wi sh we cou ld havesu c h an excel lent examp le of th i s fasc ina t ing a rt i s t ’swork to rep resent h i s geni u s in our Na t iona l Ga l lery .
An art i s t who l ived and worked in th i s count ry forj us t on fifty years
,l i ke Agasse, m igh t we l l be t rea ted
as a member ofthe E n g l i s hs c h o o l , a l
though he was
born i n Sw i tz erland.
I m ay a d d
tha t Agasse ex
hibited t w i c ew i th the Old
”
Wa ter Co lourSoc iety d u r ingthe yea rs when
i t adm i t ted o i l saswel l aswa terco lou rs t o i t sexh i b i t ions . In1 8 1 6 h e exhi
b i ted Coachmenni ce t i ng and
c o m]? a r i n g
in 1 820 (as M r.
H a r d v o 1)
serves ) A [ VailCoach. Onbothoc c a s i o n s hisadd res s is g i venas 4 , NewmanS t reet .
You r obed i entservant
,
A LEX ANDERl . F IN BERc
TWO d ra w ing s by COp Iey F ield ing were amongs t thepropertv of a gent leman ” w h ich appeared a t Chr i s t ie’ s
on D ecember 1 5 th . D unster Castle,
1 859, 7 in. by 101 ih .
,fet ched £84,
1nd A H ighland Lake S cene,w ith
Cattle, 1 84 1 , 7 in. by 1 0 in.
, £75 1 25 . They were follo w ed on the easel by C . H aag ’s A'
aheenAnzr tin, 465 in.
by 30 in.,wh i ch fe l l for £78 1 55 . Th ree d raw ings by
S . P rou t were pu t u p,the h ighes t p r i ce being £47 55 . for
The P orch of 4 Cathedral,1 65 in. by 1 0% in. The nex t
p ropert y inc luded The H ousew ife,by J . Bosboom
, 9} in.
b y 1 2 ih ., £56 and Arundel Parh
,S ussex ,
by E .
M . \V im peris, 1 3% in. by 20 5 ih ., £68 55 . O f two
d raw ings by T . Co l l ier,Af ter the S torm
,z 3é in. by
3 5-
41 in.
,wh i ch was exh ib i ted a t the Par i s Exh i b i t ion,
1 900, made £147, wh i l s t A Common, 93, in. by 1 3 1} ih . ,
w ent for £42 . D . Cox ’s [Mountain Road,w ith Sheep ,
1 6s in. by 263g in. ,was knocked down for £52 105 . I t
had been exh i b i ted at L i verpoo l , 1 875 a t the Cox exhibi
t ion, B i rm ingham ,1 890 ; and came from the H o l b rook
G askel l co l lec t ion,1 909. Th ree work s from the b ru sh
o f H . Harp ignies were headed by B riare,1 888
, 7} in. by1 1 in.
, from the s ame co l lec t ion,w h i ch sec u red £49 75 .
The d rawings from var iou s sources were s ta rted by aP rou t
,The tWarhet—place in a N ormandy Town
,1 7g} in.
by 1 331 ih .
, w h i ch made £42 . Among s t the p i ct u res,
much interes t cent red in Leigh ton’s Golden Hours, 3o in.
b y 48 ih .
,wh i ch was exh i b i ted at the Roya l Academy in
1 864, and i s i l l ust rated in B ryan. The hammer desc ended upon the sel l ing b i d of £273 . I t w as eas i lys u rpassed , ho w ever, by Const ab le ’s Shetch at B ad/1am
,
JVorf ol/z , ” g in. by 2 1 ih .,wh i ch secu red £6 5 1 . O t her
i tems w ere A Roadside Inn,by T. Cresw i ck
,R.A.
, 48 in.
b y 72 ih .
, £ 1 68 ; The P lough Team,by W . Shayer
,
29 in. by 39 1m , £ 1 1 5 The F irst Cig ar , by E . de
B laas,1 883 , 24; in. by 1 6 in.
, £1 20 A S treet in
j erusalem , by G . Bauernfiend,1 887, 50 in. by 3 5 in.
,
£68 55 . On the E ve of Civ il LVar,by R. Hilling ford,
3 5s in. b y 53 § in.
, £67 4s ; and N apoleon’s P eril at
B rienne- le-Chateau,b y the same
,1 891 , 39
12~ in. by 56 in.
,
exh ib i ted a t the Roya l Academ y,1 89 1 , £50 85 .
A d raw ing by Sir Thomas La w rence,M iss B lox anz
,
af terwards M rs . Walcot,the artist
’
s niecé,w i t h the
engrav ing from the sket ch by F . C. Le w i s,b rough t
£ 1 05 a t M es s rs . So t heby ’s on D ecem ber 1 2th. I t wasso ld w i t h other Lawrence re l i c s b y order of the owner
,to
Pic t u res andD r aw ing s
1 64
w hom they were p resented by the art i s t ’s g reat -niece,
M i s s A . I . W a lcot .Two v ignet te d ra w ing s by B i rket Fos ter rea l i sed
£40 195 . ap iece at King S t reet on December i 8th .
They w ere A Cathedral Town on a River and A RiverS cene
,w ith w indm ill and boats . £299 55 . w as secu red
by P sy che, a c i rcu lar pa int ing , by Lawrence,1 9} in.
d iam .
The ce leb ra ted series of p i ct u res of S port ing dogskno w n as the Sportsman’
s Cabinet (engraved by johnScot t ) , by P . Reinagle, R.A.
,and Sawrey G i l p in, R.A.
,
made i t s appea rance at M ess rs . Chr i s t ie’s on Decem ber2 2nd. I t belonged to the l a te W . C . Moens
,E sq .
,
J . P . The p r i ces ranged between 3 gns. and 49 gns .
Going Out in the tWorning , 3 5 in. b y 49 in.,and The
Death of the F ox,by the same art i s t s
,made £304 105 .
and £1 3 1 55 . respect i vel y . F ramed p r int s by J . Scot tw ere so ld w i t h the p i c t u res . F rom anot her p roperty
,
S tart/ed, a h unt ing s cene, by C. Towne,1 8 1 8
,b rough t
£73 105 . D raw ing Cover and Returning Home,b y
S . A lken, £57 and a qua int View of E ton, by
G . j ones,R.A.
,2 53} in. by in.
, £69 65 . An ova l pastel
,P ortrait o/ a Gentleman, in brown coat
,w ith white
vest, in a landscape, by , _
Sir T. Law rence,1 2 in. by l o in.
,
from the co l lect ion of M at thew H u t ch inson, 1 86 1,made
£3 5 1 45 . Amongs t the p i c t u res from var iou s sou rces,
a pane l,The Retu rn (y
‘the P rodigal, by Remb rand t ,
42 in. by 33 ih .
,fet ched £630 ; A View inAms terdam
,b y
Berkheyden, am inutely t reated work on panel , 1 1 7} in. byi 7é in.
,w h i ch w as exh i b i ted a t B u r l ing ton Hou se, 1 889,
from the Massey -Mainwar ing co l lec t ion, 1907, £65 25 .
A Rustic M aiden,by W . Owen, R.A. , 34 in. by 26 in.
,
£ 1 1 0 55 .a s l igh t b u t fac i l e P ortrait (y
‘a Girl
,in white
muslin dress , by Rev . W . Peter s , 23 in. by 1 9 ih .
, £2 10 ;P ortrait of a Gentleman, in brown dress , w ith red scarf
andwhz'
tef r ills , by N . Maes , unframed , 1 7 in. by 1 25 in.,
£60 P ortrait of a Lady ,in Mach dress , w ith rich
lace collar and s tring s of pearls , by D . M ytens, 27 in. by205 in.
, £99 and The Resurrection of the Virg in,
schoo l of Cat a loni a , on panel , 4 1 in. by 42 in.,in an
interest ing carved frame of Gothi c des ign, £94 105 .
Th ree landscapes by R . W i l son were a l so ofi’
ered. The
one to rea l i se the h ighest sum was A River S cene, w i than Ang ler : Sunset, 24 in. by 29§ in. ,
wh i ch w as knockeddo w n for £54 1 25 .
A pathet i c rem inder of tha t unfor
tunate a rt i s t , R i chard Mor ton Paye, was p resent in the
GEO RG I A NA DUCH ESS or DEVON S H I REBY VALE NT I N E G REEN , AFTE R M A R I A COSVV AY
F ROM “THE DEVON S H I RE H OU SE C I RC LE ”
(H ER BERT JENK I N S )
1 66
The Connoisseur B oohshelf
under the spel l of her fasc inat ion. The sec ret of t h i scan hard l y be sa id to have l a in in her beau ty . M r.
Stokes , indeed , b r ings forwa rd many contemporaryOp inions to show that the legend of her love l iness wh i chhas come down to u s is much exaggera ted
,and t h i s i s
large l y borne out by her port ra i t s . She was one of t hosewho never look at t heir bes t excep t when ani mated
,
‘
and
one fanc ies tha t the d i ffi c u l ty wh i ch Reyno ld s and Ga insborough exper ienced in pa int ing her was more o w ingto the v i vac i t y of her countenance rather t han to any
excep t iona l qua l i t ies in her featu res or comp lex ion. Her
popu lar i ty was l a rgel y owing to her h igh sp i r i t s,her
determ inat ion to enjoy her sel f and to make ot hers doso
, and her good - humou red afi'
ab ility to everyone ingenera l . The lat ter t rai t was enhanced by her power toa ssume an at t i t u de of hau teu r when occ asion requ i red
,
and occas iona l l y when i t d i d not . Her mother warnsher agains t pu t t ing on “ t hat k i l l ing co ld look you somet i mes have to t hose you shou ld be p reuei zante to.
”One
fanc ies t hat t h i s ch i l l ines s served as an admi rab le fo i l tothe h igh ani ma l S p i r i t s wh i ch found a vent in p rac t i ca ljok ing and a love for gam ing t hat kep t her
,wea l thy as
she was, in perpet u a l financ i a l embar ras' sment s . The
mos t famou s event in the career of the D uchess was the
par t she p layed in the W es tm ins ter elec t ion of 1 784.
The who le po l i t i ca l forces of the count ry w ere b roughtinto the fie ld . The Tor ies
,backed by the K ing
,who
b rought the w ho le of h i s roya l infl uence and the resou rcesof h i s p r ivy pu rse into p lay
,concent ra ted t hei r efi
'
orts on
mak ing Fox lose the seat,wh i le the W h igs
,supported
by -the P r ince of W a les , v igorous l y res i s ted the ons laught .The effort s of the D uchess t u rned the sca le. She headeda ga laxy of beau t ies to as s i s t in the canvass for Fox, wh i chinc luded the th ree Lad ies W aldegrave, Lad y D unc annon,Lady Car l i s le
,Lady Beauchamp
,M rs . Crewe
,M rs .
D amer,M rs . Bou ver ie
,Perd i t a Rob inson
,and M rs .
A rm i stead . The Tor ies were hopeless ly ou tc lassed int h i s respect
,the b r ightes t st a r in the i r firmament being
Lad y Sa l i sbu ry,who
,t hough orig ina l ly endowed w i t h a s
good look s as some of her r iva l s , was a l read y past herb loom . E ven more t han Fox h imsel f
,the D uchess
became the cent ra l -figure in the fray,and car i cat u res,
poems,and s tor ies concerning her kep t the p resses of
the 'k ingdom bu sy a l l t h rough the st renuous leng t h of
the elect ion. M r. S tokes is not ab le to e luc idate the
t ru th of the wel l - known legend of the D uches s sel l ingher k i s ses for votes . He g i ves u s var io u s contemporaryaccount s wh i ch show t hat i t i s a t least p robab le t ha tshe bes towed a number of su ch favou rs .Lady Bet ty Fos ter came permanent l y on the scene in
1 785, becom ing an inma te of Devonsh i re Hou se and thec lose fr iend and companion of bot h D uke and D uchess .
She was even more beau t i fu l than the lat ter,and so
a l l ur ing t hat,in the op inion of G ibbon,
the h i s tori an,
no man cou ld w i t h s t and her,and th at
,if she chose to
beckon the Lord Chancel lor from h i s woo l sack,in fu l l
s ight of t he wor ld,he cou ld not res i s t obed ience.
” Th i sana logou s ar rangement cont inued unt i l the death of theD uches s, March 3oth, 1 806. S ince the b i rt h of her son,in 1 790,
she had become more domest icated,wh i le the
ear l y d i sas ters o f the g reat war w i t h F rance had cast agenera l damper over soc iety , of wh i ch she reigned asqueen unt i l the end. The D uke d i d not marry Lad yBet ty unt i l 1 809. Her p res i dency at Devonsh i re Hou sew as br ief
,for he d ied in 1 8 1 1
,and she moved to 1 3 ,
P i ccad i l ly Ter race, from where she migrated to Par i s,
and fina l l y to Rome, where she d ied in 1 824 . M r . S tokeshas p roduced a h igh l y interest ing book , g i v ing a v i v i dand intimate p i c t u re of Georg i an soc iety . There i s not
a du l l p age in i t,wh i le the ser ies of p l ates by wh i ch i t
i s i l lust ra ted are part i c u lar l y at t ract i ve,inc l ud ing, as
they do, por t ra i t s of many of themore ce lebrated beau t iesof the t i me.
S IR GEORGE GREENW OOD ’S l ates t cont r ibu t ion to
Shakespeari an l i terat u re i s a mas ter l y p iece of des t ruct i vecr i t i c i sm . He t akes va r iou s s t a te
S ir S idney Lee’s ment s made by Sir S i dney Lee in
N QW'
Edition'
0?the las t ed i t ion o f h i s L i f e of
‘Af e Of W‘u‘amI/ Villiam Shahesp eare, and w here
Shakes p eare.
’
he does not s ucceed in demo l i sh ingSom e
‘
Wor
'
dsOf t hem ent i rely
,he at leas t t h rows
Cr tt tc tsm ,by grave doub t on t hei r a c c u r a c y0
G
at
a xiaM P Thus he cor rec t s S i r S idney ’s asper
(John Lane’
s ions on the poet ’s lega l know led ge,p rac t i ca l l y des t roy s the cred i b i l i tyof the legend of Shakespeare poach
ing the deer of S ir Thomas Lu cy , and a l so the identi
fication of the la t ter w i t h M r . J ust i ce Sha l low ,andb r ing s
sub s t ant i a l ev i dence to show that the famou s sentence inChettle
’s p reface to h i s K ind Harte
’s D ream
,of wh i ch
Si r S idney makes frequent use, has no reference what
ever to Shakespeare. Equa l ly search ing, t hough not
so des t ruc t i ve, are h i s c r i t i c i sms of Shakespea re’s al leged
connec t ion w i t h the Rose Thea t re, and other det a i l s ofh i s later career . A book l ike t his deserves to be readby Shakespear i an st udent s because it conc lu s i ve ly p roveshow l i t t le we rea l l y know abou t the poet . A s Si r Georgepo int s out , we cannot be cer t a in abou t the i dent i ty of
Shakespea re’ s fa ther and mother. He migh t a l so haveadded th at we are by no means s u re t hat the poet wasborn in the hou se in H enley S t reet wh i ch is p roper lyaccep ted as h i s b i r th p l ace. A l l the fac t s known con
cerning the poet t hat wou ld be accep ted as ev i dencein a court of l a w m ight be eas i l y p r inted on a s ing leoc t avo page. Sir S i dney Lee
’s L ife of Shahesp eare
cont a ins nea r l y eigh t hund red of s u ch pages, and so
must be regarded less as an or t hodox b iog raph y t hanan a lmost unr i va l led at tem p t to deduce fac t s fromseconda ry da t a . In ot her w ord s , Sir S i dney
’s fea t i sana logou s to that of a detec t i ve who has to t ry and
reconst r uc t the det a i l s of a cr i me who l l y from c i rcum
He has m arvel lou s ly p ieced to
I S . 6d. net )
stant ial ev i dence.
gether a p l au s ib le, coherent , and det a i led record fromvery inadequ ate mater i a l s , bu t the very success of h i sendeavou r has made h i m apt to accep t l ikel y con
jec tures as p roven fac ts whi le in a few ins t ances his
content ions cannot be accep ted even under the gu i se of
p robab i l i t ies .
The Conuoisseur
S ha kes p ea re
's England : An
Acco unt of
the Life and
M a n ner s of
h is Age
2 vo l s .
(H um p h reyM i lfo rd25 5 . net )
S iR 5 1 1mm“
L E It h a s s o
exha u s t i v e l yd e a l t w i t hevery m a t t e rd i r e c t l y con
ne c t ed w i t hShak e s p ea r ein h i s Life o f
the poen t h a ta t fi rs t s ight i tm i g h t s e emt h a t t h e two
5 u b s t an t i a lv o l u m e s o n
Shah espeare’sE ng land are aneed les s add it ion to the va stacc u m u l a t iono f literatureal
read y bear ingon the subjec t .This idea
,h0w
ever,is a t once
d i ss i pated by as t u d y o f t h e
w o r k,w h i c h
fu l ly deservesthe ep i t het of
monumen t a l .So much does i t amp l i fy the scope of S i r S i dney Lee’sresearches
,t hat one may say
,indeed
,th at i t w i l l not
onl y be w elcome to Shakespear i an s t udent s , bu t p rac tica l ly ind i spensab le. Command ing a s i s Shakespeare’sfigure, he cannot be sai d to have dominated h i s age ;he was the p roduc t and not the or ig inator of i t ; a g rea tman among h i s peers
,and not the cent ra l sun round
whom a l l ot her s ta rs in the l i terary firmament revo l ved .
N or d i d the g reat l i terary ou tbu rs t of the Shakespear i anage cons t i t u te i t s so le c la i m to d i s t inct ion. I t was agreat epoch— one of new i deas and far - reach ing d i scoveries— and in i t were effec ted the major i ty of the
changes in rel ig ion,domes t i c l i fe
,sc ience
,ar t
,and
po l i t i c s w h i ch inaugurated modern Eng l i s h h i s tory .
Shakespeare s tood on the t h resho ld between the two
era s—the old and the new. To app rec i a te h i s works ,and more espec i a l ly to unders t and the count les s references to contemporary l i fe and manner s cont a ined in
NATH AN IEL F I ELD
t h em , i t i snec e s s ary to
p o s s e s s aknow ledge o f
t h i s p e r i o do f f l u x and
c h a ng e, and
mo re e s p ec i
a l ly of t he t i mei mm ed i a t e l yp reced i ng i t
,
f o r 8 h a k espea re’ s versei s r a t h e r thes w an- s ong of
the O l d orderof t h ings t h anthe b i rt h - songof t he new. In
Sha/cespeare’s
E ng land t h i sg r o u n d i st h o ro u g h l yc o v e r e cl
t h i r t y - s e v enl e a d i ng au
thorities e a c htak ing the port ion of i t coming w i t h in h i s
spec i a l sphereof know ledge.
T h e w o r k i sd i v i d ed i n t ot h i r ty sect ions
,
fou r o f wh i c ha r e fu r t h e rs p l i t u p intoseventeensub
sec t ion s . To
only p i c k out
the por t ions ofi t d i rec t ly concerned w i t h the F ine A r t s of the per iod ,and s u ch art i c les be long ing to i t a s come w i t h in the
sphere of the p resent - day co l lec tor,one must pa ss
over mu ch tha t wou ld be of interes t to readers of THECONNO I SSEUR . S ir W a l ter Ra leigh
,for inst ance, in h i s
chap ter on “TheAge of E l i zabeth
,
” t h rows interes t ingl igh t s on the arms
,furni t u re
,and domes tic arch i tect u re
of the per iod ; the Rev . Rona ld Bayne,in w ri t ing on
“ Rel ig ion,
” g ives u sefu l informat ion on contemporaryb i b les ; w h i le inM r . E . K . Chambers
’
s desc r ip t ionof “ TheCour t ” t here i s much va luab le information concerningthe cos t umes of the upper c las ses . V i scount D i l lonwr i teslea rned l y on A rmou r andW eapons
,
” t hen in a s ta te
of t rans i t ion, for gunpowder, wh i le render ing bows andar rows and heav ier form s of armou r p ract i ca l l y Ob so lete,had not yet d r i ven t hem out of use. E very type of
weapon and armou r ment ioned in Shakespeare’s p laysi s fu l l y descr i bed
,as wel l as t hose in contempora ry use
F ROM TH E PA I NT I NG I N '
TH E DULW I C H GALLERYF ROM “ S H AK ES PEA RE ’S ENG LAN D ”
(HUM PH REY M I L FO RD )
The Connoisseur
de l i cate su scep t ib i l i t ies of M rs . G rund y . Mary E sp r i t i sthe heroine o f the sto ry . B rought u p in a na rrow N on
conform i s t c i rc le, she i s on her way to Egyp t w i t h an
a unt , when she encounters M r. Selinder,a w i dower O f
moderate means , cons iderab l y o lder t han hersel f. H i snob le v iew O f l i fe deep l y i mp res ses M arv. Thei r a t tachment i s mutual
,bu t M r . Selinder hes i t a tes to p ropose
becau se of h i s age, and Mary fa i ls to g ive h i m su f fic ientencou ragement , for she i s poor hersel f, and has beenb rought up w i t h the i dea of mak ing a good mat ch .
_
Theypa r t com pany ,
and Ma ry , who is s ingu la r l y fasc inat ing ,a l lows Selinder’s son to fa l l in love w i t h her
,bu t cu t s
shor t his p roposa l s,w h i ch fa i l to move her, andevent ua l l y
conforms w i t h the des i res of her relat i ves by marry ingRober t Sk info ld
,an a ppa rent l y wealthv c itv man. The
ma rri age p roves a fa i l u re,for the husband t u rns out to
be a mean b r u te a ffl ic ted w i t h jea lou s y , wh i le h i s r i chesare swep t a w ay in some S tock Exchange Operat ions .M a ry
,left a penni les s w i dow
,h ides hersel f from the
w or ld and devotes hersel f to the cau se of char i ty . Her
whereabou t s i s event u a l l y d i scovered by Selinder,who
,
in com ing to seek her, meet s w i t h a fa ta l acc ident , andMary is left a lone at her w ork s uppor ted by her memor ieso f t he dead ph i losopher and h i s teach ing . Rel ief fromthe t raged y of the main s tory i s afforded by the happ iercou rt sh i p of a young r i s ing ar t i st
,Herbert C l ay ton
,who
defies convent iona l i ty by ma rry ing Annun-z i a ta,h i s
Roman model,w i t h the happ ies t resu l t s . Though the
s tory ends sad ly,i t i s by no means a l l concei ved in a
t rag i c vein. Here and t here i t i s enl i vened w i t h touchesof comedy wh i le the p i c t u res of Egyp t
,of Roman ar t i s t
l i fe,and of I t a l i an shepherd s
,and the account of the
k i dnapp ing of an Eng l i sh s tock - b roker by S i c i l i an band i t sandh i s sub sequent rescue
,a l l appear as t hough they were
d rawn d i rec t l y from l i fe,and are set down p i c t u resquel y
and conv inc ingl y . M any of the m inor characters of thebook are very wel l sket ched in
,and t hough the t ypes of
Nonconform i ty w h i ch the au thor d ra w s are a l l unp leas ing,
t hey are scarcely exaggera ted . One cou ld have w i shed,
ho w ever,th at he had sho w n t ha t such types belong ra ther
to the pas t t han the p resent,and tha t a t all t i mes t hey
have been an excep t ion ins tead of t he ru le. SirW i l l i am,
ho w ever, be l ieves in the mani fes ta t ion of good by the
beau ty and r i chness of l i fe,and the au s teri ty of c reed s
by w h i ch beau t y w as regarded as an exemp lification of
ev i l makes no appea l to him . Under ly ing h i s s tory i sthe teach ing t ha t beau t y in a l l i t s form s i s good—the
beau ty of mOral l i fe,of ceremoni a l worsh i p
,o f c leanli
nes s , of p leasant su rround ing s, of s igh t ly d res s and of
refined language—and t hat much of t he ev i l w h ich aecompanies our so
- ca l led h igher c iv i l i sa t ion,as exemp l i fied in
our large to w ns,comes from the c reat ion of monotonou s
ro w s of s lum d w el l ings,env i roned by “ g ri me
,b lackness
,
mud and smoke.
”
Sir \V illiam ’s teach ing in t h i s regard may be summed
up in the sentence :“ Make the poor love beau ty and
they w i l l hate squa lor ; make t hem adhere to c leanliness and they w i l l loathe d i r t ; lead them to respec tt hemsel ves and they w i l l respec t ot hers ; p rov i de themw i t h i dea l s and t hey w i l l t ry to lead them .
”
A BOOK wh i ch deserves to be s tud ied by d i rec tors ofmu seums and a l l who are interes ted in the p reservat ion
of loca l topog raph i ca l record s andthose o f other subjec t s wh i ch can
be adeq uate ly recorded in photog raphy , i s The CameraasH istorian.
T h i s i s t h e jo int p roduc t ion of
M ess rs . H . D . Gower and W . W .
Top ley,respec t i ve l y Hon. Su rvey
Sec ret a ry and Hon. T reasu rer o f
the Photograph i c Su rvey andRecordo f Su rrey
,and of M r. L . S t anley J u s t
,former ly Hon.
Cu ra tor of t h i s ins t i t u t ion, and now Depu ty - Ch iefL i b rar i an of the M anchester Pub l i c L i b raries . A l l thesegent lemen are ex per t s on the subjec t on wh i ch theyt rea t
,wh i ch i s the t ak ing of photog raph s of subjec t s of
loca l or nat iona l interes t,and the arrangement of t hem
in pub l i c ins t i t u t ions in a manner tomake them eas i l yacces s i b le for permanent reference. Few t hemes areof greater i mportance, for in a shor t t i me t here w il lbecome ava i lab le an i mmense mass of photographicrecord s in connect ion w i t h the war
,and whether t hese
are sp read b road cast to the fou r w ind s of heaven or
co l lected in approp ri a te loca l i t ies depends upon the
ac t ion of lead ing muni c ipa l i t ies d ur ing the nex t fewmonth s . N ow
,the fa i l ing of mos t loca l mu seum s i s t ha t
when t hey t roub le to concern t hemsel ves w i t h loca lmat te-rs they are ap t to confine t hei r labou rs to the pas tand le ave to pos ter i ty the t a sk of record ing the p resent .The res u l t i s t ha t record s and rel i c s now of g reat interes t ,wh i ch cou ld have been ob t a ined for the ask ing a generat ion or two back
,can only be co l lec ted a t the cost of
g rea t labour and expense. Photographs espec i a l l y are
a case in po int . For many years past the camera hasp ract i ca l ly su per seded the topograph i ca l art i s t , and hasla rgely d i sp laced the b l ack -and-wh i te d raugh tsman asrecorder of cu rrent event s ; yet in very few d i rect ionsh as any organi sed effor t been m ade to co l lec t and fi lepho tog raphs for loca l or na t iona l reference. In 1 897
the N at iona l Photographi c Record A ssoc i at ion was
formed,
on the ini t i a t i ve of S ir Benjam in S tone, for
co l lect ing photog raph i c record s of objects and scenes
of interes t t h roughou t the B ri t i sh I s les and depos i t ingt hem in the B r i t i sh M useum . Fou r thou sand pr int sw ere s tored t here by 19 10 ,
when the assoc i a t ion was d i s
so l ved , it be ing recogni sed tha t thework of t he Photographic Survey and Record Cou ld be moreeffect i vel y carr iedon by the numerou s county and o t her loca l assoc i at ionsw hi ch h ad been formed in the meanwh i le. These in
c lude nat iona l assoc i a t ions for Scot land andW a les, andcounty assoc i a t ions for Chesh i re, E ssex, Hereford sh i re,Kent
,Lei cestersh i re, M idd lesex , N orfo l k , Nor t hamp ton,
Sh rop sh i re, Somerset , Su ffo l k , Su rrey , Su ssex , and \Varwickshire, bes i des soc iet ies wh i ch are undertak ing the
s u rveys of ind i v i d ua l towns , and others wh i ch are con
cerned w i t h photographs of spec i fi c subject s , such asgeo logy . I t w i l l t hu s be seen t hat photograph i c su rveywork , t hough st i l l in i t s infancy , i s rap i d l y becoming anat iona l movement
,and the use of p roper app l i ances
for t ak ing the record s , and of convenient sy stem s for
“ The Cam er a.a s H is tor ian,
" by
H . D . Gower ,
L. S tan ley Ju s t ,andW . W. Top ley(Sam p son Low ,
M a r s ton Co. ,
Ltd. 65 . net )
THE Exh ib i t ion of G raph i c A r t a t Bu r l ing tonH o u se i s a good idea bad l y ca rr ied out . Th i s i s the
more unfor t unate as i t cons t i t u tes themos t i m por t ant recogni t ion ever accorded by the Roya l Academy to
engr a v e r s and i l l ust ra tor s . The
who le of the space at p resent ava i lab le has been g ivento t hei r wo rk s
,a s ub s tant i a l p ropor t ion of it being devoted
to a ret ros pec t i ve sec t ion des igned to i l l u st ra te the h i s toryof engrav ing and etch ing from the fi fteent h to the
nineteenth cent u ry and the work of the ch ief Eng l i shV i c tori an i l l u s t ra tors . Nei t her of t hese objec t s hasbeen a t t a ined w i t h any thing l i ke com p leteness . The
omi ss ion of any rep resent at ion of Leech,Sma l l
,Her
komer,M acbet h , S ir john G i l ber t , Sambourne, and
Raven H i l l,to ment iononl y a few
,conver t s the V ic tor i an
d ra w ing s into a scrat ch co l lect ion ; wh i le an i l l u st rat iono f engrav ing and et ch ing wh i ch inc l udes ne i t her s t i pp le
G rap h ic A r ta t theRoy al Academ y
B R I T I S H TROO P S ON THE MAR C H TO THE SOM ME BY MU I R H EAD BO NE
1 74
nor aquat int,confines the record of nineteei-i th- cent u ry
l ine eng rav ing to abou t ha l f a dozen sma‘ l l p lates , and
t akes no account of men l i ke M eryon, Goya , W i l l i amW a rd
, S . W . Reyno ld s,B lake
,and a hos t of ear l ier and
l ater mas ters,i s,to say the least of i t
,very i mper fec t .
The fa i l ings of the selec t ing comm i t tee have unfor
tunately been ac cent u ated by bad hang ing . A ch rono ~
log i c a l a rrangement wou ld have rendered the d i sp layinteres t ing from an ed u cat iona l s t andpoint
,and wou ld
have ens u red tha t the p la tes wou ld have been hungtogether in homogeneou s g roup s . The hang ing com ~
m ittee have apparent l y p refer red to adop t a s thei rlead ing mo/if the symmet r i ca l a rrangement of t he frames ;the res u l t i s t h a t the ret rospec t ive sect ion appears aco l lec t ion of samp les— beau t i fu l samp les for the mos tpar t— bu t .ne i t her co l lec ted nor hung w i t h any defini teend in v ie wThe major i ty of the ind i v i d ua l w ork s shown are o f
F ROM “THE W ESTERN F RONT ’
Curreut A rt N otes
high qua l i ty—not a mat ter of m u ch s u rp r i se when i t i sst ated tha t the comm i t tee had such fine co l lect ions ast hose of M r . John Charr ing ton
,the Rev . L . G i l ber t son,
Mr . J . P . Hesel t ine,Si r H enry Johnson
,and M r . F r i t z
Rei s s a t thei r di5 posal. The mezzot int s be long ing to
the last - named have a l ready been the subjec t of severa lart i c les in THE CONNO I SSEUR , so that i t i s unneces saryto descr i be the ind i v id u a l i tems wh i ch he lent . Su ffi ce i t tosay that t hey inc l ude b r i l l i ant fi rs t s ta tes of such p latesas J ames M cArdell’s D ue/zess oj
'
Aueas ter,after H ud son
Va lent ine G reen’s Countess of Salisbury and TueLadies
(Valdeg rave, a fter Reyno ld s ; Thomas W at son’s LadyBampjj/ la
’e,a fter the same ; and Lady Rus/zou t and
C/z ila’reu,a fter G ardner Love in /t€7‘ Ey es sits P lay ing ,
by J . R . Sm i t h,a fter Peters ; Char les Turner ’s Lord
N ew ton,after S i r H . Raebu rn ; and the llf rs . M ic/toe!
Angelo Taylor, a fter HOppner, once at t r ibu ted to
W i l l i am W ard,b u t now es tab l i shed as the w o rk of h i s
b rot her J ames . O f the ind i v i d u a l mez zot int s lent to the
exh i b i t ion,none i s more interes t ing t h an the fine imp res
s ion of T/te Great E x ecu tioner of P r ince Ruper t , lent byH . M . the K ing . Though su rpassed in te chnica l mas teryby p lates of many of the later exponent s of mez zot int
,
t h i s w ork,one of the ea r l ies t experi ment s in the med ium ,
i s defic ient to none in a rt i st i c feel ing, and i s d i s t ingu i shedby dep t h of tone and the s t reng t h and freedom of i t sh and l ing . The l ink s between the men of the ear l y nineteenth cent u ry and the mez zot inters of the p resent t i meare ind i fferent l y supp l ied by two sma l l b u t very b r i l l i antlandscapes by D av i d Lu cas
,two poor spec i mens of
Samue l Cou sins , and severa l p lates from the L iber
S tudiorunz,in whi ch the mez zot int i s l argel y subordi
nated to et ch ing . Eng l i sh l ine w ork of the nineteenthcent u ry— i t s grea t period— i s even more sparse l y rep re
sented by fou r sma l l p l ates,a l so after Tu rner . These
are good spec i mens , b ut one feel s t hat the Roya lAcadem y ought ei t her to have t r ied to i l l u st rate t h i ssect ion more adequately or om i t ted i t . Go ing backwa rd sfrom these
,ear l y Eng l i sh l ine engrav ing i s shown in
ha l f a dozen sma l l por t ra i t s and a good i mp res s ion of
the more impor tant b u t somewha t hackneyed p late of
C/zarles J .
,by Sir Rober t St range. A dozen or so p lates
exemp l i fy French l ine engrav ing and et ch ing w i t hou ttou ch ing more t han the fr inge of the su bjec t . Amongt hese are inc luded a cou p le of character i st i c por t ra i t s byJeanM or in
,from M r . Charring ton
’
s co l lec t ion ; a b r i l l i antsecond st ate of P ompone de B ellies -r e
,a fter Le B run,
rep resent s h i s g reater contemporary , Rober t N anteu i l , ath i s bes t ; and \V atteau and G reu ze are rep resented b yorig ina l etchings , b u t not in any of the beau t i fu l trans lat ions m ade from thei r work s . The fine Remb rand t sfrom the co l lect ion of M r . J . P . Hesel t ine and Sir H enryJ . Johnson hel p to make the D u t ch sec t ion,
and the same
offi ce i s served to the G erm an b y the fine D iirers and
ot her ear l y masters belong ing to M r . H ese l t ine and M r .
Charr ington. The form er has a l so lent mos t of the bes tof the I t a l i an p rint s
,t hough M r . Charr ing ton and M r .
F ai rfax M urray cont r i b u te a coup le of interes tingM antegnas. The major i ty of the V i c tor i an i l lu s t rat ions come from M r . H aro ld H art ley 5 co l lec t ion, wh ich
inc ludes some fine pend ra w ings by M i l la i s , F red W a l ker ,E . A . Abbey
,Sand ys, Le ighton, and ot hers
,supp le
mented w i t h two or t h ree interest ingW h i st lers belong ingto M r . Joseph Pennel l .Among contempora ry engrav ings the amount of old
work i s somewhat over l arge, mos t of the bes t of i t beingfam i l i ar to anyone who i s in the hab i t of look ing th roughp r int - dea lers ’ fo l ios ; many of the d ra w ing s are a lsofami l i ar t h rough hav ing been shown in recent exh i b i t ions .M r. F . H am i l ton J ack son has a coup le of a rch i tect u ra lsubjec t s in s t rong l ine ; M r. A l fred Parsons , a numberof h i s bea u t i fu l and h igh l y wrought country - si de scenesM r. George W . Lamber t i s free and fluent in h i s c rayonwork ; and the l ate Lieu t . Percy F . Cat h in i s rept esented by a cou p le of c lever wash d ra w ings . M r . F .
D er-went VV ood’s ha l f- dozen figu re s t ud ies are note-w or thyfor t hei r fine app rec i a t ion of g racefu l form ,
and Messrs .
H aro ld Speed and W i l l i am Ro t henstein have a num berof charac ter i s t i c port ra i t s t ud ies . M r . George C lau senin severa l farm scenes at ta ins h i s effec t s w i t h d i rec tnes sand s i mp l i c i ty
,wh i le M r . H erber t D raper shows a
t horough know ledge of the human form in h i s beau t i fu lfig u re s t ud ies . M r . Bernard Par t r idge’s w el l - composedD esign for tlze Olympic Games Certzfieate i s d igni fiedand approp r i a te, and Sir E . J . Poynter
’s essay in the
samemetiei ‘,thewel l - known B order for Queen Victoria
’s
Letter ito -tlte N ation,as wel l as one or two wel l
charac ter i sed por t ra i t heads,exemp l i fy h i s fine d ra ught s
mansh i p and c lass ica l feel ing . O t her note w or t hy contributions in the same gal lery areLieut.AlfredE . Cooper
’
s
Cover D esign for a war per iod i ca l,a group of M r.
A rth u r Rackham ’s a l w ay s del igh t fu l d raw ing s , two
powerfu l landscapes in b lack and wh i te by M r . Ber t ramPriestman,
and severa l da inty wood b lo ck s in co lou r byM r . Char les Shannon. Aqua t int s are sparsely repre
sented . M r . Percy G askel l in T/ze F alls of Tummell
at t a ins grea t dep t h of tone,bu t the effec t m igh t , perhap s ,
have been even more fu l ly ob t a ined in mez zot int ; and
M ess rs . A l fred Hart ley and Sydney Lee bot h cont r ibu tegood work . M r . H . Scot t B r idgwater
,Sir F rank Shor t .
and M r . H . Macbet h Raeb urn were a l l s t rongl y repre
sented among the mez zo t int s , b u t the bes t of t hei r w ork sseen here are so wel l known as a lmos t to have becomec lass i cs . The same may be sa i d of the cont r ibu t ions ofmos t of the lead ing et cher s . Among these are som e
sent ient p lates b y M r . George C lau sen ; fou r of M r .
W i l l i am S t rang ’s fine head s,no tewor t hy for t he cer ta inty
and econom y of thei r effort ; and a t r ip let of M r . Rober tSpence’s p l ates , of wh i ch the Renz lxrana’t ’s Sale—a
t raged y rea l i sed w i t h gr im humou r—reca l l s the chiaros
cu ro and execu t ion of the master h i msel f. M r . O l i verH a l l ’s free and b reezy Lancaster Castle w as the best o fhi s cont r ibu t ions
,wh i le some fine ly execu ted book - p lates
were cont r i bu ted by M es srs . J . F . Badeley and M ajorN . R . W i l k inson
,and Sir Char les H o l royd , Sir F rank
Shor t , and Lieu t . Hon. W a l ter J ames w ere a l l rep resentedby characteri s t i c work . The l i t hograph i c sec t ion inc luded works b y deceased as wel l as l i v ing ar t i s t s , and
t h u s afforded Op por t uni t y for the d i sp lay of a few of
W h i s t ler ’ s da int ies t effort s in t h i s med i um ,w ork s wh ich
,
7We
bv t he i r appa rent uns t ud ied ease o f execu t ion and s l ightnes s of hand l ing .
have p roved p i t fa l l s to unwa ry art i st swho ha ve t ried to at t a in s i m i la r effec t s w i t hou t beingpossessed o f W h i st ler ’s geni u s or h i s capac i t y for t ak inginfini te pa ins w i t h his w ork . ho w ever , was les sa g rea t l i t hographer t han a g rea t a rt i s t who o ccas iona l lypract i sed l i t hog raph y . In techni ca l kno w ledge of the
med i um he i s su rpassed by some o f its p resent -day ex
ponents— M r. l“. E rnes t J ackson,
for instance,who shares
w i t h M r . A l ber t Be l leroche the d i s t inct ion of or ig inat ingthe Senefelder C lub . Bot h t hese a rt i s t s are w el l exemplified, M r. J ack son in hi s g rou p of w ork s sho w ingremarkab le-va r iet y and a fu l l app rec i at ionof t he resou rceso f the med i um
,wh i le M r. Belleroche’s ha l f-dozen large
head s are d i s t ingu i shed by t he i r bo ld hand l ing and finequa l i ty . M r . Cha r les Shannond i s p l ays as su red masteryin the l i m i ted Sphere he ha s made h i s own M r . JosephPenne l l ’s l ine of w a r -work l i t hog raphs were of greattop i ca l interes t ; wh i le power fu l work i s cont r ibu ted byM ess rs . G . Spencer P ryse, W . A . V eresm ith , and E . J .
S u l l i van.
THE t h ree hund red yea rs w h i ch have el ap sed s incethe dea th of Shakespeare may be su mmed up as fi fty
vears of forget fu lnes s , fi ft y years ofSh a kes p ea re
iner t ia , and two cent u r ies of enthusiTercen tenary
astic a rec iation o f the oet’s work
Exh ibi t ion pp pand more or less met hod i ca l inves t iga
t ion into the deta i l s of hi s career . The fru i t s of a l l theseper iods were adm i rab l y i l l ust rated in the TercentenaryExh i b i t ion
,held a t the G ra fton G a l lery , in a id of the
B r i t i sh Red Cros s Societ y . I ts incep t ionwas due to the
indefat igab le labou r s of M r . Rober t Bateman, Cu ratoro f t he W
'
h i t w ort h Ins t i t u te,Manches ter
,who organi sed
the exhib i t ion in t hat ins t i t u t ion,from whence
,t h rough
the generos i t y of M r . Mar t in H arvey, i t was bod i l yt rans ferred to London. The exh ib i t ion was an i dea l onefor the t i mes
,for
,t hough fu l l of interes t ing items
,i t
cont a ined nothing the des t ru ct ion of w h ich by Zeppel inbomb s wou ld make an i rreparab le gap in our spar seacc umu lat ion of ac t ua l Shakespear i an rel i c s . Por t ra i t sof the poet were ch iefly rep resented by rep rodu ct ions ,the only two au thent i c ones— the D roeshou t p r int andthe S t ra t ford -on-Avon eff i gy
—being wel l i l lu s t rated,the
former b y a fac s i m i le of the ea r l ies t known i m p res s ion,
a s w el l a s act ual p r int s in later s tates and the effi gy bya cas t from the orig ina l bu st
,and var ious old engravings
w h i ch pu rpor ted to dep i c t the S t ra t ford monument beforeand a fter i t s res torat ion in 1 749. These showed con
c lusively , what has a lways been known to p r int co l lectors ,t hat seventeent h and e ighteenth cent u ry engravers tookl i ber t ies in the del ineat ion of a subjec t wh i ch wou ld notbe to lera ted a t the present t i me. The subjec t i s of somei mpor t ance, for B aconi an t heor i s t s have u rged , on the
ev i dence of the ear l ies t of the p r int s— the one by Ho l la rin 1636, here rep resented by a cop y made by Grignion
in 1 786— t ha t the monument w a s sub st ant i a l l y a l tered
d ur ing i t s res tora t ion,and based va rious content ions on
t h i s point ; b u t Ver tue ’s engrav ing of 1 72 5 correc t sHo l la r ’s m i s s t a tement s and rep resent s the monument a s
Connoissenr
appearing in very much the same s t ate as i t i s a t p resent .There was a good rep resenta t ion of rep roduct ions of thebes t kno w n of the apocrypha l l ikenes ses of the poet
,of
w h i ch t here must be we l l over a hund red ; bu t mo reinteres t ing were some o f the modern idea l por t ra i t s .'
l’
hat bv B lake was one of the p rod uc t s of h i s t h ree yea rs ’
s tay at Fe l pham,1800 - 1 803 , w i t h H ay ley the poet , and
sho w ed the convent iona l i s ing infl uences o f the lat ter bybeing a somew ha t i dea l i sed rem ini scence of the D roeshou t eng rav ing . One w i shes that B lake
,who c l a imed
to have po w er to see and converse w i t h the sp i r i t s of themighty dead
,cou ld have been left to p roduce h i s own
concep t ion of Shakespeare,bu t d uring h i s “ t h ree years ’
s lumber on the bank s of ocean,
” a s he a fterward s termedh i s v i s i t
,H ay ley a l lo w ed the a rt i s t l i t t le scope to exerc i se
h i s unt rammel led imag inat ion. Another ideal por t ra i t wasthe i mp ress i ve work by Ford M adox B ro w n
,pa inted in
1 850 , the year a fter he p roduced h i s pic t u re of Chau cer .for wh i ch D . G . Rosset t i sat to h im . The V i ctor i an poet ,w i t h h i s h igh - domed forehead
,and wear ing a beard and
mou stache s i m i la r to t hose of Shakespeare,as shown in
the S t ra t ford bu st,was by no means unl ike h im ; and
in bo t h M adox B rown’s p i c tu re andthe or ig ina l cartoonfor i t the pa inter was obv iou s l y as m uch insp i red byreco l lect ions of
'
Rossetti as by t hought s of Shakespeare.
I t was largely ow ing to the effor t s of G arr i ck,M rs.
S i ddons,and some of t hei r p redecessors and successors
,
t hat Shakespeare’s p lays h ave become so w i de ly known,
and i t was onl y fi t ting th a t po rt ra i t s of famou s ac torsand ac t res ses shou ld be s t rong ly in ev i dence. G a rr i ck ,who mus t have sat more often for his l ikeness t h an any
of h i s contemporar ies,was shown in a mu l t i t ude of
gu i ses , w h i le the rep resent a t ions of M rs . S iddons wereonl y less numerou s . Perhap s the most interes t ingamong the l at ter was her port rai t
,in com pany w i t h ot her
member s of the Kem b le fam i ly,in the once famou s
p i c t u re of the Trial S cenes of Queen Catherine,pa inted
b y G . H . H ar low in 1 8 1 7. Fu sel i was responsib le forsome of the ac t u a l work
,for
,s i t t ing to the ar t i s t for h i s
por t ra i t a t the same t i me the p i c t u re was in p rog res s,
he sugges ted many a l tera t ions, and carr ied out some of
t hem h imse l f. The w ork was unfavou rab l y c r i t i c i sedfor i t s d raugh t smansh ip , bu t i t shows no weaker d raw ingthan t hat d i sp lay ed by mos t of H a r low ’s contemporar ies
,
wh i le i t s compos i t ion i s good and i t s co lou r p leas ing.
Another a l leged por t ra i t of M rs . S i ddons cannot be a l lowedto pass w i t hou t cha l lenge. Th i s was N o. i s4,anoil sket ch ,by Joseph W r igh t of Derby
,ca t a logued as M rs . S iddons
as Rosalind. One wou ld s ugges t t ha t i t w as rea l ly as t ud y for h i s p i c t u re of Af r . Haden as E dw in in D r .
B eattie’s M instrel, a w ork et ched some years .ago by the
l ate Sir F . Sevmour H aden. O t her por t ra i t s inc l udedsu ch wel l - kno w n eng raved work as D av id Garrick and
M rs . P ritelzard in i’ldaeoetlz
,by Zofi
’
any , and Dav id
Garrick as Ric/lard by Hogar th ; w h i le fine mezzot int s and l ine p ‘ates from port ra i t s of famou s ac tors andac t res ses were bot h numerous and interes t ing . A sect ion
,
wh i ch deserves an art i c le to i t se l f,w as formed by M r.
M . H . Sp ielmann’s co l lec t ion of Shakespear i an meda l sand tokens , wh i ch inc luded examp les of practically every
The Connoz’
ssen/r
hes t rep roduct ions cannot convey a l l the m ing led st reng t hand delicacv of the o rig ina l s : hence the exh i b i t ion o f
the lat ter M es s rs . Pa u l D Colnaghi and Obach’s
Ga l ler ies ( 1 44- 146 , N ew liond S t reet ) is h igh l y wel
come. as affo rd ing a rt lovers an oppo r t uni ty of seeingthe c lever d raught sman and et cher work in a m u chb roader techni que and on a la rger sca le t han he us
ually adop t s . A few o f the d ra w ings , indeed , are q u i tein M r . Bone
’s o ld manner —the beau t i fu l and h igh l yfini shed penc i l t ransc r i p t o f Am ie/1s , for ins tance, wh i chmay be com pa red to some o f l’ rout’s bes t etf orts in
b lack and w h i te. In t h i s ins t ance the modern has thead vant age. l-
‘ rou t was rat her p ic t u resq ue t han i m p ress i ve. and la id undue em phas i s on the ornament a l det a i lo f the b u i ld ings he dep i c ted . M r . Bone does not
sac r i fi ce th i s , bu t red u ces i t to p roper subord inat ion,and convey s a sense o f the weight , s i ze, and majes t y ofthe ed i fi ce a s a who le as wel l a s of the beau ty of i t s components . In t h i s d raw ing w ar i s only su gges ted by thepresence o f a few aerop lanes h igh above the ca t hed ra l ,l ike gnat s in the sky , b u t in mos t of h i s work M r . Boneap pear s in the t h i ck o f i t . The leaning Virg in of A l ber t ,hang ing over a t an inc red ib le ang le from the summ i t of
the ch u rch to w er , i s a p rom inent o bject in severa l of thed ra w ings . In 1 t here i s the s t a t ue by i t sel f, b road lyand v i v i d ly sket ched in ; i t i s sho w n in N o . 7, Albert
Church after bombardment by the Germans , and aga in inN o. 22
,A Sheteh in Albert, where i t appea rs to dom inate
over the v i l lage. One can unders t and from these d rawing s how the legend has a r i sen,
t ha t the s t a t ue w i l l notfa l l unt i l F rance i s freed from the Germ ans . That i tshou ld remain so long in i t s p resent pos i t ion, s u spendedin mid - a i r w i t hou t adeq uate su ppor t , appears a m i rac le,and in the m inds of the v i l l agers a m i rac le that cou ld notbe w i t hou t momentou s s igni ficance. Perhap s the d rawings of p recar iou s ru ins l ike t h i s enab le one to app rec i atethe d i srega rd of danger wh i ch the war has hab i t uatedamong the deni zens of the bat t le zone, bet ter even th ansket ches of the act u a l figh t ing . Building s
'
which in peacet i me wou ld be ra zed to the g round a s threatening instantdest ru c t ion to any by
- passer,are not only not avo i ded
bu t act u a l ly u sed for she l ter . Thus,in the Ruins of
l’
rres , M r . Bone sho w s a grou p of men actua l ly rest ingagains t a topp l ing mass of masonry
,w h i le a l l abou t are
ru ins in mu ch the same cond i t ion. The d ra w ing,b road l y
sket ched in w ash , i s one of the bes t in the exh ib i t ion,for
M r . Bone ha s dep i c ted the per i lous cond i t ions of thebu i ld ings w i t hou t in any way s uggest ing to the Spec t atort hat nat u re has su spended the laws of grav i t at ion. In
D istant Ahn’
ens M r. Bone get s an effec t of great spacew i t h very s l igh t hand l ing ; wh i le other good d raw ingsinc lude the M ain Dressing S tation
,the finel y rendered
Tahing the Wounded on board a Hospital Shin, and,
mos t v i v i d of a l l , the wonderfu l Tan/E's , wh i ch has a l read y
a t
1 78
been'described in the rev iew in l ast mont h ’ s i s sue o f The
IVes/ern F ront. A l l the orig ina l s wh i ch appea r in the
second num ber are inc luded in M es s rs . Colnaghi'
s exhi
b i t iou,and many w h i ch w i l l appea r in fu t u re numbers .
To t hose who canno t get to see the ori g ina l s the rep roduc tions w i l l g i ve an exce l lent i dea o f the work , wh i lethey fo rm a mos t interes t ing and v i v i d i l l u st ra t ion o f
the do ings of our t roop s in F rance.
THE recent scheme o f the N a t iona l Gallery trustees tod i spose of a large number of the d raw ings and p i c t u res
by T u r ne r in t h e i r pos sess ionawakens fresh interes t in the w orkof M i s s I sabel la J ay—the mos t fa i thfu l of a l l the copy i s t s of the ar t i s t s
a number o f w hose wa ter - co lou rs a fter Tu rner are on
v iew a t the Su ssex Ga l ler ies (3 , Roya l H otel B u i ld ings ,B lack fri ars ) . M i ss J ay was the [ M‘
otege'
e of Ru sk in,and
,
t ra ined under the S pu r of h i s fast i d iou s c ri t i c i sm,execu ted
her cop ies of Turner w i t h su ch exact i t ude as to del igh th i m . He wrote
,
“ M iss I s abel la J ay ’s cop ies of Tu rner ’sp i c t u res are the mos t accu rate and beau t i fu l I have vet
seen,in many respec t s a t t aining fu l l y to the exp ress ion
of the mas ter ’s mos t sub t le qua l i t ies ; and I th ink t h atsu ch cop ies are much more va l uable and ins t ruct ivepos sess ions t han the or ig ina l d ra w ing s of second - rateart i s t s .
” W hen M i ss J ay was execu t ing severa l cop ieswh i ch Ru sk in had commi ss ioned
,she reca l l s how he
asked her in wha t way she managed to be so exact .Wh ere are you r com passes ? ” he sa id . W hen M i ss
J ay rep l ied tha t she had not any , R usk in ins i s ted on hermeasu r ing in fu t u re
,u s ing the ana logy of the su rveyor
who has to be sc rupu lou s l y carefu l in every det a i l of thep lan of an es t ate. La ter on he w rote to her :
“ I havebeen look ing at you r recent cop ies of Tu rner w i t h t ruep leasu re. They are execu ted on ent i rel y right p r inc ip les ,and are far more p rec iou s than the mos t cos t ly engravings cou ld be in interp ret ing and not very frequent l yapp roach ing the s ub t les t qua l i t ies of effec t in the or ig ina l s .I hope that you w i l l persevere in t h i s workp l ac ing w i t h in the reach of the genera l p ub l i c somemeans of gaining bet ter know ledge of the nob les t a r t . ”Some Spec i mens of M i ss J ay ’s fines t copy ing work w ereg i ven to VV hitelands Co l lege by R u sk in
,and he once
sa i d t ha t her cop ies were so accu rate tha t one neededto mark t hem d i st inc t ly to d i st ingu i sh them fromor ig ina l s . Some years ago M is s J ay had an exhi b i t ionof her cop ies at the F ine A r t Soc iety
,and She was
a w a rded a meda l and d ip loma for one at the Chi cagoE xh i b i tion. Though pa int ing many at t ra c t i ve or ig ina lwa ter - co lou rs of l and scapes
,M i ss Jay ha s in the ma in
fo l lowed Rusk in’ s ad v i ce,and s t i l l remains as fa i t h fu l a
copy i s t of Tu rner as w hen she won the cri t i c ’s eu logyin the sevent ies .
Cop ies of Tu rnerby M is sI sabel la J ay
The Connoissenr
E nqu iries shou ld be made on the E nquiry Coupon.
B ooks .
Port rait s of t he Drumm ond Fam ily .—B5 1 1 (Johan
nesburg ) .—The p lates men t ioned appear to have come out of a
two- vo l ume w ork,N oble B r itish F am i lies
,publ i shed by W'
.
P ickering , 1 84 5 . Under th i s assump t ion , we fear that theyw ou ld not rea l ise more than a few sh i l l i ngs .
Georg iae M ontaneze Nob i lis GalliaaEmblematum ,
l 6oz . HS7O (Horsham ) .—j udg i ng from your descri p tion,
we do not th i nk that the book i s o f m uch w or th in i t sel f. I tappears to be a spec ial vo l ume, and the value w ou ld be
determined to some extent by the b i nd i ng. I f the leaves havebeen cu t do w n , the book has lost cons iderably in the eyes o f aco l lector.
F u rniture.
W alnut Arm chair .— B466 (Oakham ) . —So far as can be
judged from the photograph , we th i nk there i s l i t t le doubt as tothe au thent ic i ty of the chai r . I t has all the appearance of bei ng
SHOE SNU F F ’ BOX ESgen u ine. You are correct in at tr ibu t i ng the des ign to the
period of W i l l iam and Mary . W i thou t seei ng the or ig inal , weshou ld ap prai se i ts va lue as bei ng any th i ng bet w een £5 and£ 1 0 .
Carved Oak Cradle.—B496 (H u l l ) .—The photo sent u s
i s not a d i s t inc t one, but, j udg ing from it , we have sma l lhes i tat ion in say ing that the carv i ng i s more or less modern.
I t i s not in accordance w i th the sty le of the crad le i tsel f,w h ich might be late seven teen th or ear ly eighteen th century ifold. As a carved up or modern p iece i t w ou ld posses s nointeres t to a co l lector .
M is cellaneous .
Snuf f =boxes .~—B43 5 (B irm ingham ) .—Thi s i n teres t ing sub
jec t was deal t w i th in the i l lus trated a r t ic le w h ich commencedon page 109, vol. xx i i i . The i l lustrat ion sho w s several boxesof the “ shoe ” var iety . The elaborate spec imen i n the centrehas a dice-box in the heel .The Tara B rooch —1346 1 (An tr im ) .—The famous Tara
Brooch , w hich was di scovered on the shore near Drogheda i n1 850, and i s now in the Royal I r ish Academy , Dubl in, i smade of w h i te bronze, w i th panel s of go ld fi l igree. I t i s setw i th amber
,blue and p urp le pas tes . The chainof Trichi nopo ly
w ork i s al so enr iched w i th pas tes of the las t -named hue. The
approximate date of the brooch i s eighth to tenth cen turyA.D . An illttstrat ion o f th i s beau t ifu l relic appeared i n our
extra Chris tmas N umber, 19 1 3 .
SeeAdoertising P ages .
S tone Carv ing —B46?) (Lei th ) . -You r desc r ip t ion of thes tone c arv i ng i s not c lear enough to enable u s to tel l youany th ing abou t the subject . As i t i s too heavy to send , why not
a l lo w u s to reproduce a photograph of i t i n our NOTE S AN DQU ERI E S pages , through w hich i t i s poss ible that you may beable to gain the des ired i n format ion ? As we have po i n ted out
before, th i s sect ion o f the magaz ine i s not confined solely to
p ictures .
By e= gones .
” — B472 (Ne w por t ) .—Th i s term i s usual lyapp l ied to such art ic les as are not of great enough age to be
regarded as an t iqu i t ies , but yet are su ffi c ien t ly removed fromour own t ime to be un fami l iar . Refer to the art ic les w h ich wehave p ubl i shed .
“ Bye-gones are find ing an i ncreas i ngly
large c irc le of col lectors .
Painters and P a inting s .
B rissot , and others .—B57o (Horsham ) .—A figure sub
jec t by Frank B rissot was exhib i ted at the Roya l Academy in
1 879. There w ere several landscape pai n ters named Buck ley ,
who flou r i shed d uri ng las t cen tury , bu t we cannot definitelyat tr ibu te the au thorsh ip of your p icture to any one of them fromthe part icu lars to hand . We regret that we have been unableto t race the ot her art i s t s ment ioned inany of the usual channelsof in format ion. Perhaps you might learn someth i ng abou t thew orks i f we w ere to reproduce them in our N OTE S AND QU ERI EScolumns. Your enqu i ry abou t a book i s dea l t w i th under thatsect ion.
Landrink .—B609 (Leighton Bu zzard) .—I t i s imposs ible to
va l ue the subject at t r ibu ted to th i s art i s t w i thou t an i n spect ionof the p icture i tsel f. Prosper Henr i cus Landrink w as born at
An t w erp i n 1 628. He came even tual ly to England , w here heexecu ted many landscapes , and was occas iona l ly emp loyed byLely on the backgrounds o f the lat ter ’s portrai t s . Landrink
’
s
death took p lace in London i n 1 692 .
It w ould be much ap p reciated if those correspondents
desiring a personal rep ly w ould see that the referencenumber g iv en to them is endorsedon all subsequent letters
or parcels , as serveral ha<v'
e come to hand lately on w hichthe reference has been om itted. Under ex is ting conditions
matters w ould be g reatly facilitated if this p recaqtz’
on is
taken.
S PEC IAL N OT I C E
READERS of THE CON NO ISSEUR who des i re to take advantage of the op portuni t ies offered herein shou ldadd ress all letters on the subject to the M anager of the Herald i c Department, 1
,Duke Street, St . James’s,
London,S .W .
Only rep l ies that may be cons idered to be of general interest w i l l be pub l i shed in these co lumns. Thoseof a d i rect l y personal c haracter, or in cases where the app l i cant may p refer a pri vate answer, w i l l be deal tw i th by post .
Readers who des i re to have ped i grees traced , the accurac y of armor ial bearings enqu i red into,or other
w ise to make use of the department, wi l l be c harged fees according to the amount of work invol ved.
Part icu lars w i l l be supp l ied on app l icat ion.
W hen ask ing informat ion respec t ing genealogy or heraldry,it is des irab le that the fu l lest detai ls, so far
as th ey may be al ready known to the app l i cant, shou ld be set forth .
ZENo.
—The fo l low ing are the arms of the Yorksh i re fam i l iesof C larke ; those w i th the engrai led bend are branches of one
or ig inal s tock . The use or om iss ion of the final e is not o f
necess i ty a mark of di fferent fam i l ies
Clarke, ,o/ Yorkshire and London .
—Arg . on a bend eng. az .
a cross crtosslet or. Crest—A dem i l ion ramp . or, in the dex terpaw a cross cross let fitchee az .
Clant e, of I'Veslm z'
ns/er and Edmonton , co. M iddlesex , and ofVows/rif e (see V isz
’
la/ z’
on of —Or, on a bend eng .
az . an escal lop she l l of the first. Crew—A dem i gr i ffin segr.
or, co l lared eng . az .
C/aré'e, of Or,a bend eng. az . (Th is wou ld be
the arms o f the or ig inal stock , the c ross let and the esca110pbeing put to dist ingu ish two younger branches. ) Th is coat ,
w i th a mu l let on the bend, was borne by a fam i l y o f C larke,
Baronets, in 1 698 , and ex t inc t in 1 806 .
Clarke, of PVeJ t Ham , Emma— Said to be descended out of
Yorksh i re of London, 1 633 Or, on a bendeng . az . three lozenges of the field. Crest—A tal bot ’s headcouped or, co l lared eng. az . thereon three lozenges or.
C/arl'e, of Fords , [f ont —Or,on a bend eng . az . a c inquefo i l
o f the first . Crew—A greyhound’
s head couped or , c harged on
the neck w i th a c inquefo i l az . (see of [ ( ent in 1 6 1 9 ,
g iv ing a descent o f sex'
en generat ions , but no ment ion o f Yorksh i re, altthough the
'
arms indicate th is fam i ly as hav ing come
from that county ) .
Clar/ca, of Spa/dinglou ,Yorkslz z
'
re.—Az . th ree escal lop she l l s
in pale or, enc losed by two flaunches erm . The same coat ,
adding a ch ief charged w i th three l ions rampant , is to be
found,and another var iat ion of th is coat occurs in Hampsh i re.
Reg is tered fo r transm iss ion to Canada at M agaz ine Pos t Rates .
Clow/re,
Yor/es/z ire.—Bears qu i tedi fferent arm s
(see Landed Gentry , 8th edi t ion) .I t would be interes t ing to have draw ings of these arm s , and
have them bound up in a smal l vo lume w i th part icu lars .
WEST.- There was a grant of arms to West
,of Bucks and
Sussex , the 1 3 February , 1 560 , but th i s is very di fferent to a
confirmat ion. To get part icu lars it would be necessary to
make a longer search , for wh ic h we shou ld have to charge asmal l fee.
Pr inted by Bem rose 84 S ons Ltd . , 4 S now H il l , Lond on, E.C . ,
and Derb y. and pu b l ished by the P rop r ietor, W . C laud e J ohnson. at 1, DUKE STREET, S T. J A M ES '
S , LONDON , S .W Eng land .
S u bsc r ipt ions—Inland 1 6 / Fo re ig n to Canada 1 4 / p er annum . Pu b l i shed the Is t o f eac h m onth . Pu b l ished by Go rdon 81. Go tc h ,in Au s t ra l ia and New Zea land ; by The Central News A g ency, in S outh Afr ica ; by H ig g inbotham Co
b y The Internat iona l News Co in U .S .A.
in Bom bay and Calc u tta ; and
SPERSHO'
r.—There does not appear to be any book by
Thomas Spershot in the Br i t i sh M useum ,but there are two
references in the catalogue to Thomas Henry Spatshott , thefirst , Anj z
’
lz'
kwa t /ea,in 1882 ,
and a N ika-Engl ish D ic t ionaryin 1 887.
The fo l low ing are to be found amongst Ch ichester wills
Adam Sparshott of Halnaker, 1 7 1 7.
Char les Spurshott of Ov ing , 1 725 .
Joseph S pashatt of S idlesham , 1 775 .
James Spershott of Ov ing , 1 783 .
All these p laces are w i th in four m i les of Ch ichester , so thatthere is every .probab i l i ty of the testators being in some way
connec ted w i th Thomas S pershot , espec ial ly as the name was
very uncommon in Sussex , into wh ich count y they appear tohave m igrated from the adjo ining county , Hampsh i re, wherethe name is more common. There wou ld p robabl y be l i tt ledi fficu l ty in trac ing the pedigree back for some generat ions. I f
you w i sh to have th is done, you had better let us get abs trac tsof the above-ment ioned w i l ls for you . Burke g ives the armso f th is fam i l y as —Per pale ar. and gu . a canton sa. Crest
A palm tree ver t. fruc ted or.
7he Com zoz’
sseur
c tnnmemo ratcd on it . To supp lement th is a co l lec t ion
o f p ress cutt ings should bemade. containing interest ing
references to the mo vements and ac t ions o f local reg i
ments o r sh i ps.and to local menwho have dist inguished
themsel ves in the war,w i th maps, p lans, and o r ig inal
drawings, photograph s and letters bear ing on the
same themes . Then,to bring home to fu ture genera
t ions the part wh i ch eac h local i ty has p layed in the
unparal leled struggle, all k inds o f war memo rab i l ia of
local interest shou ld be added— not merely weapons,
medals. and troph ies from the batt lefield,connec ted
w i th the local ter r i torial reg iments,but every ty pe of
th ing wh ich i l lustrates the war l i fe o f the communi ty— from bombs drop ped by Zeppel ins in the v ic ini ty
to rec ru i t ing and loan posters and the l i ttle emb lems
so ld forwar c hari t ies on flag days.
As exam p les of the m emo rabi l ia wh ic h are being
co l lec ted,one may c i te a Zeppel in bomb dropped in
the nei gh bourhood of London,wh ic h is one among
a number of rel ic s of spec ial interest to themetropol iswh ic h Lo rd Harcourt
,Lord E sher, and Sir Guy
Lak ing began to accumu late at Lancaster House
from the commencement of host i l i t ies. Among the
war rel ic s at the G lasgow M useum is a shel l lodgedon board H .M .S . G lasgore
'
,at the battle of Coromel
a German mac h ine -
gun captured by the B r isto l
bantams finds a fi tt ing home in the B r istol M useum
wh i le a large mode l of a redoub t, held by the
I st,/5 th North Stafford Regiment, wi l l recal l the
gal lant r y of the men of th is regiment to futuregenerat ions o f thei r townspeop le at the Stoke-ou
Trent M useum .
The more the local war museums are confined to
records and objec ts possessing Spec ial local assoc ia
t ions, the more interest ing w i l l they become '
and i fthei r scope is extended, as it should' be, to past as
wel l as to p resent-day events, the y w i l l in t ime inc lude
c o l lec t ions of great h i storical interest, ep i tom is ing the
part wh ic h eac h town and di str ic t has p layed in the
mak ing of B r i tain. But in none of these museums
can a serious attem p t be made to i l lustrate the war as
1 84
1 who le suc h a task could onl y be undertaken in a.
nat ional inst i tut ion equ i pped w i th adequate resources,i nd an excel lent suggestion has appeared in T/ze
Timex that a po rt ion of the'
l‘
ower of London shouldbe taken for the purpose. Th i s wou ld not onl y afl
'
m'
d
a fi tt ing h isto r ic env i ronment“,but, what is perhaps
more to the po int, it already contains a large co l lec t ion
M any o f these,long
regarded as obso lete,have been revi ved in modified
of weapons o f earl ier per iods.
forms in the present confl ic t,and so ldiers bac k from
the front wi l l find that hand-grenades s im i lar to
modern bombs—and other m iss i les and weapons werein vogue a century or two ago . Th i s col lec t ion shouldno t
, however, be confined merely to the armament
s ide of war,but shou ld be a comp lete ep i tome o f
nat ional effo rt,and
,wi th the excep t ionof the rol l s
of honour and the regimental records, should do for
the whole k ingdom what eac h local war museum is
intended to do for its distr ic t.Th i s war is not onl y the greatest confl ic t on record.
but we may reasonab l y hope that it may p rove the
last of its k ind for many generat ions to come. I ts
outcome w i l l have as dec i s i ve a bearing on the world’
s
h istory as the downfal l of the Persian Em p ire before
the power Of G reece, the overth row of Carthage by
Rome, the defeat Of Att i la and the Huns at Chalons,or the set-back Of theArab invas ion at Tou rs . Bri tain
is p lay ing a dec is i ve part in the confl ic t,and it is
onl y r igh t that we who are l i v ing in such a great
per iod should co l lec t for poster i ty all records and
rel ics which '
help to i l lustrate it. Th i s can only be
done by uni ted effort,and the task shou ld not be left
to curators of museums,who
,w ith staffs great ly de
p leted in numbers, and wh ich,in many instances,
hardly contain any of the pre-war personnel
,are
finding great di fficu l ty in carry ing on thei r orthodox
dut ies. I shal l be great ly ob l iged i f readers of THE
CONNO I SSEUR who feel sym pathet ical ly towards the
movement and th ink that they can ass i st in its p ro
mot ion, ei ther bv the i r influence or gi fts of su i table
ob jec ts,w i l l communicate w i th me.
J oh n Th om s on o f D u dd ings ton , Lands c ap e Pa inter
B y F rank G ib s on
JOH N T HOM SON ’
S art is less known in
England than it deserves, and is consequent ly not
suffic ient l y app rec iated there. But its value has al
ways been recognised in Scot land, where most of his
paint ings st i l l remain. In his own day they were
great ly though t of,more espec ial l y in Edinburgh .
The fi rst art ist Sir Wal ter Scott though t of when it
H IG H LAND LANDSCAPE B Y PERM ISS ION OF M R. D . CROAL THOM SON
1 85
was suggested that the col lec ted edi t ion of his work s
shou ld be illustrated, was his fr iend John Thomson,
and i f he cou ld have had his way, it _ _
would have been
so. But Robert Cadel l , his pub l isher, was strough7 in
favour of J . M . W . Tu rner be ing emp loyed in th i s
capac i ty . Scott, according to Wal ter Thornbury (the
wel l—known biographer of Turner ) , y ielded, and said
T/ze Connoisseur
he supposed he must ac qu iesc e in the selec t ion of
'
I‘
urner because he was all the fash ion. and unwil
lingly gave in. book publ i shed in Edinbu rgh about
1 8 h ) . cal led Peters" [ ef fers lo /z z'
s Kinsf olk (supposed
FAST CASTLE
to have been wri tten by Lock hart) , contains the fol low
ing passage, wh ic h shows what was though t of Thom
For the fi rst
t ime is Scot land possessed of adm i rable landscapeson
’
s art at th is t ime in Scot land
painters as wel l as h istorical ones. W i th regard to
landscape paint ing, it is very true that she has not yetequal led the p resent glo r ies of the si ster k ingdom ; but
then the world has onl y one T urner,and Scotland
comes far nearer to the country'
wh ich has had the
honour of produc ing that great genius than any other
country in Europe. But there is no want of adm i rab le
art ists in the same department of th i s c itv. There is
M r. Thomson,the c lergyman of Duddingston, whose
works,in masterl y ease and breadth of effec t, seem
to me to app roach nearer to the masterp ieces of
Turner than those o f any other art i s t w i th whom I am
1 86
i cquainted, and who , you wi l l be hap py to observe,is
engaged along w i th that p r ince of arti sts in M r. Scott’
s
great wo rk o f the P rovincial Af i lo/”1721’s of Scotland.
Thomson’
s l i fe on the whole was a happy and
I N THE POSSESS ION OF LORD K I NGSBURG H
fortunate one. Born at Dai l ly , a smal l Avrshire v i l lage,
on September i st,1 778 , he was the fourth and youngest
son of the Reverend Thomas Thomson,m inister of
the par ish of Dai l l y . The early part of his l i fe re
m inds one s l i gh tly of that of Dav id W i lk ie,who was
also a Scott ish c lergyman’
s son. However, unl i ke
W i lk ie,John Thomson was not al lowed to choose his
own p rofess ion,but was earl y dest ined for the m inis
try, qu i te against his own inc l inat ions. He muc h pre
ferred sketch ing on the banks of the r i ver G i rvan to
study ing theo logy . Nevertheless,he final l y subm i tted
to his father's w ish es, and in due course went to the
Uni versi t y of Edinburgh . I t was here,wh i le study ing,
that he fi rst made the acquaintance of Sir Wal ter
Scott, F ranc is Jeffrey , P rofessor W i lson, W i l l iam
E rsk ine, Lord and W i l l iam C lark of Edl in,
The Conrzoz’
sseur
landscape painters res ident in Sco tland have ever
made. ;\s t ime went on his love o f ric h and str ik ing
scenerv inc reased, and he travel led a good deal allo ver Sco t land
,the No rth o I I re land, the Eng l ish
RAV EN SHEUGH CASTLE
lakes,and Wales
,where he found most of his sub
jec ts. Thus his l i fe seemed to al ternate w i th his
paroch ial dut ies and art. He enjoyed the soc iety
of other art ists very much,and entertained Turner
on more than one occas ion. Indeed,the manse at
l >uddingston was often the scene of hosp i tal i t ies to
fr iends and dist ingu i shed strangers who came on a
v is i t to Edinburgh . Late in l i fe he lost his fi rst w i fe,
but in 1 8 1 3 married again,very hap p i ly
,his second
w ife,M rs. Dal rymp le
,a w idow,
who thorough l y
sympath ised w i th his art ist ic tastes,and who
,l ike
h imsel f,was ver y mus ical . Thomson painted ass idu
ously up to the beg inning of 1 840, when his heal th
At the end of the summer of
He
tr ied to work at the art he loved best to the last,and
seemed to b reak up .
that year he began to get weaker and weaker.
on Oc tober 29th, 1 840 ,he died at the age of s i xty - two.
1 88
In his last hours he had requested that he should
see the v iew he l i ked best from his w indow. So he
was wheeled there on a couc h,and w i tnessed wi th
emot ion a beauti ful sunset over Uuddingston loch .
I N THE POSSESS ION OF M R. LOCK HART THOM SON
Thomson worked as hard at his art as if he had to
make his l i v ing by it,and it was his love for landscape
paint ing that made him throw his whole sou l and
energy into it. He fi rst exh ibi ted in 1 808 w i th the
Assoc iated Art ists,at the Royal Scott i sh Academy
andother exh i b i t ions,one hundredand ei gh t canvases.
As he cons idered h imself to be more of an amateur
thana p rofess ional art ist,ow ing to his c ler ical cal l ing ,
he was always unw i l l ing to become a member of any
art ist ic assoc iat ion. However,such was his populari ty
amongst Scott ish artists that he was elec ted an
hono rary member of the Ro yal Academy of Scotland
not long after its inst i tut ion in 1 826 .
Thomson’
s art on its intel lec tual s ide is c learlv
insp i red by Scott’
s poetry and romances,but
,all
the same, the art ist had the true landscape painter s
intui t ion for the scenes that insp i red his brush . As
j ohn Thomson of D nclo’z’
ng ston,Landscape Painter
M r. J . L. Caw so wel l says : “Contrast between what
had been and was,between the glamour thrown by
romance about the memor ials of the past and con
tinuance of Nature,permeates nearl y every th ing
ON THE" F IR-TH OF CLYD E
Thomson did.
Wal ter Scott ’s wr i t ings on Thomson’
s paint ing in his
Perhaps it was the influence of S ir
c h ief c ho ice of sub jec t that the ear l ier p ic tures he( C 7
exh i b i ted were .andscape compos i t ions,
’
w i th no
part icular assoc iat ions, and that it was not unti l 1 824
that he showed his fi rst p ic ture of a Scott i sh cast le.
Though his work may seem conventional in the eyes
of th is generat ion, dazz led by the work s of two such
great modern landscape painters as M r. W i lson Steer
and the late W i l l iam M cTaggart, Thomson’
s del i gh t
in the beauty of w i ld nature makes his paint ing v i tal
and exceedingl y true to the c harac ter of Scott i sh
scenery . Th is is wel l d isp layed in the S torm on a
Scottish Loch,the paint ing here il lustrated in co lour.
I t is a canvas that essent ial l y shows to'
what a h igh
The
paint ing of the rocky head land to the left, s i l houetted
degree of p ic tor ial emot ion the art ist cou ld r ise.
against the gleam of pale b lue sky wh ic h is appear ing
1 89
after the pass ing storm rol ls over the di stant h i l ls
beyond the finel y painted stormy water,more espec i
al ly the forms of the waves,wh ich are treated w i th
legi t imate exaggerat ion,— all these elements show h igh
NATIONAL GALLERY OF SCOTLAND
dramat ic power . Technical ly th i s work di sc loses
Dutch influence,wh ic h may be that of the painter
Everd in’gen. But its beaut i fu l colour - scheme,of
si l very and b lac k ish greys rel ieved by the warm
tones of the roc k s in the foreground , insp i red by
the scenery of Scot land, and not of Ho l land,is
all Thomson’
s own,and disp lays his powers at thei r
best.
Suc h a work surely raises his status above the term
of amateur wh ic h often imp l ies incom petence, thoughit must be confessed that the want of an earl y and
methodical training in the tec hnique of oil paint ing
p revented Thomson from always being a sound pain
ter in that medium . He was too fond of us ing b i tu
men,and it is wel l known that he was ver y part ial to
a med ium wh ic h he used as a ground,and was made
of flour bo i led in v inegar, wh ich he cal led parr i tc h .
Such p rac t ices have often ru ined many of his finest
Connoisseur
m nrases . Ilul his art can be adeq uatel y studied in
tho se wh ic h are wel l p reserved. and are to be seen at
the Nat i onal Gal lery o f Sk‘ t lf ltl l l kl B uy ,
M r and A’azw zs/awg /z ( l ist/v : al so in pr i vate
RAV ENSHEUG H CASTLE
col lec t ions l ike those of the Duke of Bucc leugh
A’ewark Cast/e Lord K ingsburgh—F ast Castle the
Ear l of Stai r—G len F es/z z'
e M r. James M ylne Cast/e
B oon (the latter is rep roduced in M r. J . L . Caw’
s monu
mental book on Scott i sh painting ) ; and M r. R. R.
Nap ier— T/ze Grow s of t/ze M arty rs. Th is last is a
most poet ical work of a v iew up a glen w i th sol i tary
tom bs in the foreground. All these paint ings show
how Thomson rendered the c harac ter and aspec t of
Scotti sh scenery w i th truth and charm,far better than
any one had done before him . Though he fu l ly preserves the
'
charac ter ist ic s of the scenes he saw,he
often exaggerated thei r features in order to attain
g randiose effec ts. Hence some of his p ic tures, suc h
as the Castle on aRock,belonging to M r. A. Ing l is
,
i l lustrated in M r. D . S . M cc ol l ’s interest ing book,
A’z
’
z zetem t/z Con/my Art,are .
purely romantic poem s.
1 90
H is earl y wo rks are c learl y influenced by the older
Dutc hmen,but later in l i fe he founded his sty le on
other masters . of wh ich C laude Lorraine was the c h ief
one. Indeed, Thomson was sometimes nicknamed
NAT IO NAL GALLERY OF SCOTLAND
the“Scott ish C laude. But in the earl y years of
the nineteenth century the great French arti st’s work
became very popu lar in England ; his p ic tures werel iteral ly pou r ing into the country from France and
from Rome. There was a rush to obtain examp les
of his work,and his name was on the l i ps of ever)
conno isseur of art. Thus many ar t i sts fel l under hisspel l
,and Turner not least of all
,part ly in genu ine
adm irat ion,and also partly from a sp i r i t of r ival ry .
In Thomson’
s case it was that he seemed to th ink
C laude’s sty le was better su i ted in enab l ing him to
exp ress more tru ly the grandeu r and w i ldness of Scot
t ish scenery . Claude’s examp le d id less harm to
Thomson than to Tu rner,for the influence of the
French art i st on the Engl i shman was somet imes any
th ing but a heal th y one. Raoens/zeug/z Castle, in the
Nat ional Gal lery of Scotland, is one of many c harm ing
j ohn Thomson of L ono’seofie Pointer
examp les of Thom son’
s C laude- l ike p ic tures. I t has painted Cost/e B oon,[ Veroarh Castle, The Groves of
often been said that Turner ’s art greatly influenced the Ai orty rs , On the F irth of Cly de, or Aberlady
Thomson’
s ; and one d ist ingu ished art c r i t ic,the late B oy ,
was personal enough in his art. He uni ted
R. Stevenson,has gone to the length of say ing p ic tor ial mot i ves to a true sincere feel ing for
A BERLADY BAY NAT IONAL GAL LERY or SCOT-LAND
hat he muc h prefer red the paint ing of Thomson to nature that makes his art one of the glo r ies of Scot
that of Tu rner. I t is true that the Scott ish painter t ish landscape paint ing, and his reputat ion wi l l
muc h adm i red his great r i val ’s art,but there is very su rely grow stronger in the world of as his work
l i ttle trace of it in his paint ing . The Thomson becomes more w idel y known.
I 9S
G oan Eb ony F u rn i tu re By M . J ou rda in
E BO NY,an exot ic wood , was never largely espec ial ly when enr iched wi th gi l t bronze mounts .
used by Eng l i sh cab inet - makers,but there was a Henri IV . of France sent F renc h workmen to the
per iod in the seventeenth centur y when it was Nether lands to learn the sec rets of cab inet—mak ing,ex t remely popular in I taly
,France
,and F landers, and part icu larl y the art of carving in ebony , and on
N o. L—SM ALL GOAN -WORK CAB I-N E ’
I‘
1 94
77m
here. Bv her dowrv o f Bombay our co lonists and
traders were brough t into c lose touch wi th Dutc h
traders. who had the monopo l y of trade wi th Ch ina
and Iapan, and by the acqu is i t ion o f Goa—“ go lden
( loa —the wonder of all travel lers. wh i c h had become
a bvword fo r the luxury and ostentat ion of its inhab i t
nus—anew and pecu l iar O r iental influence was introduced. I t has been said that a certain amount of th is
Indo - l‘ortuguese furni ture was cop ied in England , and
that suc h furni ture was a very favouri te royal g i ft w i thCharles I I indeed
,one author i ty states that “
Char les
made p resents of the r ic h l y carved ebony c hai rs , and
di vans or couc hes, wh ich the new fash ion brough t in,
to many of his fr iends and adherents, but there seems
no defini te documentary ev idence for th i s statement,
and Charles I I . was very spar ing in his g i fts .
The most fam i l iar spec imens of th is Goan wo rk are
the ebony chai rs,spar ingly inlaid w i th ivory, wh ic h
are to be seen in the V ic tor ia and Al bert M useum
and var ious co l lec t ions . But furniture, espec ial ly
cab inets of rare wood,was also manufactured , such
as the smal l cab inet il lustrated (N o. Here the topand s ides. and also the fronts of the drawers, are inlaidw i th sc rol l ing floral borders in engraved i vory , wh i le
the p rojec t ing top and base and the edges of the
doors are over laid w i th i vory engraved w i th floralpatterns . Of the ebony chai rs of Goan work , the
only spec imen assoc iated w i th Charles I I . is that in
the Ashmolean, i l lustrated in Shaw’
s Specimens ofAncient F urniture, and said to have been g iven by
the k ing to E l ias Ashmo le.
I t is not unusual to find these ebony c hai rs of the
late seventeenth century asc r i bed to the rei gn of
Henry V I I I . or E l i zabeth . In the l i b rary at Char le
cote is a very fine set inlaid w i th ivo ry , said to have
come from Keni lworth , and to have been a p resent
from Queen E l i zabeth to her favou r i te, the Earl ofLeicester. There are several ebony c hai rs also at
Knole and at Penshu rst. Some carved ebony chai rs
in the cor r idor at Eaton Hal l came from the sale of
Horace Walpole’
s treasures at Strawber ry H i l l , and
fetched the astoni sh ing p r ice of £ 1 00 each . The
c hai rs,l ike theW indsor Cast le, Knole, and Penshu rst
spec imens,hay e sp i ral ly - turned legs and stretc hers,
1 96
Connozfssenr
bac k .
elabo ratel y carved,and the bac k rai l centres in a
c herub ’s h ead. Another
and a sho rt The up r igh ts and back are
‘sp lendid so l id ebony c hai r,
r ic h ly carved wi th open sc ro l l - work,the borders
beauti ful l y rai sed in carvings of alto re/z'
eoo, on hand
some twisted legs and stretc hers,” fetc hed at the same
sale the mo re modest sum of £ 5 4 1 28 . These h igh
p r i ces were partly due to the unique interest of the
di spersal of the Strawberry H i l l co l lec t ion,and partly
to the ant iqu i ty imputed to these late seventeenth
century spec imens by ei gh teenth - century co l lec to rs,Horace Wal po le h imsel f wri ting in 1 763 of a house
where there was“noth ing but ebony “
there are
two tab les and ei gh teen chai rs, all made by the
Hal lett of two hundred years ago.
”He was, there
fore,just a century out in his reckoning.
'
Next to
Strawberry H i l l before 1 84 2 , the largest col lec t ion of
ebony c hai rs is at W indsor,wh ich was bough t for
the royal col lec tion in the early nineteenth century .
There is a set of fou r low-backed arm - chai rs w i th
sp i ral ly - twisted legs and arm sup por ts,carved wi th
groups of tu l i ps,very charac ter ist i c of Dutch taste of
the second half of the seventeenth century . Asecond
set have the low backs and frames,carved w i th con
ventional fo l iage. The top rai l centres in a cherub ,flanked by monsters
,beneath wh ic h stand figures of
boys. The side rai ls finish in figures of hawks. The
bac ks are formed of spiral ly -tw isted rods, w i th sc rol l
work beneath in wh ic h grotesque monsters and
c herub im w i th inlaid i vory eyes figure. A th i rd set,
stil l more interest ing in des i gn,was bough t in 1 824 .
On the bac k mermaids support a cockle- shel l,beneath
wh ich is a representat ion of Adam and Eve. On the
top of the s ide rai ls c rouc h ing figures hold ing large
sun - hats are carved,p robab l y rep resenting Dutc h
traders . N o. ii.,somewhat s im i lar to the Eaton Hal l
c hai rs, is in the V ic tor ia and Al bert M useum .
Th is ebony furni tu re appears to have been l im i tedto the rei gn of Char les I I . , when the emp loyment of
b r i l l iant l y - co loured damasks and vel vets as wal l - hangings did not p rec lude an occas ional sombre note in
dress— the k ing h im sel f almost invar iab ly wore b lackwhen indoors—and in furni ture, as we see b y thepopular i ty of lacquer.
S om e U nc om m on Pi ec es o f Pew te r
By C h ar le s G . J . Por t , o f W or th ing
THE wri ter is of op inion that it is unnecessary
on th is occas ion to refer in any way to the sub jec t of
pewter general ly , a subjec t so often and so wel l dealtwi th elsewhere. Th is contri but ion to the co lumns of
THE CONNO I SSEUR is so lel y for the purpose of i l lustra
t ing and desc r i b ing a few interest ing p ieces of pewter
wh ic h seem to be ei ther ent i rely new to co l lec tors or
to vary in some degree from those al ready i l lustratedor desc r i bed in the five Engl i sh works on pew ter by
the fol lowing autho rs : M essrs. M alco lm Bel l , C . A.
M ark ham,
H . I . L. I . M asse,M .A. and
A. de Navarro.
These works contain i l lustrat ions of many hundreds
o f beaut i ful and interest ing objec ts wh ic h del i gh t the
connoi sseur and add so muc h to the c harm of co l lec t
ing. To those hundreds the wr i ter begs to be al lowed
to add another score.
The p ieces here i l lustrated are selec ted from the
wr i ter ’s c o l l ec t i on—a
co l lec t ion c ont ain i ng
one or mo re exam p les
of over s i x t y di fferent
k inds of art ic les, wh ic h
S h o w s t o w h a t an
enormous extent pewter
was used in the seven
teenth and ei gh teenth
centu r ies.
M ak e r s ’ nam e s are
gi venwhere marks ex i st.
N o . i.—’
l‘
his rare t y peof paten was dug up in
Ch ic hester and,from the
groove, was e v i den t l y
intended to be used inver ted as a communion
cup cover . I t
6 i nc h es in diameter,
is onl yNo . I .— PA
’
l‘
EN
I 97
and has the letters I H rough ly punched on the rim .
I t is d i fficu l t to date, p robabl y seventeenth centur y .No. i i .—Th is tobacco box 13 undoubtedl y one of
the finest p ieces of Engl ish engraved pewter known.
Of the many who have seen it, none can cal l to m ind
A p iece that runs it c losely is the lacqueredtea caddy i l lustrated in M r. de Navarro
’
s c harm ing
Caz/series on E nglish Pewter , but, in that case, the
a finer .
decorat ion is convent ional onl y,wh i le the tobacco
box has scenes of load ing the tobacco on sh i ps and
smok ing it at home. M aker : Richard P i tt, Pewterers’
Company , 1 749. M aster, 1 78 1 .
N o. iio — Scene on reverse.
No . l l l .—Tt‘& caddy w i th lock , by the same maker.
Unfortunately it has been converted into a tobacco
box by the addi t ion of an inner lid and a knob , the
latter robb ing it of its c harm ing s im p l ic i ty of form .
N o. i v .
—A tobacco of beeh i ve shape. Th is
p iece has two c rests or
bad g es. I t was pur
c hased in Southampton,
and probab ly belonged
to a mess,one c rest pos
sib ly that of the donor
and the other the badge
of the sh i p or regiment.
Nei ther has been identihed.
Nos. v . and v i . —Tea
pots are extremel y rareOne o f the
wr i ters on t h e subjec t
m ak e s a b ig m i stake
in pewter.
when he says a large
number ex i st,
”
and i l lus
trates one b y M essrs .
D i xon
6 IN . That firm has been in
The Connoisseur
ex istence o ver one hundred years but thev never made general l y cal led, appears to be the onl y one known inp iece o l pewter. Br itannia inetal teapots, c o ffee pewter. Dish r ings are supposed to have been made
No. I I .—r03Acco Box 6 IN . No. “CL—SCENE ON REVERSE
po ts etc . can be bough t by the dozen but the wr i ter in I reland only , and the earl iest dated p iece men
can honest l y say that dur ing many years co l lec t ing he tioned by M r. C. J . Jac kson, in his I llustrated
has never seen in any museum ,p r i vate co l lec t ion or M
'
story of E nglish P late, has the Dubl in hal l -mark
shop another Engl ish pewter teapot . of 1 771 . He,however
,ment ions another examp le
v .
,wh ich very smal l
,is by Ric hard Pitt
,wh ic h he considers may be about 1 750 to 1 760 , but
No. I I I .—TEA CADDY 4g m .
p robab ly about 1 740 . N o . v i .,b y P i tt Cx Dadley, the date- letter is ind ist ingu i shab le. In an inventorv
about 1 790 . of the contents of a Sussex farmhouse taken in 1 74 7
No . vii.— Th is dish r ing, or potato r ing
,as it is (Sussex Arc/ urological Collections, i 908 ) , thereappears ,
1 98
V I L—Poraro
I IL—BOW L HE IG HT, —\V I NE -TASTER LENGTH ,
—scaur (P) BOTTLE
200
No. X V .—BARBER’
S BAS I N
N o . X V I .
—M ANTELSI~I ELF ORNAM ENT 1 4 IN .
Some Unconz /non Pieces of Pewter
the one compared w i th the s imp le des i gn of the
other.
gu i ld flagons appear to have been very
No . X VI I . —GU I I. D FLAGON 1 55 w . No. X VI I I .—GU I LD FLAGON
largely usedon the Cont inent, part icu larl y in Germany , the bac k of the handle but it is part ly worn away by
and one comes ac ross, in th is country,qu i te a number the pai l handle fal l ing di rectly on it.
o f ex tremely fine cont inental p ieces, some being larger N o . xv i i i .— Has a coat of arms,gules, two shutt les,
No. X I X .—M ANTELSHEL F ORNAM ENT 3g} IN .
than any th ing of the k ind made in England,but
,on a ch ief azu re a falcon r is ing, w ings elevated and
unfortunately for the nov ice, these flagons have been addo rsed. Crest, a falcon, together wi th
verv much “ faked ”— in most cases the who le p iece, “T HOS . CULLYER, Headsman.
in others the insc ri p t ions,coats of arms
,etc . , have DAV I D \'VORTLEY , 1
been added to ordinary domest ic p ieces. “'
ith regard SAM L . SM ITH , jSnperz nsoz 5 '
to Engl i sh gu i ld flagons, these are real ly extremely
205
rare and of the greatest interest. I t is to be hoped
that,in cou rse of t ime
,every one of them w i l l reac h
a national or p rov inc ial museum .
No. xv i i . —Th is flagon is engraved Gantz en
E h rsamen Handwerck in Ii itz ingen”
(Bavar ia) , abou t
a dozen names of officers of the gu i ld,a trophy of
im p lements used in the var ious trades and the date
1 739. Not ice the pai l hand le,necessary on account
its weig h t,1 3 lbs. There is a fine maker ’s mark
The Connoisset/ r
Th is flagon t ame from No rfo l k and the wr i ter has but enqu i r ies in all di rec t ions in that count y haverecent l y acqu i red in London a smal l tankai'd wi th the fai led to locate it. N o suc h gu i ld is known in No rfo lk .
wime coat o f arms.S tudy L'
nity on the lid,and Perhaps in th i s some reader may hel p .
N o . X X .
—PART or ST I LL 2 FT . N o . X X a.—nm w 1 x c OF
CO M PLETE sr i iL
Suc cess attend the Woo l len M anufac tu re,
1 74 7 In the course of enqu iries about th i s gu i ld, a ratherbelow. The former (note the addi t ional thumb - p iece) interest ing statement was made to the wr i ter b y ais unmarked. The latter is by W i l l iam Eden
,Pewterers ’ Hal i fax ant iquar ian. He said he fe l t sure that no
Company,1 697 , M aster
,1 73 2 , 1 73 7. ch gu i ld had ex isted in the West Riding of Yo rk
The names on the flagon suggest a Yorksh i re gu i ld,
sh i re .in fac t, he cons idered that the p rosper i t y o f
206
On S taf f ords h ire S a lt =g laz e
To wri te upon sal t-glaze, when so muc h has
been ably wr i tten upon the subjec t,seems super
fluous,unless one can show that one has interest ing
exam p les to deal wi th . I must hope that I may be
ab le to do so. W i th,o f course
,the except ion of the
Hanley mug, all the spec imens figured are in my own
co l lec t ion.
No . i . rep resents
5g She is of
very p r im i t i ve de
s i gn,w i th a round
bal l of a face, notunl ike faces seen
in To f t d i s h es .
The eyes, buttons,and dots are al l
madew i th touc hes
o f b lack sl i p . But
for the neat c ap
and the b i rd,she
is suc h a figure as
a c h i ldm i gh t have
des i gned ; but, of
course, she is sk i l
ful ly th rown,and
the l i nes o f h er
pett icoat are accuratelv turned. She
was exh i b i ted at
the B u r l i ng t on
F ine Arts Exhibi
t ion of 1 91 3 , and
she was figured in
thei r i l l u s t ra ted
There
she was desc r i bed
a s a b e l l , b u t
there is no s i g n
that she ever had
a c lapper w i t h i n
T hev fixed
woman holding a b i rd ' hei gh t
in.
catalogue.
her. No. I .- F IGURE OF WOM AN HOLD I NG man
208
By C e l ia H em m ing
her date as about 1 730 . At any rate, she is an ear l y
p iece.
No . i i . rep resents a vessel in the fo rm of a b i rd,
presumab ly a cock . I ts length from the beak to the
end of the tai l is 8 4L in its hei gh t is 7} in. That
it is an ear ly p iece is undoubted ; that it is an
Engl ish p iece is more open to doubt. I t is of a
wh i te co lour,only faintly t inged w i th grey . I t is very
muc h wh i ter than
Co logneware, and
w h i t e r t h an i s
usual w i th S i eg
burg stoneware. I
hav e often com
p ar ed t h i s b i rdw i t h some spec i
mens of S iegbu rg
stonewarewh ich I
possess,and I have
o f ten looked a t
t h o s e s h own in
the V i c t o r i a and
Al b e r t M useum .
Thewh i test p ieces
thereare th ree tal l
dr i n k i ng c an s ,
c a l l ed S c hnel le,but in the case of
t h ese t h ree the
g laze is qu i te dry.
Thecoc k is wh i ter
than these, and it
i s m u c h w h i ter
than all the other
p ieces over wh ic h
the glaze has run
and sp read . The
granulat ion of the
sal t is evenl y dis
tr i buted all o v e r
C IRCA 1 730 th e c o c k . The
072 Salli -
g laz e
decorat ion cons ists of inc i sed p lumage and c i rc les have a th in,del icate body
,as M r. F reeth says . To
stamped in,wi th l i tt le s lashes to mark the outl ine th is be added far as is known,
the
thewings. Along the artic les made by theback go th ree rows of Elers b rothers weresmal l rosettes, wh ich always of a smal l s i ze.
h av e been stamped I th ink there is muc hon w i th a seal or die, to be said in favourof wh ic h the round of M r. Freeth
’
s argurks of the edg es ment. The genera l
are c lear ly to be seen. s t y l e of ornamenta
T h e se rosettes are t ion of the cock is
very sharp ; it must s im i lar to that of the
have beenametal die Hanley mug, and the
that was used . The rosettes on the b i rdwal ls of the vessel are are ident i cal w i th one
rather th ick . Now,of var iety to be found
cou rse, there is much upon the mug. The
in th is sty le of decora medal l ion on themug
t ion— in the app l ied bears al so a band of
rosettes, the slashes l i tt le inc isednotc hes,on the wings
,and in and, rather cur iously ,
the inc ised c irc les“ _ w ssm m THE FORM OF B IRD
it rep resents a b i rd
wh ich rem inds one of German stoneware. Also at ho lding up a gob let, or a mortar, wi th a spoon or a
S iegburg they d id make owls for sal t-cel lars and for pestle w i th in it. In both cases the work is of greater
o rnaments. But I wou ld rather refer my readers to the fineness than is usual on German stoneware.
remarkab le salt-glazed mug, dated 1 70 1 , wh ich is in Nos. iv. and v . rep resent the two s ides of a teapot
the North Staffordsh i re Tec hnical Art and Industr ial (hei gh t gr} wh ic h has,unfortunately , lost its lid.
M useum at Hanley , andwh ic h is i l lustrated in No . i i i .,
Th is is a verv ear ly spec imen. The body is of a
for purposes of com par ison. I am indeb ted to M r. d ingy c ream-colour,in par ts p i tted w i th b lack specks.
Caddie, the curator of the museum ,for the photograph The spout and handle are p lain. The decorat ion,
of it. Th is mug has always wh ich cons i sts o f six panels
beena puzz le to experts , and, of a symbo l ical nature, is ex
if it be Engl i sh,it is the traordinarily sharp and c lear,
earl iest dated p iece of Eng and in r a t h er deep rel ief.
l ish sal t glaze known. S ir Six mou lds c ut in intagl io in
Arthur Church,inhisE rzglz
'
s/z gy psum,or nat i ve alabaster,
E artfiemoare,has said of it : were p robab ly em p l o y ed.
“M y own imp ress ion is that These were p lainly jo ined,
th i s p iece is p rec isely such,
w i thout concealment or de
in paste and decorat ion,as coration,
to make the b loc k
m i gh t be attr i buted to Elers .
” from wh ic h the p i tcher
M r. F rank F reeth , wri t ing mou ld,capab le of reproduc
later in THE CONNO I SSEUR, ing many s p ec im ens,was
has put for th the view that it made. M uc h troub le, muc h
m i gh t be a late p iece of the care, was needed to make
work of Io h n D w i g h t, of th is old teapot, but it was ,
Fu l ham,who d ied
.
in 1 703 . doub tless, lov ing labour to
He has po inted out that in the old potter who had come
the th ickness of the wal ls it upon so enth ral l ing a subjec t .
more resemb les the work of The six medal l ions look asa stoneware potter . Aspec ial
i f they had been taken from
c harac ter ist ic of those spec i a very ear ly book of wood
mens known to have been cuts. The two photograph s
made by B lers is that they No . I I I .—SALT-GLAZED M UG DATED 1o
gi ve a good general idea Of
209
No . I V .—TEA POT
No . V .— TEA POT REVERSE
E
THE s1x M EDALL IONS ON TRAFO ’
I‘
(Nos . I v .
the teapot, but I have added s l i gh t ly enlarged draw
ings of the six medal l ions on account of the unusual
interest of thei r sub jec t-matter .
M edal l ion i. —Adam and Eve under the tree, on
wh ic h hang pears, ap p les and flowers. With one
hand Eve pu l ls a fru i t, and w i th the other hand she
g ives a fru i t to Adam,whose face is almost obl iterated
by the ex igenc ies Of the spout Of the teapot. Both
parents are dep ic ted wear ing a k ind of p leated petticoat . No serpent is v is i b le.
M edal l ion i i.
—Here is a strange sub ject . The
AN D v . )
sou l , dep ic ted as a knigh t, w i th sword and sh ield
sets forth upon his journey . H e meets good _
and
ev i l . An angel wh i spers in his r igh t ear , a devi l ,
with horns, compels the attent ion of his left ear w i th
what is p robab ly a trum pet. Below,and at his feet,
on his r i gh t s ide is a c ruc ifix ; on his left s ide is a
yawning hel l -mouth . In late Goth ic arch i tec ture you
find the hel l—mouth with Satan and demons merri lyp itch fo rk ing lost sou ls into it. I t ex ists so in Worces
ter Cathedral . Hel l -mouth s were used in“ passion
p lays, and later in country pageants. M r. Fairholt
quo tes from the ac counts
o f the l lrapers’
(‘
ompany
o f (‘
oy eutry
There was o ften a c harge
for the keep ing up o f hel l
lire du r i ng the pageant.
The mouth cou ldbeopened
and shut at wi l l .
M edal l ion i i i . is not qu i teso s im p le. H e r e at the
bo ttom w e h av e a large
g ross figure,w h i c h repre
sents ei ther s lo th ordrunk
enness, as leep against what
may wel l be a bar rel,wh ic h
is p r o p p ed b y a basket,
perhaps c o n ta i n i n g t h e
man’
s neglec ted too ls. I t
7710 Connoisseur
NO . V I .
—SOL I DF IGURE
is l ike a workman’
s basket of the p resent day. In
the left—hand co rner is the balcony of a large house,
NO . V I I .
—PU N CH KETTLE
w w
on to p o f is rangedl banquet
,w i th jug, go b let,
tnd fru i t,wh i lst a ho rn
,
perhaps to denote p lent y,
is suspended o ver the feast.
U pon th is balcony standsa figure b low ing u p o n a
trum pet, wh i lst a t what I
surm ise to be the trumpeteall of consc ience
, the sou l,
our kni gh t,leaving beh ind
him all th is worldly ease,
sets fo rth on horseback on
his quest.M eda l l i on iv. is fai r ly
p lain. T h e so u l'
m ee t s
e v i l a s a rag i ng l i o n
s ee k i ng w h om he m ay
destroy .
M edal l i on v. is very
s im p le. I t is a rep resenta
t ion O f th e las t t rum p .
An angel b l o ws upon a
long doub le trumpet. L i tt le
over head,beneath grow the trees
,
grass and the sod l ies the human
Tne Connoisseur
m igh t be the Wo rk o f the li lers if theyreal l y did make sal t-g laze at all. However. in the
V ic to ria and Al bert M useum is j ust suc h another\ lay - llower linsk . though somewhat smal ler and nun/1
I t represents a glo bular bott le (hei gh t in. ) of verybeaut i fu l p i tt ing, s im i lar to that o f an ostr ic h ’
s egg,
but liner,and of great regular i ty . On the top o f the
handle and ins ide it stained brown w i th i ron.
NO . X .—BOTTLE W ITH DOU B LE-TW ISTED H A NDLE
wh i c h dated 1 759. I t also has not qu i te so
man y flowers on it,there being th ree in a bunch in
stead Of five. M y own spec imen has a yel lowish t intwh ich deepens in p laces almost to a warm browncolour, and it is frec k led w i th innumerab le spec ks of
brown and Of b lack . Th is may have been caused bysome acc ident in the fi r ing
,or perhaps it was due to
the p resence Of i ron in the c lay of the body . I t maywel l be an ear l ier p iece than the flask in the Sch rei berco l lec t ion,
as before the m iddle Of the century the
Staffordsh i re potters made repeated efforts and experi
ments to im p rove the wh i teness and tex tu re of thei rsal t-glazed ware.
NO . i x . is not espec ial ly interest ing in i tsel f,but it
has its own po int of interest, because it seems l ikely
that it is a spec imen of sal t-glaze made by Wedgwood .
I t must be compared wi th an exactly s im i lar bott le,shown in N O. x .
,only with a doub le-tw isted handle,
made Of green malach i te ware, and also a th i rd bottle
of adry dead‘ white sem i -porcelain, glazed onl y wi th in.
Th i s,too
,has the doub le- twist for its hand le, and
both are rather larger than the sal t-glazed specimen.
Now,Wedgwood and Bent ley made malach i teware
a sol id agate stained w i th a fu l l green copper-glaze—but I am not aware that it was made elsewhere.
Wedgwood also made a sem i - porcelain, w i th wh ich ,in 1 773 , he succeeded in Ob taining a perfec t wh i teness. I t is true a ware, cal led pear l ware, was madealso in great per fec t ion by M essrs. Chetham&Woo l ley,Of Lane End, in 1 795 . I t was a d ry body, w i thout
glaze or smear,
”Of del icate wh i teness, and it was
ch r i stened pearl -ware ” by Jos iah Spode but then
On S inf ora’snire Sa/f -
g /os e
NO . X L—TEA POT
there is no evidence that they made ei ther malac h i teware or sal t-glaze
,and these th ree uns i gned bott les
ev ident ly all p roceed from the same pot-works.
NO. x i . represents a teapot, 4% in. h igh . I t is
enamel led b lue,w i th green crabstock handle and
spout,and w i th reserved panels of co loured bouquets
of flowers on one s ide a rose is the most p rom inent
flower Of the bunch . Over the Spout is what mayhave been intended for a yel low marguer i te. The
co lour Of the b lue enamel ground is rather unusual ,as it is much bluer and deeper than on those b lue
sal t-glaze teapots, Of wh ich man y are known,that are
2 1 7
s im p ly deco rated wi th a rose,r i gh t on to the back
ground,and w i thout the reserved panel . On the
other hand,it is not qu i te so deep as is Littler’s b lue
glaze,Of wh ic h I possess a teapot and a c ream -jug.
I have also a smal ler dark maroon salt-glaze teapot of
the same sty le as the b lue one,w i th reserved panels
of flowers,and it is interesting that in both cases the
blossoms have been rather sketch i ly painted in,and
though all the leaves are finel y out l ined in b lack,the
flowers are not so out l ined. The bottom Of the blue
teapot is enamel led green to match the spout and
the handle.
[T/ia Edi/or {urn/es {I n assistance of readers of THE CON NO I SSEUR w/zo may be aide to impart t/ze
information required by Correspondents]
PORTRA IT (No.
S l l{,— I am sending you a pho tograph of a
p ic ture I have. but I have not y et been ab le to ident i fy
I shou ld say it is by
Ne l l Gwyn has been
the lady s i ze, 5 0 in. bv 40 In.
rather than by Lel y .suggested
,but there is no resemb lance to her, and the
s t y le,co rrespond ing to the age, seems later .
Yours fai th fu l ly,E 1) . A. BU LWER (Colonel ) .
U N I DENT I F I ED SKETC H .
DEAR S ue—I have had in my possess ion for somey earsaco louredsketch in O il on
paper, part ial ly
unfini shed, but
w h i c h i s ev i
dentlv the wo rk
o f a m a s t e r .
I hav e inade
s e v e r a l a t
tem p ts to pho
to g rap h t h i s
s k e t c h,b u t
have not been
ab le to rep ro
duce w i th suc
c es s a l l t h 8
s m a l l de ta i l
that wou ld be
nec es sa r y to
hel p to eluc i
date its or ig in.
The sub jec t is
u n do u bt edly
from T/ze I liad
(B o o k
S t'
d II ZFt S
x i x .
,
2 90 ,
295 and 3ooka n d i s t h e
moment w h en
B r i s e i s,
d i an t as t h e
ra~
queen of love
(nude ), fal ls on 5 )
2 1 8
the Couc h of the wounded Patrocl us (also a nude) inthe tent of Ac h i l les
,who stands at the head of couc h ,
helmeted andw i th hand to his face as i f in gr ief. The“ female cap t i ves (th ree) are partial l y in outl ine, butthe figures and d rapery are drawn wi th exqu isi te grac e.
The other parts of the tent are fi l led in wi th a sleep ing
squ i re, wh i l st the swan-head prow of a c raft appears in
the opening . Perhaps some reader may be able to
inform me of the p ic ture and its whereabouts,Of wh ic h
the sketch in my possess ion was ev identl y the foundat ion.
— Yours truly,N A H UM BARNET (M el bourne) .
U N I DENT I F I ED PORTRA IT
T/ze Connoisseur
L'
N InIcN'
I‘
I Initn PAINT IN I : (No.
DEAR S IR.
— l am sending on a pho to of a p ic
tu re 1 pu rc hased at a sale th ree month s ago fo r a
rep roduc t ion in N OTES AND QUERI ES in THE CON
NO IssEUR. The p ic ture is on canvas,s i ze 205 in.
by 24 in _
and has been re- l ined. I t was in a very
di rt y s tate ; in fac t, you only saw the figure a du l lg re y . After c leaning the fine old p i gments, I cameto the conc lus ion that it had been painted in the
Raphael per iod. One gentleman of my acquaintancean art co l lec tor and a contr i butor to THE CON
attr i butes it to Domenich ino. Perhaps
2 20
o li
some your readers may ass i st to di sc o ver the
sub jec t and the arti st.
Yours trul y . lO l IN
UN IDENT I F I ED PA I NT I NG
BV EGON Es
DEAR S IR,—The interesting art ic les you have pub
lished on the subjec t of Byegones make me wonder
i f any of your readers can enl i gh ten me on a sub jec t
that does not appear to have recei ved muc h atten
t ion. I am not aware i f the po int has been rai sed
before,but it would be interest ing to know what
ty pes of razo r were em p loyed by the anc ient and
medieeval races—Yours fai th ful ly , jOHN CURL I N I ;
INDUSTRYBY 0. KN IG HTAFTER GEORGE M ORLAND
T/1.e Connoisseur
AN ARM ORIA L ANT I QU ITYI‘
HE i l lustrat ion shows a fifteenth -century carv ingin oak of the arms of the D i gbys
,wh ic h ap pears
beneath the window- s i l l of a house
in M aiden Lane, Stam ford. During
a restorat ion of the house a few
vears ago, th is panel , being muc h weather-worn,was
di scarded,and wou ld have been consi gned to the
sc rap- heap had it not been for the t imely intervent ionof M r. H . F . Traylen,
AM ONGST those art ists of the ei gh teenth - century
F rench sc hoo l who have been overshadowed by themore fam i l iar masters was JacquesC h a r l i e r . A pup i l of Bouc her
,
w hose wo rks he somet imes cop ied on a smal l scale,
Charl ier desc ri bed h imsel f as “ peintre en m iniatu redu roi.
”The P r ince de Cont i and the Comte de
Cay lus were both interested in his work,and that
“
th is was not unmer i ted is ev ident from the sweet
toned drawing of Leda,in the possess ion of M rs.
Reyno lds- Pey ton. Some of Charlier’
s sub jec ts wereengraved by
_laninet and Elluin.
In our issue for N ovember last we rep roduced one
o f the two B oy s w z
'
f/z Haw /cs,in the Wal lace co l lee
t ion, wh ic h were attri buted former ly to N ic holasM aes. al though there is now but smal l doub t thatt hey were painted by joannes van N oordt. The
p resent canvas is the second of these two. I t
measures 24% in. by 20 5} in.
,and was at one t ime in
the Count Perregaux and Baron Delessert col lec t ions.
Ingres’ P ortrait of M adame D ewar/pay is desc r i bed
on the p late by a typograph ical er ro r as “M adame
De V ancay.
”I ndus/ 73
1
,by C. Kni gh t
,after George
M orland,is taken from avaluable im p ress ion in co lours.
The lady rep resentedwas M iss M orland. The or ig inal
p i c ture from wh ic h the engraving was taken is in the
O u r FIates
possess ionof LordG lencouner,as is also the companion
work,[ ado/ew e.
THE property of the late Lady Fettes Douglas was
amongst those offered by M r. Dowel],of Edinburgh
,on
Feb ruary 3 rd. The b idding showedthat the market was steady . Amongst
other lots,we not iced a mahogany
inlaid sem ic i rcu lar- fronted s ideboard,on four square
tapered legs,with c hased b rass r ing handles and en
amelled mounts,on wh ich the hammer fel l for£ 50 8s.
M r.
_I . L. M ajor ’s col lec t ion of furni ture was dis
persed by M essrs. W . N . Lewendon Sons, of Hu l l,
on Feb ruary 28th,when £ 40 was paid for a Sheraton
serpent ine- front commode,inlaid w i th tul i pwood and
sat inwood , 3 ft. 7 in. , and £ 3 2 for a Sheraton
mahogany s ideboard,inlaid w i th satimvood
, 5 ft.
M essrs. G r im ley Son,of B i rm ingham
,sold the
propert y of the late W i l l iam Derry,of L i ttle Aston,
on M arc h 7th, 8th, and oth.
T H ERE is apparent ly l i ttle d im inut ion in the interest
disp layed in ph i lately . M essrs. Harmer,Rooke C\'
Co. have had soine Cho ice i tems in
thei r recent catalogues. £ 5 7 was
ob tained for a copy of the old Canada 1 2d. black ;'
I od. blue, £ 5 I OS Cey lon imperf. 6d.
,pai r of p roofs
,
£ 1 2 ; 4d. du l l rose, £ 24 ; 8d. brown, £ 1 7 9d ,
£ 7 5 s . ; I od., £ 4 I S. m int
,£ 9 1 5 5 . 1 5 . 9d. green,
£ 1 3 2 5 . b lue, £ 9 1 0 5 . For the New South Wales
Sydney views some excep t ional p r ices were ob tained
.I-d. red,pai r on p iece, £ 1 7 two other pai rs, w i th
defec ts, £ 1 1 and£ 1 0 ; s ingle cop ies,£ 7 the 2d.
indi go,£ 7 1 5 s . and£ 7 1 os. OnFebruary 1 9thand24th
th is firm offered a magnificent selec t ion of colonials .
Stam p N o tes
THE sale held at M ess rs . Ch r ist ie’s on January 19th
com p r i sed the remaining works of Sir J . D . L inton,and
was interest ing as a ret rospec t ive re
co rd of the late P .R. I . Some sub
jec ts we remember to have seen on
the wal l s of the Inst i tute. The p r i ces real i sed weremoderate
,and there were but few outstanding i tems .
Amongst the p ic tures,Tile B lessed Virg in app earing
to F ra Ang elica, arched top , 7 1 in. by 39 in. ,fe l l for
£44 25 . I t had been shown at the N ew Gal lery,1 902 ,
and at the I r i sh Internat ional,1 907. T/ze I/Vanderers
,
3 55 in. by 53 in.
,and A N ation
’s Gratitude towards t/ie
B rat/ e a Soldier'
s Glory L ives beyond 1716 Grave, 49 in.
by 385 ih .
,each secu reda s im i lar sum ; wh i lst the fam i l iar
subjec t of The Admonition, 447} in. by ia.
,went for
£42 . Amongst the draw ings by other art ists,wh ic h
const i tuted the same p roper t y , T/ze D airy F arm,by
P . de W int , Ioi in. by 1 35 in.
,made £57 1 55 .
B idding was no b r isker at the K ing St reet room s on
January 26th . Some hal f adozen p ic tures by J . Char les,
a s ing le p roperty , were offered,and the h ighest bid for
any one o f them was £50 85 . for A Lake S cene : [ Vade
leine,1 85 in. by 2 5 in.
,wh i ch was exh i b i ted at M anches
ter in 191 2 . Amongst a m i scel laneous co l lec t ion of
draw ings , a pai r by T . M . Ri chardson,1 882
,Sorrento
and Tbe Vi llag e of S t. P ierre, Great S t . Bernard,1 4 in.
by l o in.
,real i sed £54 1 25 . wh i l st T/z ree Cow s on M e
B an/cs of tbe T/zames,by T . S . Cooper
,R.A.
,1 846,
H Q» in. by 1 75 in.
,fel l for £46 45 . These were fo l lowed
by var ious p i c tures,few of wh ich aroused any interest .
S tefip ing S tones : N or/b Wales,by B . W . Leader
,R.A.
,
19§ in. by 295 ih .
,fetched £67 45 . Rival Attractions ,
by C . Bu r ton Barber,1 887, 3 5% in. by 24% in.
, £78
and Song s toil /cont Words,by the same
,1 885 , 3 55 in. b )
24 ih .
, £49 75 . Of several canvases by Kee ley Hal swe l le
,A. R. S .A.
,A’ ilc/z zern Castle
,Loclz Art ie
,1 88 1
,1 3 § in.
by 23 § in.
,made £46 45 .
V i s i tors to Ch r ist ie’s on Feb ruary 1 5 t were ab le to
inspec t the o r ig inal of a fam i l iar subjec t,when T/ze T/z in
Red Line,by Robert G i bb , 1 88 1
, 4 1 1} in. by835 in.
,aroused some compet it ion, and was eventual l y
knocked down for £882 . I t was exh ib i ted at the RoyalAcademy in 1 882
,and at var ious gal ler ies s ince. The
copy r igh t,wh ich was so ld separa te l y
,secured £36 1 5 5 .
Alma : F orward t/ze 42nd, by the same art i st,1 888
,
D raw ings and
Paint ings
2 25
I
Q
50 in. by in.
,real i sed £325 1 05 . Other works by
G ibb were offered,but onl y The D eatlt of S t . Colzcz z z lla
,
1 884, 2 5} in. by 59§ in.
,made any amount of importance,
fetch ing , as it did, £1 47. These paint ings were amongthe Opening lots of the late Arch i baldRamsden
’
s p ro
perty,the firs t day being taken up w ith modern canvases.
£ 1 3 1 55 . was b id for M ark F isher ’s,
View
near D ublin,295 in. b y 385 in.
,wh i l st his Cattle in a
P as ture,1 888
,1 75 111 . by 255 in.
,b rought £54 1 25 . S till
D ry , by E . M eisel,20§ in. by 1 7 ih .
,made £54
andB elagg io, Lake Como,f rom t/ze VillaRotta M enegg io,
by J . B . P yne,1 863 , in. by 32§ ih .
, £54 1 25 . A
number of subjec ts by Og i l vy Reid were taken con~
secutively . 47% in. by 6 1 in.
,wh ich was
exh i b i ted at the Royal Academy,1 902 , fetched the h igh
est p r i ce,the hammer fal l ing on the u l t imate bid of
£50 85 . N ot long after th is ser ies had been disposedo f
,A Salmon River
,by J . Syer
,1 88 1
, 3 5 in. by 47 in.
,
fe l l for £42
Feb ruary 2md,the second day of the Ramsden sale
,
commenced w ith draw ings . D ic kens ians found some
th ing to interest them in the set of 24 ext ra i l lustrat ionsto P ickw ick
,by Pai l thorpe
,from the co l lect ionof Joseph
Bennett,and exh i b i ted at the D ic kens exh i b i t ion
,1903 .
The top bid was one of £54 1 2 5 . Sho rt l y afterwardsH zglz landReapers , Loc/z Leven, I nverness - s/z ire : E ven
ing ,by T . M . Richardson
,1849, 1 55 in. by 34 ia.
,
from the co l lec t ion of J . Nuttal l,1 897, real i sed £84.
The sect ion of o ld p ic tu res was then reached.
was the sum secu red by S ir W . Beechey’s fu l l - length
P ortrait of Ai rs . F art/ting , 90 in. by 565 in.
,wh ich was
shown at the Japan- B r i t ish exh ib i t ion,1910 . The paint
ing , wh i ch was eng raved by H . T . G reenhead,dep ic ted
Agnes,daugh ter of John Handford Farth ing
,who was
born in‘
1 795 . In 1 842 she was mar r ied to her cous in,
John Farth ing , and dy ing in 1 845 , was bur ied in Per i valechurch
,near Eal ing . A P ortrait of B rass Crosby ,
Lora’
[May or of London,1 770, by J . S . Cop ley
,R.A.
, 98 in.
by 587} in.
,sold for £ 1 89 ; a P ortrait of a Lady , in ro/z ite
satin dress,wit/z lace frills and erm ine cloak
,Earl y
Eng l i sh schoo l,29 in. by 24 in.
, £54 1 25 . and F ive
Girls , in a landscape, by G . Honthorst, 58 in. by 84 in.
,
£99 1 5 5 . An interest ing P ortrait of a Lady ,in alacl‘
(tress w it/z white collar,by Ab raham van D yck
,1 8 in.
by 1 4 in.
,b rough t £1 1 0 55 . £1 47 ap iece was g i ven for
T/z e Connoisseur
a P ortrait of a Ladv, in rt 'l u'
te muslin dress and bead
dress . catalogued as by Hoppner, 29 in. by 245 in., and
for a Por trait of a Ladv, in rul u'
te mus/in dress,
fruit/1
blat'l' scarf and ( Oral necklace, catalogued as by Op ie,
205 in. b y in. Catalogued as b y Romney , a P ortrait of a Lady ,
in f ol a'
te mus lin dress , w it/i f ort'dered
flair , landsea/Se background, 29 in. b y 24 ih . ,made 23 1 .
A candle—l igh t subjec t by_I. A. R.A.
,enti t led
Tbc GoldenE gg : t/ze ’ang /z ters of Rev . j olin L1 71icombe,
33 5 in. by 4 1 in. fe l l for£58 1 65 . Interes t was di sp layedinG i l bert S tuart 5 Portrait of f ldm iral S ir lx’obert Calder ,Bart , 3 5 in. by 275 ih .
,w i th its t r ic ks of arms
,wh i ch
b rough t in £630 ; wh i l st the sale term inated w i th a
c harm ing and v i vac ious P ortrait of M ary B ellamy ,
actress,in yellow dress , w it/z blue cape, lzolding a w aste
,
by J . Zofi‘
any , R.A.,285 in. by in.
,on wh i ch the
hammer fe l l for £220 105 .
The p roperty o f M ess rs . Dowdeswe l l Dowdeswe l l ,Ltd.
,so ld ow ing to the death of M r. C . W
'
. Dowdeswel l ,appeared at Ch r ist ie’s on Feb ruary 7th and two daysfo l low ing . M odern draw ings occup ied the fi rst. day , butthere were no outstanding i tems . The fi rst i tem of im
portance on the second day had an ear l y p lace amongstthe p ic tures . I t was anAltar P iece, w it/z M adonna and
C/z ild and Saints,Co la del l ’ Amatr ice
,on a pane l
(central panel , 44 in. by 24 wh ic h came from a con
vent at Chietti. The hammer fe l l upon a bid of £3 1 5 .
Rido l fo Ghirlandaio’
s T/ze Alm ig hty ,in the Clouds ,
adored by Ang els , on panel , 4 1 in. b y 77 in. ,wh ich came
from Rober t B rowning ’s co l lec t ion,and was refer red to
in his letter to M rs. Jameson (M ay 4th, real i sed
£73 105 . Lorenzo Lotto’s P ortrait of a Gentleman, w it/za red beard
,painted about 1 53 5 , 45 in. by 29 in.
,wh ich
carried w i th it a letter from M r. Berenson, £1 20 1 55 .
J . van Goyen 5 View of tile Vallsen/zof , at N ynzwegen,
ini t ial led and dated 1639, 325 in. by.475 ia.
, £23 1 ;A. vander N eer
’s View in Holland : zWoonlzg/z t, 385 in. by
525 in.
,from the co l lec t ion of the Duke of F i fe, 1907,
£420 ; and J . Patinir’s Lands cape w it/t E li/ all and M e
Ang el, on pane l , 95 in. by 1 45 ia.
, £ 1 20 1 55 . The
nex t lot but one was C/i r ist at t/ze Column,by Po l laiuo lo
,
on pane l, 30 in. by 2 5 ia.
,wh ic h fetched£840 . I t was in
the B rowning co l lec t ion,and car r ied w i th it a letter of
D r. Trancred Borenius. N ot long afterwards,T i t ian’
s
A Young Girl (t/ze Young Lav inia) , exh ib i ted at the ArtTreasures Exh ib i t ion
,M anchester
,1 857, and on other
occas ions in London,made £162 1 55 . T/ze Triump /z of
B acc/zu s,of the schoo l of Dosso Doss i
, 50-5 in. by 595 in.
,
b rough t £86 2 5 . The next day saw the m odern p ic tures,
of wh i c h the h ighest sum was secured by W . Greaves’s
T/ze Seazns tress, 75 in. by 3 55 in.
,wh i ch fe l l for£283 1os .
M ost o f those who had taken the Opportuni ty to make a
c lose exam inat ion of the sp lendid sub t let ies of O rchardson
’s Tbc Rivals
,p redi c ted that it wou ld be one of the
most popu lar i tem s o f the Char les Church i l l co l lec tion,
wh ich appeared at Ch r ist ie’s on Feb ruary roth. As a
matter o f fac t,it real ised the h ighest p r ice of the day ,
The p ic tu re, wh ic h was painted in 1 895 , and
was exh ib i ted at B u r l ington House,
19 1 1 , measu red
3 25 in. by 455 in. Another and ear l ier wo rk by the same
art i st was Housekeiyfiing in M e Honeymoon, 3 55 in. by
275 in.
,exh ib i ted at the Royal Academy
,1882
,wh ich
fe l l for £945 . The fam i l iar subject , T/zeLoveof j anz es4 S cotland
, by M i l lais , arched top , 4 1 5 in. by 2 1 in. ,
exh ib i ted at the Royal Academy,1 859, secured £7 14 ;
l’ rank D ick see’
s Romeo and/ u liet , arched top , 66 in. by
455 in.,Royal Academy
,1 884, £525 ; I
’eter G raham ’
s
A Ai ountain l i’oad,or Among t/ze H ills
,1 880
, 365 in. by
54 in.,Royal Academy
,1 88 1
, £546 and the same art ist’sS ea-w orn l t
’
ocl’s , 475 in. b y 375 in.,Royal Academy
,
1 89 1 , £630 .
Amongst other p r i ces, £ 1 57 1 05 . was paid for I n
D isg race, by C . B u rton Barber, 4 1 in. by 275 in.
,Royal
Academy,1 886 ; £ 1 05 for Once B it, Tw ice S lzy ,
by thesame
, 35 in. by 27 in.
,Royal Academ y
,1 885 ; £99 1 55 .
for H zg/z land S /zeep ,by R. Ansdell
,R.A.
,1 876,
47 in. by 735 in. ; £ 162 1 55 . for Young S tag and
H ind in F ontainebleau F orest,by Rosa Bonheu r, 1 893 ,
on pane l,1 45 in. by 1 8 in. £2 52 for ARussian F lower
Girl,by A. Harlamoff
, 43 in. by 305 in. ; £1 10 55 . for
On the Road to Ostia,I taly ,
by K . Heffner, 455 in. by
64 in. £ 1 20 1 55 . for Romola,by E . B lai r Le igh ton,
495 in. by 385 ia. , Royal Academy , i887 ; £220 105 .
for The S ilver B irc/zes,by J . M acWhirter
,R.A.
,
395 in. by 295 ih . ; £ 1 47 for T/ze Dog ana, Venice,by
C lara M ontal ba,1 877, 53 in. by 365 in. ; £ 105 for T/ze
Ocean B lue,by Henry M oore
,R.A.
,1 889, 2 1 in. by
305 in. and £2 10 for Tiv oli , by W'
. M illler,1 839, 7 1 in.
by 48 in. Th ree works by H . W . B . Dav is,R.A.
,were
in ev idence. All passed the hundred- pound l im i t, theh ighest b id being for M id—day S ize/ter , 295 in. by 59 in.
,
Royal Academy,1 878, wh i ch made £1 4 1 1 55 . O f the
two canvases by M ark F isher,A. R.A.
,E arly October ,
1 88 2265 in. by 395 in.
,secured W ise S aws
,
by J . C. Hook,R.A.
, 3 1 in. by 545 in.,Royal Academ y
,
1 875 , b rough t £2 10 ; wh i l st £ 1 1 5 105 . was g i ven for thesame art ist ’s Sand Wives
,1 88 1
,2 1 5 in. by 345 in.
Leigh ton’s Antig one, 235 in. by in.,Royal Academy
,
1 882,fe l l for £1 47 ; wh i l st the two wo rk s by B riton
Ri v iere real i sed £ 1 36 each . They were Una, 4 1 in. by
59 ih .
,Royal Academy , 1 882
,and Double E ntendre
,
1 875 , 1 25 in. by 1 75 in. O f th ree paint ings by_l .
Linne l l,senior
,the h i ghest amount was real i sed by T/ze
I/Vood—cu tters , 1876 , 305 in. by 43 in.
,on wh ich the
hammer fel l for £336 .
Amongst the draw ings were five by B i rket Foster .Tbe Young Ang ler A S tream at B ettrt/s -
y- Coed
,1 3 in.
by 1 8 in.,att racted the most attention
,and real i sed
£24 1 105 . The h i gh l y finished and interest ing L ’anz i du
P ei/p le, by A. C . Gow,R.A.
,1 880
,1 6
41 in. by 105} in.
made £ 1 78 wh i lst of several landscapes by R.
Tho rne-Wai te,Carlingr Corn, Alfris ton, Sussex ,
1 5 in.
by 2 1 5 ia.
,b rough t £ 1 20 1 55 .
M ESSRS . PUTTICK S I M PSON he ld several success fu lsales of pottery and porcelain dur ing January and
Feb ruary,wh ich were m a r k ed b y
keen b idding . 1 00 gns. was paid fora fine l y - painted Chamber lain dessert
serv ice o f 50 p ieces on January 19th , the p roperty of the
Potter y and
Porce lain
THE b lack -and- wh i te exh i b i t ion at Bur l ington House,
as we l l as the inc idence of the war,hel ped to handicap
the th i rt t - fifth annual exh i b i t ion of theThe Royal i
Royal Soc iety of Pamter- E tchers atSoc i ety of
5A, Pal l M all East. I t was qual i tyParnter- Etc hers
h l h ] 1 kand Engravers
rat er t i an quant i ty w 1c 1 was ac
ing , for though all the works inc ludedshowed mer i t, there were far fewer than usual thatattained dist inc t ion. The to l l that the war is tak ingfrom art was exemp l i fied by the deaths of L ieut. LukeTay lor and 2nd- L ieut . Al ic k G . Horsnell s ince the lastexh i b i t ion,
the latter being k i l led in ac t ion and the formerdy ing of wounds rece ived in ac t ion. F i tt ing t r i bute to
thei r memory was paid by a se lec t ion of the works of
each being shown app rop r iate l y draped. Both were men
o f -cons iderab le attainment and g reat p rom ise. Amongother exam p les, L ieut. Tay lo r was rep resented by a
sympathet ic vers ion of B lossoms, after Al bert M oore, a
p i ec e of sound
work c redi tab l yper fo rmed
,but
not near l y so iateresting as the
fo rcefu l etch ingo f V a n d er
Gees t,after V an
D y c k,o r th e
o r i g i na l etchi n g s o f Tli e
F r u i t e r er’s
S /i op and A
D u t c /z Cana l,
both of w h i c hwere charac teri sed by easeandfluency of handl i ng and sym
pathetic feeling .
L ieut . Horsnell
was s h o w n ins e v e r a l l i tt l earc h i t e c t u ra ls u b j e c t s , a l l
we l l drawn and
s h 0 w i n g a
fee l ing fo r the
B LACK -AND ~ \VH ITE PA I NT I NG By JAM ES TH IRIAR
PURCHASED BY H . M . QUEEN ALEXANDRA AT wmrm c s’
EXH IB ITION
2 28
p ic tu resque. Another deceased,M r. Nei ls M . Lund
,
was al so seen to g reat advantage in his etch ing of K illinand his mezzot int Sp ots in tileH zglz lands . Tu rning fromthe dead to the l i v ing
,the P res ident
,Sir F rank Short
,
was rep resented by onl y a coup le of smal l examp les,
wh ich,though p resented w i th his usual technical sk i l l ,
were not part icu lar l y noteworth y . Tire 1 860 D ress of
M iss M argaret Dobson, showing a g racefu l figure of a
woman in mid- V ic to r ian costume,w i th the flow ing l ines
of drapery fine l y suggested, was mar red by the too g reataccentuat ion of the shadow out l ine
,wh i ch dis trac ted the
eye from the p r inc i pal po int of interest . A g roup of
we l l -des igned book - p lates were cont r ibuted by 2nd- L ieut.H . P . Huggill, anda smal l l inefigureofLucif er , byM r. J . F .
Badeley , was digni fied in pose and showedanapp ropr iateauster i ty of t reatment . L i fe in F rance was rep resentedin hal f a dozen fi gu re subjec ts by L ieut. W . Lee Hankey
,
near l y all o f wh ic h were concerned w i th the F renchpeasantry . The
art i st had cha
rac ter i sed thesesympathet i cal l yb u t w i t h ou tfalse sent iment
,
his work beingw e l l h and l edand di st ingu ished b y effec t i veC h i a r o s c u ro .
B e l ong i ng to
the same me’
tier
w as t h e c a r efu l l y s t ud i edOldF renclt Ser
vant,by L ieut .
Al fred Bent ley .
Captain W . M .
Keesey’s Aria
dne rep resentednot the deser tedm i st ress of Thes eu s . b u t was
a rende r i ng o f
an ti p- t o - da t e
“Tank
,
”care
fu l l y drawn,but
“THE LAST REL I EF
Current A rt N otes
I NTERIOR O F THE PERIOD
hardl y suggest ing the s i ze and streng th of the latestinstrument of modern war fare. M r. W m . P . Rob ins ’s
Rainstornz at Volena’azn gave a power fu l effec t of stormc louds over a flooded land. L ieut . M al co lm Osborne’sBannockburn and S tirling Cas tle was a p iece of interesting topog raphy t rans lated into art ist ic terms
,in wh i ch
effec ti ve use had been made of a low hor i zon. M r.
Perceval Gaskell’s Soli tude (aquat int) and The I s le ofP arbecle (mez zot int) showed r ichness of tone and wel lbalanced ar rangements of l igh t and shadow
,wh i le some
we l l - sc raped examples in the last -named medium werecontr i buted by M r. Dav id \V aterson. M r. HerbertDicksee
,in his h igh l y fini shed andwe l l -drawn etch ing of
TheReapers , was, as usual , inc l ined to mar his wo rk by atoo g reat leaning towards p ic turesqueness and p rett iness .
L ike F red W alker,he is inc l ined to mode l his figures
of labourer-s on the l ines of ant i que G reek sc u l pture,a
weakness wh ic h detrac ts from the s incer i ty and conv i c t ionof his p roduc t ions . M r. Al bany E . Howarth was alsoinc l ined to show a tendency for the p ic turesque. His
Knaresboroug h , Yorkshire,was di st ingu ished by its
effec t ive compos i t ion and its power fu l contrasts of l igh tand shade ; and s im i lar tr i bute may be paid to his Rue
AT M ESSRS . DRUCE AN D CO .
’
S GALLERI ES
S t . Romain,Rotten
, but the latter wo rk was inc l ined to
be sceni c in its effec t . Other works that shou ld be
ment ioned inc luded M iss AnnaAi ry ’s Gay B u rden; M r.
J . Ham i l ton M ackenz ie’s Gateway , Rome; M r. PercyRobertson’
s N ew castle- on Iy ne; and M r. F redRichards ’sc lever sat i re on {Modern E ducation.
THE suffer ings of dealers in art th rough the war,
wh ich are at least as heavy as those of any other po rt ion
The War and theof the
“
comm un
it
y, are l i ke l y to be
Ant ique Tradesti l l furthei agg ravated by the p re
valent idea that thei r oc cupat ion 15
w i thout pub l i c ut i l i ty,and can be di spensed w i th w i thout
loss to the count ry . One does not for a moment u rgethat art dealers shou ld recei ve g reater p r i v i leges thanother t raders . Thei r bus iness
,not being concerned w i th
the p roduc t ion or conveyanc e of muni t ions,food
,or
necessar ies of life,cannot be regarded as essent ia l ; and,
l ike other peop le of the same c lass , they mus t p rov ideworkers from thei r rank s for fie ld or fac tory
,but at least
they have a c laim for equal t reatment w i th wo rkers ofother non- essent ial occupat ions . I t must be rememberedthat deal ing in art or ant i qu i t ies is h igh l y spec ial ised
The Connoisseur
wo rk . requ i r ing an amount o f know ledge that can onl ybe v uired by a neophy te after many years o f experi
ence. Such know ledge was never more usefu l to the
c ountr y than at p resent,for the bu rden of taxat ion is
caus ing an i nc reas ing l y large p ropo rt ion of our art
t reasu res to find thei r way to Amer ica, and unless weretai n ex per ts to handle the matter
,Amer i can co l lec tors
are l i kel y to secure bargains that the count ry can i l lafi
’
ord to part w i th . I t mus t not be thoug h t that it isonl y the large dealers who are concerned in these t ransac t ions . Amer icans are purchasers o f antiquit ies o f everyp r i ce and desc r i pt ion
,wh i c h are co l lec ted from all over
the countr y . Even when p rov inc ial dealers do no t sell
di rec t to Amer i ca,the y co l lec t art i c les fo r the men who
do ; and dur ing the hard t imes of the war the ant iquet rade has been large l y enab led to car r y on th roughAmer i can custom . Wh en the c lose o f the w ar has freedthe ocean from the U - boat per i l
,th i s custom is l i kely to
assume g igant ic p ropo rt ions,and a large amount o f the
debt we have incur red to America w i l l be l iqu idated inp i c tures, eng rav ings , and ant i ques. I f our tribunal s
,in
se lec t ing men for nat ional serv ice,do not p ress undu l y
hard on the ant ique t rade, but leave them w i th suffi
c ient men to car ry on the more im por tant bus inesses,
both in town and count ry,then we may have suffi c ient
experts left to real i se these impo rtant assets at ou r p r ices.
I f not,then the p rices w i l l be largel y fixed by the pur
c hasers, and the count ry w i l l be some m i l l ions of poundsthe poorer .
M R. GEORGE H . D ANCEY,the we l l - known cartoonist
o f the M el bourne P unch,whose orig inal draw ings for
that jou rnal,together w i th those of
his co l league,M r. Char les Nuttal l
,
were shown at theg alleries of M essrs .
Arthur Tooth Sons ( 1 5 5 , N ew Bond Street) , may beregarded as a p rophet of more than ordinary percept ion.
A car toon by him,wh ic h was pub l i shed September 1 7th,
1908, showed the German Em peror engaged in a shamfi gh t, the ranks of his opponents l y ing p rost rate
, as
though mown down in swathes by his v ictor ious forces.
Appended to the draw ing was the legend John Bu l l‘ Exce l lent , W i l l iam ! A magni ficent b it of theatr icaleffec t. B ut in six years, when that war comes off w i thEng land; our men won’
t lie down in honou r of the
Empero r . ” M r. Dancey ’s p rognost i cat ion came off
p rac t i cal l y to the day ; but, indeed, all his p re- war
car toons show a mo re inte l l igent ant ic ipat ion o f'
futu reevents than, perhaps, wou ld be al lowed in the pages of animpor tant B r i t i sh paper. The value of such cartoons inp repar ing the Aust ral ian pub l ic for the com ing war
,and
so enab l ing them to be ready when the t ime came for
them to take part in it,can scarcel y be over - est imated.
Both M r. Dancey and M r. N uttal l work on the tradi t ionso f Eng l i sh cartoonists
,thei r des igns being unmarked by
the exaggerat ions wh i c h charac ter ise Amer ican humou r,
or the intense feroc i ty and g ruesomeness di st ingu i sh ingmany continenta l p roduc t ions. M r. Dancey works in hiswash , wh i le M r. N uttal l p refers l ine. Among the mostst r i k ing o f the contr ibut ions o f the fo rmer were the pai r
Au s t ra l ian War
Cartoons
show ing the set t ing fo rth and the returnof the Emperor’seag le, in the gu i se o f the ( love of peace ; wh i le M r.
N uttal l was at his best inAn Old Game of H is , a car
toon cal led forth by the mu rder of Nurse Cavel l,and in
his humo rous Reliable l/ V ar I ndicator,in wh ich the Em
peror’s moustache figures as the m i l itary barometer.
M R. CH ARLES S I M S’S adventure in rel ig ious art
,as
exemp l ified by his p ic tu res of The Seven Sacraments ofHoly Church,
p rov ided a h i gh l y inter
S
The
m
S
e
e
xyte
s
n
"est ing exh i b i t ion at the Dowdeswe l l
ac rai ' 6 1
by Charles( allei ies ( 1 0
,l\ ew B ond Street) .
M r. S ims p o s s es se s m any o f t h e
qual i ficat ions essent ial to a rel ig iouspainter, but it can hardl y be said that his work possessesthe devout fee l ing wh i ch is essent ial to a fu l l success inthe me
’
tier,though th i s fai l ing is so universal among
modern art ists that it may be quest ioned whether it isnow poss ib l e to p roduce a g reat re l ig ious paint ing
,that
is to say , a p ic tu re of wh ic h the concept ion and feel ingare not outwei ghed in interest by the technical sk i l ldi sp layed in thei r embodiment . In onl y one of his
canvases can M r. S im s be said to have app roachedth i s heig h t , the p ic ture of M arriag e, and here the art i stgained his success by avo iding the essent ial rel ig iousstandpo int o f the unionof man and woman symbo l is ingthe union o f Ch r i st and the Chu rc h . M r. S ims chose toregard mar r iage as em b lem i s ing the c reat ion of new l i fe
,
and exp ressed the idea w i th s incere conv ict ion in beaut iful form and co lour . The other works were far removedfrom the commonp lace
,but they obv ious l y drew thei r
inspirat ion from the ear l y masters rather than fromorig inal conv ic t ion, and compare w i th thei r p rototypesin much the same way as our e laborate attempts to
rev i ve old forms of Goth ic arch i tec tu re rank bes ide theg reat cathedral s of the past . The paint ings were distinguished by M r. Sim s
’s usual charm of colour, espec ial l y
not iceab le in P enance,in wh ich a de l icate tone of roseate
p ink pervaded the p ic tu re. Another co lour t r ium ph wasthe B ap tism ,
w i th its tender sky kept in p lace by the
strong notes of g reen and wh i te in the foreg round. M r .
S ims possesses h igh imag inat i ve qual i t ies,and he has
succeeded in his new me’
t ier better than most of his con
temporar ies who have essayed it,but one feel s that it is
not thorough l y congenial to his talents .
S im s , A.R.A.
THE second exh i b i t ion of war cartoons by M r. Lou isRaemaekers at the galleriesof the F ine Art Soc iety ( 1 48,
N ew Bond Street) hardl y maintainedthe same general leve l of interest asits p redecessor . Th i s, perhaps, wasonl y to be expec ted. The ear l ier dis
p lay possessed the charm of nove l ty ; and the Eng l i shpub l i c , horror ~ str i cken at the ear l y German out ragesperpetrated under the gui seof war
,were ready to we l come
w ith av idi ty the works of the g i fted neutral art ist who so
strong l y and v i v idl y gave p ic tor ial exp ress ion to thei rsent iments . These sent iments are no less st rong
,but
cont inuous repet i t ion of s im i lar out rages has du l led thefreshness of the horro r, and we have now accepted the
Cartoons by
M r. Lou is
Raemaek ers
The Connoz’
sse r
wo rk , requ i r ing an amount of know ledge that can onl ybe v uired by a neophy te after many years o f ex peri
ence. Such know ledge was never more usefu l to the
count ry than at p resent,fo r the burden of taxat ion is
caus ing tn inc reas ing l y large propo rt ion of our art
treasures to find thei r way to Amer ica,and unless we
retain exper ts to handle the matter, Amer ican co l lec to rsare l ike l y to secure bargains that the count ry can i l laffo rd to part w i th . I t must not be thoug h t that it isonl y the large dealers who are concerned in these trans
ac t ions . Americans are pu rchasers o f ant iqu i t ies o f everyp r ice and desc ri pt ion, w h i c h are co l lec ted from all overthe country . Even when p rov inc ial dea lers do not se l ldi rec t to America, they co l lec t art ic les fo r the men who
do ; and during the hard t imes o f the war the ant iquetrade has been large l y enab led to carry on th roughAmeri can custom . W
'hen the c lose o f the w ar has freedthe o cean front the U ~ boat per i l
,th is custom is l i kely to
assume g igant ic propo rt ions,and a large amount o f the
deb t we have incur red to Amer i ca w i l l be l iqu idated inp ic tures , eng rav ings , and ant i ques . I f our tribunal s
,in
selec t ing men for nat ional serv i ce,do not p ress undu l y
hard on the ant ique trade, but leave them w i th suf fi
c ient men to carry on the mo re important bus inesses,
bo th in town and country,then we may have suffi c ient
ex perts left to real ise these impo rtant assets at our p r ices .
I f no t,then the prices w i l l be large l y fixed by the pur
c hasers , and the country w i l l be some m i l l ions of poundsthe poo rer.
M R. ( _i lcom z lc l l . DA NCEY
,the wel l - known cartoonist
o f the M e l bourne Pnnc/z,whose orig inal draw ings for
that journal,together w i th those o f
his co l league,M r. Char les N utta l l
,
were shown at thegalleries of M essrs .
Arthur Tooth Sons ( 1 55 , N ew Bond S treet ) , may beregarded as a prophet o f more than o rdinary percep t ion.
A cartoon by him,wh ic h was pub l i shed September 1 7th,
1908, showed the German Empero r engaged in a shamfi gh t, the ranks o f his opponents l y ing prostrate
,as
though mown down in swathes by his v i c torious fo rces .
Appended to the draw ing was the legend john llullExce l lent, W i l l iam ! A magni ficent b it o f theatrical
e ffec t . But in six years , when that war comes off w i thEng land,
our men won’t lie down in honou r o f the
Emperor.
mM r. Dancey ’s p rognost i cat ion came o ff
p rac t i cal l y to the day ; but, indeed, all his p re- war
car toons show a more inte l l i gent ant i c ipat ion o f futu reevents than, perhaps, wou ld be al lowed in the pages of animportant Bri t ish paper .
Au s t ra l ian War
Car toons
The value o f such cartoons in
p reparing the Austral ian pub l ic for the com ing war,and
so enab l ing them to be read y when the t ime came for
them to take part in it,t an scarcel y be over -est imated.
Bo th l\ l r. Dancey and M r. N utt al l wo rk on the tradi t ionso f Eng l i sh car tooni sts , thei r des i gns being unmarked bvthe exagger at ions wh ich charac ter ise American humou r
,
o r the intense feroc i ty and gruesomeness di st ingu ish ingmany cont inental produc t ions . l\ir. Danc e\ wo rk s in hiswash , wh i le M r. N uttal l p refers l ine. Among the mos t
st r i k ing o f the cont r i bu t ions of the fo rmer were the pai r
4 60
showim. he set t ing fo rth and the returnof the Emperor’seag le , the gu ise o f the clove of peace ; wh i le M r.
N uttal l -
as at his best inAn Old Game of H is , a car
toon caid fo rth by the mu rder of Nurse Cavel l,and in
his hun rous Reliable l-V ar I ndicator,in wh ich the Em
peror’s oustache figures as the m i l i tary barometer .
M it . nannies S ins’s adventu re in re l ig ious art
, as
exemp l ted by his p ic tures of T/ze Seven Sacraments ofHoly Cnu rc/z , p rov ided a h igh l y inte-r
K
S
The ”
t
en
”est ing exhi b i t ion at the Dowdeswel l
bsc
ghm l 5 '
Ga l ler ies ( 1 60, N ew B ond Street) .aes
M r. S ims p o s s es s es m any o f t hequal ificat ions essent ial to a rel ig ious
painter, iut it can hardl y be said that his wo rk possessesthe den t fee l ing wh i c h is essent ial to a fu l l success inthe nu
’rr
,though th i s fai l ing is so uni versal among
modern rtists that it may be quest ioned whether it isnow po ble to p roduce a g reat re l ig ious paint ing, thatis to saya p ic tu re of wh ic h the concept ion and feel ingare no t ) utweighed in interest by the technical sk i l ldisp layc in thei r embodiment . In onl y one of his
canvasc can l\‘
lr. S ims be said to have app roachedth i s hei i t
,the p i c tu re of i ll arrz'ag e, and here the art ist
gained 5 suc cess by avoiding the essent ial re l ig iousstandpo t o f the union of man and woman sym bo l is ingthe uni t of Chrisr and the Chu rch . M r . S ims c hose toregard nrriage as emb lem i s ing the Creat ion of new l i fe
,
tnd exp ssed the idea w i th s incere conv ic t ion in beaut iftt l fo rm nd co lou r . The other wo rks were far removedfrom th commonp lac e
,but they obv ious l y drew thei r
inspi-
ratii from the ear l y mas ters rather than fromori g inal onv ic tion, and com pare w i th the i r p rototypesin muol the same way as our e labo rate attem pts to
rev i ve 0 forms o f Goth ic arch i tec tu re rank bes ide theg reat caiedrals of the past . The paint ings were distinguishdby .\ l r. S im s
’
s usual charm of colour, espec ial l ynot iceab in Penance
,in wh ich a de l icate tone o f roseate
p ink pe1 ided the p ic ture. Another co lou r t r iumph wasthe [ fa/ um ,
w i th its tender sky kept in p lace by the
s trong n es of g reen and wh i te in the fo reg round. M r .
S ims po esses h i gh imag inat i ve qual i t ies. and he has
suc ceedt in his new inel ler better than most of his con
temporaes who have essayed it,but one fee l s that it is
not thorqghly congenia l to his talents .
S im s , [R.A.
THE :c ontl exh i b i t ion of war cartoons b y M r. Lou i sRaemac brs at the galleriesof the F ine Art Soc iety ( 1 48,
New Bond S treet) hardl y maintainedthe same general leve l of interest asits p redecessor . Th i s
,perhaps , as
onl y to be expec ted. The ear l ier disp lay pos:sscd the charm of nove l t y ; and the Eng l ishpub l i c
,brror- str ic ken at the ear l y German out rages
perpetrad under the gu iseof war, were read y to welcomw i th av ic v the wo rks o f the g i fted neutral art ist who
Cartoon byM r. L013
Raem ael rs
strong l y nd v i v idl y gave p ic to rial expression to
sentimen.
'
l‘
hese sent iments are no less st roncontinuo t repet i t ion o f s im i lar outrages has dofreshness i f the horro r , and we have now tim e
T/z'e Connoisseur
by the t ime the war is over B r i t i sh to y s w i l l be equal toG erman in all respec ts , and super ior in not a few o f
them . Fanc y p roduc t ions, wh i ch were former l y large l ymade ab road, showed satisfac tor y p ro
gress in des i gn
and workmansh ip . In pottery and porce lain,where
Eng l i sh p roduc t ions have for y ears enjoyed the reputat ion o f being the bes t o f thei r k ind
,the c h ief leeway to
be made tip was in respec t of cheaper goods,wh ich it
scarce l y paid ourmanu fac tu rers to make. Some p rog resshas been made w i th regard to these, but the shortness oflabou r in the Potteries makes it di ffi cu l t for manufacturers to keep tip the supp l y of thei r normal l ines
,and
so,general l y speak ing
,there was an absence of any
st r ik ing ceram ic nove l t ies .
AERONAL‘T ICS,from the t ime of the fi rst p rac t i cab le
bal loon to the latest t riumph s of aer ial nav igat ion,was
interes t ing l y i l lus trated at the CountAeronau t ical
ess o f D rogheda’s exh ib i tion,held at
Paint ings andthe Grosveno r Gal lery , in aid of the
P r intsF l y ing Serv ices Fund and the I r ish
Hosp i tal Supp l y Depots . Some hundreds of p r ints andp ic tu res showed the s low deve lopment of the bal looninto the Zeppe l in —a final deve lopment
,as M r. H . G .
W'
e l l s p rophes ies in his p reface to the catalogue,for he
bel ieves that the future w i l l belong not to the di r ig ib le,
but to the aerop lane. From the aesthet i c po int of v iew ,
some of the best p i c tures were those least concerned w i th
C H I NESS \VALL ' PAPER
2 34
aer ial nav igation thus the Girl andEn) ! toil/1 B ladder , by
Joseph W’
r igh t of Derb y,lent by M rs . Trevor W he ler
,
was an exce l lent examp le by that st i l l somewhat tinderrated art i st
,fresh in co lour and soundl y drawn and
painted. Among the p r ints were several that were interesting as inte l l i gent ant ic i pat ions o f th ings wh i ch are
being done to-day rather than as records of ac tual performances . An aquat int o f the Ar iel
,
” des i gned in1 843 , showed a mach ine, not unl i ke an ac tual aeroplaneof to -day, float ing s teadi l y fi fty or s ixty feet above an
interested c rowd of Spec tators ; as a matter of fac t, ow ingto some m istake in handl ing its eng ines
,the mach ine
was w rec ked almost before it left the g round. Anothershowed the Eagle,
”a forerunnerof the moderndi r ig ib le
,
car ry ing an enormous load for the somewhat l im i tedcapac i ty of its gas envelope. l t was intended to start ona voyage to Par is
,wh ich. was expec ted to be reached in
six hours,the means o f p ropu l s ion being furnished by
several large w ings wo rkedw i th chains . As,among other
i tem s,the bal loonwas supposed to carry a car a hundred
feet long , w i th twenty - five passengers on 'board,one can
scarce l y c redi t it w i th. ris ing from the g round. P ictu resshow ing events in p resent -day aer ial war fare were con
t r ibuted b y a number of art ists , but by no means all of
them were on v iew for the fi rst t ime. M r. Herbert J .
F inn had a very interest ing ser ies deal ing w i th the who lerange o f aerial war fare
,from search l i gh ts to actual due l s
w ith Zeppe l ins .
AT M ESSRS . HARVEY N ICHOLS AND
THE al ready vo lum inous Ang lo -Amer ican l i teratu redeal ing w ith W h i st ler and his works has been added to
by a t rans lat ion,by M r . F rank
Rutter,of M . Theodore D u ret’s l i fe
of the arti st. Though tel l ing no
new facts,the work is h igh l y inter
es t ing_as reco rding a p e r so na l
imp ress ion of W h ist ler by an int imate fr iend, and one
,moreover
,who is a sound c r i t ic .
W h i le thorough l y app rec iat i ve of the genius of the art i st,
M . Duret couches his eu logy in a sane and moderatekey , and his book , wh i le containing noth ing l i ke the
same amount of detai l as the larger work by M r. Penne l l,
is valuab le as g i v ing a luc id ac count of the man and his
career as seen from a di fferent, but st i l l a sympathet i c
,
standpo int. M . D uret,perhaps
,undu l y m inim i ses the
influence exerc ised on W h ist ler ’s art by his res idence inEng land. He cal l s him an Amer ican en- F renchised
,
and infers that he der i ved noth ing from B r i t i sh art ; yet
W h ist ler,l ike every other genius
,must have drawn his
insp i rat ion large l y from his env i ronment,and it wou ld
be a bo ld man who affi rmed that his wor k was abso lutel yunmodi fied by his companionsh i p w i th art i sts l ike Al bertM oore, Rossett i , and Char les Keene. M . D uret bearsva luab le test imony to W h i st ler ’s sk i l l in catch ing a
l i keness— a po int wh ich the ar t is t’s custom of t i t l ing hispo rtrai ts by names wh ich had reference to thei r co lourschemes rather than to the ident i ty of the s i tters
,has
left in some doubt . M . Du ret was ab le to instant l yrecogni se several of W h ist ler ’s s i tters when meet ingthem casual l y w ithout any know ledge of thei r identi ty
,
in some instances many years after thei r portrai ts hadbeen painted. Th is is important
,as show ing that though
W h ist ler sac r i ficed much for the sake of art ist ic effec t,
he retained the power of accurate l y p resent ing all the
essent ial s of his subjec ts . H is thoroughness in everymatter concerning his wo rk was shownin his carefu lsuperv is ion of the pr int ing of his etch ings and l i thog raph s , wh ich , as M . Du ret po ints out
,he often drew off
the p ress personal l y . I t is th i s thoroughness in his workwh ich p roves so g reat a p i t fal l to W h i s t ler ’s im i tators .
Whis t ler,"by
Theodore Duret
(Grant Richards ,L im ited1 2 5 . 6d. net )
23 5
M any of what seem to be his spontaneous imp rov isat ionswere in real ity carefu l l y studied concept ions
,executed
w i th a sedu lous art wh i c h concealed all appearances of
labour ; and young art ists,when they try to dash ofi
s im i lar themes,are ap t to p roduce works in wh ich all
thei
sub tlety and refinement o f the or ig inal mode l s areom i tted.
T HOUG H the Edinburgh Schoo l of St . Luke ’s wasfounded in 1 729, eigh ty years were to e lapse befo re
Scott i sh art i s ts though t themsel vesstrong enough to ho ld an exh i b i t ionof thei r own. The sc hoo l was p robab l y founded ih emu lat ion o f Sir
Godfrey Kne l ler ’sAcademy,started
eigh teen years ea r l i e r under S irGodfrey Kne l l er in G r eat QueenS treet
,London. L i ke the latter
,it
was mere l y an educat ional ins titut ion. I ts members inc luded W i l l iam Adam
,father of
the b rothers of Adelphi fame,Al lan Ramsay , the poet ,
and his son and namesake,afterwards court painter to
Geo rge I I I . ; wh i le Robert St range, the l ine eng raver,
attended in his capac i ty of app rent i ce to Richard Cooper .
Other inst i tut ions of a s im i lar k ind succeeded, but not
unt i l 1 808 was the fi rst attemp t made to ho ld an exhibi
t ion of modern p ic tu res in Edinburgh . I t was he ldunder the ausp ices of the then new l y formedAssoc iatedSoc iety of Ar t i sts, wh ic h came to an unt ime l y end in.
1 8 1 3 . The Edinbu rgh Exh i b i t ion Soc iety,wh ich was
founded by Raebu rn and his fo l lowers,held exh ib i t ions
du r ing the th ree fo l low ing years , when it shared the fateof its p redecessor . In 1 8 1 9 the
“ Inst i tut ion for the
Encouragement of F ine Arts in Scot land —a body en
tirely composed of laymen—was estab l i shed,w i th the
intent ion of ho lding exh i b i t ions of Old M asters . F indingthat in two years they had shown all the examp les avai lab le, in 1 82 1 they started an exh i b i t ion of modern work .
I t p roved a success,andwas fo l lowed by another in 1 822
,
and others in 1 824 and onwards . In the meanwh i le theresident art i sts , whose work kept the inst i tut ion go ing ,
The RoyalScot t i sh Academ y ,
by FrankRinder andW . S .
M cKay , R.S .A.
(Iam es M ac lehose
and Sons
£ 2 2 3 . net )
T/ze Connoisseur
became dissat isfied because they were denied all sharein its management. The hono rary rank of Assoc iate of
the Inst i tute,w i thout any execut i ve power
,wh ich was
g ranted to a number, fai led to sat is fy the mal contents ,and in 1 83 6 twent y - fou r o f them seceded and s igned themembersh ip ro l l o f the body to be subsequent l y knownas the Royal Scott ish Academy . The two soc iet ies he ldannual r iva l exh ib i t ions from 1 827 unt i l 1 830 , when the
i inger body though great l y handicapped at its start ,remainedmastero f thefield, andhencefor th reignedalone.
One has thus b riefl y summar ised the ear l ier port ion of
M r. M cKay’s h istor i cal nar rat i ve to make the reader
comp rehend the scopeof the monumental work,forwh ich
M r. M cKay and M r. F rank Rinder arejointly respons ib le.
I t contains a though tfu l essay by the last-named w r i teronAcadem ies and Art ; M r. M cKay
’s narrat i ve
,wh ich
covers p rac t i cal l y the who le period of Scott ish art,and
makes highly interesting reading a comp lete l ist of pastand p resent members and assoc iates of the Royal Scott ishAcademy ; and, final l y
,a com p lete l ist of the wo rks ex
hibited at the las t - named soc iet y and the other Edinbu rghsoc iet ies . Th is last
,wh ich has been comp i led under the
di rec t ion of M r. Rinder,const i tutes the rafron d
’étre for
the book,and does for the northern academy what M r.
Al gernon G raves did for its s ister inst i tut ion in Eng landand other important London soc iet ies of art ists . The
record has been ar ranged .in the same manner as thoseo f M r. G raves— that is to say , the works of each art ist aretabu lated in ch rono log i cal o rder under his or her name.
A new and h igh l y usefu l featu re has been introduced inthe spec i ficat ionof all works ment ioned wh i ch now be longto pub l ic gal ler ies andother inst itut ions
,w i th thedateand
manner of thei r acqu i s i t ion. Another we l come feature isthe th ree indexes : N o. I .
, giv ing Namesof Lenders,Donors
and Bequeathers ; N o. I I .
,the di fferent gal ler ies andother
p laces at wh ich pic tu res exh i b i ted at the Royal Scott ishAcadem y are now permanent l y located ; and N o . I I I .
,
a l i st of Impor tant Arch itectural Subjec ts exh ib i ted. I fM r. Rinder had onl y added a fou r th index g iv ing a l i sto f s i tters whose portrai ts are exh ib i ted
,his book wou ld
reac h an ideal heigh t as a handy work of reference.
Turning to the l i st of works exh ib i ted, one is a l itt ledisappointed that
,cons ider ing the name of SirHenry Raeburn
is g i ven the unique dis t inc t ion of appear ing on the t i t lepage ,
the record of his exh ib i ts is not more informat i ve.
Of course,the -or ig inal catalogues— chiefly those of the
Assoc iated Soc iety of Art i sts— from wh i ch the comp i lat ion is made, are to b lame for the meag re informationg i ven. Out of about 1 20 portrai ts exh i b i ted dur ing the
ar t ist ’s l i fet ime,the names of less than twenty s i tters are
stated,the rest appear ing under such gener ic t i t les as
Portrai t of Lady,
” Portrai t of a Gent leman,
”or Por
t rai t of a Nob leman,as the case may be. M r. G raves ,
inhisD ictionary of t/reRoy alAmdemy ,was ab le to ident i fy
many portrai ts catalogued in the samemanner by contemporary not ices of them wh ich appeared in the p ress and
M S. notes made by v i s i tors in thei r catalogues, but onemust suppose that such sources of info rmat ion concerningthe Edinbu rgh ex hib i t ions are not avai lab le
,for no b io
g rapher of Raebu rn has made use of them . Fortunate l y,
the ear l iest catalogues of the Royal Scott ish Academyitself date from the period when it was no longer fash ionab le to vei l the ident i ty o f s i tters, and, consequent l y , thenames o f the vast maj or ity of them appear in fu l l . M r.
Rinder is to be cong ratu lated On the exemp lary mannerin wh ich he has been ab le to g ive the fu l l names of
p rac t ical l y all exh ib i tors , and the dates of thei r b i rth sand deaths
,part i cu lars of wh i ch
,in many instances
,are
not recorded' in b iog raph ical dic t ionar ies . One cou ld
have w i shed,however
,that he had condescended to
add the letters R.A. andA.R.A. to the names to wh i chthey be long
,for
,in South B r i tain at all events , member
sh i p of the Royal Academ y is often an aid to the qu ickdi fferent iat ion of an art i st from others possess ing the
same su rname. A sedu lous search th rough the recordsof a number of typ i cal art ists fai ls to reveal any om iss ionsor m i s takes
,and
,indeed
,all the l ists appear to have
been comp i led w ith the g reates t thoroughness and care.
The work w i l l at once take a p lace among the few indi spensab le works of reference wh i ch all ser ious students ofB r i t i sh art must possess . In some respects it is evenmo re usefu l thanM r . Graves
’sRay e/Academy D ictionary ,
forwh i le fi les of the Royal Academ y are in var ious pub l icand p r i vate l ib rar ies in London
,one wou ld hes i tate to
affi rm that a comp lete set of catalogues of the RoyalScott ish Academy and
i
its p redecessors'
is access ib le any
where south of the Tweed.
THE Camb r idge M anuals o f Sc ience and L i teratureare always among the best wor ks of their k ind
,com p r is
ing the essent ial s of a subjec t intoawonder fu l l y smal l com pass . The
latest of the ser ies,T/ze P rinted
B ook,by M r. Henry G . Aldi s
,is
a fine exam p le of th is method of
condensat ion,though the author
w r i tes so eas i l y and fluent l y,and
makes h is letterp ress so interest ing ,that the reader hardl y real i ses themass of facts he is hav ing servedup to him . W i th in the compass
of a smal l oc tavo vo lume of 1 50
pages M r. Aldis manages to g i ve a h i story of p r int ingfrom its invent ion unt i l the p resent t ime
,ment ioning
the most famous p r inters and books of every per iod ;and accounts of book const ruct ion, i l lust rated book s,book b indings and b inders, w i th a final chapter on thehandl ing and m i shandl ing of books . There are many
works in wh ich these matters are t reated upon sepa
rately , but one does not recal l another wh ich b r ingsthe ent i re ser ies w i th in its scope. M uch of the infor
mat ion wh ich M r. Aldis g ives is of a h igh l y p rac t icalcharacter, rang ing from part icu lars of book s i zes, the
fo rms of ty pe general l y used,and the di fferent k inds
of b locks emp loyed in p rocess work , to the best methods
of expel l ing book -worms and of keep ing b indings ingood order . The wor k may be recommended to the
attent ionof every book - lover,or
,indeed, to that of every
one who fee ls at all interested in the subj ec ts of books
and book -mak ing .
The P r intedBook
,
” by HenryG . Aldis , NLA.
The Cam bridgeM anuals of
Sc ience and
Literatu re," Cam
bridge U niv ers ityP res s . l s . 3d. net
in c lot h ; 2 3 . 6d. net
in leat h er )
T/z e Connoz’
ssenr
a m ind S t i l l unconv inced one ar r i ves at the assert ionthat. as war for the fi rst t ime is being “
conduc ted
s imu l t aneous l y on land and on sea,in the air and
under the ocean it is fai r l y obv ious that theo rdinar y rep resentat ional manner is who l l y inadequatefo r the interp retat ionof this tremendous confl ic t . Therefo re l\ lr. Roundy would subst i tute a manner wh i ch is notrep resentat ional—as log ical a p roceeding as i f a man
,
finding that wal k ing was a who l l y inadequate means o f
prog ress dur ing an earthquake,attempted to move for
ward b y s tanding on his head. The c ri t ic then goes on
to exp lain I t is the mac h ine that is the dec i s i ve fac tor .may be thri l led by indi v idual ac ts of devot ion and
b raver y and se l f- sacrifice,but the sto ry of th i s war is
the s to ry of g i gant ic she l l s, h igh exp los i ves , submar ines,to rpedoes , aerop lanes and airsh i ps , po ison gas and_
liquid
fire,moto r - cars and lorries and tanks
,t renches extend
ing over hundreds of m i les, dug - outs and barbed w i re,search l i gh ts, fie ld telephones and w i reless te leg raphy .
”
U nfo r tunate l y , M r. Nev inson has hardl y attem pted to
te l l th is s tory ; up - to -date war mach inery is more con
spicuous by its absence than its p resence in his work .
The majori ty of the i tem s M r. Konody so carefu l l ypar ticu lar ises are not rep resented in the p ic tu res, and inabout eigh teen out o f the twenty - five i l lust rat ions none
o f them are introduced. P robab l y the art ist found the
resources of pu re Futur ism were insuf fic ient to suggest
modem or even anc ient war fare. M r. Konody , indeed,confesses as much . He owns that M r. Nev inson in his
work has descended to a comp rom i se that has its rootin the sober recogni t ion of the fut i l i ty of exper iments
unintel l ig ib le to everybody but the art ist h imse l f. ” N o
avowed opponent of Futu r ism cou ld condemn it m ores trong l y than th i s . I t is a tac t ic adm iss ion that the con
vention requ i res the addi t ion o f representat ional art tomake i t intel l ig ib le, and so is no more usefu l for its purpose than a motor - car wh ich only moves fo rward whenpu l led by a horse. M r. N ev inson’
s art,as exem p l i fied
by his war p i c tures,may be desc r ibed as a hyb r id— a
compound of Cub ism and German sent imental i ty . The
latter asser tion w i l l p robab l y not commend itse l f to M r.
Konody , who recommends the p ic tu res because of the
absence of any thing app roac h ing sent imental i ty inthem ;
but the c r i t i c shou ld remem ber that “sent imental i ty ” im
p l ies no t merel y a feel ing for romance or p rett iness,but
al so inc ludes the fee l ing or exp ress ionof ideas not dic tatedby reason. The German
,w i th his hymn of hate
,his lust
for unnecessary massac re and dest ruc t ion,is a g reater
sent imental ist than the Eng l i shman,who rarel y , even in
his moments of w i ldest exc i tement,al lows his pass ions to
outsway his reason. In the same manner M r. Nev insonmust be accounted mo re of a sent imental ist than the
most mawk i sh painters of the sent imental V i ctor ian age.
There is,at any rat e, a log i cal excuse for attemp t ing to
invest a subjec t w i th romant i c interest or added beauty,
even though the resu l t is general l y disas trous. M r.
Nev inson reverses the p rocess . Instead o f beautify ing
his subjec ts,he t r ies to make them more ug l y . F or
human figu res he uses the convention o f an i r regu larpo l ygon
,surmounted by a g rotesque mask for a face.
23 8
Local War M useum s
H. M . THE QUEEN has been g rac ious l y p leased to
accept a copy of the pam ph let “Local War M useums
'
a Suggest ion,” by the Edi tor
Pug in’s
“Book of Got h i c O rnaments
"
THE p r ice of th is book in the rev iew wh i ch appeared
in our Feb ruary number was incor rect l y g i ven as 325 .
The correc t p r ice is 1 25 . 6d.,at wh i ch p r ice it can sti l l
be ob tained from the pub l i shers, J . T i rant i Co.
M ank ind,according to the art i st, is someth ing between
a mach ine and a b rute and M r. Konod-y is so im pressedw i th the truth of th is idea
,that he finds it necessary to
apo log ise for the one draw ing rep roduced, wh ich i l lust rates “ genu ine human feel ing .
” Th is is of a so ldiercar ry ing a wounded com rade from the t renches to the
first-aid stat ion—a common enough inc ident, b ti t hardl ycompat ib le w i th the so- ca l led real ism wh i ch del i gh ts indep ic t ing l i fe w i th every nob le and beaut i fu l e lement
removed. M r. Nev inson is a suffic ient l y ab le art i st tomake one reg ret his adopt ing the- latter t rain of thought .
He shows cons iderab le c leverness in di scarding his conventions in cases—wh ich are frequent - when fo l low ingthem wou ld make his wo rk al together inte l l ig ib le. W henhe is most o r thodox he is at his best ; but, after all, it isa poor best
,for his work is dest itute of refinement
,and
subst i tutes coarseness andexaggerat ion in l ieu of strength .
That it succeeds in forc ing itsel f upon the spec tator ’sattent ion is undoubted
,but th is is ach ieved b y the Sheer
b rutal i ty of its concept ion.
THE onl y di fference wh ich the war has made in the
th irty - ei gh th annual i ssue o f The Year’s Art is that the
“ The Y ear’s Art
,
ob i tuary l ist is sadl y lengthened,
com p i ledand the names
of artists marked as
by A. C .R. Carterservmg at the I
i ront now total over
(Hutc h inson&Co .
five hundred. The i l lust rat ions to
the vo lume are of a m i sce l laneous
charac ter, inc luding rep roduc t ionsof important works of art
,l i ke Gainsborough ’s View in
the M all,wh ich have changed hands dur ing the year ;
acqu is i t ionsat South Kens ington ; a“
portrai t of M r. W .
B . Anderson,and one or two other i tems . The sale
reco rd appears to be g radual l y resum ing a more'
normal
appearance,for though far fewer b ig co l lect ions have
changed hands than du r ing pre-war years,the num ber
of works of art so ld in 1 91 6 were far m’ore numerous than
in the p rev ious twe l ve month s, and a number of h ighp ri ces were real ised,
a s i gn of the t imes being shown bythe Vale of Clwy d
’
,by David Cox
,fetch ing a
reco rd for the work of th i s art i st . W ar or no war, how
ever,T/ze Year
’s Ari
,under the ab le edi torsh ip of M r.
A. C. R. Carter,has become indispensab le to every one
interested in the art wo r ld ; and unl ike most annual s ,its ut i l i ty does not cease w ith the year of issue, but ispermanent
,for a comp lete file of the i ssues forms a most
handy wor k of reference for any th ing connec ted w i thmodern B r it ish art or arti sts .
5 s . net )
The Connoisseur
E nquiries shou ld he made on the E nquiry Coupon.
F urni tu re.
Having rece ived several enqu i r ies from new readers on th issubjec t , we take the opportuni ty o f g iv ing references to some
of the i l lustrated art ic les on old furni ture wh ic h have appearedin these pages .
Adam , The B rothers , by R. S . C louston,vol. ix . , pp . 3 1 , 1 08 ,
2 1 2 ; vol. x . , p . 75 . M antelp ieces and Tables , by E .
B rough ton,vol. xv i i . , p. 22 2. Seealso under Satz
'
nwood.
Ch ip p endale, Thomas, by R. S . C louston,vol. v i . , pp . 1 74 ,
2 1 7 ; vol. v i i .,pp . 38 , 80, 1 44 , 2 1 5 ; vol. v i i i . , p . 37.
Chippendale’s Contemp orar ies , vol. v i i i . , p . 1 63 . See
also under {l/ahogany .
DutCl'l .- So/ne Old D u tch Colonial F u rniture, by J . Penry
Lew is , vol. xxxv i i . , p . 63 .
F lem is h .—Antique F u rnitu re and Woodworh in F landers
and - N orthern F rance,by Fred Roe, R. I . ,
vol . x l i .,
p . 1 3 3 .
F rench F urniture, by GastonG ramont, vol . x . ,p . 20 B efore
Reign of Lou is X / V . ,vol. x .
, p . 164 ; Per iod ofLou i s X I V . ,
vol. x i . , pp . 1 8 , 1 65 Regency and
Lou is X V . , vol. x i i . . pp . 74 , 220 ; Lou is X VI . ,vol.
x i i i .,p . 233 ; vol . x iv . , p p . 1 58, 224 ; D z
'
recloire and
F irst E mp ire, v ol. xv . , p. 25 . S i r / oh”. h/ u rray Scott’
s
Collection in the Ru e Lafi tte, by A. F . M orr is,vol.
xxv i i .,p. 23 1 ; vol . xx ix. , p . 2 1 5 . See al so under
F lem ish, Lacquer .and Oah.
Hep p lew h ite Period, The, by R. S . C louston,vol. x . ,
p . 2 13 ; vol. x i . , pp . 9 1 , 22 1 .
Italian F urniture of the S ix teenth Centu ry , by E . B . M i tford,
vol. xv i .,p . 227.
J acobean.—See under Oah.
Lacquer, by Egan M ew : App lied to E ighteenth CenturyF rench F u rniture
,vol. xxv. ,
p. 207 ; vol. xxv i . , pp .
85 , 2 29 Laoue-B urgautc
’
e, vo l. xxv i i . , p . 1 7 1 ; j apanese,vol. xxv i i i . , pp. 83 , 273 ; vol. xx ix. , p . 1 6 1 vol. xxx . ,
p . 2 1 Chinese, vol. xxx i i i . , p. 1 77 ; vol. xxxv i . , p. 2 29 ;Pehz
’
n and Sooclzow Carved War/e , vol. xxx i x . , p . 99 ;E u ropean Lacquered F urn iture, vol. x lv . ,
p . 1 9.
M ahogany , The Years of — See under I/V alnut .
M ainwaring , The S ty le of Robert , by R. S . C louston,vol.
xx i i i .,pp. 80 ,
238.
M arot , Daniel,by O . Brimyard,
vol. xxv i . , p . 1 75 .
M irrors , SomeAnt ique, by Egan M ew ,vol, xx x . , p . 1 63 .
Oak (M edice val , Renaissance, and Jacobean) , by Fred Roe,
R. I . : TheArt of Collecting t) ld Ooh, vol. i. , p . 27 :
S idelights on Ooh Collecting ,vol. xxxv i .
,p . 3 Old Ooh
Collecting, Extra Ch r istmas Number , 19 1 4 , p. 1 6 The
Art of the Coflerer ,Part I . , Construc t ion,
vol. x l i i i . ,p . 67 ; Par t I I . ,
Decorat ion, vol. x l iv . , p . 1 23 ; The
Small Collector of Old Ooh,vol. x lv i . , p . 1 36 ; j oint
S tools , vol. x l v i i . , p . 1 33 . See also under F lem ish .
Sat inw ood F urniture at the South A’
ensington M u seum ,by
O . M . Rae,vol. xv i i i . , p . 209 ; Painted Sat i
'
nwood
F u rnitu re,by Freder i ck Litchfield (w i th co lour - p lane) ,
vol. x lv i . , p. 1 85 .
S heraton, Thomas , by R. S. C louston,vol. x i i . , p . 1 52 ; vol.
x i i i . , pp. 34 , 1 7 1 ; vol. x iv. , p . 25 .
W alnut . The Years of , by HaldaneM ac fall , vol. xx i . , p . 1 53vol. xx i i . , pp . 10 1 , 23 1 vol . pp . 24 , 1 69 ;
Transition Uf a/nut lo ll/lahogarg f , vol. xx iv. , p . 29 ;The Years of zl'lahogauy ,
vol. xx iv. , p . 1 5 5 ; vol. xxv . ,
p. 1 49 ; vol. xxv i i . , p . 1 3 ; vol. x l . , p . 20 1 ; vol. x l i i . ,pp . 1 5 , 202 ; vol. x l i i i . , p. 1 87.
See Advertising Pages .
M irror.—B66 1 (G loucester ) .—Judg ing from the photo ,
yourconvex m i rror is o f late eigh teenth - century date. The s i ze isnot stated
,b ti t we shou ld est imate the value as being about £8
or £9 under ordinary condi t ions .
M is cellaneous .
Ch inese B ronz e.—B i 7g (Echo ,
—l t is imposs ib leto be defini te from a photo alone ,
but the group does not appearto be of a h igh -c lass workmansh ip . I t may be about two hundredyears old,
and the value wou ld be any th ing between 305 . and
£5 or £6 , according to the qual i ty of the p iece. W’
e cannot
attempt an Op inion on the other objec ts from the Sketches sent .
Dickens’s W ork s .
—B67 1 (Conn. ,—You do not
s tate the date of the set or the edit ion,but , i f it is not composed
of first issues , there is very l i t t le l ikel ihood of it fetch ing any
th ing l ike the sum ment ioned. We shou ld not apprai se the set
as be ing worth more than about £3 to £4 .
B ras s Bust of W elling ton, etc . B679 (Chr istchurch ,—We must see a photo of the bust before g iv ing an
approx imate valuat ion. The books are most l y o f no col lec tor ’svalue. The Fox ’s B ooh of M ar/y rs , 1 570,
is not the or ig inaledi t ion, and we shou ld not place it as be ing wor th more than a
pound or so from the descr ipt ion.
W atch .- B685 (B . ,
W i l ts) .—We shou ld requ ire to see the
watch before express ing an op inion as to its value. There werenumerous makers cal led Browne,
but we do not find one
recorded w i th the names John Henry .
Painters and Painting s .
Pas smore , 1 87 l .—B648 (Bel fast ). —There are at least
seven art ists named l’asmore recorded as exh ib i t ing in London
between 1 829 and 1 89 1 . We shou ld have to see the paint ingsbefore est imat ing a value or pass ing an op inion on their mer i ts .
Pottery and Porcelain.
V ases .—B649 (Fo lkestone) .—The mark on your vases is
more than probably that of “ Fabr ique de la Reine,
”rue
Thiroux ,Par is, establ ished by Leboeuf in 1 778. The c rowned
A is the c i pher of M ar ie Anto inette, wh i l st the L is the
founder’s ini t ial .
W orcester P laq ue.- B65 1 (
“ Nemo —As the plaque
dates from 1 85 5 , it m us t be counted as modern, and as suchwou ld possess smal l interest to a co l lector. Any value it maypossess wou ld be on account of its decorat ive poss ib i l i t ies , andwou ld be a matter of arrangement .
S PEC IAL N OT IC EREADERS of THE CONNO ISSEUR who des i re to take advantage of the opportunities offered herein shou ld
add ress all letters on the subjec t to the M anager of the Herald i c Department,1 , Duke Street, St. James’s,
London, S .W .
Only rep l ies that may be cons idered to be of general interest wi l l be publ ished in these columns.
'
l‘
hose
of a d i rect l y personal c harac ter, or in cases where the app l i cant may prefer a pri vate answer, w i l l be deal tw i th by post .
Readers who des i re to have ped i grees traced, the accuracy of armorial bear ings enquired into,or other
wise to make use of the department, wil l be c harged fees accord ing to the amount of work invo l ved .
Part icu lars wi l l be supp l ied on app l i cat ion.
W hen ask ing information respec ting genealogy or heraldry , it is des irable that the fu l lest detai ls,so far
as they may be already known to the app licant, shou ld be set forth .
JARRETT.
—The fo l low ing arms are asc r ibed to th is fam i lyJarrett of Camerton Court , co. Somerset . As borne by JohnJarrett of
’
Camerton, Esq . , h igh sher iff in 1 840, son of
Herbert Newton Jarrett , esq . , by Anne his w i fe, daugh terand hei ress of James S tephens of H inton on the G reen,
co. G loucester , and Camerton, co. Somerset , esq .
Quarter ly , first and fourth , az . a l ion ramp . erm. ducal l ycrowned or, for Jarrett ; second, gu. a sword erec t p pr.
between three mu l lets at . for Stephens th ird, at . on a
mount vert a bu l l standing gu. armed or, charged on the
shou lder w i th a p lainc ross ar, for Ridley . Crest —A l ion’s
head erased or, ducal l y c rowned and co l lared gu .
Jarrett.— Granted 19 M ay 1696 to James Jarrett, son of W i l l iamJarrett , of London,
merchant . Az . a l ion ramp. ar. gutteede po i x , co l lared gu. and ducal ly crowned or. Crest .—Al ion’
s head erased ar, guttee dc poix , co l lared gu. ducal l yc rowned or.
larrett. —Ar. a l ion pass. betw . two flaunches purp. Crest .
A l ion pass , under his paw a fleur de lis.
THOM AS AM PLEFOR’
I‘
H . Thomas Amp leforlhe , of St .
Botol ph ,B ishopsgate, London, M erchant Tay lor , was marr ied
by l icence, dated 4 M arch to M argery Lyman, of the
M inor ies , Aldgate, London, w idow of Jerome Lyman, late of
St . O lave, Hart Street, London, M erchant. This is presumablythe Thomas Ampleforth about whom you enqu i re.
S IR HU M PHREY M AY .—Sir Humphrey M ay was fourth son
of Richard M ay of the C i ty of London, M erchant , being bornin 1 563 . He matr iculated at S t. John’
s Co l lege, Oxford,in
1 588, and was a student of the M iddle Temple in 1 592 . He
held var ious h igh posi t ions dur ing the reign of Char les I . Sir
Humphrey died 9 J une 1 630,and was bur ied on the t 1 th in.
Westm inster Abbey . H is seat was Carr-o'
w Pr iory , co. Norfo lk .
CHANCERY PROCEED I NGS . (Continued ) . Some o f the
fo l low ing Su i ts in Chancery may prove of great value to
Reg istered fo r transm is s ion to Canada at M agaz ine Pos t Rates“
. Pr inted by Bem rose S ons Ltd 4 S now H i l l , London, E.C . ,
and Derb y , and pu b l ished by the Prop r ietor. W . C laude Johnson. at 1, DUKE STREET, S T. JAM ES '
S . LONDON, S .W Eng land .S ub s cript ions—Inland 1 6 / Foreig n 1 7 / to Canada 1 4 / p er annum . Pu b l ished t he ls t o f eac h m onth. Pu b l ished by Gordon Gotc h ,in Aus t ral ia and New Zea land ; b y The Central News A genc y , in Sou th Afr ica ; by H ig g inbotham 84 Co in Bom bay and Calc u tta ; andby The Internat ional News Co in U .S .A.
correspondent s . Abstrac ts m ay be had , fo r a small fee,on
appl icat ion to t he Genea logica l Edi torAnderson , Knt . , v . Rem ing ton .
Al le n W r igh t.i ry v . M achall.
Ande rson ,Knt. , v Rem ing ton .
A tk inson Dan iel].Al len 21 . Jon es .Al fo rd v . G ree n e.Ashfield Ha rr is .Ashfield
, Lady , Ashfield,
Ba r t .Arrundell v . B land .A tk in son Rad ford .A tk in s v . Ba rn es .A pp l e ford v . A pp l e fo rd .Adam s M u l len s .Ash fo rd v . N unne.
Al tham 21 . V anacre.
A r no l d Goinon.
Ashfield Danett .
Ap W i l l iam Ap John Rees .Ay lme r z '. Clovell.Atherall 71 . c ocke .
Alner v . Randa l l .A rchbo ld z r. Parker .Arbeston v . R u m bo ld .And e rson M oore .
A l l en Ch i l d e .
Ash Woodison.
Awood v . Awood.
A l fre y v . Bone t t .A n n e T i pp ing .A ng l esey , Ea r l , v . Cha pp i ngton .
Arrundell v . Regnell, Knt.Ald red D ove .
A rno l d v . S he ppard .Ack land 71 . Foxwe l l .
Avery v . K i r tonA tk in son 71 . A tk in son .
Anwill M ilton.
Adam Skentlebury .
A lpo r t v . Co lman .
Adam s 71 . Rad fo rd .Ad am s 71 . Gra u n tAdcocke v . Sawkms.
Adcrofte B re t t .A tk in son z '. S trangeman.
Ay lwa rd v . Ke l sey .Ailesworlh v . Orm e .Ailward v . Ailward.
Allet 21 . W i l son .
A rcher,Knt . , v . Tr u e lov e .
Ap Thom as 77 . Ap M o rgan .
Agard Spro t t .Alcocke z '. Goodyeare.
A y l i ff v . b’
tubin.
Adn ey 27 . N icho l l s .Ash H u t ch in son .
A l ford v . C r u soe .
And e rson Rem ington .
Aga rd N ewton .
Alefounder J enn ings .Ashfield 7x. Fo u n ta ine .
Ac ton Lane .
Al l an son Ca l e .Angie r Rob in son .
A rche r 71 . Pre t t y .
Ay res a l s . D i gge r v . H awa rd .Ashfeild Rewse.
A t torn ey Gen e ra l z v. Rea ping ton.
A r u nde l l and S u r ry , Ear l . z '.
Craven , Lord .
