1

TheConnoisseur An Illustrated Magazine For Collectors

Edited by C. Reginald Grundy

Vol. LIX.

(JANUARY—APRIL. 1921)

LONDON

Published by the Proprietor, W. CLAUDE JOHNSON, at tiii., Editorial and Advertisement Okkices of The Connoisskuu,

AT I, Duke Street, St. James's, S.W. i

192 1

MROSE AND SONS 1 DERIIY AND I.ONDO

8(i 1)656 NDEX

ARTICLES AND NOTES

A Beautiful Jacobean Hanging (Note) .Authors and Contributors—coiilinucd. "A Citv Banquet," by Fred Roc, K.I., R.B.C. Richardson, Mrs. Herbert. The Fashion Plates '(Note) of Horace Vernet (Art.) ...... yy

Adam and other Furniture (Note) ... Roberts, C. Clifton. Salopian China (Art.) ... 2.( Aitken, John E., Drawings by (Note) Roe. F. Gordon. The Life and Work of F. W. An Outpost of London, by Criticus (Note) Hayes, A.R.C.A., F.R.G.S. (Art.) 103 Angelica Kautfmann and Her .Art. by Lady Victoria Rusconi, Art. Jahn. The Tapestries of Mantua Manners (.\rt.) by Raphael (Art.) 77 Another New Gallery (Note) Williamson, Dr. G. C. Some Notes on the Portraits of Sir Pliilip Sidney (Art) ... Antique Business Extension (Note) 217 Antiques at Waring's (Note) Books Reviewed. Aquatints. Old (Note) A Bookseller's igo Authors and Contributor.s. Catalogue " A Catalogue of Etchings by Augustus John, Andrews, Cyril Bruyn. The Valencia Altar-piece 1901-1914." by Campbell Dodgson ... 5S (Art.) " A Dweller in Mcsnpntamia," by Donald Maxwell 1S7 Brochner, Georg. Old Danish Furniture (.Art.)... " A Hamll.".i. ..I Imlini Art," by E. B. Havell ... 188 Brockwell. Maurice W. Frans Hals Pictures at " Haarlem (Note) A Histiii\ <\ I \ri\,l,iy Things in England," by

M. .mil ( II 1; (Juennell ...... 61 Cescinsky, Herbert. The Collection of the Hon. " Inheritance," 186 Sir John H. Ward, K.C.V.O. (Art.) 13, A Quaker by Sir George Newman " Churcher, Walter G. Handel's Pitch-pipe (Note) A Record of European Arms and Armour," by Sir Guy Francis Laking, Bart., Vol. III...". 183 Clark, Major Hartley. Turkoman Rugs (Art.) ... " Aladdin and his Wonderful Lamp " (in rhyme), Clive, Mrs. K. V. Collecting Porcelain and by Arthur Ransome 62 Pottery Cats (Art.) " " An Embroidery Book," by Anne Knox Arthur 60 Cotterell, H. H. "Old Pewter or Britannia Metal ? " (Art.) Ancestors in Silhouette cut by .August Edouart," by Mrs. F. Nevill Jackson 185 Criticus. .-\n Outpost of London (Note)... " Ancient Egyptian, Assyrian, and Persian Cos- Editor, The. tume," by M. G. Houston and F. S. Horn- Daniel Gardner (Reviewed) (Art.) blower ...... 60 The Loan Collection of Drawings by Thomas " .Antiques—Genuine and Spurious," by Frederick Girtin at the Fitzwilliam (Art.)... Museum Litchfield 184 Finberg, Hilda F. Two Portraits by William " .Art and Decoration," by Cscar Wilde...... 63 Bell of Newcastle (Art.) " Artes Etruriae Renascuntur," by Harry Barnard 254 Freeth, Frank, Early Pottery M.A. On Leeds " : Its Cure," C. Sheridan (Art.) Bolshevism Cause and by Jones lyo Gibson, Eugenie. Mr. Percival D. Griffiths' Col- " Book Prices Current, 1920" 253 lection of Old English Needlework (.Art.) 33, " Bristol," by Dorothy E. B. Woollard 128 Grundy, C. Reginald. " British Painting," by Irene Maguinness ... I2() Daniel Gardner (Reviewed) (Art.) Catalogue of Painters Draughtsmen repre- The Loan Collection of Drawings by Thomas and sented in the Library of Reproductions and Girtin at the Fitzwilliam Museum (.Art.)... Drawings formed by Robert and Mary Witt 126 Jones, E. Alfred. The Old Plate of Harvard " University (Note) Chats on Old Sheffield Plate," by Arthur Hayden 62 " Design and Tradition," by Amor Fenn ... 128 Manners, I..ady Victoria. Angelica Kauffmann " and her .Art (Art.) ... Domestic Life in Scotland, 1488-1688," by Warrack 188 Murdoch, W. G. Blaikie. The Japanese Collection John " of Mr. W. Harding Smith. R.B.A., Part III. Europe and the Faith," by H. Belloc...... 254 —Works of the Eighteenth and Nineteenth " Four Irish Landscape Painters." by Thomas Centuries (Art.) Bodkin i8y Phillips, Maberly, F.S.A. Cruciform Sundial " Highways and Byways in Northumbria," by (Note) P. Anderson Graham ...... 180 Index

Books Reviewed—continued. pace PACjE " Honderd Teekeningen van Oude Mccsters in Burlington Arts Club (Note) 15 het Prentenkabinet der Rijks-Universiteit " te Leiden 25.) " Calabacillas, the Buffoon " (Letter) 116 ' Identify Persian Rugs," by C. Uola- How to J. Chairs, Walnut, Some interesting(Note) ...... 109 bere May iHO China, Salopian, Part IV., by C. Clifton Roberts • How to Look at Pictures," by R. C. Witt ... 253 (Art.) 24 " Hugh Lane's Life and Achievements," by Lady Christian Art (Note) 246 Gregory 252 Collecting Porcelain and Potters- Cats, by Mrs. K. V. " Ideas and Ideals" 254 Clive (Art.) '. 209 " Irish Glass," by M. S. Dudley Wcstropp, M.R.I. A. 125 Collection of the Hon. Sir John H. Ward, K.C.V.O., " Londoners Then and Now. as Pictured by their by Herbert Cescinsky (Art.) ... 13. 137 Contemporaries," by Malcolm C. Salaman 60 Collector's Gallery (Note) ...... 55 " Lustre Pottery," Evans, ... by Lady MA. 252 Connoisseur Bookshelf 57, 125. 183, 252 " Macedonia : A Plea for the Primitive," by A. Cruciform Sundial, by Maberly Phillips, F.S.A. Goff and Hugh A. Fawcett 1S7 (Note) 234 " Movements in Painting," Charles Modem by Curious Sign, A (Note) ...... 46 Marriott ' 57 Current Art Notes 49, 115. 174, 239 " Nolleken* and his Times," by J. T. Smith ... 59 " Old English Furniture and its Surroundings, Daniel Gardner (Reviewed), by C. Reginald Grundy from the Restoration to the Regency," by (Art.) 83 Percival Maclver ..^ ... 62 Danish Furniture, Old, by Georg Brochner (Art.)... 8g " On Making and Collecting Etchings," by E. Don Baltasar Carlos, Infante of Spain (Note) ... 121 Hesketh Hubbard 61 Drawings by H. M. Bateman (Note) 180 " " IVnrose's Annual, 1931 ...... iSS " Philadelphia Silversmiths, 1682-1850," by Engravings, Old (Note) 120 Maurice Bri.K 1S6 Fashion Plates of Horace Vernet, Mrs. Herbert Print and Picture Catalogues ... • ...... 128 by " Richardson (Art.) ...... 97 Print Prices Current," Vol. II 59 Fitzwilliam Mii-i nm T.nau Collection of Drawings Printsellers' Catalogues 64 1i\ [|,< Ml i.nim. Part I., by C. Reginald " Rubaiyat of Omar Ivhayyan\." illustrated by '-^'^'''' ^" 131 Ronald Balfour ...... 6j Forthcoming \ii \u. 1 ii ins and Exhibitions " The Art of E. A. Rickards," Bennett, by Arnold 64, 124, 1S2, 251 H. V. I^ncaster, and Amor Fenn...... 184 Furniture, Old Danish, by Georg Brochner (Art.) ... 89 "The English Interior," by Arthur Stratton ... 58 " The Fan Book," by Maclver Percival...... 188 Ciardner, Daniel (Reviewed), by C. Reginald Grundy (Art.) 83 " The Little House," by Coningsby Dawson ... 189 Girtin, Collection of Drawings at the " The Miniature Collector," by Dr. George C. Thomas, Loan Fitzwilliam Museum, Part I., by C. Reginald Williamson ...... 127 Grundy (Art.) 131 " The Modern Colour Print of Original Design," Goodwin, Albert, R.W.S., Works by (Note) ... 17b by Malcolm C. Salaman ...... 190 " The Password to Fairyland," by Elizabeth Goupil Gallery Salon (Note) 49 '... Southwart ...... 63 Greatorex Galleries (Note) ...... 248 " The Print Connoisseur," Vol. I., No. i 189 Griffiths, Percival D., Collection of Old English

Needlework, by Eugenie Gibson (Art.) },},, 153 " The Realities of Self " 254 " " Grosvenor Galleries (Note) 247 The Writers' and Artists' Year-Book, 1921 ... 127

Art, " ...... "The Year's 1921 ... 253 Haarlem, Frans Hals Pictures at, by Maurice W. "Tristram and Isolde," by Evelyn Paul ... 128 Brockwell iXote) 165 " Universal Art Series," by Charles Marriott ... 57 Hals, Fran-, I'l.luiv-, .it lUiarlem, by Maurice W. " ix.iii-j Vision and Design," by Roger Fry ...... 127 i-;ii" i.'.M II ... 165 li\ "'Walker's Quarterly'—Henry Bright," by F. Handel's I'lii \, yiy Walter G. Churcher (Note) 234

i Gordon Roe ...... 63 Harvard I ihmi^iu, I Ih' Hd H.ito of, by E. Alfred .\-"i " Warwick, Leamington, and Kenilworth," by JiMl' , \l"\ 228

i' ' I I: i. S., R. S. Austin 128 Hayes, 1-. W . ^ A The Life and " Who's Who, 1921 " 127 Wuik ul, ijy 1 . i,,...idju Roe (Art.) ... 103 " " ... Who's Who in America ...... 1S7 Hunter, Mason, A.R.S.A, 1654-1921 (Notei 244 " Women of India," by Otto Kothfcld 61 the Sale Room 47, 112, 171, 235 Bookshelf, Connoisseur 57, 125, 183, 252 Breughel's " Adoration of the Kings " at the National Gallery (Note) 176 " Britannia Metal or Old Pewter ? " by H. H. Cottcrell (Art.) 161 Jacobean Hanging, A Beautiful (Note) 179 British Antique Dealers' Association (Note) Japanese Collection of Mr. W. Harding Smith, 180, 56, 123, 249 R.B.A., Part III.— Works of the Eighteenth British Industries Fair, The (Note) 244 and Nineteenth Centuries, by W. c;. Brussels Art Notes ...... 181, 250 Blaikie Murdoch (Art.) 193 Index

PAGE Kauttmann, Angelica, and Her Art, by Liuly \'icloria Raphael, Tapestries of M.mlua by. by Art. Jahn Manners (Art.) Rusconi (Art.) 77 Kncen, William, The Work of (Note) Rare Stamps (Note) Ke-opening of the Wallace Collection (Note) Lahore, Stained Glass for (Note) Richmond, Sir William Blake. K.C.B., R.A., 1.S43- Lectures by A. .Al. Hind on Prints and Drawinss 1921 (Note) (Note) " Roe, Fred, R.L, R.B.C., " A Citv Banquet Leeds Pottery, Early (Note) (Note) Leeds Pottery, On Early, bv Frank Erceth, M.A. I^oyal Academy. Exhibition of Ancient and Modern (Art.) Spanish Paintings at the (Note) ... l-epfre, Auguste, Engravings and Etchings bv Royal Amateur .\rt F.xhibition (Note) (Note) .'. Royal Society of Miniature Painters (Note) Life and Work of F. W. Hayes, A.R.C.A., F.R.G.S., Royal Society of Painter-I'Uchers and Engravers by F. (Art.) Gordon Roe (Note) Links with the '45 (Note) Rugs, Turkoman, by Major HarUcy Clark (Art.) ... Loan Collection of Drawings by Thomas (iirtin at

the FitzwilUam Museum, Part L, by C. Sale Room, In the ...... 47. 112, 171, Reginald Grundy (Art.) Salopian China, Part IV., bv C. Clifton Roberts London Museum, The Queen's Dolls' House at (Xotei (Art.) London Museum, Drawings of Old London at (Note) Salt, William. Collection of Engraved Portraits Lucas, Arthur, 1842-1921 (Note) (Note) Senefelder Club for Original Lithography (Note) ... Madrid, Notes from Sidney, Sir Philip, Some Notes on the Portraits of, Mantua. Tapestries of. by Raphael, bv Art. Jahn by Dr. G. C. Williamson (.Art.) Rusconi (.\rt.) ' Smith, Mr. W. Harding, R.B.A.. The [apanese Col- Masters of Modern Etching," No. 6, and Works by lection of. Part HI., by W. G. Blaikie C. ^^aresco Pearcc and Pamela Bianco Murdoch (.Art.) (Note) Society of Graphic Art (Note) Modern Society of Portrait Painters (Note) Society of Pewter Collectors (Note) Monarro Group (Note) Society of Wood Engravers (Note) Some Interesting Walnut Chairs (Note) National Art Gallery of Victoria (Note) Some Notes on the Portraits of Sir Philip Sidney, National Gallery, The (Note) by Dr. G. C. Williamson (Art.) National Galler>\ Breughel's " Adoration of the Spanish Paintings, Ancient and Modern, Exhibition Kings" at (Note) ... at the Royal Academy (Note) National Portrait Society (Note) Stained Glass for Lahore (Note) Needlew^ork, Old English (Note) (Note) Needlework, Old English, Mr. Percival J. Griffiths' Tapestries in the Franco-British Exhibition Collection of, by Eugenie Gibson (Art.) 3_5, Tapestries of Mantua by Raphael, by .'\rt. Jahn " Nonsuch " Furniture (Note) Rusconi (Art.) " Notes ...... 4,5, 109, 165, The Geographer," by Vermeer of Delft 'Note) ...

Notes and Queries ...... 43, iii, 163, Townsend, F. H., Memorial Exhibition (Note) ...... Notes, Belgian ...... • 1(^1, Turkoman Rugs, by Major Hartley Clark (Art.) " " Notes, Current Art 49, 115, 174, Turner's Temple of Jupiter (Letter) Notes from Italy Two Portraits by William Bell of Newcastle, bv .'. Notes from Madrid Hilda F. Finberg (Art.)

United Arts Gallery (Note) Old Danish Furniture, by Georg Brochner (Art.) ... Old English Needlework (Note) Valencia .Mtar-piece, by Cyril Bniyn .Andrews (.Xrl.) Old of, at London, Drawings I^ancaster House Vermeer of Delft. "The Geographer" (Note) (Note) Vernct, Horace, The Fashion Plates of, by Mrs. li. H. "Old Pewter or Britannia Metal?" by Herbert Richardson (Art.) Cotterell (Art.) Victoria and Albert Museum, Tapestries in the On Early Leeds Pottery, by Frank F'reeth. M.A. Franco-British ICxhibition (Note)... (Art.) .' Vocalion Records (Note)

• Pewter, Old, or Britannia Metal ? " by Galleries (Note) 248 Cotterell (Art.) Walker's Re-opening of (Note) Pissarro, Lucien, Woodcuts by (Note) Wallace Collection, no Sketches, " Unofficial " (Note) 52 " Portrait of a Man with a Turban," after Ja War Eyck (Note) Ward, Hon. Sir John H., K.C.V.O., The Collection Cescinsky (Art.) Pottery, Leeds (Note) of, by Herbert 13, 137 Drawings by Artists of the Early Pottery, On Early Leeds, by Frank Frceth Water-colour iMiglish School (Note) 244, (Art.) 249 Wynn, Sir Watkin Williams, House of (20, St. Queen's Dolls' House (Note) James's Square) (Note) 249 Index ILLUSTRATIONS

Artists and Engravers. P.\GE Absolon. John. Portrait o( the i:)uche,ss of Kent (Colour) Beechdy, Sir W. Adoration Bell. William. Austin, Joseph Austin, Mrs. Joseph Breughel, Peter. Adoration of the King Buck, Adam. " " I have not learned my book. Mamma (Colour) " Mamma, don't let me beg in vain " (Colour)

Dayes, Edwin (1792). Melrose Abbey ... De Passe. Sidney, Sir Philip Earlom, Robert. Self Portrait of Rembrandt as an Old Man, 1659 Edmunds, Miss N. M. Hepburn. The Young Artist Edouart, August. Silhouette of Sir Walter Scott Elstracke, Renold. Sidney.'Sir Philip Gardner, Daniel. Col. Wm. Harcourt Emma {nee Colebrooke), wife of Charles, 4th Earl of Tankerville ... The Hon. Catherine Anne Vernon The Rev. Wm. Heathcote (1772-1802) on Horseback Girtin, T. Conway Castle Denbigh Castle Dumbarton Castle

Dunnottar Castle ... Glasgow Cathedral (Colour) Lichfield Cathedral Lincoln Cathedral (Colour) Hals, Frans. Banquet of the Officers of the Shooting Company of St. George of Haar- lem, 1616 167, Hayes, F. W.. A.R.C.A. A Stream near Moel Hebog Incoming Tide, Uanddwyn Rapids of Colwyn Snowdon Hiroshige. Bird Studies

Landscape ...

Hobbema, M. Landscape ...

Hogg, J. Adelaide, after F. Wheatley (Colour)... Hoskins. Sidney, Sir Philip Hoyen. Cranes Kauffmann, Angelica. Caroline, Countess of Carlisle Earl (4th) of Bristol Hon. Mrs. Damer (Colour) Lady Betty Foster Lady Craven Lady Hervey and Daughter Lady Louisa Macdonald Marchioness of Townshend and her Son Morning .\musement (Colour) Paris .-mrl Hr-lr-n

P.AVr, .,1 I,,.-,, hide

IIINA— COIttlllUCll. Furniture—conliviicd. Mug, Salopian, printt-d in Hhu-. Marked S Court Cupboard, "Nonsuch"

Teapot, Salopian, printed in I'luc Crescent r Dining Room of the Hon. Sir J. H. Ward Doorway Cruciform Sunrti.d Morning Koom, showing Original Red Dea of the Hon. Sir H. Ward .. Pitch-pipe, Handel's Panelling, J. ' Settee, Walnut, circa 1720, Seat in " Petit-Point Queen Mary's Dolls' I-lous Side-table, Carved and Gilt, in the manner o William liMBROIDERY, TAPESTRIES, ETC. Kent Side-table, Middle Eighteenth Century Bag of James I., 1730 Stool, Early Chippendale Bag, Ladies' Stool, First Half of Eighteenth Century Bag with original Cord Tassels and Lnoj: Bead Bag Stool, with Satyr Heads Stool, Walnut, 1725-35 Binding for a Bible of 1614 Stool, Walnut, circa 1770 Binding for a Bible, 1649 ... Table, Console, Louis XIV. Style Cap, Spanish (or Black) work un Linen, and Gold Thread Table, Gilt Gesso " Jacobean Hanging ... Table. " Irish Chippendale

llirror, Stuart Period (1672), and Case . Glas Fountain Portrait of Charles I. Portrait of Queen Henrietta Maria Metal. Rug, Bokhara Prayer (about 150 ye; " Dirks. Highland (Colour) . Rug, Sarik Turkoman or Punjdeh Pray( Kettles, Iron, Late Nineteenth Century Japanese than 250 years old) (Colour) Plate of Harvard University

Sash, Charles I. Saddle Steels, by Antonio Picinino 183 Sheath for Knife and Fork... Pictures. Shoes worn by Henry VIll., June, 15.520, Em- " broidered \'el\ Edge ^nd Heels A City Banquet," by Fred Roe, R.I Tapestries. Adelaide, by T. Hogg, after F. Whcatley (Colour)

Adoration of the Magi ... Adoration of the King, by Peter Breughel Blinding of Elymas, by Raphael Angelica Kauffmann, by Herself ...

Death of Ananias, by Raphael... Audrey. Daughter of Mr. and Mrs. J. F. Betts, by Dido and .^neas Alyn Williams Les Tentures de Fran9ois Boucher Austin, Joseph, by William Bell Austin, Mrs. by William Bell Martyrdom of St. Stephen, by Raphael Joseph, Shooting Company Miracle of the Paralytic, by Raphael Banquet of the Officers of the of St. George of Haarlem, 1616, by Frans Miraculous Fishing, Raphael by Hals K'7. St. Paul and St. Barnabas at Lystra, by Raphael Bird Studies, by Hiroshige St. Paul Preaching at Athens, by Raphael ... Bird Study, by Ni-Ho Work Basket, Fitted, Stuart Period. 1672... 153, 135 Bristol, Fourth Earl of, by Angelica Kauffmann Carlisle, by Angelica Kauff- Fashion Plates. Caroline, Countess of mann ... Fashion Plate by Watteau Fils, 177^5 ... Conway Castle, by T. C.irtin, 1792-3 Fashion Plates by Horace Vernct, ISII-I.>^I3 9S, Cranes, by Hoj^en ... FURN'ITURE. Cranes, by Maruyama Okio Armchair, Early Georgian, Knees with Lion Head Craven, Lady, by Angelica Kauffmann Armchair, -Walnut, Early Eighteenth Century ... Damer, Hon. Mrs., by Angelica Kauffmann Bookcase, Mahogany, circa 1740 ... (Colour) Bridal Chest of Elsebet Brockenhuus, 1595, Danish Denbigh Castle, by T. Girtin, 179^-3 Cabinet, Adam Don Baltasar Carlos, by Velazquez Cabinet, Green I-acquer, on Carved and Gilt Dumbarton Castle, by T. Girtin, 1 79^-3 Stand, English, of Period William IH. ... Dunnottar Castle, by T. Girtin. 1792-3 Cabinet, Veneered Engli-sh Walnut, circa 1730 ..." l-;mma {nee Colcbrooke), Wife of Charles, Fourth Cabinet, circa 1500-1530, Danish Earl of Tankervillc, by Daniel Gardner... Cabinet, about 1570, Danish Mower Study, by Ni-Ho ... Cabinet, about 1600, Danish Foster, Lady Betty, by Angelica Kauffmann ... Cabinet, about 1615, Danish Geographer, The, by Vermeer of Delft ... Chair, Gilded, Gros-Point Needlework ... Glasgow Cathedral, by T. Girtin (Colour) Chair, Walnut, Genoese Velvet llarcourt, Col. William, by Daniel Gardner Chairs, Walnut, Early Eighteenth Century llcathcote. Rev. William (1772-1802) on Horse- Chest, about 1575, Danish back, by Daniel Gardner Biblical Chest, carved with Scenes, 1610. Danish llervcy, I^ady, and Daughter, by Angelica Chest, carved with the four Virtues, Danish Kauffmann — Index

Pictures—continued. Pictures—conliniied. " I have not learned my book. Mamma," by Ad; Valencia Altar-piece conlinttcd. Buck (Colour) Devils cast out of Heaven In ... the Country, by Tsukimaro Mission of the Apostles ... " Incoming Tide. I.Ianddwyn, bv F. \V. Hayes, "Noli me Tangere " A.R.C.A ... St. Giles Kent, Duchess of, by Absolon (Colour) J. St. Vincent Lady Swaythling, by Flora M. Lion \'ernon. The Hon. Catherine .Anne, by Daniel Landscape, by Hiroshige Gardner Landscape, by M. Hobbema Plates.

I^ngdale Pikes, by Clarkson Stanfield . -Adelaide, by J. Hogg, after F. Wheatlcy (Colour) Lichfield Cathedral, by T. Girtin... Angelica Kauffmann, by Herself ... Lincoln Cathedral, by T. Girtin ... Antique Bokhara Prayer Rug (Colour) London Bridge, by G. Yates Banquet of the Officers of the Shooting Company Macdonald, Lady Louisa, by .-\ngclica K;i ffmann of St. George of Haarlem, 1616, by Frans Hals " Mamma, don't let me beg in vain," b Adam Buck (Colour) .' '.. Darner, Hon. Mrs., by Angelica Kauffmann (Colour)

Melrose .^bbey, by Edwin Dayes, 1792 ... Don Balta.sar Carlos, by Velazquez Monkeys, by Mori .Sosen Geographer, The, by Vermeer of Delft ... Morning Amusement, by .\ngelica K.uiffmann Glasgow Cathedral, by T. Girtin (Colour) " (Colour) ...... • I have not learned my book, Mamma." by .Adam Mother and Child, by Utamaro Buck (Colour) Old and New London Bridge, by G. Yates Kent, Duchess of, by J. Absolon (Colour) Lady Craven, by Angelica Kauffmann Paintings, Unidentified 1 11, 163 Paris and Helen, by Angelica Kauffmann I,andscapc. by M. Hobbema Peasants, by Ni-Ho L^iivj.lil.- I'ik.-, I.v ( Lirk,..n Stanfield Portrait l.K hlH I.I t ,,ili.,lv,il, I.v 1. (,irtin of a Burgomaster, by M. J. van Mierevelt 1.111.-, ,1,1 (.itli,.dr,il, l>y Cirtm (Colour) Portrait of Calabacillas, the Buffoon, by \'elazquez T. " Mamma, don't let me beg in vain," by .-\dam Portraits, Unidentified 43, 44, 164, Buck (Colour) Power of Love, by Angelica Kauffmann Marchioness of Townshend and her Son, by Rapids of Colwyn, by F. W. Hayes, A.R.C.A. ... Angelica Kauffmann Rembrandt as an Old Man, (Self Portrait)... 1659 Morning .Amusement, by Angelica Kauffmann Rosaleda, by Jose Pinazo (Cc .ir) Samnite Marriage, The, by W. Ward, after F. invistcr, by M. J. van Mierevelt WTieatley (Colour) .III Al.m, 1659, Self Portrait ... Seascape, by A. E. Penley III., by W. Ward, after F. Self Portrait of Angelica Kauffmann (Colour) ... \\l Sidney, Sir Philip, by De Passe Sank Turkoman ur Punjdeh Prayer Rug (Colour) Sidney, Sir Philip, by Hoskins Seascape, by A. E. Penley (Colour)

Sidney, Sir Philip, by Isaac Oliver... 217, 218, Self Portrait of Angelica Kauffmann (Colour) ... Sidney, Sir Philip, by Renold Elstracke Stream near Moel Hebog, by the late F. W. Hayes, Sidney, Sir Philip, by F. H. Van Hove A.R.C.A Sidney. Sir Philip, by Vertue Pottery and Porcelain.

Sidney, Sir Philip, by Zouch, after Velazquez ... Cat. Agate Ware

Sidney, Sir Philip, by Zucchero Cat, Leeds ...... • • ... 210, Silhouette of Sir Walter Scott, by August Edouart Rockingham Sketch for a Self Portrait, by Angelica Kauffmann l.-n.-iM-iu-U

Snowdon, by F. W. Hayes, A.R.C.A. ( ,,t, W 111. I.I. Mi

Spring, by Tsukimaro ( ,11-,, 1 h. U. ,1 I icrby Group; Stream near Moel Hebog, by the late F. W'. Ha\es, Cits, Derby -^M. " A.R.C.A...... Coffee Pot, Leeds, inscribed Ann Lawes, 1769 The Connoisseur (Sir Gerald Ryan. Bart.), by Coffee Pot, Leeds, inscribed Friendship without Vivian J. Ryan Interest," etc. The Thief, by Ni-Ho Cup, Two-handled, 1770, Leeds The Young Artist, by Miss N. M. Hepburn Ed- Jar by Sanpo, Arita Porcelain munds Jug, Leeds, inscribed " Crisp Molineaux, Esq " Townshend, Marchioness of, and .-r Son , by and Prosperity to the town of Lynn .. ."Vngelica Kauffmann Unidentified Paintings Unidentified Portraits Valencia Altar-piece. Christ at the Column Christ in the Tomb Christ supported by Angels — 4 Index

Pottery and Porcelain—continued. POTTERY AND PORCELAIN Conlitllled. " Mug, Leeds, inscribed " One pott naore and tlicn Teapot, Leeds, inscribed " Love unites us ' " " " Patchbox, Leeds, inscribed Wm. Turner, lyby Teapot, Leeds, inscribed Mary Biddle." ( Teapot in Satsunia Pottery Teapot, Leeds, inscribed " When this yo Teapot, Leeds, inscribed " Beiuty and Riches will remember me, tho' many miles we ( Paid," etc be" Teapot, Leeds, inscribed " Britiinnia for Ever," Tea Set, Leeds, with Dutch Landscape ... etc. Tea Set, Leeds, inscribed with Dutch Pci and inscri))tion " P.V.O.K." Teapot. Leeds, inscribed J oh, & Marv \MiecI- " don, 177^ ... " Teapot, Leeds, inscribed

N THE SALE ROOM .VRMOIR. Breastplate, German, Early Sixteenth Century... La Fontaine. Fal)les Demi-Suit, North Italian, Late Sixteenth Century Le Horde. Choix de Chansons. 177

Fluted Suit, German, Late Fifteenth Century ... Le Roman de la Ro.se. I'rench. Century Helmet, Maximilian ... Salade, Milanese, 1470 Lovelace, Richard. Lucasla. 1649 Saladcs, Venetian, cinui i.jSo Massinger. Maid of Honour, 1632 Suit, Bavarian, Middle Sixteenth Century Moliere. Complete Works, 1773 ... Suit, I^ate Fifteenth Century Moore. Annals of Gallantry, 181 Morris, William. The Water of th Books. Isles Shakespeare. Plays, 1664... Aiken. National Sports of Great Britain Shelley. Apperley. Life of a Sportsman, 1842 Adonais, 1821 Aquinas. Questiones (Fifteenth Century) Epipsychidion, 1S21 Barbour. Life of Robert Bruce The Cenci, i8ig ... Book of Hours, English, Fourteenth Century ... Skelton. Works, 1568 Borrow. Gospel of St. Luke Stevenson. New Arabian Nights... Browning. Pauline, 1833 Syntax, Dr. Three Tours ... Burns. Capt. G s Voltaire. Complete Burton. Anatomy of Melancholy Works Voragine. Carey. Life in Paris, 1822 Legenda Aurea Caxton. Williamson. Oriental Field Sports, Booke Callyd Caton S. Hieronymus Cliarles L Scarborough Siege Sliilling Cervantes. Don Quixote ... Henry III. Half Groat Chaucer. Complete Works

Cicero. Officiorum, 1465 ... n(;ravin(;s and Etchings. Cowley. The Mistress Aiken, II. The Right Sort Daniell. Voyage round Great Britain, 1S14-25... Barnard, W. Summer and Winter, after Morland De Bry. Major and Minor Voyages liarlolozzi. Miss Farrcn, after Lawrence Dickens. Tale of Two Cities Bond, W. A \'isit to the Country, after Morland Doni. Moral Philosophic, 1601 Bone, Muirhead. Dres-ser. History of the Birds of Europe Ayr Prison

I'ountains Abbey Register, or Coucher Book ... Building

Ilariot, Thomas. Briefe and True Report of the Bonnet, L. M. Le Diner, after J. B. Huet ... Newfound Land of Virginia, 1590 Hoydcll. Shakespeare Gallery Homer. Iliad and Odyssey Cameron, D. V. Ben Ledi Hooker. Botany Dayes, E. Children Nutting Ireland. Life of Bonaparte, icS28 Debucourt, P Le Minuet de la Marice Jacquin. Florje Austriaca; de Launay, N. Le Billet Doux ifter N. Lav- Keats.

Endymion, 1818 Descourtis. Noce de Village, after Tournay ..

Lamia and other Poems, 1817... Duclos, H. J. Le Concert Poems, 1817 Gillbank. H. The Benevolent Heir, after Bigg. Kipling, Rudyard. Plain Tales from the 1888 Index

Engravi: AND Etchings— con/iMKcrf. .M.S. Shannon capturing the I'.S. Frigate off Boston, after Webster

Keating, G. Rustic Benevolence, after ] Wheatley

Rembrandt. The Three Crosses ...

Smith, J. R. The Sportsman's Repa.st Tlie Story of Laititia, after G. Morland Thoughts on Matrimony, after W. Ward Thoughts on Single Life, after W. Ward Smith, R., junr. Innocence Alarm'd, after Mo land Turner, C. Lord Newton, after Kaeburn

Ward, J. Lady Heathcote, after J. Hoppnor View in Leicestershire, after t;. Morland Ward, W.

A Poultry Market, after J. Ward

A Vegetable Market, aftei J. Ward ...

Tompassionate Children, after J. Ward

Haymakers, after J. Ward Henry Callender, after L. F. Abbott ... Inside a Country Alehouse, after G. Morland.

SeUing Rabbits, after J. Ward

Watson, J. Robert Monckton, after B. West Whistler. Scene on the Thames The Palaces

Young, J.

Domestic Happiness, after J. Hoppner

Rt. Hon. Lady Ann Lambton and Family . Zorn, Anders.

Au Piano ...

E. Renan ...

Furniture. BouUe. Cabinet, Dwarf Chippendale. Fire Screen

Mahogany Secretaire Cabinet ... Indc

Pictures and Prawings—eontiuned. 'icn'REs AN-n Drawings—conliiiiied. page Perugino. St. Michael Zuytenbogh. Prince Maurice of Nassau and Orange, with Generals ...... 47 Prince, J. B. le. Wooded I.andsciipe with Slicp- herds ... 'oTTERV and Porcelain. Delft. Dish ^S, Ramsay, Allan. Mrs. J. Vanderwal Polychrome 237 Kamsey. T. Landscape with Mansion, Coach Kang-He. Famille-verte Vases and Covers 48, 237 and Figures ... Kien-Lung. Famille-rose Figures ... 172, Reynolds, Sir Joshua. Portrait of Dr. Johnson Mug, Chinese, 1688 (without Wig) Sevres. Komney. G. Ecuelle Cover and Stand Charles Hawkins ... Vases, Boat-shaped Mrs. Hawkins and Children Urbino. Dish Portrait of a Gentleman Worcester. Sixty Pieces ... Rowlandson, T. Tim Botch, ("obbler ... Scott. St. Paul's from Adelphi Gardens Silver and CrOLD. Stark, James. .\postle Spoons, 1.192. Mark Crescent enclosing W I-andscape with Harvesters Casket presented to Capt. Thomas Piercy, 1779...

Road through a Wood ... Caster by C. Adam, 1707

Steen, Jan. Effects of Intemperance Casters, Cylindrical, 1693 ...

Stuart. General Washington Chalice and Paten ... Stubbs, G. The Melbourne Family Chamber Candlestick, 1685. Mark T.C ... Tiepolo, G. B. Group of Figures, with Arms and Cream Jug, 1763 Sacrificial Vessels, etc., and the Owl ol Cream Jug on Round Foot, 17.^.?... Minerva Cup and Coi'er, 1598. Mark I.E. Troost, C. The Story of Clarissa Harlowc Cupping Bowl, 1690 48

Turner. J. M. W. Dessert Plates by Louis Heme, 1758 2.38 Derwentwater, or Ke.swick Lake I'"wer, Italian. Silver-gilt, Sixteenth Centur; The Devil's Bridge, St. Gothard Forks. Three-pronged, 1683. Mark l.K.

Tynemouth Priory (Goblet, Silver-gilt, 1623. Mark T.l'". ... Van Ix)o. The Artist seated, instructing a Pupil Gold Cup by Pierre Harache, 1702

Vincent, G. A Woody Lane Inkstand by Paul Lamerie, 1735 ... Watteau. The Two Lovers Mustard-pot, Cylindrical, 1766 Watts, G. F. Mrs. Fitzmaurice Porringer and Cover, 1668... Wimperis, E. M. Salts, Trencher, by N. Greene. 1689 Carting Fish, Newly n Sugar Basket, Dublin 172

Slittenham Moor ... Tazza, 1560. Mark Tudor Rose 172

The Watering Place Teapot (Gilt) by John Chapman, 1732 ...... 172

Wingate, Sir J. I^wton. Machrihanish... Teapot, Paul Lamerie Wint, P. de. View of Lancaster Tumbler Cup by John Cole, 1699

;i.F PORTRAIT OF A.NGEIJCA KAUFFMANX ///( possession of the Duke of Rutland Pictures

Angelica Kauffmann and her Art By Lady Victoria Manners

Angelica Kauffmann may fairly be a footman of the Swedisii ('(niiu dc Horn, who regarded (with perhaps the exception of Rosalba imposed upon her as tin- Count himself. This and Mme. Le Brun) as the first woman artist to affair may be said to ha\'c wrecked her life from attain European fame. To English people her its domestic side, as the impostor did not die work has a special attraction, as she was a founda- until about 1780. The following year she per- tion member of the Royal Academy; while her manently left England for Italy, returning there fascinating personahty and her pathetic life-story with her second husband, Antonio Zucchi, a ha\-e combined juder her doubly interesting \'inetian painter, and remaining until her death both as a in Rome in woman and a 1807, at the painter. age of sixt\'-

The main s i .\ . These outlines of her are the bare career are outlines of a

jjrobably too fe- story fill- well known to with emo- the readers of tion, work, Thk Connois- vicissitudes, SEIK for the and fame,

writer to dwell sucii as is sel- on them at dom portioned length. It nut to nian- may Ix- as well It is to mention, 1 k e 1 V that liowever, that \ngelica deri- Angelica was ofSwissorigin. and arrived in ICngland from Italy in 1766, when she was a young \\- m a n of

t wcnty-five, .ind at once iMcame "the

' ' 1 ,1 ti I- i n London, Her roman- tic disposition led to her be- ing betrayed in 1767 into a clandestine marriage with

Vol. LIX.—No. —

The Connoisseur

••classuah- .IS you woiilil ties," as slu' take it f o r called thcni, a very big arc no longer woman." Miss the fashion, ("on way after- and Ikt gnat wards beeame

() o w c IS of the Honour- ilraftsmanship able Mrs. h a V c b e c n Dainer, the overlooked. celebrated

( )nc reason for > c u Ip tress, this under-es- and friend of tiniation ma\' Horace Wal- ho the fact pole. The that nearly all |)icture Ladv her best \vork> Marv Coke in the branch r.'fers to is the of portraiture one fro m are in private which our col- collections, oured illustra- a n d t o t h e tion is taken. outside world It is now in she is regar- the possession ded more as of Colonel a decorative C a m p b e 1 1 painter than Johnston, to anything else. whose family The writer of it was bequea- these notes has thed by Mrs. had the good Dainer. fortune to This portrait come across w a s a w o n - a register of tlerful tony de- Angelica's pic- force for the tures, kept b}- young artist, its instant herself for OF BRISTOL \T ICKWORTH and many years success. pro- after her return to Italy in 1781, and has, there- bably brought her many more commissions. To- fore, been able to trace many portraits whose day it is as fresh as if painted but yesterday. authenticity has remained doubtful up to now. The Hkeness was evidently an excellent one, and She has been surprised by the excellency and bears out the description of Mrs. Damer's personal " jjower of many of these works. appearance taken from a contemporary : She References to Angelica in English eighteenth- was fair, with luxuriant hair, her face a perfect century memoirs are strangely rare, considering oval, her features marked yet delicate; her nose

how quickly the young artist became famous. aquiline ; her mouth showed strong decision of cha- Lady Mary Coke, however, writing to her sister. racter, being firmly closed, though with a merry spirit, her head Lady Stafford, on August 22nd, 1766, saj's : "I smile ; her eyes full of thought and went to Lady Ailesbury's, and found her and well set on a long neck. She was gay and witty * Mr. Conway were going to a painter who is just in society, and had most fascinating manners." arrived from Italy (.Angelica Kauffmann, who * 7'iiri: Generations of Fascinating Women, by Constance, came over from Italy in June, 1766), and was Lady Russell. This picture is probably the one mentioned in brought over by Lady Wentworth, the same the newspaper, The Advertiser, in the following lines :

who drew a picture of Mr. Garrick, which was ."While fair Angelica, with matchless grace, shown, I am told, in the exhibition. I went Paints Conway's lovely form and Stanhope's face, Our hearts to beauty willing homage pay, with them and saw the picture she was painting We praise, admire, and gaze our souls away." of Miss Conway (now eighteen). It was like, and Tlie lines go on with a reference to Angelica's portrait of appeared to me 10 be well done, but too large. Reynolds. i..\\>\ iii-;R\i;\ AM) i)Ai'(;iiTi:k at 1(K\v( The CoNiioi^

The eccen- tric Bishop of the distance Derry, fourth represents the Earl of Bris- " Isola d'ls- tol, was one chia," a fact of Angelica's up till now most fervent unknown. An- admirers. ,t;elica gene- After her re- rally, but not turn to Italy, invariably, we find him signed her pic-

writing to his tures ; when, favourite liowever, she daughter, was apparent- Lady Eliza- ly especially * beth Foster : ]'.l.,i-.d with "What say th.iii. -.he cer- you to my idea t,iml\- (lid so, of a gallery of and both the German pain- portraits of ters contras- Mrs. D a m e r ted with a gal- and L a d v lery of Italian Elizabeth l^ainters, from are signed Albert Durer " Ang e 1 i ca to A n g e 1 i c a K a u f f m a n n Kauf fmann Pin.xt, " with (t h e B i s h o p their dates. was wrong as Lady Eliza- to Angelica's beth Foster nationality; was one of the she was Swiss, most fascina- not German), ting women and fro m of her day. SUTHERL.5 Cimabue to She married, Pompeio Battoni, each divided by pilasters into m 1809, William Cavendish, fifth Duke of De\on- their respective schools — Venetian for colouring, shire, and was the successor to the famous Bologna for composition, etc." Lady Elizabeth's Georgiana, Duchess of Devonshire. Gibbon reply to this wonderful scheme is missing, but expressed the warmest admiration for her gifts, there is a fine collection of family portraits at both of mind and body. Another pleasing work Ickworth by Angelica. One is of the Bishop at Ickworth is the representation of Elizabeth,

himself, seated, and beside him is a picture of Lady Hervey, with her little daughter, afterwards his cathedral of DeiTy. The best of these Mrs. Ellis. Maternal affection is, well expressed works is, however, the charming picture of Lady in the attitude of the mother and child, and

Elizabeth Foster, afterwards second Duchess of the whole effect is delightful. Devonshire. Angehca's register states that the The Duke of Sutherland possesses three fine head of tliis portrait was painted at Naples, works by Angelica, a group of the Gower family, and the remainder finished in Rome in 1786. and portraits of Lady Louisa Macdonald and Lady Elizabeth was apparently suffering from Caroline, Countess of Carlisle, all good specimens financial distress at the time, as Angelica's MS. of her work—the latter especially being \'ery records the fact th.it the final payment for the characteristic in the graceful attitude and pose picture did not take place till 1793. The entry adopted by the two ladies. goes on to state that the view of sea and Very attractive is our coloured illustration of a charming picture lent by Colonel Croft Lyons,

* Tlie Two Duchesses, by Vcie Foster, page and well known from the print of it entitled Aiii^clica KaiiJfDuuui di/d her .-Irf

Morning place nearly Amusement, seventy 'years by w. ^^•. R\- ago, and also land. It i> the lady is de- probable thai ]) i c t e d as a Colonel Croft woman of be- Lyons' pictun tween twi'nty is the work a n d t h i r t y mentioned by years of age, Mrs. Lybei' while J-ady

Powis in her M a r y \\' o u 1 d interesting; journal for till year 177 6 When she de- probable that scribes her the eii.i^ravin,;; \isit to Sir is nearly con-

Richard t e in p ( ) r a r y with the \Ac- H o a re , at Stourhead, in Itire from its

Wiltshire, she- general style : writ e s : "I hut it is forgot to men- tion a sweet picture of An- f those two gelica Kauft- elebrated mann's.alady rave Hers in a white and ould possibly gold Turkish )e the origin- habit, work ,1 of the sit- ing at a tam- er, and it is bourin." This curious tliat picture was so maiiv writ- subsequently ers have fallen sold from into this curi- ous error of Stourhead, OF SUTHKRLA.N and might attribution. perhaps be the one that Colonel Croft Lyons Another picture which brought Angelica much purchased at Exeter (the subject of our illustra- success, and is probably one of her finest efforts, tion). The letters " S.W.," and a date 1782, was her portrait of Anne (Montgomery), Mar- are on the canvas on the left, but it is difficult chioness Townshend, with her eldest son. Lord to make them out plainly. " S.W." may per- William Townshend, represented as Cupid holding haps stand for the name of the person who sat a dove. This picture was engraved by T. Chees- as model for the picture. Mrs. Frankau, in man, but our illustration is taken from a photo- her interesting work Eighteenth-century Coloured graph of the original painting, now in the possession Prints, gives the attribution of Lady Hester of Lady Yarborough, who purchased it from the Stanhope to the engraving of Morning Amuse- sale of the Townshend collection in 1904 at ment. This, however, cannot possibly be correct, Christie's. Angelica, in this work, has cle\-erly as the print was published in 1784. Lady Hester overcome the difficulties of composition (not was bom in 1776, and was thus aged eight when always her strong point), and its charm and

the engraving was issued ! Other writers have softness render it one of her best and most stated that it represents Lady Mary Wortley Mon- notable works. Anne Montgomery was the Bart., of tagu ; but the dates are equally wrong, for that daughter of Sir William Montgomery, famous lady died in 1762, aged seventy-three. Her Magbie Hall, Peebles. She was a famous beauty, travels in the East ended in 1718. The Turkish and is the figure in white on the right of Sir trousers that the sitter wears in the print could not Joshua Reynolds's picture of The Three Graces, refer to a visit to Constantinople that had taken in the National Gallery. She was the second wife r :

The Coniioisscu)'

of George, first Marqin> Townshend. There is ano- ther version of this pictuH' at Biirghley (Lord Exe- ter's). By the kind- Ange- ness of Lunl

and Lady Set w u r k . seems ton, we an ratiii-i under able to ivpru- the inlluence

duceas|H I Lil- of the French ly inleivslili:; school ui the 1)0 trait ul treatment of

that celebra- t h e drapery, ted and some- and, like most

what eccentric I if her work, personage, the coldur- Lady Craven, schenie is fresh

a f t e r w a r d > and p u r e . Margravine of The dejected- Anspach, so looking eagle well known in drinking out eigh teenth- of the cup was centiiry an- a fa\'ourite

nals. T h i ^ theme with

charming pic- li e r , a n d a ture was pain- frequent ted in Lady accessory to

Craven's girl- pa i n t i n g s of hood, and she Hebe and thus alludes to other clas-

it in her Memoirs, describing her various portraits sical subjects. This j: has not been repro- " Angelica Kauffmann painted one for me a duccd before. fortnight before I was married to Mr. Craven. Angelica's drawings are \-ery attractive, and

It is a Hebe. I sat for it and made a present of a good many studies e.xist in chalk, for her it to Colonel Colleton's widow, who had given pictures, as a rule, though slight in execution, me the ;f5oo to deck me out in wedding-clothes. show Angelica's great skill and facility in draw- She was godmother to my second daughter, the ing. Very interesting is our illustration of a present Countess of Sefton, and left her that drawing sold at the sale of Lord Northwick's picture by will when Maria was only two years collections recently at Sotheby's, for it is the old, and that which delighted her father hung on;:,'iiKil skeiili for the very charming picture in - up in his dressing room for years ; she has the iHis-oMuii (,r tile Duke of Rutland, at Belvoir * never asked for it, and I dare say never will." Castle, which we also reproduce. It is curious Lady Craven was the youngest daughter of that after so many years the original sketch Augustus, fourth Earl of Berkeley, and in her should ha\'e been found, and it gives an added seventeenth year she married William Craven, interest to this charming picture, which is signed who two years later became sixth Baron Craven. " Angelica Kauffmann Pinxt," and is suppo.-;ed This portrait, therefore, represents the sitter to be a portrait of Angelica herself. At Belvoir when she was about seventeen, and in the also there are two versions of the well-known demure-looking damsel depicted by Angelica there Eloisa and the Deserted Maria, from Sterne's Se7tiimental Journey, and for which Miss Benwell,

* The Beaiilifiil Lady Ciareii, by A. M. Hicidley and the paintress, is said to have been the model.

Lewis Melville, vol. ii., page 117. The unhappy Eloisa is represented dressed in her — —;

A)igcUca Kaiiff'iiiaiiii a)id licy Art

nun'sj white of her day habit, gazing Hartolozzi in sadly upon particular en- Abelard's ring graved m a n y upon her fin- of her works ger, while be- T. Burke, W. side her lies a K viand, T.

letter from < lieesman -

the faithless ,.1! were sym- pathetic

1 1 anslators of Soon as thy let- ters, trembl- lu r charming ing, I enclose, :ind graceful

irt. In fact,

. 1 whole litera- lufc of maga- Xo account zine articles of Angelica's has arisen art, howe\-er regarding the brief, would .ngravings be complete a f t e r h e r without an works. Many illustration of of these col- her " classi- otn-ed prints cal " or fancy fetch at the pictures, present day which contri- very large buted so enor- sums at Chris- mously to her tie's and else- popularity. where, as can Many of these be gathered subjects ha\'e from the sale- become hack- room records neyed through in The Con- I'ER OF l.OVE POSSKSSION or THE their inces- noisseur. sant repetition in engravings, but by the kindness Angelica's personal charms and looks were of of the Earl of Home, we are able to reproduce a very high order. We can see this clearly from two specimens of her work Paris and Helen, the portraits painted of her by Reynolds, and which was engraved by Valentine Green, and also by another admirer of hers, Nathaniel Dance,

also stippled by C. White, with the title " ' Paris which is now at Burghley. In addition to

and Helen ' directing Cupid to inflame each these representations of the artist, Angelica other's Hearts with Love"; and The Power of frequently painted herself, so it is easy to form Love, the original of Ogbome's engraving. The an idea of her appearance at all stages of her scene is taken from Ossian (Fingall, Book 6). Roth career. In youth she seems to ha\e had hair pictures arc good specimens of this branch of of an auburn tint, blue eyes, regular features, her work. and a pretty slim figure. Perhaps the best " " Lord Home also possesses a characteristic self- known of these self-portraits is the one in portrait of Angelica. It depicts her as a woman the Painters' Gallery at the Uffizi in Florence, in early middle life ; her expression is serious, which is very graceful and charming. .Vngelica and her hair is darker than in some of her records with a certain amount of pride in the other portraits. Angelica was a great personal MS. register of her pictures that she painted this friend of Abigail, Countess of Home, and is "picture of herself to be placed in the lovely supposed herself to have stayed at the Hirsel, collection of portraits of painters in the Galierv where there are portraits of Lord and La(l\- Home of the Grand Dukes of Tuscany at Florence. by her. sent as a gift in the month of February, 17SS." " Angelica's fame rests in no small degree upon The entry then goes on to state : The above the wonderful band of men who were the engravers portrait was accepted by the Grand Duke, and riic Coiuioissriir he sent her, as a gift, a golil mcd.illion cif his Angelica was also fond of representing herself portrait." under allegorical guise. One of the best of these Angelica's fellow-artist, Mine. Le Brun, was presentments is the delightful group of two also asked to send her portrait to the Uifizi figures, entitled Angelica Kauffmann in the cha- Gallery, and when writing of the collection she racter of Design, listening to the inspiration says, with a ])leasing freedom of professional of Poetry, so well known from the beautiful jealousy, " I noticed with a certain pride the coloured engraving of it by Thomas Burke, portrait of Angelica Kauffmann, one of the which is delightful in its sense of refined poetic glories of our sex," which is, indeed, high praise beauty, and is one of the print-collector's chief from such an accomplished painter and woman prizes. This print has been kindly lent by Sir of the wiiild :is Mine. Le Brun.* Edward Coates, and will be reproduced in the next article.

• i:r„ii, liy W. Helm, page 109. (To be continued.) THE MARCHlUMiSS TOW .\SHli.\U AND SON AS CI HV ANGELICA KAUFI-MANN taissoj^

In tlie pof:sessiou of the Cuiiiiless of Vi.

Rotable

The Collection of the Hon. Sir John H. Ward, K.C.V.O. By Herbert CescinsKy

The collection of furniture which Sir pay a tlubit>us and ignorant compliment. If a John Ward has gathered together, at Dudley dealer learns by his blunders, then a pri\-ate House and at Chilton, has been accumulated collector cannot expect to be exempted from the during recent years. Comparatively little forms rule. a part of the Dudle}' heirlooms. The merit for One is apt to overlook the difficulties which the selection is therefore all the greater. To say confront the collector at the present day com- that no mistakes ha\-e been made would be to pared with those with which his ancestor was —

The C 'oiiiioissciir

beset. When the fine examples of furniture of far beyond to the west, north, and south. It the seventeenth and eighteenth centuries were remains still as an isolated block, some com- ordered direct from the cabinet-makers who pensation for the fact of being, perhaps, the oldest produced them, there was absolutely no danger house in Park Lane. of buying a forgery. Considerations of expense The craze for partial rebuilding and la\-ish were of little account ; the patron paid nothing decoration which set in during the middle of the for antiquity or rarity. Money also had a far nineteenth century affected the house ad\-ersely, greater purchasing value during the seventeenth although not to the same extent, as others a few and eighteenth centuries than it has possessed streets to the eastward. Owen Jones, who made since, with the possible exception of the "hungry measured drawings of the Alhambra at Granada, forties." At this period, ho\ve\cr, money could which were pubHshed in a ponderous folio, and not buy fine English furniture, as none was who, in consequence, considered himself qualified produced. to "inijjrow " man\- a fine house in Mayfair

Dudley House, in Park Lane, is an interesting \\imbi)rne House, for example, that mansion of mansion — one of London's private palaces. many names—left his mark on the ballroom and Originally built in the country, the great city picture gallery at Dudley House. Sir John Ward has grown up to its doors, and now stretches has done a good deal to eradicate the work of this The Collection of the Hon. Sir /oliii II. II 'anl

JER OF WILLIAM KHNT period, and notably in the Morning Room, illustrated apartment, and contains some line e.xamples of in No. i., with conspicuous success. This is panelled early eighteenth -century furniture in the styk' in red deal of superb quahty, and had been painted of \\'illiam Kent. Two of tlic carved and gilt with innumerable coats of paint during the course side-tables (each nin' iil a ]iair), willi marble tops, of about two hundred years. Sir John \\'ard had are illustrated ni X(k. ii. and m.. .uid the Dining the old paint removed, and the panelling left in Rixim il-^rlf i-, -hnun in Xo. i\-., willi its two superb its natural state. The wood has been slightK' Reynnlds portrait-. The lari,'e Iratlur sneen at stained to the shade of newlj^-planed pencil cedar, the service d(K,r has the tollowinsi interesting

and then wa.xed, without gloss. The doors, with label at the back :

their architraves, are original ; the chimney-piece " JDllN ('(INW.W " is modern. Great skill has been exercised in the • " i.eather-(;nild<'r colouring of the knots in the deal, to give the " " to his Majesty King (ieorge effect of figure. Such treatment, of course, is only " " at the King's Arms the j)ossible with wood of the highest quality, such as " " South side of St. Paul's was used in the eighteenth century as a usual " " Chuirhyard, London thing, but which is absolutely unprocurable at the present day. The side-tables, before referred to, although in The Dining Room at Dudley House, although Kent's clumsy Houghton manner, are imposing decorated in the late Earl's time, is a dignified pieces, and with their decoration of crcam-and- The Coiiiioissciir

gold, and tops of Griotte and Numidean marbles quality. It was sent to America some years ago

respectively, suit their environment exactly. The to be sold, but it was pointed out, immediately

chairs in the Dining Room are modern copies of on its arrival, that it was doomed by the American

a fine original of the George I. period. The crystal climate, as in the dry air of the Eastern States,

chandelier is worthy of especial notice. Many of with the great extremes of heat and cold (to say the fine crystal lustres in Dudley House were in nothing of the ferocious system of steam-heating

France in 1870, and were looted by the German which is general in New York houses), English invaders (history has repeated itself since), although lacquer, veneering, or marqueterie perish after

the property of the Earl of Dudley, and it was a very short time. Sir John Ward bought the

only by repeated applications, backed by powerful cabinet, and it returned to its English home influences in this country, that they were returned after a sojourn in the States of about one hour. eventually. It came originally from a house in Sussex, and

Sir John Ward's collection may be regarded as was destined for the Boston Museum. It now covering three-quarters of the eighteenth century, ornaments the small end drawing-room at Dud-

commencing with the last years of William III., ley House, in company with a fine collection and ceasing with the work of the Chippendale of famille-verte porcelain and Chinese chiselled school, roughly about 1775. Nearly all the glass.

important pieces have an interesting history. In the Middle Drawing Room is the fine walnut Thus, the beautiful green lacquer cabinet, on its settee, shown in No. vi. We enter here into the carved and gilt stand (No. v.), is an example of years when the simple models of Queen Anne English work of the William III. period, of high davs were elaborated in the hands of the chair- The Collecfion of tlie Hon. Sir John II II 'ani

;i.isii WORK or maker of the earliest Georgian times. To date medium-stitch needlework, which, however, is not a piece of eighteenth-century furniture, we have original to the piece. to judge by its latest detail. This settee would The combination of aicliiicciural and joiner be regarded as typical of the Queen Anne period, traditions—so frequent iluring the first quarter were it not for the powerful sweep of the double- of the eighteenth century—has resulted in the scrolled uprights of the back, the conventional bookcase-cabinet, illustrated in No. vii. This is form of the eagle-heads—very different from the of English walnut, veneered on the fronts with vigour of the earlier examples—and ilu- bold burr-walnut of rich brown colour. The detail of claw-and-ball feet. The settee is covered in the laurelled cushion-frieze, with its long central riic ( 'oii/ioissciir

Xo. VI. -w T SETTEE PETIT-POI ;eedlework of aboit the SAME DATE

tablet ornamented with con\-entional scrolling, with eighteenth-century library. The fashion of open- a centre cartouche, is familiar to the student of ing the fluted pilasters and their moulded surmount- the work of James Gibbs and his school. The ing trusses with the door, although it might be thread-escutcheons are pearled and nicely chased. objected to by the architectural purist, was a The same architectural influence, probably that general one during the period of 1730-50, to which of Batty Langley, will be noticed in the mahogany this bookcase belongs.

bookcase shown in Xo. viii. As a piece of designing It is difficult to comprehend, at the present day,

it suffers from the insignificance of the scrolled the state of England, and especially of London,

pediment (a so-called Chippendale detail of at the time when much of this fine furniture was made. Writers on this subject compare the undoubted pre-Chippendale date) ; but the work-

manship is fine, and such details as the rose- purchasing value of money at this date with what and-ribbon sash-barring, the egg-and-tongue ovolo- it buys at the present daj', forgetting a very moulding of the upper doors, the Grecian key- important factor, namely, the amounts which

])attern of the lower frieze, the key-cornered and wealthy patrons of the furniture-maker, builder, "fielded" lower panels, veneered with choice curl- and decorator actually possessed. It is true the wood, and the acanthus - carved ogee plinth fabulous fortunes of our present-day millionaires moulding, are line and of just proportions. One were unknown in the eighteenth century, yet can imagine this bookcase, surmounted by an there is no cioubt that the large sums which were additional cornice of generous overhang, decorated expended at Chatsworth, for example, represented with carved modillions, each with a bold centring a \-ery much smaller proportion of the fortunes

rosette in the soffite of the corona, and with of the Earl of Devonshire than would have been a bold triangular jiediment having the same the case at the close of the nineteenth century. details, carrying up the line of the central car- The comparison of the two periods is a fair one case, as a noteworthy iiiece, an ornament to an with a large landowner, as, in the ordinary way, Ml. lAHiNi.T, VKNi;i;i

III tlic /-os.sc.sx/oii of Colonel C,riii/>l)cll Jolnis/iin

The Collcifion of the Hon. Sir /ohii 11. II ard

the rise in his ivnts-roll would ha\c halancrd of the builder or the furniture-maker were con- easily any corresponding rise in the costs of cerned, is shown by the expenditure on the great

building, decorating, or furniture-making. It was houses >uili as Chatsworth or Houghton Hall, not the fact that the money bought more in the for exaniple. On the latter upwards of a million

eighteenth eentur\- than it did in the nineteenth, was siH-nt. Hut that wa- Sniith-Sea-Hubl)le money, " actually. The standard of and " l-'.asy come, eas\- go was evidently the relatively : it did so

1(1 luing of tlie artisan ela.sses was much lower than \\al])(>lr mot in 1725 ! Vet at this time wages

at l)resent. Many of th.' so-called necessities of were a \n y insignificant item. .\ gilder received

life, as we know them, were unknown to the from £2 I OS. to £3 per month : a carver such as a\"erage journe\'man-craftsman. They were cheap, Samuel Watson, who executed much of the work

reckoned in money, but lie could not afford to at Chatsworth which has been ascribed to Grinling huv them. Some of the raw materials of the Cibbons, was coniml with vvvn less in l()94. furniture trade, such as mahogany and silvered SerxaiUs were cheap. I'lius the hoiisekee])er at glass, were expensive, e\-en when regarded frmii Chatsworth received /'.-; Os. 8d. jni vcar, with an our present-day standard of money-values. Man\- allowaiuv of £j los. for the same iHimd f.,r lirr of Chippendale's elaborately carved and gilt board, presumably when the family ol ilu- V.avI mirror-frames or pier-glasses actually cost less than was not in residence.

the mirrors they enclosed. The latter were often The finest works of created art, in pictures, charged separately, probably on account of the furniture, tapestries, needlework, armour, and the

prohibitive expense, as an item to be carefully like, wliich realise enormous prices in our leading

examined and checked by the steward or bailiff auctinn-n Minis to-day, were nearly all produced of the noble patron. Nothing strikes one as more under similar coiKlitions.

incongruous, when looking o\-er some of these The stone-carver of the Edward I\'. period old eighteenth-century invoices or priced inven- received one penny per day, and decorated some

tories, than the disproportion between the cost of of our finest cathedrals. Samuel Watson, or even some of the items as compared with others. Thus, Grinling Gibbons himself, earned a subsistence

in the Xostell Priory invoices of Thomas Chippen- wage, and nothing more. Sir Christoi)her Wren,

dale, in 1767, a " large bedstead with mahogany when engageil on St. Paul's C.ithedial. received

feet posts, fluted, and a sacking bottom." is an annual stipend which would In- scorned by a

charged at £4 los., whereas ]4 \-nrds of printed third-rate architectural ilrauglitsinan in our da\-.

cotton, presumably for thi' curtains, is ])ricr(l \'anbriigli e\en went to the iiegatixi- side : he " at 6s. 6d. per yard. .\ mahogany house for a finished Blenheim ,it his own expense, as the

monkey " is charged at i8s. One wonders what House of Coiiiinons \dted the house, but declined

such a house would cost at the present day ! The to jxiy for it, and the Marlborough family refused magnificent library table at Xostell, perhaps the to contribute anything. Much of our finest

finest exam])le of the work of Thomas Chippendale petit-point needlework was produced by semp-

in is iinoiced at los. ill coiintr\- \illages, standard of existence, ij2 ; to riiake, stresses whose

at the present day, it would be cheap at £()oo. living was incredibly low. It is almost an uni-

Its value as an antique piece is ])robably four versal rule that the finest works of art, or at all

to five times this amount. e\ents of craftsmanship, were produced by people

That money was by no means scarce during of lowly status. They had few desires or pleasures the latter part of the seventeenth and throughout beyond the joy of producing something notable

the eighteenth centuries, as far as wealthy patrons and fine. Perhaps that sufficed.

{To he conliniied.) _

- J!^--.r^-,^— "! Potteryand Porcelai

Salopian China Part IV. By C. Clifton Roberts

Marks ascrimed to the CAUGHLiiv China. the crescent alone, and that it was intended to have All specimens of Caughley china are not the signification of a C for Caughley, and that its marked. The usual marks found are the Crescent, connection with the Worcester works may in a great the letters S and C (standing for Caughley), Arabic measure be traced to the fact of the goods on which it numerals numbering 1-9, partly masked or erased, appears being printed, not at that city, but at Caughley.

and the word Salopian impressed. These marks will I have seen examples of this mark on undoubted \\'or- be described under their separate headings. cester body, and also on equally undoubted Caughley The Crescent. — Various forms of the crescent are make bearing precisely the same printed patterns." found very similar to those on Worcester china. If Mr. Marryat says: "The Caughley mark was a cres- we carefully examine a series of specimens, we see cent in outline, so distiniruished from the \\'orcester

pretty clearly the transition from the crescent to the crescent, which is filled in." I quote the above because engraved C (for Caughley). Mr. Jewitt says: "I the form of the crescent used at Caughley has not yet believe the first mark used at Caughley to have been been definitely settled. It has been suggested that Sa/opion C 'liiiia

.ITH MONOGRAM

Turner never used the crescent in outline, but only the glaze. It varies in size and in type. It is |)rintcd the lilled-inor barred crescent. 1 am myself of opinion, in Roman hand or in capital letters. This mark is

I'rom the examination of many specimens, that the found together with the letter S. It is probable that crescent in outline was undoubtedly used, but that this mark was mainly used for dinner and dessert ser-

the filled-in crescent, or the crescent barred with vices, as it does not seem to be often found on tea

horizontal lines, is the one usually found. The crescent services or the other decorative pieces, jugs, etc. mark was apparently used from the commencement The h'ltcr S. — Various forms of the letter S, some-

of the works up till about 17S0. times followed or preceded by a cross, are found both

From the above remarks it will be seen that the printed and painted under the glaze. This mark

only real guide which will enable us to distinguish varies considerably in size, and was used at an eariy

between Worcester and Caughley china marked. with date. It is found sometimes together with the letter

the crescent lies in the difference in the paste and C, with the word "Salopian" impressed, or by itself. glaze of the particular specimens in question. Some A specimen in my possession has the mark S on the guide may also be found in the general appearance front of the piece (a teapot stand with willow-pattern and colouring, especially in the case of pieces decorated design), in the centre of the design as well as on the

in under-glaze blue. reverse. I have seen a coffee-pot decorated with

('rescent marks with faces, letters, and numerals llowers in blue, with the mark S. S. This mark also also occur on Caughley pieces. appears on a cup in my possession.

The Engraved C (fur Caughley ).—'\\\\'=, is one of the The Erased Numeral. —An Arabic nimieral in blue, earliest marks used, although probably not quite so numbers 1-9, with small marks and lines erasing

early as the crescent. It is printed under the glaze, and marking it, printed or painted below the glaze.

and not painted. It is found together with the word These marks arc apparently not found on the Worcester "Salopian" impressed, or with the letter S. The C with china. We frequently find these marks painted in

a small star or asterisk impressed, is sometimes found. blue on early printed ware, the designs being Oriental " The ward Salo/yiiiii.' —This word is impressed on in character. The blue colour used on pieces on Till' Coin/oissciir

MARKED C, VOLUNTEER JUG, INSCRIBED INSIDE THE RIM. 'BRIMSTREE LOV.M. LEGION" VICTORIA AND Al-EERT MUSEUM

which such marks, as alscj the crescent, are found, is principally blue during the period dating from the typical of some of the best productions from the opening, of the works until 1780, although specimens

Caughley works, and was probably the invention of of early Caughley ware in other colours are known ; Thomas Turner himself. Mr. Chaffers says that Ris- but marked examples in colour are rare. This blue

Paijuot reports that these marks are also found in red, colour is found both applied by hand in the form of and that Mr. D. \V. Macdonald has a tea-cup and painted birds and flowers, etc., or partly painted and saucer and a coffee-cup decorated in blue and gold, partly printed. After Turner's visit to Trance, in 1780, marked with Arabic numerals of this colour. The we find a considerable amount of decoration in a

author has a cup and saucer in which the Arabic ma/arine blue colour with a good deal of gilding and

numeral is masked with the crescent mark. Typical decoration in gold, also a limited number of marked Worcester marks, such as the W and si|uaie mark, pieces in polychrome colour and gilding. Turner appear occasionally on Caughley china, but this china brought a number of artists back with him from

was probably made, decorated, and marked at Caugh- France, and it is reasonable to suppose that a con- ley to order received from the Worcester factory. siderable number of pieces dating from this period Some of these Worcester marks are cut in on the back were decorated in colour. So much Caughley china

of one of Thomas Turner's plates used for engraving is, however, unmarked, and is so often mistaken for the china at Caughley (see Part HI.). Small letters Worcester, that careful e.xamination of collections of or numbers, generally in gold, are sometimes found A\'()r(i->tri (lima would go far to prove the correctness

on otherwise unmarked pieces, usually under the of tills sii].p(,siiiuii, and the author would be glad of

inner rim of the base. an\ dcliintc iiitoi uiation, especially in regard to marked The colour used for decoration at Caughley was coloured pieces. Salopian C '/////a

\Vc know that Muss and Silk were landscape blue and white, but the blue of Caughley has not painters, Thomas Fennell and Edward Jones flower the mellowness of old Worcester. Those pieces

painters, during the life of the Caughley factory, and maiked S and Salopian vary extremely in depth of

it is reasonable to suppose that more china was colour. \\e find shades ranging from a greyish blue

decorated in colour than is generally known. The blue through a dull purple to a fairly bright blue. It is, of the early Caughley china resembles the Worcester however, on pieces marked with the crescent and the llic Connoisseur

TWO VIEWS OF DATED JVC, MARKED C \ND ALBERT MfSEUS

forms of Arabic numerals that we find the blue which well kept and is unknown to the present day. If for

is peculiar to Caughley, and which is unmistakable nothing else, Thomas Turner is worthy of our regard when one has examined a series of specimens so for having, by this discovery, done much to raise the coloured. This peculiar blue, which, perhaps, has character of our English productions. The early never been surpassed, and is as fine in colour as that designs and patterns are very similar to those used found on specimens of old Chinese porcelain, was at Worcester.

invented by Thomas Turner, but the secret has been Mr. Chaffers says: "The excellence of Turner's

.ITH CRESCENT MA

28 Str /()/>/(I// ( /////(I

Marks ascribed to Cau ^hley China .

Crescent and C for Cau^hlgy

C € C <^ C ^ f (^ t

C c c C C C^ii

The S Mark

S s So i-f ^^ i'xi.

(the S vanes considerably in size)

The word Salopian

i ^f\ J^l^fi , The Coiiiioissciir porcelain, and the invention of the beautiful dark sometimes with a raised decoration in white in the blue of the Caughley china attributed to him, gained body of the piece, the panels with a printed design in him great patronage. In 1780 he produced the cele- blue. A special form of jug, having the design of a brated 'willow pattern,' which, even at the present cabbage-leaf modelled in the body of the piece, was

' of cups day, is in great demand ; and the blue dragon ' (the first made at the Caughley works. Many the

'dragon' pattern is not usually marked), another and other pieces are fluted like the Worcester china. favourite pattern, and completed the first blue i)rinted Flowers, fruit, and birds (especially the parrot), both table service made in England for Thomas Whitmore, painted and printed, fretiuently appear as decoration, Esq., of Apley Park, near Bridgnorth. The pattern generally in blue. was called Nankin, and was something similar to the Miniature tea and coffee .services, and occasionally

Broseley tea service produced in 1 782, all in porce- dinner services, are met with, but these are rare and lain. Mr. Thomas Minton, of Stoke, assisted in the now command a high price. These miniature sets are completion of this service, being articled as an en- usually decorated with the " Fisherman " i)attern. graver there. These two patterns remained universal In the South Kensington Museum there is a fine favourites for many years : the willow pattern for series of three jugs, with mask spouts of the cabbage- dinner services and the Broseley for tea and break- leaf pattern, richly decorated in mazarine blue and fast sets. They were indispensable in all domestic gold ; one of these is additionally ornamented with a establishments for ordinary use, and remained so bunch of flowers in colour, probably added later. Some almost exclusively for nearly half a century." Previous mugs with a similar decoration (mazarine blue and to 1780, when Turner visited France, the patterns gold) are also to be seen there. mostly used were birds and blue panels. Pieces printed with a design of a cornflower in blue, The willow pattern was produced at Caugliley in and usually marked C (for Caughley), are found more 1780. Raised decoration in the form of small especially in the form of tea services, in some cases flowers in white or blue superimposed are found on the cups being fluted in a similar manner to the baskets and other pieces, and we frequently find a Worcester china. Small sprays of leaves or sprigs flower modelled in white forming the knob of a butter- carried out in a blue colour are typical of the period, dish or teapot. Models in the shape and form of dating from Turner's visits to France in 1780. In shells are fairly common, as also sweet or salt dishes the case of pieces marked with the forms of Arabic in the shape of leaves, and in some cases in the form numerals, the decoration is usually the "Fisherman" of a heart. pattern, or Oriental designs carried out in a rich blue Many designs are, as in the case of Worcester china, colour, and in some cases with gilding in addition. copied from the Oriental, the influence of the East Illustrations of several dated and specially decorated having made itself felt at Caughley as elsewhere, blue pieces are given. Such pieces are rare, although printed and painted wares being copied from Chinese probably more frequently [[jroduced at Caughley than patterns; jugs decorated with mask spouts and mugs at Worcester. i-Ai)^ LKAVEN i',i;i-()i

LACE . . . AND NEEDLEWORK.

Mr. Percival D. Griffiths' Collection of Old English NeedleworK By Eugenie Gibson

\\ IIKX tirst entering the hall at " ^and- im])ression ot the former, because the owner has ridgeburv," the eye meets with such a unity of such a great knowledge of his treasures, and style and harmony of colour, there being a wealth undoubtedly enjoys to be surrounded by them. of all kinds of needlecraft, including Tudor, On examining this wonderful collection, one

Stuart, William and Mary, and even some u]) to realises with what consummate care and taste it the early eighteenth-century period, tliat one does has been formed. There are all kinds of objects, not realise what wonderful specimens of it there such as caskets, mirrors in gloriously worked are. Going from room to room, the impression frames, pictures, cushions of all sizes, seats of prevails, however the style and colouring of the chairs and stools, chairs entirely (except the legs) \arious specimens are chosen to suit the use of covered with petit - point, fine book - bindings, the room for which they are destined. This is jHirses, bags, etc., all in perfection of needlecraft the reason that one experiences that restful im- of these periods. The description of how these pression united with the feeling of being surrounded works were created must be left for I'ach further by the most beautiful works of craftsmanship article by which it is illustrated. belonging to these periods. The house is really In 1520 was held the famous tournament of a museum, but not in the formal sense of the the Field of Cloth of Gold, on the plain ni-ar term, because Mr. Griflfiths makes it his home, Guisncs. To this went all iMigland's chivalry and one ne\-er has the stiff anil simple show-like sunoundm;; Kini; Henry \'1II., and their lusty

'A^ejs*'*'

lUROlDIiRED VELVET, .ES AND HEELS They are of red velvet worked in gold thread. A gold gimp surrounds Ihem aboie the silver edges, ivhich is of very beaulifttl silversmith's work. An interesting fact is that the iron soles and heels are joined by a hinge just beyond the heel, to allow the wearer to bend the foot in walking. As is seen, the soles have knobs to keep the silver and the shoes themselves off the ground, which no doubt added to their being so well preserved.

33 ^>-?ts

iCR AND (;OLD THRE/

isies is done in the fines' darning stUches in df;e of the cap runs a gold lace with spangles ich adds to the shape of the cap, being saved

SHEATH FOR KNIFE AND

Mixed into the ground of gold thread are Ttidor roses in red. blue, and red purl and l-'rench Itnols. The leav re of gold purl, as also the cord at the side is in gold. The parti'ion for knife and fork is still quite intact. •SED BV LADIES EOR THE ACCESSORIES OF THEl

/.' is worked in Gobelin-stitch in gold and red, the red silk work being of a delighijiil coral hue. Al the hottotn is a flower in lace-stitch and some minute little tassels in French knots. The drawstring, of red and gold, terminates in a similar flower, and the whole is a dream of beauty. The green lining forms a beautiful contrast.

HAO OF JAMES I., 1750 PERIOD

This is one of those dainty love gifts, which the heart under the crown denotes. .41 the hollow 's a lovely gold lace flower and a knob entivined of gold cord, forming a graceful finish to a scheme in gold ini.t pink ined with the same tinted silk.

CORD, TASSELS,

In lovely passement. It is on both sides alike, and in splendid stale. The Tudor rose, forget-me-not, carnation, lily, leaves, and strawberry are all in the natural colours, and so are the birds and rabbit. The whole ground is worked in silver slip-s'ilch, the pattern in raised French knots and purl. Round it runs a double buttonhole-stitch in gold. The. drawstring is of fine gold cord. The Coiuioisseiiy

',/ and piiil young king, followed by his nobility, squires, and Spain. It is generally e.xecuted on white linen men-at-arms ; the king's and their costumes, in graceful scrolls and arabesques, in the finest besides the trappings of their horses, being of the black silk and gold and silver thread. It be- richest materials available, adorned with elaborate came very fashionable and so much appreciated embroideries, which vied with those of the followers that Mary Tudor, the grand-daughter of Catherine of Francis I., King of France. All this splendour of Aragon, carried on the tradition of this work. and skill in resplendent embroidery at this tourna- Even shirts and body-linen were worked in this ment caused the first introduction of French manner. It was all this time considered an ncedlecraft, and started the fashion of the richly artistic achievement. In those days ladies loved wrought needlework during the Tudor period, needlework as an interesting pastime, and Catherine most of it being worked on velvet of all colours, of Aragon found consolation in doing it during silks and cloth of gold and silver in silks and the sad time of her desertion by her husband. gold and silver thread—these, as well as the former, A great many excellently worked and beautifully generally raised over paper or cotton-wool. A devised book-covers have been handed down to great adjunct to these works was formed by rich descendants and collectors from Queen Elizabeth's fringes and passements. Henry VIII. 's first queen, time, going on through the Stuart period until

Catherine of Aragon, introduced the fashion James II. ; these books being always of more and appreciation for the " Spanish work " (called or less small size, beautifully and elaborately sometimes " Black work "), to whom this craft embroidered, even seed-pearls and real stones was handed down by her mother, Isabella of being introduced. As these books were even Collation of Old English Ncedlncorlc

then of great value, and worked only for special latter gi\ing proof of the worker's skill and artistic purposes, mostly by royalties and the nobility, taste. During the reign of Charles I. and Henrietta

lilNDIXG FOR A BIBLE

In gold and silver lacework, spangles, and I-rench knots and bullion On the inside of the title-page is " printed : To the Most High and Mighty Prince James, by the Grace oj Cn ;»;' of Britain, France and Ireland, Dejender oj Faith." Opposite is the Star and Garter crest and " Edinhun;/ iilril hv Evan Tyler, Printer to the

',', King's Most Excellent Majesty, 1049." The work oj the binding is an e.wjins 1 I'l Stuart work, and quite unique in its beauty and noblesse, leaving no doubt that, owing to its excellent prescy.d linviitlv valued it as the achievement oj a devoted Royalist. and were taken great care of, there seem to he Maria, the favourite subjects consisted of more specimens preser\-ed and handed do\\n to our times. Mr. Griffiths possesses some most exquisite examples of them. The designs con- sisted almost mainly of a special style, being mostly heraldic, with the owner's coat of arms worked on one side at least, and the Tudor rose on the other. The others were of a symbolical and floral style, with arabesques introduced, the 1

'-^ 1^1 vl 1° 5 2 i I ^ 5 t' "2 s •" 5! J ^ 5

'. I U I 'f i' I

:= = 2" K 1 I- . 1 2 * .s I S5 I J"

^. i f I 1 1- lis J 1. 1^-^

- I ^ i^ 1 1 I

2^>^=^^Mi.A Ill original lorloiscslie'l and sUicr Jianu. The povtrait itsclj is earned out lujlul-sliuli cj Ihc fines! wurliniuiiilup.

The hair is supposed lo be worked in the monarch's own hair. He wears the Order of SI. George (as seen in most of his portraits) on the blue ribbon. The collar is one of the most exquisite specimens of lace-worh carried out by the iiLi'dle, and the Van Dyck scallops of it were characteristic in the lace of that period. The Coiiiioissciir

PORTRAIT OK nlEE> lETT.A

i '. s The face is ill relief and pninlt! . . „; blue silk and siher thread: earrings of paste, .. 'li fi i! lace, bertha

la -.e-stilch within coloured silk, /.iii - , - , .'loured purl, , I I grey, brown, blue leaves and flower >. • i< ". n

—

SUERg^

[ The Editor iiiviUs the assistance of readers of jissKUK 'vho may he able to impa the inforrnation required l>y Ci pondents.

Unidentified Portrait (No. 351). Images. In my opinion it has the characteristics Sir, —The present owner of this picture bought of a late-period Rembrandt. I am anxious to it on the understanding that it had been in tlic know of whom is the portrait.— \\'. M. Crofton. Beckford collection at Fonthill Abbey, and was

reputed to be the portrait of a royal personage. Unidentified Portrait (No. 354). It was then a much-disguised picture, the height Sir, — I enclose a photo of a painting I possess of the hair-dressing and the blue outer drapery by J. Van Ravesteyn, signed and dated 1558. I not being revealed until a lot of dark green paint should hkc, if possible, to lind out of whom the had been removed. The face, which the restorer portrait is. —L. C. Geach. left untouched, shows no signs of the sitter having " " possessed any eyelashes to speak of, hence the .\doration (No. 355). suggestion that this is a portrait of Princess (or Sir, — I have a coloured stipple engraving Queen) Anne. entitled Adoration, and should like to know the Kneller, or Charles Jervas, or John Huysman, name of the painter and engraver, also when are suggested as likely artists. It is certainly the iniblishcd. work of a master, and has been re-backed once, The engra\-ed surface measures 10 inches by at least, in the long 8i inches. There is ago. Fine state of no margin on the preservation, save as engraving, which regards the hair. The appears to have stones in the brooch been cut off. The and pendants are title Adoration, in amethysts. — E. Fis- gold letters, appears her (Melbourne). on the glass mount. The print has been Unidentified Por- in th. f.imily, to my trait (No. 352). kn.iwl, ,1l:c, for three Sir,— I should be L;i-iiir,itiiMis, and is glad .of information in its original frame. concerning this por- -F.. Y.viES. trait, as to painter and sitter. By con- Unidentified Por- noisseurs it is consi- dered to be a very trait (No. 347), beautiful work by an October, 1920. eminent master. -C Sir, — This is A. Strandman. evidently of John Jackson, R..\., and Unidentified Por- is similar to the one trait (No. 333). by himself in the Sir, — Herewith a National Portrait jihoto of a painting, Gallery, and another rather more than in the Victoria and life-size, for your Albert Museum. unidentified picture Ai.EXANDicR Smith. (',;j) INlDrNTIIIED I'OKTK.l (353) untde:

"ADORA (354) UNIDENTIFIED I'ORTR.MT (-^y^) T/tc Coi/i/oissc/ir

The Queen's Dolls' House NOTES A MOST interesting loan has just been made by kitchen containing a good assortment of pi.ts the Queen to the London Museum, through and pans, a dresser with shelves laden with Mr. Harman Oatcs, the Keeper. This is the plates, an excellent range, and all other necessary dolls' house and its contents, belonging to Her appliances. The next floor boasts of two drawing- Majesty during her girlhood at the WTiite Lodge, rooms, the one on the left being in the hey-day Richmond. The house was given to the Queen style of Victorian elegance, with cretonne-covered by her mother, the Duchess of Teck, about 1880, furniture, a gilt clock reposing under a glass and its furnishing was the work of several years, shade, a full-sized piano, a large lady's work-box, the pieces being mostly personal purchases out and various vases and ornaments. The companion of a none too affluent allowance of pocket-money. apartment is perhaps more of a writing-room, The house is not only interesting as an intimate fbr it contains a large open desk— furnished even memento of the Queen's childhood, but also as with sealing-wax and paper-knife—and a bureau, a complete epitome of the domestic furniture both, like the rest of the furniture, in ebony. and appurtenances of the late Victorian period : Here the lady of the house may be seen reposing and it says much for Her Majesty's girlish per- on a couch enjoying a cup of tea, conscious that severance that she accumulated such a full set her three children are safely under the care of of miniature household requirements, there being their nurse in the night nursery upstairs. A practically nothing missing, and every item being rather crowded apartment is this, with a full- congruous and well-proportioned to the room sized bed, two cots and two cradles, besides the containing it. The house is three-storied, and customary furniture of a well-appointed bedroom. contains two rooms on each floor. The bottom The floor is littered with toys belonging to the story is occupied with a dining-room, furnished children —good children, one may be sure, for with a light oak suite, and a well-appointed the toys are all unchippcd, and the natt\- array

QUEEN MARY S DOLLS HOU5 THE LONDO.N MC.SEl * C 45 llie Cotiiioisseiir

TWO VIKWS OF A Cl'KIOUS HANGING SIGN of blue and white candlesticks and toilet appur- premises of Messrs. Crichton Bros. (22, Old Bond tenances on the dressing-table all unbroken. The Street, W.i). Shield-shaped in form, it has on other apartment on the same floor is also a bed- the obverse a head of Cardinal Richelieu; whilst room—the best bedchamber, containing a French its reverse bears a bust of a lady, possibly intended bed, glass cupboard with shelves, a set of painted to represent that long-li\-ed beauty, Ninon de deal furniture, and numerous ornaments and I'Enclos. pictures. The contents of the house were all arranged by the Queen herself, preliminary to Turner's "Temple of Jupiter" ( Ocloha; 1V20) its sojourn in the London, Museum, so that one Dear Sir, —With reference to the above, and may be sure that they follow the same order as to the amplification you were good enough to they did in Her Majesty's childhood, a circum- make, at the request of Lieut. -Colonel George A. stance which gives an unique and intimate interest Gibbs, M.P., of the article on the Syon House to the exhibit. pictures in your August number. Colonel Gibbs now requests me to write to you making a cor- A Curious Sign rection as to his previous letter. At the time The practice of hanging a sign outside a shop Colonel Gibbs wrote he had not had an oppor- or business house is one of the few extant com- tunity of referring to his catalogue of pictures at mercial customs which can be traced back without Tyntesfield. He has since found that he was in a break to remote antiquity. Before advertising error in saying that the picture had " reposed by press or poster was contemplated, the sign for the last sixty or seventy years " at Tyntes- ranked with a merchant's most necessary posses- field. The picture was purchased by the late sions. According to the Rev. S. Baring Gould, it Mr. William Gibbs from the Wynn Ellis collection. had even a deeper significance, since he once de- Colonel Gibbs would not have troubled you, but clared his belief that many a surname was originally his previous letter seems to have given rise to derived from the sign swinging over the doorway. conjectures as to the possibility of there being a

At the present time, the increase of business in third picture in existence ; and he thought it only the City and West End of London renders some- courteous to make it clear that the picture in his thing more than a fascia necessary to define the possession is the one from the Wynn Ellis collec- limits of premises. This entails a heavy produc- tion. I am further to apologise for the error which tion of modern varieties, but here and there may crept into Colonel Gibbs's previous letter, and any still be seen quaint survivals from eariier days. trouble it may have occasioned j'ou.^—Yours truly,

One notably unusual specimen now ornaments the H. W. J. Stone. — — 'Flic Coiiiioissciir IN THE SALE ROOM Pictures and Drawings Engravings and Etchings

Masked, as it was, by industrial tioulik-s, tla- now The first engraving of any interest to conie under the season's opening was attended by few outstanding prices. luimmer with the new season appeared at Puttick A: Simp- The first event of any importance was the dispersal son's, where a mezzotint in colours of Lady Hcathcote of " during October of the contents St. Serf's House, as Hebe," by J. Ward, after J. Hoppner (title in open Roehampton. These were the property of I^^idy Milliccnt letters), secured £^236 5s. At Sotheby's, an open-letter Hawes (formerly Duchess of Sutherland). The highest proof of Inside a Country Alehouse, by W. Ward, after figure was that of iiaoo, given for a Portrait of Dr. G. Morland, went for £(s2 ; whilst a pair of Travellers Johnson (without wig), by Sir Joshua Reynolds, 30 x 25 in. and Cottagers, by and after the same, totalled £83. By

Exhibited at the R.A. of 1770, this portrait was painted W. Ward, after J. Ward, a pair of open-letter proofs of

for the lexicographer's stepchild, Lucy Porter, of Lichfield, A Vegetable Market and A Poultry Market fetched /80 ; and was engraved by James Watson. Several replicas but two plates printed in colours, Haymakers and exist. At the same sale a portrait of Mr. Porter, by Compassionate Children, easily surpassed this figure by Hogarth, fetched £i:io. Waring & Gillow were the netting £4yo. A first state of Henry Callender, by W. auctioneers. Ward, after L. F. Abbott, made £^86 ; The Sportsman's

The first four days in No%-ember were reserved by Repast, and companion, by and after J. R. Smith, £115 ', Sotheby's for the dispersal of the late Lord Northwick's and Boydell's Shakespeare Gallery, 96 plates, ;^39. collection of drawings. The 500 lots aggregated i;4,78o.

A few of the most important items may be rehearsed : Metal -work

A View of Lake Xemi, water-colour, by J. R. Cozens. The armour sold at Sotheby's on November lotli and

14J X 20J in., ;^205 ; Prince Maurice of Nassau and nth constituted the most important auction of its kind Orange, and Generals, pen and indian-ink wash study, by since the Laking dispersal. It formed part of the famous

Zuytenbogh, 13 x 14^^ in., £138 ; Group of figures, with Parham collection, formed by the 14 th Baron Zouche arms and sacrificial vessels, etc., and the owl of Minerva, of Haryngworth about 1840. The clou of the sale was pen and umber wash sketch, by G. B. Tiepolo, 7^ X iijin., undoubtedly the late 15th-century suit, for which as with /90 ; IVooded Landscape, Shepherds, by J. B. le much as £4,600 was bid. Although this suit is a com- Prince, signed and dated 1776, pen and sepia wash, position of various antique and a few modern pieces,

10 X 131 in., ;/;g9 ; and A Landscape, near Jumidges, the ensemble was singularly splendid. It should be by R. P. Bonington, w^ater-colour, 9 X 12J in., fSi. added that this armour, as well as other Gothic pieces, Oil-paintings knocked down at Sotheby's in the course were said to have come from the church of St. Irene of the same month included a Landscape, with Harvesters, at Constantinople, as ballast for a ship to Genoa, where by James Stark, 20J x 28 in., /335. A Portrait of a the late Lord Zouche purchased them. Fine Venetian

Young Lady in white dress and red sash, by J. Hoppner, salades of circa 14S0 realised ;£i,300, /640, and £300 of 45 X 35 in., made £450. It formed part of the Lady apiece ; a Milanese salade, with marks probably the

Eva Dugdale's property. From another source, Millais's Missaglia family, circa 1470, /520 ; and a 15th-century The Good Resolve, 1876, fetched £250. salade bearing the fleur-de-lys stamp and a small crowned Three signed and dated Downman drawings realised " P," similar to examples at Coventry, Hexham, and £5^7- ;£l99 i°s.. and /147 respectively at Chri.stie's. They Woolwich, netted £710. A North Italian demi-suit for a

were Mary, Countess Harcourt, 1781, oval, loj in. boy, late i6th century, made l&Sio ; a full-size demi-suit, 13J X ;

Mrs. Benjamin Way (nee Cooke), of Denham Place, probably Italian, early i6th century, £720 ; a German in. suit, probably Uxbridge, 1786, oval, 13 J X 10 ; and A Lady, probably fluted suit, circa 1515, £^6o ; a jou.sting

Mrs. Montague Burgoyne, 1783, oval, 8 x 6i in. German, end of the 15th century, /i,ooo ; and a beauti-

The following sums were given for pictures : —/252 ful right arm, puffed and slashed in imitation of early

for A Lady with two Children, the elder flying a kite, by 16th-century costume, ;£i.'50. The breastplate (illustrated A. Devis, in. for etched in the school W. 35 x 27J ; £168 The Melbourne in our November issue) and backplate, in. century, secured /i,040. Family, by G. Stubbs, 1772, 39 x 59 ; £^220 los. of Diirer, German, early i6th for The Duet, by Ochtervclt, in. Herbert Peck's numismatic collection came up J. 29i x 23^ ; £168 Dr. for The Schoolboy, by A. Mancini, 1892, ij^ i"- at Sotheby's on October 29th, but only realised £650. 23J x : and £210 for The Devil's Bridge, St. Gothard, by J. M. W. A more important sale occupied five days during Novem- Turner, 31 x 24 in. Another interesting work was Jan ber, when the late W. Talbot Ready's coins totalled Steen's Effects of Intemperance, or. The Dissolute Family, slightly more than £7,100. £250 for a Henry III. pattern 43i X 54i in-, which fell for £651. Major Dermot McCal- half-groat, bearing traces of contemporary gilding, and mont's sporting pictures included several by Ben Marshall, /150 for two (Scarborough ?) siege shillings of Charles I., of which a Portrait of " Sam," with Jockey up, 1818, were the most notable prices. 39 X 49 in., took the lead with its £420. A set of An interesting silver casket presented by the Corporation twelve canvases by C. Troost The Story of Clarissa of Kingston-upon-HuU to Capt. Thomas Piercy, of H.M.S. " Harlowe— 24J X 29J in., netted £^861. A volume of 46 The Countess of Scarborough, for his gallant defence of

water-colour illustrations by J. Webber (died 1793), to the the Baltic Fleet in the engagement with Paul Jones, third voyage of Captain Cook, made /500 at Sotheby's. Septr. 23, 1779," sold for £96 "all at" at C.lendining's. — a

The C 'oiiiioisscitr

Silver sold at Christie's, at "per oz.," included a porringrr with a portrait of the Young Pretender. Early in the and cover moulded in the manner of A'an Vianen of 19th century, this glass belonged to Samuel Mumford. Utrecht, 61 in. high, 1668 (20 oz. 18 dwt.), 200s.; a mug in of Chobham, from whom it descended to the late owner.

the Chinese taste, 1683 (2 oz. 13 dwt.), i6os. ; a small em- Amongst the lace disposed of at Puttick's was an

bossed porringer, 1688 (3 oz. 16 dwt.), 135s.; a cream-jug old Italian rose-point bedcover, 9 ft. 5 in. x 9 ft. 2 in.,

formed as a cow, 1763 (4 oz. 10 dwt.), 105s.; a cupping- which is said to have been given by Queen Anne to one

bowl, 1690, maker's mark E.C. with 2 mullets (3 oz. i6dwt.), of her maids-in-waiting, on the latter's marriage to a Hodgson-Nicoll of Copt Hall. 220s. ; a porringer and cover, 4 J in. diameter, 1654, The hammer descended

maker's mark a mask (14 oz. 7 dwt.); 280s. ; and a. at a bid of ;i2io. This was followed by some Stuart chalice and paten, 7J in. high, 1571, maker's mark H.W. needlework, notably a picture of Charles I., his queen " with 2 pellets (8 oz. 12 dwt.), 190s. £90 " all at " pur- and attendants, inscribed M.P., 1662," 16 x 20 in.

chased a Paul Lamerie teapot {circa 1730) at Sotheby's. (85 guineas) ; a stump-work scene from Milton's life, in. 16J X 21 (70 guineas) ; and a Charles 11. beadwork Furniture. Pottery, Pcrcelain. etc. picture of the Finding of Moses, 14I x 19 in. (38 guineas).

The furniture sold by Puttick lS: Simpson lias been of A gilt metal plaque, ornamented with a figure of a generally interesting character, but a fully detailed Buddha, and attendants, the corners and borders with description would occupy more room than can be spared figures in turquoise matrix, lapis lazuli, and other stones,

for the purpose. To take a brief .selection : —An ex- 14^ X 124 in., found a buyer at £241 los. ceptionally pleasing lot was an early 18th-century English needlework winged easy chair, which reached /325 los. Books Previous to this a Chippendale mahogany table, the top Messrs. Sothebv opened their 1920-1921 season w-ith inlaid with the Sun in splendour, 33} in. square, had a two-days' sale of mediaeval MS. and books from various

been knocked down for /141 15s. ; whilst a Chippendale sources on October 21st and 22nd, the 406 lots producing mahogany secretaire cabinet, 42 in. wide, went for £105. the handsome total of /ii,034. Important items were /120 15s. purchased a set of six and two elbow walnut offered on both days, though the clou of the sale— chairs of Queen Anne design ; and £;42o an Aubusson third edition of Shakespeare's Plays, 1664 —was reserved tapestry suite of five pieces, with gilt frames of Louis XV. for the second day. This book —a very fine copy, design. A Queen Anne walnut double-back settee, measuring 13 J X 8 J in. —aroused keen competition, 55 in. wide, made £81 i8s., and a Hepplewhite mahogany being finally knocked down for ;£i,950. On the opening winged bookcase, 112 in. wide, ^105. day, £780 was given for a copy of Caxton's Booke Callyd

At Willis's .1i,-,^iii

: /210 ; and a red lacquer table, £280. Other notable prices were —Skelton, Workes, 1568, early Georgian An semi-circular folding card-table £37.5 ; Voragine, Legenda Aurea, MS., 15th century, made;^lo5 at Sotheby's, \vlu re ,1 Ik m h Ijupirr \v,inlii)be ;i55° ; Grant, with "signatures" of William and Matilda, inamboyna-wood, ft. I. Ill hr^h, \i .,im 7 ^ wi-I^ jit j m. £500 ; Le Borde, Choix de Chansons, 1773, /290. deep, realised £^96 ; a W ilium .nul \\.\\\ I. -ii^-c ,isr ilock, Later in the month the same firm held a three-days' by Christopher Gould, London, - ft. 2 in. high, /go sale of printed books from various sources, a total ot ; a Hepplewhite mahogany pedestal writing-table, being realised. As a whole, the books catalogued £140 ; £3,880 and a Louis XV. writing-table, 4 ft. 10 in. long, /440. w^ere of a most ordinary character, and few prices worthy A set of three mahogany commodes, probably by of record were obtained. Daniell's Voyage round Great William Kent, ft. in. 5 3 high, 4 ft. wide, netted £1.135 Britain, 1814-25, made £^82 ; Doni's Moral Philosophic, at Christie's. ^388 10s. procured a Sheraton satinwood 1601, went for £62 ; and a volume of pamphlets on

writing-table, in. / jj>', lii^lic^l 32^ wide ; £231, a Chippendale fire- New England realisnl tin price in the sale. screen, 35 in. wide; £5^6, a Chippendale mahogany Nearly £6,000 wa-. .il.t.unril l'\ >.itlii ii\ 's in the middle kneehole writing-table, ft. tin hlu.iiy ni J)i, j.iliii Jfrguson, 5 wide ; £683, a pair of of November for which Chippendale mahogany cabinets, ft. higli, ft. included many first editions ; books with coloured plates 7 4 wide ; and £^840, a pair of Queen Anne settees, 6.S in. wide, from and fine bindings. Bradfield Hall. On the first day the first price of note was £67 realised Parsons & Son, of Brighton, sold a miniature long-case for a copy of Barbour's Life of Robert Bruce, i6i6. This clock in inlaid mahogany, by \\illiani Wise, \\antage, was soon capped by the bid of £460 for a copy of the 4 ft. 7 in. high, for £85. rarest of all Browning's works Pauline, 1833. Sorrow's Turning to porcelain, it may be recorded that a pair Gospel of St. Luke, and Burton's Anatomy of Melancholy, of Kang-He famille-verte vases and covers, 22 in. high, 1621, each made £;68. The second day was notable for brought in los his £325 at Christie's ; whereas, at Sotheby's, some interesting Keats items, the first edition of a famille-verte vase and cover, 24 in., was knocked down Poems, 1817, making £'250, and a first edition of Lamia at £250. In pottery, a 16 -in. polychrome Delft dish and other Poems, 1820, going for £90. Shelley's works fell for £195 at the same rooms ; whilst in glass, ,/28o were the feature of the concluding day, Adonais, 1821, was bid for a very fine Jacobite goblet, finely engraved realising £340, and The Cenci, 1819, £80. The Goupil Gallery Salon Mr. Augustus John has probably been postered Aii ben A mor ben M'rad (No. 2) formed a remarkable demon- more than any living artist to lend examples of his work stration of his prowess. The execution provided a lesson to exhibitions. On some occasions it would almost in directness. The swarthy flesh-tones, set eff by touches appear as if Mr. John, having nothing more important of red at the throat, and backed by a harmony in green, a\-ailable, had sent the roughest of liis " notes " rather were as adroitly liandled as the pigments were subtly

than remain unrepresented. This is the probable ex- blended ; but with all this there was hardly more than planation of the very varying calibres of his exhibits, a slight film of paint over the canvas. Mr. William but fortunately Mr. John's last appearance in the West Strang also surpassed himself in a fancy-portrait of a End left no room for regret. He was represented at pallid woman wearing a red jumper and a jazz hat, the

the tenth Goupil Gallery Salon (5. Regent Street, S.W. i) intent appearance of whom fully justified her title of by a dozen pencil sketches of the figure—draped and The Sphinx. In less experienced hands than Mr. Strang's, in the nude—the best of the vivid coloration would which were as accom- ™^ have broken bounds, and plished and as sensitive the drawing have lost its as any work recently \ital assurance. TheGood- executed by him in this Ininwuved Lady, by Mr. medium. The Slitdy of a Walter Bayes, was a

Pose (No. 2), and the triking get-awayfrom his

Fisher Girl, Equihen, may 11 customed green colora- be cited as specially ti..n; whilst Mr. W. J. searching studies of dra- Leech's daring decoration pery, whilst The Nude in black and yellow. The (No. 13) was exceptionally Lady of Kensington Gar- spontaneous in its rhyth- dens. Mrs. Laura Knight's mic purity of line. Apart brilliant Child on the from Mr. John's contri- Rocks, and the seriously butions, there were few studied head of Mr. Ber- drawings to catch the eye. nard Meninsky's Woman E.xceptions were Prof. in Blue, must also be Fredk. Brown's refined taken into consideration. and scholarly F i s h i 11 g Turning to compositions Boats at Rest, some slight in which the figure played but dexterously handled a minor part, when it ap-

landscapes by Mr. P. Wil- peared at all, first mention son Steer, a sympathetic is due to Mr. Orlando Portrait Study by Miss Bess Greenwood's street scene. Norris, and the interesting The Antique Shop. The patterns provided by Mr. colour-scheme of this bore Edward VuUiamy's Coe evidence of great thought Fen and Miss Mabel on the part of its author, Layng's Street Market. whilst the brushwork was Thesection of oil-paintings brisk and certain. Mr. Wil- was better knit, albeit the liam Nicholson put in some sensational and inept ele- solidly painted still-lifcs, ments were not inconspi- Mr. Richard S. Ilellaby N. M. Hl-.l cuous. Mr. Glyn Philpot's AT THE ROYAL some simple \'et sweetly —

The Coinioisscur

toned land scapes, different subjects and Mr. Lamorna without undue Birch a characteris- congestion. These tic piece of fleshy included etchings, paint in his Para- d rypoints and aqua- dise Woods. tints, lithographs, and woodcuts. In Royal Society of the first -named, Miniature Lepere's firm yet Painters sensitive touch was (Second Notice) very apparent. His Exigencies of choice of subjects space, coupled with was dictated by a the fact that the sincere appreciation intended illustra- of the picturesque,

tions arrived too ' whilst there were late for inclusion, few of his composi- necessitated con- tions which lacked siderable curtail- incident. His figures ment of the notice were not always of this exhibition happy, and there- in our December fore some of his issue. Consequent- most pleasing plates ly, it is with the were those in which more pleasure that the human form we now resume the was subordinated.. account by drawing There were excep- further attention tions, of course, one to some of the of the most notable most interesting being in the case features of the dis- of the lithograph play. Principal \"a UH noye. It is among them is Jlr. perhaps inevitable Alyn Williams's .\UDREY, DAUGHTER OF M ;. AND MRS. JOHN F. BETTS that the woodcuts .ST. LOUIS, U.S.A. BY ALYN WILLIAMS, I'.R.M.S portrait of Audrey, should have pre- AT THE ROYAL MINIATURE SOCIETY EX daughter of Mr. and sented the deepest Mrs. John F. Bells, Si. Louis, U.S.A., in which the appeal to the imagination, since Lepere had been an President's sympathetic feeling and refined handling illustrator from boyhood. His finest woodcuts—amongst appear to their customary advantage. Allusion has which must undoubtedly be reckoned his snow scenes aheady been made to the work of Miss Nellie M. Hepburn were so exquisite in rendition and spirit that, whilst Edmunds, whose Young Artist was markedly naive in fully alive to their brilliant technique, the spectator " conception. Dinimy," youngest son of W. D. Stewart, actually seemed to gaze, as through windows, over Esq., of Achara, by Mrs. Edith M. Hinchley, was another frost-bound Paris. The young men of to-day are out child-study of merit. In addition to the portrait in for " pattern," and simplify nature to obtain it. Lepere

onyx previously mentioned, Mr. Cecil Thomas contributed was of higher genius ; he made nature its own pattern. a charming head of Belly, daughter of Mrs. E. Muir ; whilst One has hardly space to particularise, but the Paris an effective design for a reredos came from the hand of sous la Neige, vu du Haul de St. Cervais, or the smaller Sir Nevile R. Wilkinson. La Rue des Barres, should have gained Lepere his niche It is also possible to illustrate Mr. Vivian D. R\an's had he never touched graver again. portrait of Sir Gerald Ryan, Bart., which, under the alternative title of The Connoisseur, formed a striking The S:5ciety of Wood Engravers feature of the Royal Society of Portrait Painters' ex- " It is fur the modern wood-engraver to convince the hibition, also held at the C;rafton (iallcrics. public that a woodcut looks as well on a wall as an

etching, if not better. He should not find it difficult." Engravings and Etchings by Auguste Lcpere These words, coming from the pen of so distinguished The exhibitions held by Messrs. P. & D. Colnaghi and an authority as Mr. Campbell Dodgson, need little in the Co. (144-146, New Bond Street) are noted for their way of endorsement. An etching is of its nature a thing comprehensiveness, and that dealing with the late Auguste to look into ; a woodcut, a thing to look at. Therefore

Lepere's work was in all respects worthy of the firm's it follows that for purely decorative purposes a wood- traditions. The collection from which the various items engraving may well be preferred to its aristocratic relative. were selected was formed by M. Lotz-Brissoneau, and A practical demonstration of the truth of this theory though its size naturally precluded its exhibition en bloc, was provided by the way in which the first annual " Messrs. Colnaghi were able to show nearly a hundred exhibition of the Society of Wood Engravers " furnished Ciinriit .hi Xofc.

a speci- the Chcnil Gal- lery (King's of the looks vhich Mr. Road, Chelsea). The member- issued from the ship of this new X'aleandEragny grou p is less than a dozen, Presses. These beautiful speci- but it was satis mens of modern factory to ob- typography, serve that it more than held being in com- plete sympathy its own against with the delicate the "outsiders" who had been colours of the

' iits, showed off permitted to " make up" the I he designs to their best ad van- show. Mr. Rob- tage. It is not ert Gibbings. deprecating Mr. who is one of the Society's Pissarro to add iliat his blocks pillars, contri- buted fully want special twelve cuts, settings : they are more adap- some of which ted to book than were familiar, decoration, whilst others, wall such as the but seen in clever Fowey apposite sur- roundings, they Harbour,seemoA fail to to be of recent n ever execution. His effuse an air of Clear Waters refined charm. was one of his Particularly feeling few recent es- Rood the says in the nude, animated treated on his series of illus- trations and accu s t om e d OF PORTR.A Unes of simplifi- decorations, de Soliman cation; whilst a little view ot rocks, called Evening Sun- some in colours and gold, to L'Histoire blocks of shine, was of equally agreeable patterning. Out of five Ben-Daoud et de la Reine du Matin, the had items by Mr. Philip Hagreen, The Wind recurs most which were destroyed after thirteen sets only quaint pleasurably to the memory as a charming lyric, simple, been printed. Akin to these was Salome, a unaffected, but instinct with feeling. Mr. Eric Gill's little composition, in which the daughter of Herodias austerely treated Crucifixion (No. 6i), in black and gold, appears walking on her hands before a politely interested (from was not only effective, but also highly sensitive in line Herod. Another interesting print was the'J-iseuse and massing. Several " silhouette " cuts by Mr. Gordon the Dial), the background of which was treated with Craig were also noticeable, the most effective being the special sympathy and di; Hittite-looking head numbered II., and the weird " Belle Heaulmiere " sort of figure labelled VI. Mr. Sydney "Masters of Modern Etching," No. 6: Works by I-ee was responsible for several picturesque themes in his C. Maresco Pcirce and Pamela Bianco Galleries usual style, and Mr. Noel Rooke a very feeling and A TRIO of absorbing exhibitions at the Leicester atmospheric Head of the Glacier d'Argentiire. Of the (Leicester Square) next calls for comment. The most " prints in colours, Mr. Rooke's Drilling Machines and Miss important was the sixth in the Masters of Modern " Dorothy M. Elliot's Chailey Windmill showed refinement Etching series, which gained in topical interest by its in thought and expression. special reference to the work of Anders Zorn. Of the from J 70 odd items shown, nearly one-third emanated Woodcuts by Lucien Pissarro Zorn's needle, and as these were all representative plates, -Although Mr. Lucien Pissarro's work is far too well the exhibition proved the most satisfactory commentary known to need any introduction to a connoisseur, his that London has recently provided on the great etcher's exhibition at the " Dorien Leigh " Galleries afforded a style. Studies of the nude occupied the greater part of welcome opportunity to renew the acquaintance. Con- the space, but room had not been grudged to portraits, sisting of probably a couple of hundred items, the display amongst which the Zorn in the Fur Cap, igib, took a was not confined entirely to wood-engravings, but also high place. This, as also in their different ways were The Coi/i/oissr/fr the Hair Ribbon. Miiia Colour has engaged her Modeller, or the Pre- attention far more com- miere Seance, was an pletely than hitherto, admirable example of and the still-lifes Apple Zorn's forcible handling. and Candle and The At the same time, it had Green Bowl represent her something more Rem- highest achievements brandtesque in its con- with the brush. They ception than any other are subtle and pure in plate of his in the dis- tone, and form very play. Zorn was one of attractive dc the most direct etchers " of his day. Idealism " Unofficial of figure had little charm War Sketches for him but he possessed Some war drawings of a power of characterisa- real interest have been tion, and a fund of facile displayed at the Macrae draughtsmanship, such Gallery (95, Regent as are denied to all but Street). They are the the favoured few. work of Mr. J. R. Mon- Plates by other hands sell — humorously self- included a tenderly styled as "an unofficial " realised McBey {Rainy artist —whose lengthy Day in Wales, Carnar- service in the Rangers von) ; some adroitly gave him opportunities handled views in Lille, to snatch intimate "notes" of his expe- by J. W. Bliim ; one of Muirhead Bone's riences. It is from these

"" ' ii>>AKK<> ' ' "^^ Piranesi-like subjects ' notes that the exhibited {Interior of St. James's studies were evolved, but

Hall) ; a second state of F. S. Unwin's Sils Basiglia, which it must not be considered that they were in any way

was almost of the seventeenth century in feeling ; the "worked-up." "Honest, unaffected records," describts strong study of SI. Mary-le-Strand {with Sky), by Francis them fully. Interest centred round the activities of Mr. Whistler, Monsell's division (56th). He showed us in one case a Dodd ; and divers works by such notables as

Goya, Sir F. Seymour Haden, Brangwyn, Augustus John, Parade for Battle, Arras ; in another. Firing over Trones

Claude A. Shepperson, D. Y. Cameron, W. Walcot, etc. Wood ; in a third. Back from the Trenches, cleaning Equip- One of the most striking earlier plates was A Bridge ment. All the seventy-one drawings were executed lightly near Salisbury, by Constable, bearing the following and apparently without labour. The rural background " written dedication : John Constable to Mr. Atkinson, of the Brigade Horse Show was particularly sensitive in July 20, 1833." touch, recalling \aguely certain traits of the old water- .\bout forty Impressionist paintings by Mr. C. Maresco colour school. Effecti\-e use of tree patterns had been Pcarce bore many traces of their author's determination made in A Hot Trek. The effective little design on the to extract the truth from his self-set subjects. When catalogue was worth remembering. an aspect of life has caught his fancy, Mr. Pearce spares no pains to realise it on canvas. Diversity of topic for Antiques at Waring's its own sake does not attract him. Struck by the inward- It is unusual for a modern business house to exhibit ness of such a resort as Verrey's, for instance, he gives in its fittings details of antiquarian interest. The great us no less than a dozen variations on the theme, many buildings occupied b}- Waring's (O.xford Street) hardly being taken from almost the same view-point. Especially suggest that such is the case with them, but, after a convincing were his rainy-day views, which were replete few minutes spent in the Antique Department, one with realisation. Rain, 1913, and a view taken From becomes aware that there are other things to see beyond the Leicester Galleries, were both intellectual in conception an interesting collection of movable furniture. A fine and spontaneous in execution. Some sunny scenes in open staircase with turned rails and carved brackets,

Kingston Market, a coup d'aiil called Spring in Chelsea, a stately pillared doorcase, and some interesting panelled and The Bookshop, were also of decided merit. rooms of early eighteenth-century type, were transferred Pamela Bianco—the thirteen-year-old prodigy—is here bodily from Waring's old premises in Great -Marl- growing up. Her style is doing likewise. Since her borough Street, none giving more trouble in the removing, exhibition at the Leicester Galleries in May, 1919, she however, than a painted ceiling, long attributed, though has appreciably altered her outlook. The sensitive without definite authority, to Thornhill's brush. In such Cretan-cum-Botticelli fancies she delighted to draw are settings the extremely varied collection of saleable now things of the past. She has become aware of at antiquities is displayed to great advantage. A large Queen least one modern movement, and her taste in patterning Anne wardrobe with brass fitments is specially pleasing has no longer the original naivete of her earlier days. of its superb colour and condition. Equally ANGELICA KAUl-HMAW BY HEKSKLF

In the Uffizi Gallery Soissa£

Curn'itt Art Notes attractive in its compara lively way is a bureau slight, being bookcase of the confined to a same period, couple of jjaiiels containing the on the upper usual amount of stage, decorated " secrets " but with views of finished in an gateways. These unusual 1 y quaint and satisfying man- ner. Old paint- at l-:well. ed sat in wood, reinaining and inlaid fur- niture o f vari- ous periods, and numerous other fine qual- ity articles in oak, mahogany, and walnut, KMulltl.m. recur to the memory. There The Collector's are tapestries Gallery too, many fine The second and early pieces. cxliibition held In addition to at tlie temporary

these, however, )f th^ some excellent reproductions Irry (II, Pavi- are procurable, 1 i n Road, Waring's being Knightsbridge. well known for S.W.I) con- their careful and tamed works by sy mpat hetic ' Tom Collier and restorations of v.. .M. Wimperis. badly damaged Some specially specimens in attractiveexam.

private hands. "^-V ^1^ for- NONSUCH COURT CUPBG.XRD .\T lEssRs. 1..AW, FOULSH.AM .XNU cole's P'*----* mer included a "Nonsuch" Furniture view on the fiats Xear Rye. which the late R.I. had invested The practice of inlaying furniture with " perspective with an austerity not always apparent in his treatment. views," which attained considerable popularity during Commencing with an early Welsh Mounlain sketch, the late sixteenth, and seventeenth century, has resulted the Wimperis's covered an extensive period of their

in many pieces being associated with the well-known, author's life. In addition to a mellow Landscape in oils though ill-defined, " Xonsuch " tj'pe. In several cases (1888), there were drawings of Southwold, the Sussex it can be safely presumed that the ascription has no Downs, and Gorse Cutters, which could not fail to attract

basis in fact, and that the scenes which cause it are admirers of one who ranked witli the most characteristically influenced by classic motives unrelated either to the British landscapists of his time. palace at Ewell or to the exotic erection on Old London Bridge. True, " Nonsuch " furniture generally ad"heres An Antique Business Exte

closely to type, and such diversity as it displays Is centred It is refreshing to notice that, in days when the cry of " in slight differences of detail—such differences as set " business depression is readily raised, more than one Col. H. C. T. Littledale's chest (described and illustrated firm dealing in objets d'art has actually taken steps to in the December number) apart from its fellows. increase its business efficiency. The enterprise displayed It is the more interesting, therefore, to reproduce by Messrs. Spink &. Son, Ltd., is specially noteworthy. an oak marqueterie court cupboard, which an authority In addition to their premises at 17 and 18, Piccadilly, and " " considers should be included in the Xonsuch category. 6, King Street, St. James's, they have now extended the In this case, the cupboard, which belongs to Messrs. latter gallery until it covers the south-west corner of, and

Law, Foulsham & Cole (7, South Molton Street, W.i), is continues some doors up, Duke Street. This enables the of unusual rarity. It is a handsome piece in appearance, firm to display its large and catholic collections to proper profusely inlaid and well proportioned, with something of advantage, proving, incidentally, that the rarest and finest a continental feeling in its ensemble. The element by articles of verlu are always marketable, and repay the

which it has been connected with "Nonsuch" furniture is expense of providing a sympathetic setting. llic Coi/iioissc/ir

WillUni Salt Collection will attend, ;is it is pro- of Engraved Portraits jxised to pass a new rule, The desire to form a and a discussion will take complete pictorial record place on a proposal of from remote times of the utmost importance to Britain's monarchs has all members. Mr. J. resulted not only in the Kochelle Thomas will read reconstruction of royal a paper on a matter of features from coins, interest to dealers in missal paintings, and antique works of art. monumental effigies, but The reception by the even in the invention of President and Mrs. P. A. S. " " portraits which are l^-hillips will take place still accepted by the the same evening at the unlearned as exact like- Koyal Palace Hotel, High nesses of our early rulers. Street, Kensington. The William Salt collec- tion of over2,75o engraved Notes from Madrid portraits, a portion of JoSK PiN.^zo comes of which is exhibited by a family of artists. He is Mr. Francis Harvey (6, St. the son of the well-known James's Street, S.W.i), painter of Valencia, Ig- includes a head of every nacio Pinazo Camarlench,

British ruler, commen- and his brother is the cing with the Anglo-Saxon sculptor, Don Ignacio dynasty, in addition to Pinazo, who is secretary numerous other celebri- to the Spanish Exhibition ties. The late Mr. Salt, in London. who died in 1863, obtained Born in Kome in 1879, many rarities from the Jose Pinazo studied in his Townley (1828), Stowc father's atelier, but came (1849), and Martin to Madrid as a (1853) ,^„^^^,^, BY JOSE ^.^^1^ young man, sales. He accumulated 260 and had individual exhi- portraits of Charles H. and his Queen; 120 of James H. bitions in this city, and m Barcelona, Bilbao, and Valencia. and his Consorts ; of 290 William and Mary ; 105 of Queen At his exhibition held in Madrid in 1919, the Queen of

Anne ; 160 of George IH. and Queen Charlotte ; and Spain acquired one of his paintings ; and his canvases 95 of George IV. and Queen Caroline. Mr. Salt's widow have been acquired for the Museum of Modern Art at presented the entire collection to Stafford, where the Madrid and for the Luxembourg at Paris. William Salt Library was opened in 1S72. As there His recent e.xhibition at New York had a definite suc- were many duplicates, it was decided lately to benefit cess. Here was his beautiful single figure. La de la Flor the endowment fund by disposing of the surplus. It en los Labios and his Alborada ("Dawn"). One of his IS these duplicates that Mr. Harve\ is now displaying. most delightful female figures, Rosaleda, painted with great freshness and spontaneity, is in the Real Circulo British Antique Dealers' Association Artistico (Artists' Club) of Barcelona. The Association and the art world have suffered a great loss through the death of Mr. Frank Dickinson, Old English Needlework the expert in Oriental porcelain, of New Bond Street. Two interesting examples of old English needlework The Association, of which he was for some time a member will come under the hammer at Sotheby's rooms in New of the Council, would have benefited more by his great Bond Street during January. The first, 15 ft. 8 in. by experience had not ill-health prevented him from giving 7 ft. I in., was made to commemorate the marriage in 1602 it his full services. of Oliver St. John, first Earl of Bolingbroke, to Elizabeth, Designs are bemg prepared for a suitable badge for the daughter and heiress of WiUiam Paulet. Their coat the Association, and for a bookplate for the Stoner of arms occupies the centre of the panel, and their mono- Memorial Library. Members are invited to make gifts of grams and crests are worked into the design. The borders books to the library suitable for reference purposes. A are worked with twenty shields of arms displaying the list of works already presented can be obtained from the various alliances of the noble family of St. John. The other Honorary Secretary, so as to obviate the presentation of panel is a beautiful example of Elizabethan petit-point. duplicates. The centre is occupied by a coat of arms. Gules, three A General Meeting of the members, followed by an lions passant or, the first and second bearing a crescent, sur- Extraordinary General Meeting, will be held at Prince's mounted by a helmet and crest, and surrounded by a fine Galleries, Piccadilly, at two o'clock in the afternoon of wreath of intricate design. To the right and left are two January 14th, and tea will be provided. The President reserved circles, showing fallow deer feeding beneath oak and Council hope that as many members as possible trees. This panel measures iS ft. in. by 4 ft. 7 in. "Modern Movements in Painting," by Charles Marriott pliatic sense of the word." The Barbizon school, "Universal Art Series." (Chapman & Hall, Ltd. 21s.net) who may be said to have been the first torch-bearers Mr. Charles Marriott's Modern Movemcnls in to the new artistic principles, did not carry them out to Painling practically forms a sequel to Redgrave's Century their full extent, contenting themselves with expressing of British Painters. Its scope is more extensive, cm- general truths, in which the modifying action of considered bracing, as it does, foreign as well as English work ; it design was still apparent. The three great figures of is more critical and less biographical in its methods, the Impressionist movement were Manet, Monet, and but it exactly fills the gaps between the art described Pissarro. The last-named brought science to bear on by Redgrave and the latest manifestations of the modern art in his experiments with " Divisionism," or, as it is spirit, and fills it ably and completely. There is hardly more generally but less correctly termed, Ponlillisme, a standard histor}- of this nature that gets beyond the that is to say, the use only of unmixed pigments, a aftermath of the pre-Raphaelite movement, or, at any composite colour such as purple being attained by laying rate, further than the apotheosis of Whistler. Mr. its components—pink and blue—side by side on the Jlarriott takes part of the nineteenth and the whole canvas, and leaving it to the eye to effect the mingling of the twentieth centuries as his field of survey, and brings This method was supposed to produce a more intense his story up to the latest manifestations of Futurism and lively hue than if the primary colours had been and Vorticism. He regards these new movements with mixed on the palette. In England the Impressionistic the impartial attitude of a judge, rather than the carping movement broke up into two divisions, one composed spirit of a critic, and sums up their aims and objects of men like Brangwyn, Sargent, Murray, Clausen, and fairly and concisely. It is not too much to say that Arnesby Brown, grafting the new tenets on to native the author gives in a few words a clearer idea of the traditions ; the other under the influence of Whistler, tenets of Vorticism than can be gained from a laboured striving to attain an art without nationality. The im- study of Mr. Wyndham Lewis's copious manifestos in portance of the latter idea was that it tended to make " Blast, and that we can learn more of the other similar painting much more narrowly professional than it had movements in this volume than can be gleaned from ever been before." It claimed that Art should be judged the lengthy expositions of their projectors. Yet it must by a purely aesthetic standard not comprehensible by not be thought that Mr. Marriott is chiefly concerned the ordinary layman, and elevated craftsmanship) as the crucial of the artist. Post-Impressionism, in chronicling eccentricities ; he only gives them their consideration proper place in the vast and complicated series of currents which came into being under the influence of Cezanne, of which modern art is composed, and so well arranges Gauguin, and Van Gogh, was largely a reaction from " his survey .that the reader is always enabled to distinguish Impressionism. Cezanne, with his insistence upon the between the flow of the minor eddies from the general volumes of objects, rebelled against the disintegration of course of the main stream. The modern artistic move- form which was the logical consequence of Divisionism. . . . ments may be said to all have derived their origin from Gauguin developed a style of rhythmical drawing the cult of Naturalism— the desire to paint nature as and emphatic design that was incompatible with the

it is—which largely owed its inception to the' art of close representation of the facts of nature ; and Van Constable. From this to Impressionism—the desire to Gogh showed a similar incompatibility in his insistence paint nature as it appears to the artist's eye— was but upon the intrinsic value of paint." Their revolt was, a short step, partly bridged over in Constable's lifetime, indeed, a logical result of the rediscovery, at the end for that artist in some of his pictures " did lay the of the nineteenth century, that facts were not absolute, particular emphasis upon truth to the momentary aspect but only relative, and " that the means of their perception, of things," and so gave rise to the theory of represen- the bodily senses, were themselves only relative to tation afterwards formulated by " such painters as unexplored regions of the mind." Impressionism had Claude Manet and Camille Pissarro, or rather by their switched off, or tried to switch off, everything but the of later followers." One of the essential divergences visual impression ; in the extreme developments from established tradition, shown in the new move- Post-Impressionism a similar mistake had been made ment, was that it largely banished formal design, for in switching off everything but intuition. In Neo- " though Naturalistic painting certainly admits of good 1 mpressionism the aim is no longer illusion, but decoration l^'uturism deliberate revolt composition ... it hardly allows of design in the and expression ; while was a The Coi/iioissr/ir against the traditions of the past, and an atUinpt to luo'lirn etchers, each plate by him must be considered to represent the phenomena of tlie present witliout their on its individual merits, and the collector anxious aid. In concerns itself not with " objects themselves, secure choice impressions will limit his option neither beauty of each but the forces and energies bj' which they are conditioned, to trial nor finished proofs, but let the not only in relation to each other, but in their very individual impression determine his selection. Mr. existence." Vorticism may be described as a " domesti- Dodgson, in order to finish his book at a definite stand- ' limited his list to works executed by the artist cated and more intelligent form of Futurism. . . . point, has ideal Its main principle would appear to be the imaginative before the war— 133 altogether—and it forms an reconstruction of nature in the work of art." catalogue raisonne. Not only is every plate fully described Mr. Marriott concludes his volume with the addition and illustrated, but when there are pronounced variations of a short biography of practically every artist mentioned between different states, these are also illustrated, so given the in the text, with illustrations—some of which are in that sometimes several reproductions are of reader to follow out colour—of representative works. This is a most useful same subject, which enables the addendum to a book which in itself is one of the most all the different variations in its progression. Mr. valuable contributions to modern artistic literature. Dodgson's introduction is also a model of its kind, giving Mr. Marriott deserves warm congratulations on the able an interesting and well-balanced critical account of and impartial manner in which he has handled a highly Mr. John's career as an etcher, and tracing out the different controversial subject, and on the clearness and cogency developments of his style. One may cordially agree

of his exposition. It is a book w^hich should find a place with the writer that the present value of Mr. John's on the shelves of every art student's library, and which etchings is likely to appreciate in the near future. He no one interested in the modern developments of painting is one of the most original of living artists, and his can afford to ignore. individuality reveals itself nowhere so explicitly as in his black-and-white work. It is only within a com- "A Catalogue of Etchings by Augustus John, 1901 1914," paratively short time that his etchings have been placed by Campbell Dodgson. (Charles Chenil & Co., Ltd. on the market in a businesslike manner, and now that £6 6s. net edition de luxe; and £3 3s. ordinary edition) the original issues have been practically absorbed, one Mr. John's etchings belong to the category of things may naturally expect a steady rise in their \-alue. that matter. They may be liked or disliked, but they .can never be received with indifference. More than "The English Interior," by Arthur Stratton. (B. T. almost any other work in this medium, they are memo- Batsfcrd. £4 4s. net) " randa of the artist's personal feelings. His sole idea B.\coN, in stating that houses should lie Iniilt to when he produced them was to please himself—a difficult live in, not to look at," reminds one that it is the interior task, for while some of his subjects have been easily of a residence rather tlian its fa9ade that .should occupy and fluently expressed, others needed five or six essays the architect's principal attention. This point has often is to be commended before he gave utterance to what satisfied him ; but no been lost sight of, and Mr. Stratton theme has been left until the artist has realised his con- for calling attention to it in the complete and beautiful

•ception. Then it would seem that he takes no further manner exemplified in his sumptuous volume on The traverses not exactly covered interest in his work ; otherwise one could hardly under- English Interior. It ground stand the many items appearing in Mr. Dodgson's by any similar work, and its large size allows the author catalogue, of which only one or two impressions are to provide a wealth of important and finely executed recorded. In some instances the number of known plates that exhaustively illustrate the text and furnish impressions from a fine plate dwindles to zero, and the an unrivalled epitome of the best periods of English copper itself has either been deliberately marred by domestic architecture. Probably no other living writer the artist—probably in that temporary reaction of could bring to bear on the theme a greater profusion of disgust that follows the creation of all art of a highly exact knowledge and yet convey it so clearly and con- original nature — or has been suffered to deteriorate cisely, and in such an interesting manner, to the general until unusable. This carelessness on the part of Mr. John reader. Mr. Stratton has succeeded in summarising the has deprived the world of some fine creations, and has whole history of English interior architecture into a few given to others an exceptional rarity. But his more recent lucid chapters, tracing its de\elopments in full detail plates have been generally more carefully preserved, and expounding them so clearly that even a casual yet even from these only a comparatively small number reader cannot fail to attain a comprehensive idea of the greatly assisted his of impressions has been struck ; the issues rarely, if subject. In this he has been by ever, exceeding fifty, and generally being limited to happy choice of illustrations, for included among them twenty-five. With an artist of the temperament of are examples of all the styles and variations mentioned Mr. John, it follows that the different states of his plates in the text, generally executed on a sufficiently large are by no means to be valued in the order in which they scale to show even minute detail. In this way the letter- were issued. In some subjects every successive state press and illustrations are thoroughly coraplementajy to marks the gradual development and perfecting of a one another, and each is admirable of its kind.

•concrete idea, and the final and finished state is indis- Mr. Stratton's survey commences with the Tudor era, putably the best; but in others the etcher has reached when noblemen's mansions first underwent the processes the higher pitch of artistic excellence in the earlier of transformation from fortresses into gentlemen's resi- stages, and the succeeding additions have only weakened dences. They still, however, retained one important fthe effect. Hence, more than the large majority of feature of the former epoch in the great halls, originally a;

llie CoiDioisscitr BooksJi elf built to accommodate the militarj- followers of their the first half of the nineteenth. He may be congratulated owners, when dining in state with their lords. Generally in having made thoroughly comprehensible to twentieth- occupying the full height of the buildings in which they century readers what is the most intimate and attractive were situated, these halls dominated not only their plans. book on English artistic life of a hundred years ago that but also their external elevations, and until well on in has yet been written. For Smith, if not a Boswell, Stuart days received a higher degree of decoration than possessed qualifications for his task wanted by the Scottish any other portion of the buildings. This was because writer. Instead of coming on the scene as a stranger their great size and height allowed more ample scope well on in his manhood, he was brought up in an artistic for it than was afforded by the smaller apartments. environment, apprenticed to Nollekens as a boy, and Their decoration was largely of a structural nature— remained in close touch with him and his circle until fortunate circumstance, for it did not permit of easy the sculptor died. Perhaps it was the intimacy of his alteration. Consequently a large proportion of the old knowledge which made him think that his readers would halls that survive remain in their pristine condition, understand matters which really require explanation, while the smaller apartments which immediately succeeded and so leave his book in that tantalising state in which them have been largely improved out of recognition. the points of various anecdotes arc not quite clear because Here it is that a guide like Mr. Stratton proves so the reader wants further clues to comprehend some of instructive, for he is able to point out all the additions the details. But this ellipsis having been supplied by made in a subsequent age, or when, as was sometimes Mr. Whitten, the book no longer suffers froni it. The the case, contemporary material was taken from other story of Nollekens, the most fashionable sculptor of his rooms in a house to continue the original work, in a day, to whom all celebrities sat, and who accumulated manner not contemplated when it was designed. a large fortune, and who yet was one of the most notorious The wealth and order created during Elizabeth's reign misers of his time, makes highly interesting reading. ga\-e rise to extraordinary developments in building He was a shrewd man too, having frequent opportunities the English traditions were largely modified through the of meeting the best-known people of his time, and keen influence of foreign workmen, and the chaster style of and incisive in his judgments. Smith recorded them the Tudors gave place to an over-exuberance of orna- all, and also his petty economies, and those of his still mentation. To Elizabethan builders we owe, if not the more miserly wife, with the accuracy of a camera ; while invention, at least the establishment of long galleries incidentally many old Londcm manners and customs and corridors as integral features of gentlemen's mansions, long since passed away are also mentioned. The present

and also many of the comforts and conveniences of , edition has not only the advantage of Mr. Whitten's modern dwellings. Their exuberance was corrected in notes, but also of a large number of cxcollont illustrations the purer Palladian style introduced by Inigo Jones, taken from contemporarj' sources, whicli add much to wMiich, adopted by his successors, dominated English its attraction. domestic architecture for a lengthy period. The age of Anne saw comfort generally sacrificed to elegance, and " Print Prices Current," Vol. II. (F. L. & E. L. 'Wilder, one feels that even in Georgian times, when Chambers 10, Forest Rise, E.17. 27s. net) and the Adams fostered the taste for classicalism, too Though deprived of the editorship of Mr. E. II. Cour- little was done to remedy this defect. Though Mr. villc, through his unexpected and untimely death, the Stratton writes with excellent judgment, his opinions second volume of Print Prices Ctiyrent, under the able are by no means stereotyped, and in many instances he directorship of Messrs. F. L. Wilder and E. L. Wilder, highly praises the work of architects at present not has been greatly enlarged, and fully maintains the high sufficiently appreciated. If one wanted to find a blemish standard set by the previous issue. Concise in form, in the book, it would be that the interiors of the smaller handy for reference, and clearly printed, it provides a mansions are not sufficiently represented ; but against most valuable compendium of the year's prices for this might be urged the plea that the best and most dealer and collector. The present volume records the correct work is contained in the larger houses, and that prices realised by all engravings of interest sold in Eondon once the clue to the true style is given, it is comparatively and Glasgow between September, loicj, and August, ea.sy to modify the dimensions of a design. i(j20. About 7,ooo prints are catalogued, and as they are entered under the names of their engravers, and arranged

"Nollekens and his Times," by J. T. Smith, edited by in alphabetical order, while the individual items are Wilfred Whitten. '2 vols. John Lane. £1 lis. 6d. net) separately indexed under the names of their artists,

This new edition of John Thomas Smith's entertaining there is no excuse for not turning up a reference easily work is also emphatically the best, for Mr. Wilfred VVhitten and expeditiously. The %olume appears to have been has edited and annotated it in a manner to make such admirably edited, and the annoying misstatements and obscure allusion as it contained perfectly clear to the wrong descriptions, which so fretiuently appear in reader, and to throw light on the career of the numerous auctioneers' catalogues, entirely eliminated. Turning to personages mentioned, who in Smith's day were still remem- the prices realised, one finds that the phenomenal popu- bered by his readers, but have since then utterly faded larity of eighteenth-century English mezzotints and away from pubUc memory. Mr. Whitten's introduction colour-prints and modern original etchings still continues. and notes add nearly half as much again to the original A first-state of the mezzotint of Tlic Three Ladies U'alde- biography, and. being well indexed, constitute in them- grave, by 'Valentine Green, after Reynolds, realised no selves a mine of information concerning the doings and less than i-2.,i5Z los. Among plates printed in colour, characters of the last half of the eighteenth century and J. R. Smith's translation of Norland's Innocence Alarm'd The Connoisseur made £Ti-i; the pair of The Angler's licpasi and A Party made of linen, and though in many instances decorated Angling, by W. Ward and G. Keating, after the same, all over with woven or printed patterns, were more of Wheatley's tliirtecn Cries London, usually plain, ornamentation in main being confined ;f 1,050 ; and nine of the

£1,312 los. ; while some striking instances of the to accessories. On the other hand, the decoration of appreciation of modern etchings were afforded by the Assyrian costume was lavish, while its types were prac- second series of Whistler's Venice plates attaining £3,570 ; tically limited to two, the shawl and the tunic. The

Zorn's Maja von Heijne, £265 ; D. Y. Cameron's Ben Ledi, Persians added an additional type—the coat—to the Great Gantrey, style £294 ; and Muirhead Bone's £173. Egyptian quartette, and adopted the Assyrian of decoration. There was little distinction between the " An Embroidery Book," by Anne Knox Arthur. garb of the sexes, and the garments were few and simple. (A. & C. Black. lOs. 6d. net) The authors illustrate them in sixteen colour-plates and

Miss Aktiur's Embroidery Bouk is not concerned with over forty line blocks, all very clear and explicit in their the historical side of needlew^ork, though incidentally detail, and often conveying suggestions of beautiful it throws a good deal of light on the methods by which designs and patternings which might well afford effective the skilled seamstresses of former days produced their ideas to modern dressmakers. To antiquarians, artists, tours de force. It is a thoroughly practical manual for and costumiers the book should afford valuable material. the student or housewife, showing the way to execute The colour-work is admirably e.\ecuted, and, considering practically all the forms of fancy stitching known. Every the general excellence of its setting, the work is published method is both clearly described and illustrated by at a very moderate price. diagram, so clearly that it is easily comprehensible to a novice. Whether readers want to execute an elaborate "Londoners Then and Now, as Pictured by their Con- creation in embroidery, or merely to add a little orna- temporaries," with a Commentary by Malcolm C. mental stitching to a child's under-garment, they will Salaman. Special Number of "The Studio." ("The find innumerable methods from which to choose. One Studio," Ltd. 10s. 6d. in wrappers, and 15s. in cloth great advantage of Miss Arthur's teaching is that she binding)

is not an advocate for the use of costly materials. She The latest special number of The Studio—Londoners suggests " that charming things can be made out of Then and Now gives a wonderful pictorial representation homely cloths, remnants, and oddments," and in her of the inhabitants and scenes of the metropolis for the

list of textiles suitable for embroidery gives such cheaply past three hundred years, beginning with Joris Hoefnagel's priced substances as " greenhouse shading " (the soft drawing of A Wedding Festivity in Bermondsey, and creamy substance used to protect glass-houses from the finishing with a lithograph by Randolph Schwabe, " " sun), roller towelling, and worn-out Scottish blanket; while depicting the Bank Holiday swings in vogue in 1920. for embroidery thread she would apparently as soon use There are altogether nearly one hundred full-page plates, wool or silk. The author gives valuable hints about including eight in colour. These are generally well original designing, and there are a number of plates in selected and admirably reproduced, while Mr. Malcolm C. colour illustrating suitable types. It may be recom- Salaman furnishes an interesting historical commentary, mended as a useful and practical work, highly suitable touehiiii,' cm the manners, customs, and scandals of the as a present for a girl in her 'teens, and which seamstresses town. Tlii> well-informed writer conveys a good deal of older years would be well adx-ised to purchase for of iii^tiuLti\e information in a lively and entertaining themselves. m.iniin, ti IIiiil; about old theatres and places of enter- t.uiiTiL.iu, li\.:..iu- elections, pageants, and executions, "Ancient Egyptian, Assyrian, and Persian Costume," .mil all tlir \aiied life of the town, with a picturesque by M. G. Houston and F. S. Hornblower. (Adam & \ividne^s that both elucidates and supplements the Charles Black. 10s. 6d. net) illustrations. The latter are weak in their representation

From statuary, ushabtiu, and tomb paintings it is prob- of the earlier periods cos'ered, only a single illustration, ably easier to gain a correct idea of Egyptian costume worn and that of nmia- aiahitit tuial than humanitarian interest, several millenniums before Christ, than of Anglo-Saxon doing dut\ Im th.- whol. .ii the seventeenth century. attire previous to the battle of Hastings. In their book The somewhat oxir-luU iNeniplilication of the Hogarthian on Ancient Egyptian, Assyrian, and Persian Costume, era might well have been reduced in favour of this Miss Houston and Miss Hornblower have compiled what picturesque epoch. From the second quarter of the well might be called a fashion-book of these ancient eighteenth century and onwards, however, few gaps countries, epitomising our existing knowledge into a series have been left in Un ]'aii if London hfe, and every

1 1 , p^ m , n 1 plebeian or aristocratic, of practical plates and diagrams which could be quite generation of the .[ easily followed by tailor or dressmaker, and which convey seen indoors or m ila d street, is pictured in quite as vivid an idea of the ancient garb of the East the most graphic drawi some of the best con- as a lady's paper gives of current Parisian fashions. For temporary artists. one thing, these garments of former days, conceived for countries where only a minimum of clothing was a "The Art of the Low Countries," by W. R. Valentine. necessity, are much simpler than modern Western attire, (Alexander Moring. lOs. 6d. net) designed for protection against the inclemencies of The eleven essays by Mr. W. K. \'alentine accumulated climate as well as for adornment. Egyptian garments together under the above title are reprinted from various were roughly divided into four types, those of the tunic, German, American, and English publications. However, robe, skirt, and shawl or drapery. They were generally thev will be fresh to most British readers, and form in The Connoisseur Bookshelf

the aggregate an interesting and lucid survey of some I-eslie M. Ward. Mr. Percy Smith treats on drypoint. important phases of Flemish and Dutch art. No less Miss Stella Langdale on aquatints, and Mr. Hugh Paton than three are devoted to Rembrandt, the most inter- on what he calls " supplementary processes," though as esting of which is the story of the artist at the Latin these include such important and independent processes school, which goes to show that he was far more highly as mezzotint, the title may be regarded as a little am- educated than is generally supposed, and accounts for biguous. The \-olume is well illustrated and nirolv the various classical themes that he selected as subjects for pictures. The other two are monographs on his picture of the Blinding of Samson and his various "A History of Everyday Things in England," written representations of Susanna. A highly important paper and illustrated by Marjorie and C. H. B. Quennell. deals with "The Haarlem Schoolof Painting," tracing out (B. T. Batslord. 8s. 6d. net) its various developments until towards the close of the A Ilislory of Everyday Things in England, \)\ -MurjurR' sixteenth century, when it sank into a period of decline and C. H. B. Quennell, gives a series of vivid pictures of

till rehabilitated by the genius of Frans Hals. The the domestic and social life of the country from the Norman works by Rubens and Van Dyck in American collections, Conquest until the close of the eighteenth ccnturj-. the "Satirical Work of Quentin llatsys," and a considera- Though primarily intended for girls and boys of public- tion of "The Brothers Govertand Raphael Camphuysen," school age, it is presented with an accuracy and com-

afford the themes of other pictorial monographs ; while the pleteness that should make it interesting to adult readers. remaining themes are afforded by " Linear Composition in The writers describe the architecture, costume, food, Dutch Art," "The Church Architecture of the Netherlands games, methods of transit, domestic appliances, toys, and in the Middle Ages," and "Dutch Ceramic Tiles." Mr. arras in use at different epochs, and elucidate their text

Valentine is an authority on all the subjects on which with numerous apposite illustrations ; so that whether he writes, and his essays are informed with first-hand the reader wants to discover in what manner William knowledge and research. He has something fresh to Rufus hunted the deer in the New Forest, or how the " say on all recondite points—something that is valuable Vicar of Wakefield and his family played Hot Cockles," because it is the outcome of original thought and deep he is equally certain to come across graphic accounts erudition. His essays are informative alike to the reader of the procedure. The illustrations are both numerous desirous of gaining his first knowledge about a particular and well selected, and are arranged with unusual care

theme, and the more advanced student who is anxious to amplify and elucidate the text, as well as to embellish

to bring his knowledge up to date. The volume is well •it, while numerous cross-references enable the reader to illustrated and nicely mounted. easily compare the plates illustrating similar objects in their varied guises at different periods of history. The "On Making and Collecting Etchings," edited by E. book should form an accompaniment of every school Hesketh Hubbard, A.R.E. (The Print Society, Bridge library, and indeed of every school outfit, while many House, Ringwood. I7s. 6d. net) adult readers would find their comprehension of the This new work on etching and engraving has the objects mentioned in historical objects quickened and advantage of having been written by ten of the leading exponents of the mediums on which it treats. Hence it is based on practical and well-tried experience, and "Women of India." by Otto Rothfeld, F.R.G.S., LC.S.; may be regarded as an authoritative exposition of a illustrated by M. B. Dhurandhar. (Simpkin, Marshall,

theme of vital interest to print collectors. Where it Hamilton, Kent & Co., Ltd. 3Cs. net) differs from most other books dealing with similar subjects It is too often forgotten that India is less a country is that the history of the mediums is touched upon as than a continent, inhabited by numerous races having little well as their technique ; there is an excellent bibliography, or no connection with one another and widely and also a chapter of excellent advice to collectors con- dissimilar in creed, manners, and costume. On the cerning the mounting, storage, and preservation of prints. last-named point the handsome book, which is the joint

Where so much is given, it seems folly to ask for more, production of Messrs. Otto Rothfeld and M. V. Dhuran- yet one regrets that in a work intended to serve as a dhar, gives much picturesque and interesting information. species of vade mecum to the print collector no mention Mr. Dhurandhar is responsible for the fifty illustrations colour, is made of lithography ; while in the paragraph devoted in each representing a different type of the women to mixed processes, some allusion might have been made of India. They show a wide variety of costume, some to the combination of etching, mezzotint, and stipple so of the aboriginal tribes being clad in attire not greatly frequently used by Victorian engravers. On other points differing from the primitive simplicity of savagery, the book is generally as full and explicit as well could while the raiment of others is more elaborate than that be desired, while it contains descriptions of several of the high-class European. Mr. Dhurandhar's drawings processes—such as monotype, gelatine drypoint, and are pleasantly and harmoniously coloured, and give the glass-paper mezzotint—about which little is generally garbs they depict with great minuteness and accuracy, known. Mr. E. Hesketh Hubbard, who edits the volume, impressing the reader with a vivid idea of the costume is also responsible for the bibliography and a chapter of the female portion of our fellow-subjects of India. "On Collecting and Storing Etchings." Their description, Mr. Rothfeld has had a more complicated task than history, making, printing, and decorative effect are Mr. Dhurandhar, for he has to tell not merely of costume, respectively dealt with by Messrs. Matthew Henderson, but also of the customs and manners of their different Edward Ertz, E. W. Charlton, Reginald H. Green, and wearers, and this he does very lucidly and thoroughly, The CoHiioisseur dcalins also with the marriage question and the changes Gilbert's liab Ballads, but one fancies that he would that the influx of European ideas is Hkely to effect on have done better with an original theme. Aladdin the population. The joint labour of author and artist only allows small scope for a humorous writer, and even has provided an attractive and instructive work, and Barham in the mock heroic verse of the higoldsby Legends one's only rei!ret is that the publishers have not provided hardly succeeds in retaining the suffrages of a modem it with an index. audience. Mr. Ransome, however, always writes fluently and naturally, and his rhymed version of the most popular "Chats on Old Slielfield Plate," by Arthur Hayden. tale in the Arabian Nights makes easy and pleasant (The "Chats" Series. T. Fisher Unwin. 2Is. net) reading. Yet perhaps the greater attraction of the The latest addition to the well-known "Chats" scries volume is constituted by Mr. T. Mackenzie's illustrations. is a work on Sheffield plate from the versatile pen of These, both in colour and black-and-white, reach a very Mr. Arthur Hayden. Few writers have so successfully high standard, the artist always attaining a richly mastered the art of conveying solid information in a decorative effect that has a suggestion of Oriental splen- lively and entertaining manner as Mr. Hayden, and his dour, but is not essentially Chinese in character. His book, while forming an admirable introduction to the colour-work, indeed, is more reminiscent of the nearer subject, makes excellent reading. One ot its most useful East—of Persian or Indian illuminations, though this

features is the series of old plate-marks given at the resemblance is not carried far enough to be imitative. end of the book, and it appears a pity that these could Generally the artist composes his background in light or iiot have been extended, even at the cost of sacrificing flat tones, setting against them brilliant and jewel-like some of the sterling silver marks included, as the latter passages of colour such as may be afforded by the plumage have no direct bearing on the subject. The story of of tropical birds, the petals of flowers, or gorgeously the invention of Sheffield plate by Thomas BolsoNor, or arrayed figures. The effect gained is invariably one of Boulsover, and its subsequent improvements by Joseph harmonised splendour, the colour accents being never Hancock of Sheffield and Jlatthew Boulton of Birmmg- too strident or pronounced. In his monochrome work ham, arc told at full length, and an elaborate account Mr. Mackenzie shows a penchant for strong masses of given of the processes of manufacture. Then chapters black, and arranges them with much decorative effect. are devoted to the different articles made, in which He often shows great fertility of invention in introducing valuable clues are afforded for determining the dates quaint and humorous fancies, while in other work he and the manufacturers of the pieces produced. A capital contents himself with pieces of pure patterning. The array of illustrations exemplifies a wide variety of typical work is handsomely bound and finely printed, while pieces, a large number of which are taken from collections the paper used is of the highest quality. It certainly not accessible to the general public. Altogether Afr. forms one of the year's most regal gift-books. Hayden's book must rank as one of the best of this useful series. A couple of errors which, though of little " Old English Furniture and its Surroundings, from the importance in themselves, may as well be corrected in Restoration to the Regency," by Mrs. Maclver Percival. a future edition, are the suggestion that the Pretender (William Heinemann. 30s. net)

passed through Sheffield on his way to Derby in 17.1.5, Mrs. MacIver Percival's book is of a much wider and the statement that in 168S Louis XIV. had all his scope than the orthodox work on furniture, for in her silver plate melted down and " made it compulsory that definition of it she practically includes all household

the fine plate of the nobility should be sacrificed too." appointments ; and describes the china, glass, silver, Fortunately for Sheffield, the Scottish invasion penetrated upholstery, and floor-coverings of the periods she covers, into England a considerable distance to the west of the as well as the chairs, tables, and other utensils that are town, while the holocaust of French plate was not con- usually included under the heading of furniture. As summated until 1709, and even then was a very partial she points out in her preface, old furniture is not seen affair. The nobles were allowed the option of giving or to advantage unless arranged in a suitable milieu, and selling the plate to the Treasury or retaining it in their the charm of a piece may often be taken away by it being own possession, and most of them adopted the latter upholstered in material of a wrong period. Taking, as course. Saint Simon relates that he sent some plain she does, such a wide field of survey, the author cannot old-fashioned plate to the Mint to the value of about be expected to deal with every portion of it in the same 1,000 pistoles, and locked up all the articles he really detailed manner as a writer who is concerned with plate,

valued. furniture, china, or silver alone ; but Mrs: Percival has the gift of recording essentials, and has managed to convey "Aladdin and His Wonderful Lamp," in Rhyme, by as much information about each of her numerous subjects

Arthur Ransome ; illustrated by T.Mackenzie. (The as is often contained in a more specialised work. More- edition limited to 250 signed and numbered copies. over, she is strong on points where many writers are Nisbet & Co. £3 3s. net) weak, giving valuable hints about textiles and draperies, The handsome bindiu'j ^ind inimnUnj dl tliis sumptuous including the arrangement of table napery, which are

xemionoi Aladdin cut. I Ih W /, , ; />,;,/' emphatically generally overlooked. The volume, though printed in

places it outside the .,ii. . i- .1 _iii I I,, suitable for unusually large and clear print, is handy in form, clearly

children; yet if served up n 1. liiiml>l( yuise, there arranged in four period sections, and very well illustrated.

is no reason why it should not apj)eal e

Bright was guide. The possessor of a copy will at least be saved connection with the career of the artist. from such anachronisms as putting reprcdnctions of a brilliant and versatile painter, a follower of Cotman Jacobean embroideries on Chippendale chairs, or seven- rather than of Crome, and. on this account, critics who teenth-centurj' pewter on a Sheraton sideboard, which are wholly associate the productions of the Norwich school among the instances of bad taste cited by the author in with the traditions established by the latter artist her preface. have not been remiss in failing to recognise Bright as a member of this accomplished coterie. He was one, trusted "The Password to Fairyland," by Elizabeth Southwart, however, and one of the greatest, and it may be illustrated by Florence Mary Andersen. (Simpkin, that Jlr. Roe's pamphlet will do much to establish him Marshall, Hamilton, Kent & Co., Ltd. I5s. net) Since Sir Arthur Conan Doyle has produced photo-

;.,'raphs of fairies which he states were actually taken " Art and Decoration," by Oscar Wilde

from life, it may be presumed that books purporting to (Methuen & Co., Ltd. 6s. 6d. net) tell of the doings of the denizens of fairyland will possess This tasteful little volume contains much of Oscar an added attraction to juvenile readers. Miss Elizabeth W'ilde's work that his admirers would not readily see " Southwart's story of The Password lo Fairyland should perish. The essay on London Models," the .^merican therefore be ensured of a hearty acceptance. As its lectures, various articles on women's dress and on house

publishers state, it owes nothing either to Alice in Wonder- decoration, an early dramatic piece or so, and a large land or the Water Babies, but goes back to the traditions collection of ingenious epigrams, constitute its principal of an earlier era. The fairies described are identified contents. It embodies much that is witty and paradoxical, " with flowers and other denizens of woodland and pool and not a little truth. The saying that in examinations " who take a benevolent interest in human affairs. Their the fooli.sh ask questions that the wise cannot answer fastness is invaded by a little girl named Elaine accom- may have once appeared an impertinence. Who, since panied by a neighbour's mule, and they aid her in the Government boards have been in vogue, can deny its

reformation of a rich old gentleman. It is an attractive substantial accuracy ? On the other hand, one may " story with plenty of incident. Miss F. M. Anderson disagree with the assertion : Only mediocrities progress. provides a number of dainty and fanciful drawings in An artist revolves in a cycle of masterpieces, the first colour and black-and-white. These are \ery charming of which is no less perfect than the last." Wilde himself conceptions, ably carried out, and will probably prove disproved the truth of this, though perhaps if he had an equal attraction to a juvenile audience as the letterpress. .confessed that the artist was long in the making, and that some men remain students through the greater part "'Walker's Quarterly'—Henry Bright," by F. Gordon of their career, few would not have cordially assented Roe (Walker's Galleries. 2s. net) to its accuracy. Wilde, in this volume, is still the brilliant Henry Bright, if not quite the latest of the Norwich student, witty, paradoxical, but not full master of that school of painters, may be regarded as the last capable brilliant style which was to make him in the future one exponent of its traditions. He died nearly half a century of the greatest masters of English pro.se. ago, a sufficient time to elapse to determine his standing in English art, and quite long enough to make the task "Rubaiyat of Omar Khayyam," illustrated by Rcnald of collecting the particulars of his career far from easy. Balfour. (Constable & Cc, Ltd. 21s. nett It has been essayed by Mr. F. Gordon Roe in the first Edward Fitzgerald's free translation of Omar number of Walker's Quarterly, and the proprietors of Khayyam probably enjoys a present-day popularity this publication are to be congratulated on occupying rivalled by no other English poem, for the number of this issue with a capable and interesting biography of editions of it is phenomenal, and the cry is "still they this able painter. Bright is among those minor masters come." Of the.se, a good proportion are illustrated, and whose reputation has passed through that temporary though many well-known artists have essayed the task period of declension which seems to attend the fame of transferring Fitzgerald's glowing fancies into another

of most artists at their death, and is now gradually medium, it cannot be said that any one of them has reaching its proper level. The date of his birth is un- succeeded in producing an illustrated edition which has

certain. Bryan places it at i8i^ ; other authorities give permanently impressed itself on the popular imagination. it as iSio. Mr. Roe has hunted out his birth certificate, The latest aspirant for this coveted distinction is Mr. but unfortunately the register being Nonconformist, of Ronald Balfour, who has obviously essayed his task in which little care was taken at that period, the date of no half-hearted or perfunctory manner. One would the entry can only be guessed at from the fact of it being imagine that it has been a labour of love, for his work

sandwiched between others belonging to the years iSii is executed with a fineness and elaboration of detaH and 1812 respectively. The writer has incorporated in that must have consumed much time and patience. his biography all the recollections of the artist's grandson, On this account it is to be appreciated more on a second first glance Mr. J. H. C. Millar, which include a good deal of in- or third turning over of the pages than at the ; formation not previously committed to print, and also for Mr. Balfour possesses an inexhaustible fancy, and the the reminiscences of the artist's other surviving relatives. odd corners of the compositions, which by most people He has discovered a contemporary' namesake of H. Bright, would be filled up with conventional ornament, afford whose work in part has been certainly passed as the him opportunity for the introduction of numerous figures, production of the more distinguished man, and has done quaint or serious, all beautifully executed and worthy yeoman service in clearing up other material points in of minute examination. It may be correctly surmised ) )

The Coinioissci/r

from tliis that the artist usually employs a fine line in his The current catalogue of Mr. T. H. Parker (12a, Berkeley work this ; he relieves with masses of dead black intro- Street, Piccadilly, W.i) is devoted to old naval prints, duced with great effect. In a few of his designs, red and and contains nearly 2,000 entries. As with other cata-

other colours are sparingly introduced, and a few are en- logues issued by this enterprising firm, it is well indexed, tirely executed in colour. In the latter, Mr. Balfour uses and, being divided into sections, forms a useful work of an extensive palette, but introduces bright tones only reference. The strongest section is that devoted to sparingly. His designs are always exquisitely drawn, and portraits, which enumerates presentments of nearly everv are invested with a considerable amount of recondite naval celebrity in English history, in some instances a significance. Perhaps the simpler are generally the more dozen or more different portraits being offered of the effective, yet among the others are many which will same individual. The section devoted to Naval Battles especially appeal to confirmed lovers of the poem. Mr. is also a strong one. Other sections comprise Naval Balfour must be commended as having tried to penetrate Events, Ships of the Royal Navy, Merchant Ships, Yachts, beyond the surface-meaning of the words he illustrates. Views, Costumes, Decorative Works, Caricatures, and

Books. One attractive feature of the catalogue is the large Printsellers' Catalogues variety of prints enumerated ; there are rare and valu- Messrs. E. Parsons & Sons (45, Brompton Road, able engra\'ings for the frame and folio, and also a wide S.W.3) issue an unusually full and attractive catalogue selection of smaller plates suitable for extra illustration. of engravings and etchings comprising nearly every variety that is likely to be attractive to a collector. Rare Stamps

Over 800 items are included, which comprise a good On February ist, 2nd, and 3rd. Messr.";. Harmer, Rooke selection of foreign portraits English and ; a number of and Co., the philatelic auctioneers, of Fleet Street, are fancy subjects and eighteenth-century rural and genre selling a very important collection of Europeans and scenes in mezzotint and stipple, some of wliich are Great Britain, and in the latter practically every stamp printed in colour ; a section devoted to French eighteenth- issued is represented. In Great Britain the very rare

century engravings, another to old English sporting Edward officials are included. In Roumania there is the prints, and a varied selection of English and foreign complete Moldavia set, and the Turkish section contains views both in black-and-white and colour. The naval the pick of the official collection, which was brought to and military prints include various choice items, while this country by the Turkish Government officials about there is a good collection of foreign and English etchings, fifteen years ago. The French section includes some which range from examples of early masters, such as wonderful tete-beche strips and blocks. The sale cata- Rembrandt and Diirer, down to the work of living artists. logues are illustrated with twelve pages of photographs.

Forthcoming Art Auctions and Exhibitions (January)

Arthur Sun. Ackermann & —Sporting I'ainting.s by J. I'ernelev, llampstead .Vrt Gallery. — Pastels by Edith Granger-Taylor. J. \. Sartorius, II. Aiken, D. Wolstenholme, etc. Harmer, Rooke & Co., Ltd Stamp Sales (5th, 6th, 8th, Bromhead, — Cults & Co., Ltd. —Children's and other Book 12th, 13th, 15th, 19th, 20th, 22nd, 28th, 29th). (Sec Illustrations by Walter Crane (17th). Advertisement pages. ) Brook Street Art Gallery.—Water-colours by E. Conner (3rd Leicester Galleries. —Works of Pablo Picasso ; Irish Life and to 31st). Landscape of Paul Henry. Burlington Galleries. —Foster Smith's Collection of Tersian McLean Galleries. Paintings by French and Dutch Masters. Rugs and Paintings. —

Puttick & Simpson—Stamps (4th, 5th, 18th, 19th) ; Books Chester Galleries.—The Work of a Group of St. Ives (Cornwall) (12th. 13th): Musical Instruments 27th) ; Artists, and Water-colours by Kate Wilcox. (13th, Antique Furniture, Porcelain, and Objects of Art (14th, 28th) ; Debenham, Storr & Sons, Ltd Sales — of Musical Instruments, Pictures (I9th) ; Engravings (21st) ; Silver and Jewellery Paintings, China, etc. (3rd and following days) ; Household (27tli). (.SVc- Advertisement pages. Furniture (7th) ; Jewels, Silver, Plated Ware (4th, 5th, 0th, Sotheby, l; ' v' , 11th, 12ih, 13th, 18th, I9th, iiOth). Wilkinson & Hodge, M<^ imiu

(',(-•, • , . ding properties of the , || |,:t,il, the "Dorien Leigh "Galleries. James Reynolds, Period Costume I I 1 , ,. — Baroness Amherst of Ha. , I: , ([7lh, Designs; Lubov Letnikoff, Paintings (to 14th); First ii:i >i - 18th, 19th): Engravings ami i iml: rJo! i;. jl 1 ; Hooks Exhibition of Polish Graphic Art, under the auspices of and MSS. (24th, 25th, 2lHli) : 1 lima and Works ol Art Polish Government (Jan. 18th to Feb. 14th). (27th, 2Sth) ; Early English Theological Works from the Kldar Gallery. — Paintings and Drawings by Eugene Boudin. Britwell Court Library (Jan. 31st, Feb. 1st and 2nd). {See Advertisement /

Registered for transmission to Canada and Newfoundland at IVIagazine Post Rates. Printed by Bemrose & Sons Ltd., 133, High Holborn, London, W.C.1, and Derby, and published by the Proprietor, W. Claude Johnson, at 1. DUKE STREET, ST. JAIVIES'S, LONDON, S.W.I, England. Subscriptions— Inland 39 -, Foreign 37/., to Canada 32/-, per annum. Published the Ist of each month. Published by Gordon & Golch, in Australia and New Zealand; by The Central News Agency, m South Africa; by H.gginbotham & Co., in Bombay and Calcutta; and by The International News Co., in U.S.A.

I&IMJ^ On Early Leeds Pottery By FranK Freeth, M.A.

DuKixG tlie many years I ha\- thru- prc(kri's>ois without striking out a new culk'ctiiig and studying old English pottery, I line for themselves. Even the author of the ha\-c often wondered why Leeds ware has not British Museum Guide, who has done such good been more sought after, and why there has been service in advancing the knowledge of ceramics, such a great difference between the price of good has made no attempt to determine the date of Leeds and Staffordshire pieces, seeing that it the establishment of the first factory in Leeds cannot be justified on the grounds of art, age, and the nature of its output, as if they were matters or rarity. The chief reason, I believe, lies in of little moment and beneath his consideration. " the fact that the literature on Staffordshire At what date," he writes, " the old Leeds pottery potters and potteries has been far more extensive, was founded is by no means a matter of certainty, and in most cases far more enlightened. There nor is it of any serious importance for the present have been hardly any books or articles on Leeds purposes. Indeed, our interest in it is practically ware that have done more than touch the surface confined to one period in its existence, between cf the subject. In none of them that I know of about 1775 and 1820, after William Hartley had has there been any honest endeavour to get at joined the firm of Humble,. Green cS: Co." Thus the root of the matter by sifting such evidence he ignores altogether those decorated creamware as we have. Consequently, the intrinsic merits pieces of a type which cannot reasonably be of this delightful ware have been ov-erlooked, or, attributed to any origin but Leeds, and yet bear at rate, appreciated. Writers any not fully on dates at least six years anterior to 1775. And early English pottery generally have been content those pieces dated six years before 1775 bear a to treat the Leeds productions in a perfunctory very close resemblance to those dated six years way, as not being worthy of any serious investi- after, so that it is certain that Hartley did not gation, and to follow blindly in the footsteps of alter the character of the ware. The standard

RIBED "JOHN & MARY WHEEI.UO.N

\oi. LI.\. —No. 234. —

The Coi/i/oissc/rr work of the Kidsons, too, is far from satisfactory as in Staffordshire." It is probable that anions oil this point, though they undoubtedly did steer till' Staffordshire stoneware decorated by this clear of some of the errors made by their pre- firm was the well-known salt-glaze jug with the " decessors. They avoided the usual pitfall so far inscription, Success to John Calverly of Leeds," as the date of the establishment of the works which has been frequentl}' adduced as evidence is concerned, when they repudiated the statement that salt-glaze ware was produced at Leeds.

• " made " in the various books " that " Leeds Now, if this John Barnes " jug—to say pottery was founded in 1760 by two brothers nothing about the "Ann Laws" coffee-pot—was, named Green," on the ground that there is " no in fact, made at Leeds, as all the knowledge we information how this definite date is arrived at." possess leads us to suppose, then we are clearly But in the very next paragraph they fall into in a position to determine with accuracy the the same pit as the writers they condemn, and character of the ware turned out there at least repeat the hackneyed dictum that " nothing is five years before 1774, during the period when, " with certainty known of the character of the according to the Kidsons, we can but conjecture ware produced prior to 1774, when the fitm was the character of the ware to be of the common Humble, Green & Co." This blunder is hardly type of the Staffordshire ware produced at that to be wondered at, when the earliest dated piece period." This jug closely resembles another jug mentioned in their book is a mug inscribed 1779. I have which is dated only three years later. It is indeed surprising that, considering the pains There is a similar decoration in red and black, " they have taken, they should not have referred and under the spout of this one John Hokes, to earlier examples. I call to mind a jug dated 1772," is inscribed (No. ii.). The handle is 1769, which was as typical a specimen of Leeds finished off in the same way with raised coloured creamware as could be found. Delicately potted, flowers and leaves. Round the top and bottom it had the greenish tint about the glaze which runs a beaded rim, which is common to Leeds is pecuhar to the ware, while the characteristic ware, and may be regarded as one of its charac- double-twisted handle was attached to the body teristic features. Before I acquired this jug it of the jug with raised coloured flowers. In front, belonged to the late Rev. F. R. Ellis, of Shrews- under the spout—which was the place generally bury, a shrewd collector and writer on ceramics. chosen for the purpose by Leeds potters—was In an article of his in The Collector of 1904 (vol. ii.), " paintt'd 111 Mai k. inside a kind of frame formed entitled Dated China and Pottery," he illustrated " " of scroll- 1 1. 1. ,111' .1 red, yellow, and green, John this piece and described it as a typical example

Barnes, ( liadlinyton, 1769." These four colours, it of an old Leeds jug." Another jug in my pos- " may be noted, are those most affected by the session is inscribed in front, William Dwe, " Leeds decorators. Moreover, I have in my own 1774 (No. iv.). There are certain features about collection a coffee-pot with the date 1769, and the it which deserve notice. The spout is moulded name " Ann Laws " in black under the spout into the form of a female face, a lace-like design

(No. i.). It was sold me many years ago as Leeds in red and black runs round the rim, and the ware, an ascription which I have never had any decoration shows a combination of the Oriental reason to doubt. The decoration, which is of and English. On one side is a Chinese figure an Oriental character, colouring, and shape of seated on a table, and on the other a bunch of handle, all point to that conclusion, although the British flowers in colours, with what I may call interlaced handle is somewhat rounder and broader the Leeds rose conspicuous in the centre. Inci- than on most Leeds pieces, and is not finished dentally, it maybe noted that this Oriental influence off with flowers. These handles, however, on was strong during the early years of the ceramic early pieces did differ somewhat. On one teapot art in this country. As the art became more dated 1774, which I know of, the twisted handles firmly estabUshed, that influence gradually are round and like coils. It is true that the dwindled. The subjects, however, and treatment glaze is unusually rich for Leeds ware, so that on some early Leeds pieces are quite English. the pot may possibly have been made in Stafford- In the Brighton Museum there is a jug shaped and shire, and only decorated, named, and dated at coloured in the same manner as the "Dwe" one, Leeds. That this was sometimes done we know on which the subject of the decoration is a sports-

from an advertisement in the Leeds Intelligencer man with dog and birds, with this inscription : of October 8th, 1760, stating that there was a "Td no other place of deversion he run, firm named Robinson & Rhodes, in Briggate, I'or there's none can excell a dog and a gun. Leeds, which " burn undertook to enamel and George Richardson, 1771." in gold and colour on foreign and English china and to enamel stoneware, which they sell as cheap It is interesting to remark that the year 1774. Oi/ Early Leeds Poffcrv

in which the " Dwe " jug was made, was an the character of the ware docs not ajiinai to lia\e eventful one in the history of the Leeds pot-works, undergone any immediate change. " for it is recorded that in it the bulk of the The earliest dated Leeds teapot that 1 know premises which the succeeding firms afterwards of, and one of the best, is in my own collection, " used were first built." In the Annals of Leeds and bears the interesting inscription, John and " we find that on July 31st, 1774, the sails of the Mary Wheeldon, 1772 (No. iii.). The glaze and " windmill belonging to the Leeds pottery fell down the style and colouring of the decoration arc of with a tremendous crash, which, being looked such a convincing Leeds character as to outweigh upon as a judgment for the desecration of the any possible objection that the spout and handl(> Sabbath, the proprietors resolved that the mill rather point to a Staffordshire or Bristol origin, should never be allowed to be worked on the though, of course, one would have expected it Lord's day." Whether because of this pious to proceed from Staffordshire, because of the name resolution, or because of the business ability of on it. For it was at Little Fenton, in that county, William Hartley, who joined the firm shortly that the famous potter, Thomas Whieldon also afterwards, I know not, but it is certain that from spelt Wheildon, \\'heeldon. and Whealdon had that year the works made great strides, although his jKit-works and originated the brautiful tvpe

- —

The Coinioissciir

of ware which has been nanu

I have referred in one particular only, \'\z., that pieces not dated. This particularly holds good it is exceptionally thin and light — a feature that with the "verse and motto" ones emanating from may be regarded as due to its smallness and the Leeds factory. The Kidsons, however, un- nothing else, because a teapot that I know of, fortunately appear to have had no knowledge made only a year later, which has a rose-knob of such early dated specimens as I have referred

and double-twisted handle, and bears the in- to ; and, having no proper light to guide them, scription, " Mary Marten. Let virtue be the fair have gone astray and made the erroneous statement one's guide. I.B., 1776," is rather thicker and that " the articles having mottoes are generally heavier than most. of a period ranging between 1800 and 1815, The large jug (No. vi.) has in front, painted in when the fashion for inscriptions on pottery red, within a rough kind of frame, the initials seemed to be most prevalent." This slip is all " T.N." over the date 1784. Both sides have the more remarkable on their part, because they beautifully coloured English flowers, with a fine quote in extenso three interesting letters dated rose in centre, while a lace-hke design in red 1783, written to the factory by one J. Cartwright, runs round the top. It will be observed that a of Marnham, in Nottinghamshire, which were similar design to this and a similar spray of flowers found pinned in the old Order Book kept at the with rose in centre appear on the "William Dwe Works. These letters contain explicit directions " 1774 jug, so that it is clear that William Hartley for the making of three punch-bowls, to be decorated did not make any radical alteration either in the with designs in which the hop plant and its harvest decoration or general character of the ware during are to be depicted, aloni^ wiili niMiiptions which the first ten years after he joined the old firm. he himself supplied as bciiii^ .ippicpnate. There It was probably about the end of that period were to be ten lines of blank \-erse about " spark- that the two other well-known forms of Leeds ling cups of native nectar," which are too rubbishy ware, viz., the perforated and marbled, were to be worth quoting, followed by two others, introduced. These, however, do not come within which are in a much happier vein, \-iz. the scope of my article. Still, I must just briefly " Witli gratitude receive. allude to a class of ware which has usually been With temperance enjoy." attributed to Leeds ; for, curiously enough, it is such a piece which, as I have already remarked, These letters are valuable, as they establish the is the earliest dated piece iiu iilicmcd in the fact that the Leeds factory made a feature of Kidsons' book, viz., a mug with a sportini; subject decorating their ware with names, dates, designs, and the date 1779, both i)anilrd ni liluc. The and verses to the order of customers. On compar- glaze itself, instead of being cream colour, has ing such pieces with the dated ones, I come to the a slightly blue tint. It is one of those examples conclusion, from the resemblance in make, style, that would probably have been ascribed either to and colouring, that an earlier date than 1800 i)ii Early Leeds Potfey ^

INSCRIBED "LONG MAV UK LIVE," ETC. ought to be assigned tc most of them. My readers will be able to judge for them- selves from the descriptions and illustrations of the exam-

ples I shall cite. Moreover, there are pieces of cream- ware to be met with, though they are not numerous, which bear a date as well as motto or verse ; and these mostly have a date between 1780 and 1800, whether made at Leeds or some other part of England. In my own collection is a Staffordshire teapot dated 1789, which was no doubt made to the order of some pious person as a present for another. On one side is inscribed. "Prepare to meet thy doil,

O Israel " ; and on the other, " Let your conversation be such as becometh the Gospel of Christ." It is thought that the pieces of that period with te.xts and religious verses on were ordered by Methodists. The following verse, which was much in vogue, appears on a Leeds jug:—

" Be present at our table,

Lord : Be here and everywhere-

adored ; Thy creatures bless and grant that we May feast in Paradise witli Thee."

Now, an e.xamination of those pieces I have described and illustrated bearing dates The Co/iiioissc/ii'

several example was made, tliDugh I hope I haxe and on the other a red and black house. The not gone far wrong in placing the pieces in the tloral terminations of the twisted handle are order I have. And here let me say I shall trust coloured green and yellow. largely to the illustrations to speak for themselves, Next in quick succession I should place the three teapots (Xos. xi., xii., xiii.). as 1 am afraid I should tire out the patience of following and ^S. 1 — —

O/i Earlv I.enis Potfi

W II. —

IJutch In till ;ni(I empty the vessel once again before those pieces which were decoratt-d fcir the potters did an extensive breaking up the convivial party ! The explanation market. The Leeds of " and then " is made still clearer by an extended trade with Holland, particularly in teaware. The version which appears on a large jug I have, theory which has been generally accepted is that viz., " One jug more and then—what then the articles were exported to Holland in a plain another." A teapot (No. xv.) with rose-knob state, and then decorated there to suit the Dutch and double-twisted handle is inscribed with the taste. There is no direct evidence to that effect, view excellent moral sentiment : and I have always been sceptical about that of the matter. This is how the Kidsons state Beauty ai riches will faid and fly — the case : " The facility with which plain earthen- B\it true .e and virtue never will ware can be decorated by any person having a while the other side is painted with the usual small muffle kiln led to much of the Leeds cream- red roses. Another example, decorated on one ware being painted elsewhere than at the pottery side with two large red roses, is an elegant coffee- itself. Holland was principally the place where pot (Xo. xvi.), which bears on the other, in a this was done, and there are many pieces of Leeds floral frame, the mottc, " Friendship without ware painted with Dutch subjects which frecjuently interest and Love without deceit." The same pass for earthenware made in that country. inscription, " Friendship without interest," with Plates and teaware are the kinds most usually the addition of " and a bowl when call'd for," met with." I am illustrating two sets of teaware their occurs on a Bristol Delft bowl I have, which was of that description, which have found way also probably made about 1780. There are many back to the home of their origin, and are now such delightful mottoes—among them, " May we in my collection. Now, to my mind, the colours " never want a friend and a bottle to give him used, and the general style of decoration upon —which afford a pleasing insight into the hos- them, as well as upon other similar pieces, point pitality of our forefathers towards the end of the to the handiwork of the same painters as did the eighteenth century. work for the English market. The more prolxiblc i< that the. Some reference should, I think, he made to exphuiaticn, therefore, in mv opinion, The Coi///(>issc/ir

designs required were sent over from Holland bowl of such ware inscribed " Wilkes and Liberty," for the artists to make use of in this country. and bearing a portrait of John Wilkes, who looks We know that this was the method of procedure half-English and half-Chinese. The two following in the case of those Oriental pieces of porcelain Leeds tea-sets (Nos. xvii. and xviii.) are charac- which used to be wrongly attributed to Lowestoft, teristic specimens of this class. The one is painted because they had EngHsh portraits and subjects with a male and female portrait on either side of an painted on them. Closer inspection reveals the orange tree, and inscribed " P.V.O.R.," the fact that the features and landscapes are of an portraits probably being those of Prince William Eastern type, just as the Chinese figures on of Orange and his wife, Sophia Wilhelmina, whom English pottery and porcelain betray this country's he married in 1797. The other is decorated with origin by their cast of countenance. I have a a Dutch landscape in colours. DON I'.Al.T.ASA BY VELAZQUliZ

Jly pcnui^>iton of II. M. The King

LACE . . , AND NEEDLEWORK

The Tapestries of Mantua by Raphael By Art. Jahn Rusconi

I to Veiiii , Au-tii.i luis rctiinipd the beautiful scries (i(>\-ernment rcnuiiicd wulimit an\- ])ractiral k- of Rapli.i' lr~,|ii. t.ipestries which from the year sult—as with the pi(liii(s iin]>n)]HTl\- e.xpurtcd 1866 reni.iiiuil ]ins()ners at Vienna. from Venice.

The nine magnificent tapestries, that were one The memory of these precious tapestries re- of the richest attractions of the city, and formed mained unimpaired by time at Mantua, where the a splendid decoration for the Ducal Palace at naked frames which had contained the beautiful Mantua, had been, during the Austrian dominion compositions remained on the walls of the splendid in Italy—that is, just before the war of 1866, that apartments of the Ducal Palace. Neither were liberated Venice and her provinces from the photographs of them ever' to be obtained from Austrian yoke—by order of the Austrian Govern- Austria, who wished and hoped that all memory ment, sent to Vienna to be temporarily exhibited of them might be lost in Italy. E^•cn the \'irgilian at the Museum of Decorative Art. Academy at Mantua, who in im ; h.i.l a-ki .1 pcr-

From that time, notwithstanding the War and missuin to take the much-desiic 'I I'li. ii, i-miIis at l^f'C> Peace, nntil .Vustria continued to retain thi-ni. itsdwn e-xpense, received a firm aihMr, i-n , 1, lu-al. T!',

Lost in the fantastically rich collections of wish to have tapestry cloth made, rich in gold tapestries in the museums at Vienna, where more and floss silk, because Raphael made the coloured than eight hundred pieces were collected, the cartoons in full form and size by his own hand : Mantuan series remained until last year almost the which were sent to Flanders to be woven, unknown to the great majority. and, when finished, were returned to Rome. This It was known to exist, owing to the memory work was so miraculously done that, when looking of the recent investigation; but of its \-alui', its at it, one wonders how it is possible to weave importance, and its beauty, few could say any- such hair and beards, and give, with thread, such thing with precision. It was known it had been softness to the flesh—a work certainly more of a executed from famous Raphaelesque designs by miracle than of human skill, because in them are Flemish masters, and it was said it had been made water, animals, and groups of houses, and so well for the Gonzaga family of Mantua, and that done that they seem painted rather than woven." Giulio Romano had expressly designed the borders The Vatican series of tapestries, and still more and crests of the Gonzaga. those of Mantua, easily explain the enthusiasm Now that they have returned to the magnificent of Vasari. The work, then, should truly appear Palace of the Gonzaga, the famous tapestries supernatural for the incomparable abihty with show to full advantage all their beauty, and even which they translate in cloth the work of tlic if they destroy some old legends, or at least put painter. Raphael had probably comijktcd the them to doubt, not for this is our admiration Flemish cartoons in 15 16, and they must ha\e less, nor less the pleasure aroused in us at their been at once sent to Flanders to be woven, because happy return to their own country.* in 15 17 the first tapestry was already finished. " Vasari tells us that it was Raphael who had The work proceeded fairly rapidly, since by the

grown so . . great, that . . made the Pope (Leo X.) end of 15 19 the majority of the tapestries was exhibited in the Sistine Chapel, for which * The height of each tapestry is metres 4-95, and the widlli they were intended, and from that time they respectively m. 6-10, m. 7-40, m. V6o m. 7-45, m. 7-77, m. 7-77, and m. 6-45 have aroused the admiration of all who lia\c' THE BI.INnlN'G OF ELVMAS

RNABAS AT LVSTS riic CoNiioissc/D'

ST. STEPHI: seen them. The Master of the Ceremonies of designs of Raphael conclude the history and

Leo X., Paride de Grassis, notes apropos of this glorification ; in fact, he shows in the tapestries, * " in his journal : Everyone in the Chapel was with events taken from the lives of St. Paul and struck with wonder at the sight of these magni- St. Peter, the institution of the primateship and ficent tapestries, which, according to the unanimous the life of the Church in its youth. opinion of all, are among the incomparably How much of Raphael's hand we may still beautiful things of the whole world." recognise in the cartoons and tapestries is a The tapestries designed to ornament the walls question much discussed and not yet resolved. of the Sistine Chapel, underneath the frescoes But, in any case, the old theory that the cartoons of the Tuscan and Umbrian masters of the four- have been executed almost wholly by Penni, and teenth century, represent episodes in the lives only in part retouched by Sanzio, is to-day unani- of St. Peter and St. Paul. mously rejected, all the more so from the fact Thus the artistic conception of the Chapel of that in 1516, when the cartoons were finished, Sisto was fulfilled through the work of Raphael. Penni was scarcely twenty years old. On the ceiHngs, Michelangelo had portrayed the That Raphael should let his pupils help him creation and the story of the Origin of Hu- is natural and according to the master's practice; manity, and the prophets and prophetesses who but the general conception, the construction of the snifilr si-enes, cannot be announced the New Era ; on the walls, the masters the series and of of the fourteenth century had painted the life attributed to any other th.iii the master himself. of Moses and Jesus underneath these. The It is the unanimous opiniun now that in the artistic productions of Raphael these tapestries represent

* 1519. In die S. Stefani jussit Papa append! suos pannos one of the highest points his spirit reached, and, de Rassia novos pulcherrimos pretiosos, de quibus tola cappella moreo\-er, if we do not wish to call the sculptures stupefacta est in aspectu illoruni, qui ut fuit universale judiciuni, once said, sunl re.s, qua non est aliquid in oihe nunc pulchrius. of the Partlu'uon modern art, as was The 7'a/>('.< fries of Man tun by Raphael

it is certain that in them Raphael \ies worthily recommenced, and for many long years the magni- with the splendid and tremendous w^ork of Michel- ficent tapestries continued their pilgrimage from angelo, and that they are the only artistic examples one sale to another, from one dealer to another. that can really compare with those of Buonarotti So many journeys and changes have naturally for grandeur, splendour, and awe. shown their influence on the magnificent work, The success that the tapestries gained as soon from which the cupidity of the soldiers of the as they were exposed in the Sistine Chapel explains Bourbons had taken also a great part of the gold

the remarkable number of reproductions that thread of the cloth ; whilst the journeys and was made from the Flemish tapestries. Besides \-icissitudes themseh^es have impaired the fresh- the Vatican scries and that of Mantua, others ness and vivacity of the colours in many parts. exist at Vienna, Berlin, Madrid, Dresden, Milan, The Mantuan series, however, which remained

and Loreto, among all of which, however, the at Mantua till i(866, has almost entirely preserved one of Mailtua is the best executed, the best its beauty and freshness. preserved, and the nearest to the originals. The From the cartoons of Raphael, which remained reproductions of Madrid, Loreto, and the other of at Brussels, the Flemish weavers executed this \'ienna are of the seventeenth century, like that beautiful series of Mantua some years after the

in six separate pieces in Dresden, which, on the \'atican series, and they have placed in it their contrary, was woven in England in a local trade-mark, a small triangular shield between factory established considerably later liian that of two B's. Brussels. In the Vatican series the tapestry of the blind- Well known are the vicissitudes of only the Vatican ing of Elymas is almost destroyed ; there

series, which commenced a few years after the remains the upper ))art. It is intact in the work was accomplished, in consequence of the Mantuan series. sacking of Rome in 1527. Carried away from The Mantuan series is thus by far the most Rome, the tapestries circulated all over Europe precious and the nearest to the original of Raphael, as far as Constantinople, in the hands of second- and, compared with the famous cartoons, gives hand dealers, till, under Julius III., they found a much more exact idea than the Vatican set of their way back to the Vatican again. With the the magnificent splendoiu" of this magnum opus. Erench Rc\'olution the vicissitudes and journeys \n old local tradition, still alive in Mantua The Connoisseur

J

when the tapestries were yet at the Ducal Palace, Raphael, comparable to the Vatican galleries for attributed the execution of the wonderful series richness of ideas, and superior to these for pureness to a school of weavers whom the Duke Federigo of taste, Giulio Romano, who from 1524 was in had established there. But, as we have seen, the the service of the Gonzaga, would certainly not Raphaelesque series was, without doubt, executed have confined his work to such narrow limits, at Brussels by Flemish weavers. and in place of the plinth where the Vatican On the contrary, almost certainly the Mantuan series represents the glorification of Leo X. he series was executed in the same factory from could easily have substituted a series of repre- which the Vatican series issued a few years before. sentations celebrating the glories and history of It was the school of that Peter van Aelst, who the Gonzaga family. was weaver to Philip the Handsome, then to Very probably the work was bought by the Charles V., and Papal weaver to Leo X. and Gonzaga, but not made expressly for them. Clement VII. Only in this way can the fact be explained, that To this splendid master Leo X. added as assistant has only now become known, that the crests of for the execution of the Raphaelesque cartoons the Gonzaga are not woven in the tapestry', as Bernard van Orley, who had studied at the school was believed, but were applied when the tapestry of Raphael, and who was for this reason particularly was already finished. adapted for interpreting Raphael's ideas. Thus the Mantuan series represents not so Another old tradition attributed to Giulio much an " opera raffaellesca " executed in Flanders Romano the design of the friezes and borders by Italian commission and under the direction of that surround the tapestries and that must have an Italian master, as it represents an example

been executed expressly for this series ; but the of considerable interest, and perhaps, too, more assertion, repeated to the present day, has little precious, of a replica comparatively faithful to' the verisimilitude, as the friezes and borders repeat original, executed in Flanders by Flemish masters, those of the Vatican, only developing some motives, not for any given purchaser ; and this explains suppressing the grotesques of difficult execution clearly, too, the praise and admiration this Raphael- in the tapestry, and increasing the number of esque production has encountered in all Europe: allegorical figures easier to reproduce. praise and admiration that do not diminish with Considering that the borders of the \'atican years, and that revivifies again to-day the magni- tapestries are one of the w'orks most worthy of ficent and incomparable work. Pictures

Daniel Gardner By C. Reginald Grundy

l.AKDN the H la:

aiUisc nif to fill m\- rooms with portraits of majority of onteinpo beautiful women ; it did not matter who tlu art world, and that the women were, if they were only beautiful. Whrn writers and biographers wen- not cwiien cogni: the ladies are pleased, success, indeed, soon of the painter's existence. follows." This anecdote, related by Northcote Gardner painted in water-colour, paste and to James Ward, does much to e.xplain Daniel but most of his work was executed in a com- Gardner's contemporary popularity as an artist, bination of the two former mediums. His best and the oblivion which immersed his works until claim to fame is that he evolved by this union nearly a century after his death. He acted on a singularly successful method of suggesting the his own precepts, made his rooms his exhibi- richness and strength of oil colour, expressed tion gallery, and floated into affluence on the with the lightness and facility of water-colour, good looks that he consistently bestowed on his and used it to embody an eclectic style of art, sitters. The general public, however, remained reminiscent of some of the most dehghtful traits of practically ignorant of his existence. The only Reynolds, Gainsborough, and Romney, permeated example of his work and unified by an that the artist placed indi\-idual manner of on exhibition was the expression that was drawing, A Portrait of wholly Gardner's own. an Old Man, that he The works that he prn- contributed to the cluced, unrerordrd m Royal Academy of any accessible record,

1 77 1. He was then only and strongly reminis- twenty-one, merely on cent of the pictures of the threshold of a career, which ended in his retirement on a considerable fortune twenty-two years later. He had achieved his

success wholly through .f ll his clients' recommen- tur\- inasqui'i-aded as dations to their friends. the productions either His works were scat- of one or other of the tered about in private lamous trio, or of their

houses in ditteren t parts best-known followers. of the country, and, \\. one time or another, except through the ii is probable that medium of the thirty or marly half Gardner's forty engravings made principal works have from them, were quite been attributed to unknown to the pubHc other painters, and Dr. KNON, SECOND Williamson is to be UAUGHTER OF GEORGE, * Daniel Gardner, by Dr. LORD ERNON, AND MA congratulated on the THE SISTER OF SIMON, E.VRI. HARCOURT

" ,:.' . It is his hihours in tljis dirtction her \\\.r. ,: , \^ ]]. ,\ in the coniposit

THE REV. WM. HEATHCOTE (1772-1602) ON HORSEBACK; SIR WM. HEATHCOIE, THIRD BARONET (1746-1819), HOLDING HIS HORSE AND WHIP; AND MAJOR VINCENT HAWKINS GILBERT, M.F.H., HOLDING A FO.X'S MASK •PAINTING IN OIL, BY DANIEL GARDNER IN THE COLLECTION OF LT.-COL. GILBERT R. HEATHCOTE the skill and industry he has shown in weaving family groups, though these were sometimes marred the scanty materials available for Daniel Gardner's by faulty draughtsmanship, a failing which these life into a connected and interesting narrative, elaborate compositions revealed more strikingly that give most of its value to the beautiful and than his single -figure portraits. Despite this well-mounted volume in which he has embodied weakness, he must be regarded as the most the result of his work. It forms a wonderful successful of our eighteenth-century pastel por- record, pictorial and otherwise, of the productions traitists, surpassing Russell in the freedom and of an artist who, more than any but a few of his spontaneity of his work, and attaining finer and contemporaries, succeeded in handing down to richer colour than Downman. posterity the beauty and charm of eighteenth- On Gardner's life Dr. Williamson hardly throws century womanhood. Though a few of his male as much light a^ micjht have been hoped. He portraits are among his best, it cannot be said was born at Stii' klanil,t;,ite, Kirby-Kendal, West- that he was generally so good in depicting the morland, in 1 7311. ili> father is said to have sterner characteristics of mankind as in revealing been a master -liaker, and his mother, a Miss THK SAMNITI-: MAI^RIAGl- HY W. WARD

AKTKK F. WMUArLHV

Daniel Gardner

Redman, nring of Koiulal talents In T/tc Coiii/oissc/ir

schools, which wxic opciuc t tin- bcginnint; of ir(\-iou--ly retmd from his jHofcssion with 17O9, and in 1771 he conliil •<1 his tirst and only rge fortune-. He appears to haw been a exhibit to the display of tli iii>tit>ition. In the frugal man, careless in his personal attire, and meanwhile he had cinnc del- the notice of li\ing in a st\le far more modest than was Reynolds, who permitted him to copy pictures warranted by his income. at his studio, and presently " availed himself of The volume contains no less than eight appen- the young man's decided talent with regard tc dices, a number which might have been curtailed the foliage and landscape work of his backgrounds, with great advantage by judicious amalgamation. allowing him to prepare a portion of this before Thus the list of prices realised by Gardner's works Reynolds himself started to paint the figures." at auction is kept altogether separate from the Dr. Williamson brings forward substantial evidence list of his paintings, with the consequent dis- to show that in this way Gardner painted the advantage that the reader has to make two foliage of the National Gallery picture of the references to find out the full particulars of every three Miss Montgomerics decorating a therm of item which has passed through the auction-room. Hymen. -Another aggravating mannerism of Dr. Williamson Besides working for Reynolds, he also practised is his system of his picture record under the names in Gainsborough's studio, and it is said that it of their owners instead of under their individual was owing to the latter's advice that he refrained titles. The latter may be considered as per- from exhibiting at the Royal Academy. In this manent, whereas the ownership of the works is connection it may be pointed out that Mr. Whitley, constantly changing. The hst — a catalogue in his Life of Gainsborough, quotes a cutting froin raisonne—itself is full and explicit, and, taken the Morning Post, in which the names of the in conjunction with the profuse series of illus- two artists are associated with those of Romney trations, should prove invaluable to the Gardner and other well-known painters in a project for collector. Another most useful feature is the establishing a rival exhibition. This, however, full record of the engravings published after the was in 1784, by which time Gardner had gained artist, with details of the states of the plates a high reputation. and prices realised. This would have been of By 1770 he had gained such an assured position greater service had the items been arranged in that he ventured to some easily understood marry Anne Haward, sequence. The sale sister of the engraver record of Gardner's —a happy union until works is nearly as terminated by the complete as it is pos- death of Mrs. Gardner, sible to make it, but a few years later, its utility is weakened shortly after the birth by no particulars being of her second child. given as to where the Gardner never appears individual items were to have studied sold. A good index abroad, but in Mrs. atones for many of the Earland's John Opic deficiencies mentioned, and His Circle there is which do not seriously the record of a visit he detract from t h e paid in 1786, in com- merits of a beautiful. pany with Opie and \aluable, and well- Mr. Bunn, to Bruges, written book. Its Ghent, Brussels, \ery merits perhaps .\ntwerp, Rotterdam, are inclined to make Amsterdam, and The the reader more criti- Hague, when they cal, for it is annoying appear to have to find a volume which compared the Dutch so nearly approaches and Flemish pictures an ideal standard unfavourably with should be marred b)' those of the Italian slight imperfections school. which a slight degree Gardner died in 1805, of care would rectifw v —

Old Danish Furniture By Georg Brochner

the Two points will probably occur tu readers of Mr. chest (No. viii.). Others are not wanting.

Georg Brochner's excellent and informative article on The cabinet of Gothic design (No. i.) traditionally came old Danish furniture. One is that so little attention from the Bjerreby church, in the little island of Taasinge, has hitherto been paid to the Scandinavian groups in south of Svendborg, and is said to date during the first this particular ; the second being that a great proportion thirty years of the sixteenth century. This is an extra- of the pieces illustrated are siiperficially familiar to ordinarily sumptuous piece, canopied like a State chair, students who confine themselves mainlv to mid-European and furnished with wrought mounts which betray an styles. In many cases the almost certain Ge average collector would be source. The evidence of disposed to classifya great the handles and hinges proportion of the articles docs not necessarily apply represented as being of to the object upon which

(".crman origin. This is they are fixed, for it is not to be surprised at. well known that German The ancient Norse type, craftsmen exported im- once so characteristic of mense quantities of the Scandinavians, to a wrought - iron fittings to great extent became European countries,

merged in the I u s t which were subsecjuentl)' pressure of other modes attached to home-made which pushed in from productions. It will be North Germany, and the noticed that the orna- ponderous floridity of the mental handles on the Teutons exercised an doors are placed arbitrarily undoubted influence at a over the groovings of the very questionable period linen panels without any of their artistic develop- respect for, or reference ment. It" is customary to, the carver's design with many slightly in- an unusual method in our formed people to charac- own country, 'fhis cabi- terise most mid-European net need not have been woodwork belonging to intended for a church ; the Early Renaissance, no signs are visible of which they see, as religious influence, though •• Italian." A Germanic the Church dominated at attribution would in the the time of its origin. It present case be equally was probably transferred as consistent, especially to Bjerreby from some respecting articles belong- noble castle or dismantled ing to the Later Renais- hall. sance. There arc, however, It may be mentioned certain distinctive features that types of the linen which can hardly" escape panel have been dis- notice, among them being covered in Denmark bear- the character of the panels ing dates approximating

in the cabinet (No. iii.), to the middle of the T/ie Comioissciir seventcontli cen- two of the six-

i n tury, show j; teenth cen- how difficult it tury, and a •was for th.- similar span Norse people tu of years in the discontinue this beginning of anything h u t - indigenous orna- the s e V e n mentation. t.ciith cen- Crested hel- tmy: that is. mets were more tin- latter ])art in evidence on ..f the ivif^n of decorative fur- l-red.liek 11. durini; niture and the earlier the Later Re- portion of than naissance that of in England or Christian IV. France, but th. accompanying — times when heraldry w a ~ p e a c e and often indiffcr pros p e r ity ently designed prevailed, and When we come- when the soil to No. iv. Teuton was ready to influence, with recei\'e a n d its want of rest^ respond to the and restraint, is rich impulses at its height. The bridal which from \- chest of Elsebet 1 t a 1 made Brokenhuus is I h e i X w a y

more national in II o r t h w ard, style, and its modified, no interest is en tl o u b t , on hanced from tin- their passage tradition which through Ger- assigi ts m any and source to a local Holland. craftsman in the island of A marked Fuhnen. change had in

There is a cer- the tneantiine

( II \' tain novelty in c ) m e e r Mr. Brochners Northern Eu- article inasmuch rope, Luther as it tends to ha\-ing super- open up what is seded Rome, for English a change the people an in- influence of sufficiently ex- also plored field. which was My within the Denmark domain of the

°' "-'-^"">'-' °'- ' 600, ITH P.\NELS \RI.IKR DATE is rich in fine * subject under examples of the carver's and cabinet-maker's review, inasmuch as it tended to secularise, so craft, both Gothic and from the Renaissance to speak, the work of the cabinet-maker. As if period, and of the latter again, as well from in anticipation of the approaching end of their its earlier phases, when there were still many power, and anxious to make the most of their Gothic reminiscences, as from its final stage, last opportunities, the Roman Catholic prelates when the Renaissance attained to its full bloom, had for some time showered commissions on the its definite consummation. This, as far as Den- able craftsmen of their time: high-altars, side-altars,

mark is concerned, Ii(>s within the last decade or representations of saints, church cabinets, much ,

Old Ihniis/i J'/trj/ifi/rc

of which I \irnisning luckily was t h (' sur- allowed to rounding survive the countries - upheaval, w i t h i n more so, numerable it w o u 1 d model pic- sec m tures, with D n m a r k Biblical

than in cer- );; o i i fs or tain other ol lierwise. countries. This, no Not that doubt, ac- the Refor- counts for

m a t i o n the fact tolerated that von all the Ro- mav find man Church the same ornamenta- design — for tions. Thus instance, a the effigies scene from of the the Bible— saints, na- on pieces of turally, did furniture not find h a i li n « favour, and from dis- many side- tricts far ^°- 1I1.-CM..N.T OF ABOUT ,.70 altars Hke- wise pictures were not always simply had to vanish ; but by degrees ether means These model

were found of embellishing the churches in the copied ; not unfrequently an able and ingenious shape of epitaphiae and such-like. craftsman knew how to instill into them a per- Although the Gothic is so closely associated sonal note, a certain individuality, which might with the Church, both in architecture and interior mean a distinct improvement, whilst at other equipment, the Renaissance, more of this world times they were rendered in the naivest possible though it might be, may be said to have made its manner. Architectural principles also began to appearance under the wings of the Roman priest- make themselves felt, the outcome often being hood. For some time these two potent styles chests and cabinets of great beauty. fought against each other as formidable rivals, Colour and gold were often resorted to for in some cases, however, intermingling and blending, further beautifying the carver's and the cabinet- often overlapping each other, and at times even maker's work, often with great skill and judgment, tolerating each other on the same piece of furniture. more especially in churches, sometimes, however, In Denmark the Renaissance had not fully asserted in the crudest manner amongst the peasantry. itself until during the latter years of the reign of But few names of craftsmen from the Gothic Christian III., and here, as elsewhere, the acanthus- period have been preserved, and even under the leaf motif represented the van, so to speak, of Renaissance many an able craftsman's identity the youthful Renaissance movement. It was has not been perpetuated. Kings and nobles, also frequently resorted to, and modified and simplified in Denmark, sent for cabinet-makers and other in diverse manners. When under Frederick II. skilled men, more especially from Holland and the Renaissance reached its zenith, Danish cabinet- Germany, where these crafts flourished; but makers came more fully under its spell, and the there were also many excellent carvers and cabinet- ornamentation became richer and more elaborated, makers within the country who were often the acanthus leaf giving way to the cartouche, attached to the castles of rich noblemen during with heads and clusters of fruit. Holland played an age when luxury in almost everything held an important part in propagating this movement, its untrammelled sway. Often a particularly not only in developing its details, but also by clever craftsman would form something ap- sending eminent craftsmen to foreign courts and proaching to what we are wont to call "school"; noblcinen, :iii

The Coiiiioisseiir

neighbourhiHul, who would bocoiiu' X\\v nucleus of her parents and to Olto Krunipi ii, the statesman. a small cluster of local craftsmen. who was a i)rotlur of lur nidtlurs mothei', and Most of the specimens chosen for reproduction his wife, here date from the finest part of the Renaissance No. iii. dates piuhai)l\- fruni almut 1^7". -md

.\u. 1\. —CABINET OF ABOUT l6l period, when it had shaken off the Gothic heritage the rebus ornaments would st'em to ha\'e some and not yet come under the influence of the reference to Henrik Friis, of Orbaklunde, and Baroque. The first illustration forms an exception, Margrete Bild, his wife, inasmuch as the tree is being a very good specimen of a Gothic cabinet. found in the helmet of the Friises' coat of arms, This cabinet (No. i.) hails from the Bjerreby and the M is the initial letter of his wife's name. church, in the island of Taasinge. Both as regards The meaning of the letters in the " M's" has not carving and the iron mountings, which often play been ascertained. such a very prominent part in Gothic furniture, No. iv. is a cabinet of a somewhat different this cabinet is worthy of distinction, and it is type, far more elaborate in the building up and well preserved, although dating from the time the carving, but it lacks somewhat of that dignity between 1500 and 1530. and style which armorial bearings in most cases A handsome cabinet, with beautifully designed bestow on what they are intended to embellish and carved ornamentation, is that reproduced in but, on the other hand, it is rich in Biblical No. ii. The cabinet itself dates from about 1600, subjects! The panels represent the Annunciation, but the panels with the of coats arms are older, a subject very often met with ; the Adoration and were most probably made for the wedding of of the Shepherds ; the Circumcision ; and the Ellen Rostrup inasmuch as (1568), they refer to Three Wise Men ; the hermes embodying Christian ( )ld Danish h'ltriiitnrc The Co//noissriir

No.

reference has just been made. It dates from the the Three Wise Men ; as it will be seen, similar year 1595, and is the bridal chest of Elsebet motifs to those of the cabinet No. iv., although Brockenhuus, being ornamented with her four the latter hails from a Roskilde workshop, in an ancestral coats of arms. It has been made by a entirely different part of the country- Time local artisan in the island of Fuhnen. about 1610.

No. vii. is a chest from the Ringerink workshop No. viii. is another very handsome che^t, the at Flensborg, in Slesvig. It is very handsomely four panels of which represent the Four Virtues, carved and well designed, especially as regards and in the arches above are the following inscrip- " the ornaments. The panels represent four tions : Where Faith in the mind—Where Hope

Biblical scenes : the Annunciation ; the Birth of may win —Where Love dwells —Peace can be

Christ ; the Circumcision ; and the Adoration of found."

No. VIII.—CHEST CARVED Wl ASTHK

BV MlCHlliL J-J HK\ ULT Soissa£

The Fashion-plates of Horace Vernet By Mrs. Herbert Richardson

A I oLi.hciinx uf fa^huin-plalis pivscul^ added, fur example, if \-i

—as a writer in The Coxnoiss^euk has receiitl\- ground and accessories (if pointed out -many points of interest, 'id the the dresses they portra\-,

No. I. —KASHION-PLAIL l,v V. .^1 IE D H.\BIL1.EME> pleasure of studying the development of costume on social history. You may learn how the bygone (an obvious delight to the woman collector) is lady of qualitv rode in Windsor Cireat Park and —

The Coin/oissc/ir

^ vV

HV HORACE

walked in Kensington Gardens : how her footmen duruig the early Revolution, and of (iatine in attended her to the opera or ball ; how she drank the lirst decades of the nineteenth century ; syllabub out of cut jelly-glasses in St. James's, Heideloff's famous English-published aquatints, or was dipped by the bathing-woman at the which hold so high a place, not as fashion-plates seaside under the shelter of machines prepos- alone, but as colour-illustrations in the great late

terously bonneted ; and follow her, indeed, through eighteenth and early nineteenth -century period

almost every phase of her daily life. of beautiful book production ; Mitan's delightful Or—to look at your collection from an entirely line and stipple— soft as a pencil drawing—in the different point of view you may get iiitu [k isimal first years of the Belle Assemblee Hop- — ; James touch, not with the woman of fashion only, but wood's interesting but not entirely successful with the artists who depicted her, stippled plates tmd improve ; and William Hopwood's dainty your acquaintance with workers of real skill and engraving—line for the dresses and stipple for charm, men whose achievement as draughtsmen the flesh—of his own fashion designs, seen at or engravers, if not absolutely of the first rank, their best from the eighteen-tens onwards in is at least far beyond the border-line which Ackerman's Repository of Arts and the Lady's separates the effective from the mediocre, and at Magazine. times is dashed with real genius. WTiile of the men who designed for fashion- Of the fashion-plate engravers alone a fascinating plate reproduction and were not, like Chodowiecki, study might be made. There are— to quote a Heideloff, or William Hopwood, themselves artist- few only—the delicate etchings of Chodowiecki eiigra\ers, there is a yet more interesting list

(whose art was specially suited to the small detail Watteau fils, Desrais, J. B. Martin, Le Clerc, of the fashion-plate), seen at their best in the Lante, and two at least of the Vernets, among

rare early Almanacs de Gotha of the late eighteenth the Frenchmen ; Devis in England, whose graceful

century ; or the French line-engraving of Dupin stag-eyed women may be foimd in the earh^

and Voysard during the same period, of Duhamel Belle Assemblee and Beau Monde : and 1. .\. The Fasliicvi-plafcs of Horace I 'entcf

rO>- -+»• >.^'v;

Atkinson, Thomas Uwins, J. S. Agar, and Adam more attractive to the collector, because each, Buck, whose charming work, though unsigned, is when found in good condition, forms a perfect tasily traceable in Ackerman's Repository of Arts impression, its margins uninjured by the book- Adam Buck's pretty moon-faced children and binder's needle and scissors. Two splendid col- ])lump-armed ladies in particular being quite lections, Cahier de Costumes Francais— Suite unmistakable. But of all the artists who serv-ed d'Habillemens a la Mode and Galerie des Modes the fashion-plate with their skill or genius there et Costumes Francais,* were published in the is none greater than the man whose work is the seventeen-seventies and eighties, and did full subject of this article, an artist with a European justice to the beautiful fashions of the court of reputation far wider than the limits of the hcmi Marie Antoinette and to the creations of the iitonde—Horace Vernet. famous dressmaker. Rose Bcrtin. These may be Fully to appreciate Vernet 's achievement in regarded as forerunners of the Vernet plates. this branch of art, it is helpful to trace briefly The fine work of the great French line-engravers, the growth of the fashion-plate in France, where especially Moreau's Suite d'Estampes pour Servir it had developed on somewhat different lines a I'Histoire des Mceurs el dii Costume dans le from those followed in England. Here, following Dix-Huiticme Steele, further strengthened this the pioneer work of the old Diaries and Ladv's feeling for the issue of series of unbound plates Magazines, fashion drawings nearly all appeared hound in with the current issue of such publi- • The Cahiey de Costumes Framals is earlier than the Galerie cations as the Belle Assemblee, Beau Monde, or des Modes. Both were published by Ivsnauts et Kapilly, print- Gallery of Fashion. In France the feeling had .sellers al the sign of the Ville de Coiitaiice. Basset, another been rather for the issue (not necessarily monthly) printseller, at the sign of the Image Sle. (Jeiieriere, published of Reciieils series of loose plates of Suites or — a similar series at this period. .\n exhibition from the Galerie larger size than the a\-erage English plate, and des .Vodes «as recently held al the Walker Art Callcrics. The Connoisseur

BY HORACE rather than a magazine* And the classical illustrations accompanying this article are made, revival of the earlier Revolution period, led by Les Merveilleiises et Incroyables de Paris, and they " painter David," with its Recueils of Greek are even more of the new era in France than the designs of every description, again directed the title would lead one to suppose, for the fashions publication of the fashion-plate along similar they depict have left the Dircctoire far behind lines. them, and actually belong in date to the end of To this type of fashion-plate the designs of the First Empire. Horace Vernet belong. He takes up the pencil Fashion-drawing and fashion-caricature were of Watteau fils, who had produced the most not new work to the Vernets. Carle Vernet had spirited drawings of the famous Cahier de Costumes already inaugurated in France the satire of both Francais, and, even as he did, makes of the French and luii;lisli fa^liions of the Directory, fashion-plate a thing of such charm and vigour and had also pniduccd orthodo.x fashion designs that a collection of Vernets is a delight indeed. for the Costumes Parisiens. The plates in this " " No. i. is a delightful example of the work of this series initialled V." or Vt." are sometimes

great precursor of Vernet's, and is particularly attributed to Horace Vernet ; but in 1797, when interesting from the point of view of costume as La Mesangere first issued this well-known Recueil, showing the correct method of looping up an Horace was only eight years old, and it is prac- eighteenth-century gown through its pocket-holes. tically certain that these interesting early plates But there is, of course, nothing of the ancien are the work of Carle. Horace was, however, regime about the Vernet fashion-plates. He working later on the Journal des Modes, in which names his most famous studies, from which the he has some particularly pretty grouped plates initialled " H. V.," and as regards the more famous series here dealt with, there is no doubt as to date * The magazine work, at its best in the rare and interesting and authorshi]). Cahinel des Modes (first issued in November, 1785), is always Lcs Mervcillcitscs Incrovablcs de Paris are inferior to that of the larger series. d The T'a^liioi-fylntcs of Horace I 'eyiicf

pKtuivU (in larm (lu> l.\- their fraiuics alone wduld slmw tlinn of the N'cMU't iunpiii'. rin\- arc contciiipuraiics, iKit nf Madame del., Gatiiif sculp niliallcd Tallicn, hut of Xapolcoii and i'aulinc Borghcse,

(\o. 111.) FROM • TH1-: URLLE ASSEMULKK.' iSi;

" H. V." They were issued singly, and are most and their insouciance is the gay insouciance of a attractive when found thus unbound and in good song of Beranger. No. iii., in her wonderful condition. Material evidence as to their date is quilled muslin and straw bonnet, with the race- supplied by the still-existing account books of course of I^ongchamps in the background behind

Horace Vernet, which show between 1811 and her, is the very chic Parisienne of 1813 ; and the 1813 payments from " /a caisse de M. La Mesangere" Borghesc herself might have worn the fascinating for Merveilleuses and Incroyables, and subsequent W'itzchoura (a popular Polish garment), white repeated payments for " modes," though the name satin, sable-trimmed, of No. ii., a plate which of La Mesangere disappears. has further interest as a particularly hap]5y The evidence from the plates themselves is e.xample of Gatine's work as an engraver, and even more conclusive. If you concealed the cos- shows his skill in fur effects, which are at times tumes of Vernet's Merveilleiiscs and Incrovablcs, (luile in the stvle of Hollar. ;

The CoiiJioissciir

No. v., again, depicts the Incroyablc in perfect- that the prettirsi jilatis are by no means always fitting panlalon dc tricot and cluipeaii d la Robinson the most effective — but in their vitality. In spite —a daintily horsey little gentleman, who has not of their exaggerated fashion - plate proportions forsaken the still fashionable touch of Anglomania (most of them are nearly nine heads high), the which Carle Vcrnet first taught the Parisian dandy. Merveilleiises are not mere Mannequins, posturing His fellows in the scries have all this sporting for the display of new frocks, but living women cut, and their immaculate boots, absurd um- of their day, high-bred Parisiennes with all the brellas, and heavy dog-whips recall what was most chic and daring and vigour of one of the most admired across the Channel in the Englishman of brilliant and vital periods of French history that day. while as works of art the plates are triumphs

But Vernet loved best the McrveiUeuse , and of craftsmanship, fashion-work which strengthened after producing seven or eight plates of the the great tradition of Watteau fils and Desrais, Incroyable, definitely abandoned him in her and helped to establish the high standard to which favour. After Plate XIV. in the series (of rather for many years the best draughtsmen in France over thirty plates in all), the Incroyable disappears, and England adhered. and Vernet devotes himself to the Merveilletise Their influence in England may be traced in alone. It is difficult to select from his attractive the best contemporary pubHcations, in Ackerman's plates, for the Merveilletise, however attired, is Repository of Arts and the Belle Assemblee. No. never dull or ungraceful, and is, moreover, .viii. (a Belle Assemblee plate) shows an actual

Parisienne from the feather in her bonnet to the Vernet dress (the dress of No. iii.) adapted and tips of her little buf^ silk brodeqtiins. Her evening modified for our less daring taste.* gowns, of silk and fringed velvet, cloaked on One does not, as a rule, remember Vernet by occasion with sable and ermine, are prepos- his fashion-plates, and it is a far cry perhaps terously modern as to corsage. Here, in No. iv., from La Defense de la Barriere de Clichy or La is a Robe de Bal, gracefully ribboned, with the Smalah d'Ad-el-Kader Surprise to the vivid little short under-petticoat which English fashions Parisiennes of the illustrations to this article. adopted rather later, and coiffee surprisingly a Yet these by-products of Vernet's genius have a r Asiatiqiie. Or she may be seen as a bride, in not unworthy claim to remembrance ; and the orange blossom and white gown severely narrow ; collector who has acquired a representative series in Polish cap and sable muff for winter wear; and of Vernet fashion-plates will have acquired with in many varieties of the dainty muslin inevitable them not only a closer understanding of the to outdoor summer dress in the first decades of women of the First Empire, but a very real the nineteenth century. No. vii. shows a white insight into a little-known aspect of a truly frock with ruff and wheel embroideries, and the great French painter's art—compensations, in- plaid scarf which was so essentially chic even to deed, for the time and ardour expended in the

the Frenchwoman of 1814 ; and No. vi. is search ! another summer gown of finely tucked Perkale, tied Photos bv Donald MacbcihA with a picot-edged sash, to which the little detail of the gauze neckerchief matching the fichu which * The plate is probably by William Hopwood. Adaptations ties on the marvellous bonnet, lends a touch from French originals by the greater English fashion artists characteristically French. have real individuality and charm. The humbler workers in The charm of the plates lies, not in their pretti- the fa.shion - plate world contented themselves with inferior ness—it is noticeable in fashion-plate collecting copies of the Cosliiiius Parisiciis. Pictures

The Life and WorR of F. W. H ayes, A.R.C.A., F.R.G.S. By F. Gordon Roe

Hayes is a name of honourable distinetitm puj.ular of llio three. .n l.elonKed to the- Royal in the annals of nineteenth-century art. Setting Institute of Painters Water-Colours, of which aside many lesser painters, and even John Hayes, his son, Mr. Claude Hayes (happily still with us), the portraitist who exhibited for thirty-four (very is a member. The Royal Cambrian Academy is nearly consecuti\-e) years at the Royal Academy, another institution in the hist(ii\- (if which Hayes from 1S14 to 1851, one is still left with as a name has figured iironiiiuiitly. (leorge a list comprising half a dozen familiar figures. Hayes, landscape painter of the second half of

This is headed by the triad of Royal Hibernian last century, was a member, whilst F. W. Hayes,

Academicians, Edward Hayes (1797-1864), his son, with whom this memoir is concerned, was an Michael Angelo Hayes (1820-1877), and Edwin Associate of the body for many years.

Hayes (1820-1904). The last-named, who is, The late Frederick William Hayes, son of W. W. perhaps, the most widely known and deserv'rdlv Ha\-es, of Freshfield, was born at Rock l'err\-.

Km' r fe^*"^ :,fmm ^^

SNOVVDO.N BV THE LATE F. W. HAVES, A.K.C.A. VICTORIA AND ALUERT MUSEUM 103 —

The Caiiiiflissciir

I.i\crpo()l, Dii July i,;tli, i.'^4^. ICducatcd both colour. delail> being added with smaller brushes. at Liverpool College and privately, he was trained This tended towards culti\alinf,' a brilliance for the architectural profession, but soon realised against which a large amount of detail drawing that his talents and predilections were in sympathy failed to militate. It also added greatlv to ilu- with a less constrained mode of expression. As. speed with which a careful study could lie made, a boy, he had sketched amongst the shipping or the fleeting aspects of nature seized. and in the neighbourhood of the Mersey, thus It should be noted that these studies, a typical awakening a love for nature which the routine example of which is illustrated here, were never of an architect's otruc would have done little to intended for exhibition. They wt're done for the satisfy. Therefore, wiiilst yi't in his early twenties, artist's personal pleasure and inft)rmation, and,

!•". W. Hayes cancelled the plans laid down for like so many works executed in this spirit, they him by coming to London, where he studied fpr possess a freshness and originality which rank a year or more with Henry Dawson, then in the them with Hayes's most final productions.

.Although all Chiswick period of his ' career. The earnest these sketches, averaging about application devoted by Hayes to his chosen 30 in. by _'(i in. each, were painted at single calling earned him swift recognition. He was sittings, they do not reveal the least signs of not obliged to wait until later than 1872 for deterioration after thirty-five years. They are representation at the Royal Academy, when his direct attempts to tackle nature on her own two large canvases, entitled Hurler Fell and ground. Their handling is free without being

Sunset on the Formby Sandhills, were hung. loose ; their colouring calm, sweet, and evenly During the course of the next twenty years he balanced throughout. Artificiahty has no place exhibited not only at Burlington House, but also in them, and one sees only the loving touch of at the (Royal) Society of British Artists, the an artist alone with the twisted trees, grey New Society (now the Royal Institute) of Painters boulders and running streams, or with the weed-

in \\'ater-Colours, the Grosvenor Gallery, and clad rocks on desolate sands.

otlu'r London shows. Towards the end of the 'eighties, Hayes was He had returned to Freshfreld by the time elected an Associate of the Royal Cambrian

that his first success took place in 1872, and it Academy, ceasing to exhibit at any other gallery

was during this, his second Liverpool period, for many years. He accepted extensive com- that he helped to found the Liverpool Water- missions entailing the provision of more than

Colour Society, of which he was Honorary 3,000 drawings for process reproduction : a task Secretary for some years. Hitherto he had which occupied him for the next quarter of a depicted views mostly in Derbyshire and the century. Being avowedly commercial in character, Lake District, but about 1875 he commenced these lacked the cachet of his accustomed style, painting in North Wales, where he found ample which manifested a sincere regard for truth. scope for what became his favourite class of It was not until 1917 that Hayes recommenced subject—foreshore or mountain scenery. In 1877 exhibiting at the Royal Academy and Royal he was again hung at the Royal Academy, and Institute of Painters in Water-Colours. This about 1878 he returned to London, where he renascence pro\-ed to be the final flicker. His

remained for the duration of his life. death took place at Hampstead on December 7th, results of Between 1878 and 1885, Hayes interested igi8, at the age of seventy ; but the himself in the production of landscape studies his energies were not entirely at an end. Several by the " thin -oil " process. The method con- years previously he had been elected a Fellow sisted in the free use of turpentine with oil-colour of the Royal Geographical Society, and in 1919

much as water would be employed in water- a London newspaper awarded the dead artist

colour—with \-ery little impasto. A piece of the {100 prize offered by it for the best forecast

cartridge i)ai)er was stretched and sized. The of the European peace-map. main masses were then washed in with the thin So far, F. W. Hayes has been considered as a

ro4 The Life id iroi'k of /^ //'. IIaxes

IN THE BRI

" painter, but other facets of his personality await of the Lotus Dramatic Society," and membership the chronicler. When only twelve years old, he of the Commons and Footpaths Preservation attempted to write a novel in imitation of Mayne Society, whilst in 1916 he was engaged in work Reid, and the literary impulse persisted through- at the Ministry of Munitions.

out his life. In 1882 his comedy Medusa was .\s a matter of interest, a list of works by Haj-es

produced by the Kendals at the St. James's in various permanent collections is addrd to this

Theatre. In addition, Hayes wrote and pubhshed account. I am indebted for it to tlic artist's about a .dozen other plays, four or five songs son, Mr. Gerald R. Hayes, who has kindly

(some of which were voiced by Mme. Trebelli), provided exhaustive details of his father's life and such self-illustrated novels as A Kent Squire and methods to "aid the compilation of this

(1900), Gwynett of Thornaugh (1900), The Shadoxu article. of a Throne (1904), A Prima Donnas Romance British Museum. (1905), and Captain Kirke Webbe (1907), which A Stream near Moel Hebog. (Drawing in "thin-oil" gained him the title of the " English Dumas." colour upon white paper, 24 in. by 18 in.)

He also penned some sociological pamphlets, Violoria and Albert Museum. recalling his membership of the Fabian Society (i) Exhibition of Water-colours. Snovvdon. {18 in. by 12 in.) (1894) and of the Land Nationalisation Society. (2) Department of Illustration and Design. His interest in music induced him to join the Criccicth Castle. (Drawing in "thin-oil" colour upon Choral Society, in which he sang from 1882 white paper, 20 in. by 12 in.) The Fleur de Lys. (Black-and-white drawing for onwards, and during the 'eighties he also became book illustration.) psychical a keen, if somewhat sceptical, student of The Tolling of a Bell. (Black-and-white drawing research. Other activities included the direction for book illustration.) The Coiii/oissc/ir

' ^^. % . .-^

IE LATE r.

Liverpool. Walker Art Gallery. Nottingham. The Art Gallery and Museum. The Falls of Colwyn. (Oil, 24 in. by iS in.) The Lighthouse Rock, Llanddwyn. (Oil, 20 in. by On the Colwyn River. (Oil, 24 in. by iS in.) 14 in.) Boulders in the Aberglaslyn Pass. (Oil, 30 in. A Pool on the Colwyn. (Oil, 24 in. by iS in.) 20 in.) Bristol. The City Art Gallery. The Incoming Tide, Llanddwyn. (Oil, 34 in. by Glasgow. The Kelvingrove Art Gallery. 20 in.) Rocks in the Glaslyn. (Oil, 24 in. by 14 in.) The Rapids of Colwyn. (Oil, 24 in. by iS in.)

Leeds. The City Art Gallery. Southport. The Corporation Art Gallery. Moel Hebog. (Oil, 24 in. by iS in.) A Derbyshire Moor. (Water-colour, 40 in. by 30 n.) On the Glaslyn River. (Oil, 24 in. by 14 in.) Hammersmith. Carnegie Central Library. A Moorland. (Oil, 40 in. by 30 in.) Sheffield. The Mappin Art Gallery. On Beddgelert Moor. (Oil. 24 in. by iS in.) Burnley. Townley Hall Art Gallery. Nant Bridge, Carnarvon. (Oil, 20 in. by iS in.) Hull. The City Art Gallery. The Head of the Aberglaslyn Pass. (Oil, 24 in. Dublin. Municipal Gallery of Modern .4rt. " iS in.) A loan selection of the " thin-oil Landscape Stud 0\

Some Interesting Walnut Chairs Of the names of tin- rabinct-makrrs, ov joiiii'is, maker, employing many workmen, nnly arose, of the early eighteenth century we know httk- and then to a limited extent, in the days of Chip- or nothing. In spite of the smallness of the pendale. We have collated over 6,000 names population (the census of 1800 only gives 6,000,000 of clockmakers from 1660 to 1810, and new ones for England, Scotland, and Wales), and the fact are added to the list almost with every small that the patrons of the furniture-maker must collection of long-case and bracket clocks which have been, relatively, a much smaller class than comes into notice, in auction-rooms and elsewhere. at the present day, the number of joiners and If we compare the proportion of clocks which chair-makers in the days of Queen Anne and the would be required in the house with chairs, for first George was, probably, much greater than example, we can easily see that the number of would ha\-e been supposed. Small, comparatively, chair-makers must have equalled, at least, that as the demand for fine furniture must have been of the makers of clocks. before the trading classes reached the position In the examination of many chair examples of which they assumed in the days of the later the one period, certain points of design, certain Hanoverian kings of England, the output must crudities of shape and proportion, often -enable have been even smaller. Methods of manufacture one to single out two or more examples as being were crude, there was no power to be used in the from the one hand. From this point of view, cutting and working of timber, and the large among others, the tw'o chairs illustrated arc ~ ;t ch.mks EIGHTEENTH CENTCI nVK.NOI.DS coil ECTION r/ic ( 'oiu/cissciir

d before its contents were s -Mr. J. n. Arnold, of Wickwar, Work. with other improvements, The two chairs arc alike, and the necessary cleaning but were never made for and rcdecoration, has de- the same set. An arm- layed reopening, since it chair from tlie Victoria was important that a

Albert ii s c u point should and M m , be reached which we illustrate, is at which free circulation also, obviously, from the for visitors could be se- same h a n d. All three cured. This has now been are in walnut, and the done, and with the excep- backs of the Museum arm tion of Galleries XIV. to- and the single chair shown X\T., and two armouries hereha\e the splats inlaid (in use as stores for the with Horal marqueterie. contents of those rooms), The points of resemblance • the collection is now open of the two armchairs are to the public. as striking as the differ- In compensation for ences, as a comparison the temporarily closed of the illustrations will rooms, visitors will find show. With the excep- four new galleries, viz., tion of the feet, which are the old Board Room on carved with a leaf over the ground floor, devoted a spiral whorl in the to memorials of the foun- Museum chair, and finish ders of the collection, and in the more usual claw- three top-lit galleries on and-ball in the one shown the second floor, con- here, the two chairs are structed in the course almost identical in detail. of fireproofing the bed- The palmette creating the /ALNUT ARMCHAIR room quarters before back of the former is ARLY EIGHTEENTH CENTURY the war. A record of ICTORIA AND ALBERT MCSEC higher than in the latter, activities during the war but the detail itself is the same. The resemblances period and of various changes to be found is on —and the differences—between the arm and the sale at the Catalogue and Photograph Stall, single chairs shown here can be conipartd, and along with new editions of the catalogues and hardly need pointing out. The nni the beginnings of a picture-postcard collection. inlaid. That both are from the saim- wdrkshop (iuide-lecturers have been appointed. Hours of is unquestionable ; both the details and the general admission have been simplified, viz., lo to 5 on proportions this show quite unmistakably.—H. C. all weekdays throughout the year ; Sundays,

2 to 5 ; on Tuesdays and Fridays a charge Reopening of the Wallace Collection of sixpence. The process of fireproofing Hertford House, Photographs giving a general view of certain begun before the war, was taken up again on galleries can be obtained at the Catalogue Stall, the evacuation of the building by the Ministry price 2s. A fee of 5s. is payable for permission of Munitions, so that it should be complete for to reproduce. The Couuoissciir Notes and Queries

[The Editor invites the assistance of readers of THE CONNOISSEUR wlio may be able to impart tbe information required by Correspondents.

"Adokation' (N\>. J53, jaimaiy, 1921). in eonnnon with other regal peculiarities at wirious Sir, — The coloured stipple engraving above periods. It is, no doubt, a perfectly genuine is from the portrait of Lady Gcorgina Louisa work of the time, and looks as if it possessed

Bathurst, daughter of the third Earl Bathurst, some technical meiit, although it lias been \'crv painted by Sir William Beechey, which picture badly used. Dikmk I).\kikn. i> in my possession. I also have an engraving, proof before letters, and a coloured print as well, Edward Booty. but to the am unable say who engraver was. Sir, — 1 shall esteem the assistance of your B.\THURST. readers in tracing the personal history and extant

Unidentified Portk.\it (No. 342, Aug., 1920). works of Edward Booty, of Brighton, who ex- Sir, — .K\ first sight of the photograph, one is hibited at the Royal Academy and Suffolk Street, inclined to see in this a refined likeness of James II., 1846-8. — F. Gordon Roe. but I am afraid that a comparison with undoubted portraits of that king does not entirely tell in its Unidentified Painting (No. 356). favour. One is encouraged to some extent by Sir.- I shall be glad of any information which the " Stuart eyelid," which is a distinctive note will \\\i\ me in identifying this picture. in the features, but prnbablv this was imitated. A. E. Knibbs (Sydney, X.S.W.). s

Pictures and Drawings

The concluding sales of 1920 had very little of interest and cattle, by Copley I'ielding, in. figure 61 x 13 : in the picture line, and what there was displayed a strong /i 10 5s. for a Seascape, by the same, 25 x 40 in. ; tendency to depreciate from former values. Nothing in /157 los. for An Extensive Landscape, by David Cox, the collection in. belonging to the late Charles Davis, M.V.O. 10 x 14 ; and £136 los. for Haymaking, by the .same, (Art Expert to H.M. the King), realised more than 7 X loj in. Included with I.ady Winifred Ren.shaw's £346 I OS., the highest bid made for a pair of panels, pictures. Portraits. ^qf.q.Lad^i and Gentleman, in a land- II X gj in.. The Lady Buying Fruit and Lady Buying scape, by A. Van der Velde, 22 x 18 in., made £252. Poullry, by W. Van Mieris. From another source, Messrs. Dowell Ltd., of Edinburgh, received £273 for Ph. Wouvermans' panel picture, A Conflict oj Cavalry .4cmithie, by W. M'Taggart, 20 x 14A in. for a Standard, 133 x iSJ in., fetched only /189, as Said to be the last historical composition painlcd by against 600 guineas in the Lady Page Turner sale of G. Romney, a canvas belonging to the Rev. W. T. Saward, 1903. This was followed by two Romneys, Mrs. Hawkins Rector of Holme Pierrepont, was offered by Alessrs.

and Children, 48J x 38^ in., £504; and Charles Hawkins, J. H. Bradwell & Sons, of Nottingham, but was withdrawn Serjeant Surgeon to George III., oval, 29J x 24 in., /3.57. on a bid of 7S0 guineas. In jVIts. C. H. Barley's property, a drawing, 9 x 14 in.. Crossing the 5s. Ford, by Birket Foster, secured /409 ; Engravings and Etchings and Turner's Tynemouth Priory, 6J x 9J in. (engraved An extensive collection of engravings came up at by W. Miller in Dr. Broadley's poems, and later in Art Christie's on December 14th and 15th, but only a few and Song, 1867), £441. The late William Reed's drawings lots realised prices worth chronicling. The Earl of

were more important, his pair of Birket Fosters fetching Wicklow's set of The Story of LcBtitia, by J. R. Smith, well above Mrs. Barley's example. In this case, the after G. Morland, printed in colours, went for £^483, a poor Cathedral, in., £'L,ij(> price Rouen 30J x 26 made ; and compared to what a fine set has fetched in the past. The Ferry-Boat, 30J x 26 in., £892. From another From different sources, but also printed in colours.

source. The Windmill, 26 x 20J in., a canvas by J. Maris, Domestic Happiness, by J. Young, after J. Hoppner, made

realised £^567 on the same occasion. £262 los. ; Innocence Alarm'd, by R. Smith, jun., after

On December 17th, a View of Lancaster, drawn by Morland, /157 los. ; Morland's Summer and Morland' P. in., los. de Wint, 30 x 52^ which was exhibited at the Winter, by W. Barnard, after the same, £157 ;

Old Water-Colour Society, 1826, was knocked down for Children Nutting, by E. Dayes, after the same, £i5'2. 5s. ; £T5(>. Amongst the pictures, it was curious to note the and Blind-man's Buff, by W. Ward, after the same, difference between the bidding for two large cnnvascs £199 los. A plain mezzotint of The Ladies Waldegrave, by Copley Fielding, both measuring about 33 x 77 in. by V. Green, after Reynolds, was knocked down for The first to be offered, Traeth Bychan, near Tuimuhii, £220 los. A series of sixteen etchings by Whistler, of

a striking but -stormy fell .Scenes the composition, for ^yy 15s. ; on Thames, in original portfolio, netted

the second, Carnarvon Castle, a sunny, conventional view, £283 los. ; whilst impressions of the same artist's ran up to £^252. Some advance was registered in the Palaces (W. 153), The Riva (W. 157), and The Two case of Bois de Loire, by C. F. Daubigny, panel, 15 x 26 Doorways (W. 158), fetched £231 for the first, and in. ; but a notable declension occurred when R. W. £199 los. for the remaining two respectively. Anders Macbcth's well-known Lincolnshire Gang (1876), 4iix 105^ Zorn's Au Piano reached £178 los., and his Olga Bralt in., and Potato Harvest in the Fens {1877), 39^ x iiof in., /173 5S. were offered. The former secured only /105, and the At Puttick and Simpson's, a first state of Rt. Hon.

latter £j8 15s. When last under the hammer in 1895, Lady Ann Lambton and family, by J. Young, after Hoppner, to they fetched £^493 and £^399 respectively. secured £115 los. ; and A Visit the Country, and On December 22nd, the last sale held at Christie's companion, by W. Bond and W. Nutter, after Morland in the old year, £630 was given for a pair of panel portraits (in colours), £105 the pair. A volume of aquatints (in of Dirck Alewyn and Maria, his wife, by P. -Moreelse, colours) by R. Havell, after C. Blake, The Poacher's 1 61 7, 47 X 34i in- Progress, realised £132. Othcrjprices included £55 for At Puttick and Simpson's, the following figures were an aquatint, in colours, of H.M.S. Shannon capturing the realised by drawings : — /157 los. for a Landscape with U.S. Frigate off Boston, by Jeakcs. after G. Webster ; /// the Sale Room

(in cnli)urs| 6 ft. 4S guineas for Louisa, by and after W. Ward ; A Louis XV. writing tabic. wide, from Hamilton (;illbanl;, I'alacc, and 45 guineas for The Beiievoleiil Heir, by II. fetched £997 10^. on the lOth ; whilst on the after Bigg (in colours). 2 1st, £1,155 was given for a pair of Kang-He powdered-blue At Sotheby's, a finely printed ixntr.iit in colours of vases, 17 in. high; and £588 for a p.air of Kicn-Lung Napoleone Buonafiartc. by C. Turner, after .Masciucrier, famille-rose cisterns, 22 in. diameter. realised /150. A pair of plain prints, L'Essai du Corset, There was .spirited competition at Puttick and Simpson's and companion, by A. F. Dennel. after P. A. Wille, made for a William Kent mahogany writing cabinet, 57^ in. Sir F. Seymour Haden's wide, 90 in. high, belonging to Mr. Graham Hastings. ^^40 ; whilst a second state of etching, A Sunset in Ireland, brought in /no. K.C., terminating with a bid of £430 los. On various

Sold under the provisions of the Trading with the occasions a Louis XVI. mantel clock by Lepaute, ;\ Paris, of in. Enemy Act. the Richard Gutekunst collection etch- 26J high, was knocked down for £162 15s. ; a Chippen- los. ings was dispersed by Messrs. Garland-Smith & Co., at dale armchair, £157 ; a set of ten and two Georgian los. Messrs. Story and Trigg's rooms, on December 2nd and mahogany chairs, £157 ; and a gilt-wood suite of 3rd. Almost £15.653 was realised. The following were Louis XV. design (five pieces), £220 los. notable:—By Whistler: The Palaces, /330 15s.; The The embroidered bedhangings said to have been used in Archway, Brussels, /147. By D. V. Cameron : Ben Lcdi. by Mary Queen of Scots during her imprisonment los. Meuse, Lochleven Castle (illustrated in Connoisseuk, /325 los. ; The Five Sisters, £283 ; The The rgig) ist /126. By Rembrandt: The Three Crosses, £294 ; June, fetched £330 at Sotheby's on December ;

Laniscape, with Collage and Dutch Hay Barn, /220 los. : but the fragments of embroidery said to have been left

The Presentation in the Temple, /241 los. By Zorn : behind by the Queen at the time of her flight only

Bone : E. Renan, £2^}, los. ; Maja, £252. By Muirhciid reached £35. Ayr Prison, /1S9. A glass sale at the same rooms on the lOth produced In Edinburgh, Messrs. Dowell sold a luv/zotiiit of I.oid £134 for Mrs. St. John's Jacobite portrait glass, 7J in., i<>s " " for pair Irish \e:;-to;i. by C. Tumor, after Kacbuni, lor /iio inscribed Audentior Ibo ; £125 a of

vases and covers with ormolu mounts. 15J in. ; and £107 Furniture, Tapestry, Pottery, Porcelain, and Glass for a 16th-century tazza, similar to one in the London One of the most intereiUing furniture and china sales Museum a.scribed to Jacob Verzelini. and that described held during the closing weeks of 1930 was that of the in Hartshorne. p. 163. now at Windsor. collection formed by the late Charles Davis. M.V.O.. At a sale held by Messrs. Catling .t Son. at St. Osylh Art Expert to H.M. the King. The dispersal lasted for Priory, Essex, an antit|uc musical Dutch clock by Otto three days, attaining a total of £6.202 odd for 367 lot-, \an Meiers. Amsterdam, in walnut case, was bid up to A Louis XVI. marqueterie table from the collection ol the late Miss Cooper, of Southampton, whose father

purchased it in Paris in 1838. supplied the record for Silver and Metil-work this sale by reaching £818. Traditionally said to have TiiK silver market did little to atone lor the short- come from the Palace of Versailles, the table (56 in. wide) comings of other sections, although, like them, it did was inlaid with three panels of scenes from the Italian not entirely lack interest. One of the best sales was that comedy, by David Roeutzen, the substructure being held at Christie's on December 14th. when the late Mrs. enriched with ormolu and set with twenty octagonal Alexander Mackay's (of Trowbridge) property came under Sevres plaques. A Louis XV. marqueterie commode, the hammer. Sold by the ounce, a parcel-gilt cup and cabinet. cover, in. high, maker's mark I K with three 63 in. wide, ran up to £525 ; a BouUe dwarf 15 1598, (weight 26 oz. 2 dwt.), fell for 410s. It was 46 in. high. 64 in. wide. £504 ; and a Regence commode, pellets " 51 in. wide. £420. The first day opened with some inscribed : Francis Tucker, Daughter to George Tucker. Sivres specimens, when a pair of boat-shaped vases and Wife to Richard Dayrell, gives this to her son and male covers, painted by Morin and gilded by Prevost, 17S1. Posterity, it antiently belonging to ye sd Tuckers of 10.^ in. high, 9f in. wide, realised /i.02y, but were beaten Milton in Kent, but now is to remain with the Dayrells by a bid of £1,050 for another pair painted with Homeric of Lillingston Dayrell in Bucks." A silver-gilt goblet, subjects by Dodin, 14 in. high. Two items from the late loj in. high, 1623. maker's mark TF monogram (13 oz. forks, Baron Arthur de Rothschild's Paris collection then came 13 dwt.), made 310s. per oz. ; twelve three-pronged up, a pair of Louis XVL candelabra, with figures of 1683, maker's mark I K with a cinqnefoil and pellets circular trencher nymphs in marble, by J. J. Foucou. 52 in. high, securing i22 oz. 16 dwt.), 260s. ; and a pair of " all at." £682 los. ; and an i8-in. terra-cotta statuette of a salts, by N. Greene, 1689 (4 oz.), 255s. Sold Bacchante, by C. Marin, 1788, £483. Amongst other prices, a set of twelve apostle spoons, 1592 (maker's mark a £'399 was bid for a Louis XVL clock, by (lavclle le Jcune, crescent enclosing W), formerly belonging to the Frith of Paris, 17^ in. wide; and ,/304 los. for another l)y family. Bank Hall. Derbyshire, realised £620. From Sotiau. 16 in. other properties, a porringer and cover, 4! in. diameter, An old Worcester service of nearly sixty pieces was 1654, maker's mark a mask (14 oz. 7 dwt.). secured in. sold in forty separate lots at Christie's on December 9th. 280s. per oz. ; a silver-gilt porringer and cover, 9} realising a total of nearly £2.496. It belonged to the late high, 8 in. diameter, 1686, maker's mark W I with a

Thos. Moberley Cobbe. whose suite of six Louis XV. mullet below, in a heart (62 oz. i dwt.). 260s. ; and two fauteuils netted £672. On the .same day, Sir Arthur du sweetmeat dishes, $\ in. diameter, 1635 and 1636, maker's

" " • Cros's seven Brussels panels, signed G.V.L. (eefdael) mark D G with an anchor (3 oz. 2 dwt. and 3 oz. 3 dwt. )

and "A. Anwercx," all 11 ft. in. high, made £6,090. 2S0S. and 290=. respectively. In the Charles Davis sale. The Coin/oissc/ir four hexagonal silver-gilt dishes, engraved with the sale, the iiiial bid being one of £1,500. .An excessively

Courtcnay and Devon arms, by Benjamin Pync, i-qS, rare work, it is claimed that only eight copies arc S4 in. " " diameter (95 oz. 2 dwt.), made £630 all at ; known (one imperfect), and of these five are in public and an Italian silver-gilt ewer, iiA in. high, ifjih cenliiry libraries. The bindings, of which there were thirty-one (26 oz. S dwt.). £577 los. lots, were not of exceptional importance, except lor one, At Puttick's, a Ncpaulese gilt metal oblong plaque, a large paper copy of the 1755-9 edition of La Eon- with Buddhist figures, inlaid with various stones, tainc's Fables, in 4 vols., with front, and 275 plates after

I4i X 12J in., similar to one in the Caleutta Mi:; cum, Oudry, which realised ;i445. The value of this work fetched £105. The group of medals awarded to Tarricr- was greatly enhanced by its contemporary red morocco Sergt. A. E. Hind, R.H.A., comprising the V.C.. Queen's binding, bearing on the side, within elaborate gilt tooling, S.A. (three clasps). King's S.A. (two clasps), and Edward the arms of Louis Phclypeaux, Due de la Vrillifire. Of VII. Long Service and G.C., made a similar sum. the early editions of Cervantes, the chief was a copy of December 7th was an interesting day at Sotheby's, the first issue of the first part of Don Quixote, with the since it saw a Roman standard and general's camp-chair privilege for Madrid only, 1605. This realised £2,000. offered. These were the property of Mr. E. J. Sellman, For a first edition of the second part, 1615, £;230 was and were .said to have been found in Essex in 1S27. It given, and a second issue of the first part, 1605. sold for was presumed that they were relics of the defeat by £190. De Bry's Major and Minor Voyages, the forty Boadicea of the IXth Legion in a.d. 61, but, for some items being bound in thirteen folio volumes in green reason or other, they were not received with appreciation morocco, were offered in one lot, and realised £2So. by the assembled company. After some desultory bidding, £;i5 more was rcali.sed for a collection of the works of the articles, which were put up together, were withdrawn, Daniel Defoe, in 77 vols., most of which were first editions, no advance on £200 ha\ing been registered. but which did not include his principal works. Other items of note on the first day were a fine copy of Homer's Books Iliad and Odyssey, published in Florence in 14S8, £270; A VERY varied assortment ot printed books and a few- and a collection of works relating to Gustavus Adoljihus,

manuscripts were dispersed at Sotheby's rooms on i:i23. November 24th and two following days, but, though the On the second day, Molitre's Works, 1773, made catalogue extended to over i.cco lots, the total produced £105; Plautus's Ccniarf/fle, 1472, went for £160; Seneca's was onlj- /4,207. There was, in fact, little in the catalogue Tragedies, 1474, for £116; Lope de Vega's Comedies, in to arouse the interest of the book collector, though 44 volumes, £155 ; and Horace Walpole's collection practically every item appealed to the book-lover. of 18th-century poems, in 22 volumes, and 18th-century One could, for instance, have obtained the 1885 edition tracts, in 59 volumes, with his notes, produced an of Matthew Arnold's Poems, in 3 vols., for 5s. ; Byron's aggregate of £478. Life and Letters, in 6 vols., bound in half morocco, for the An interesting dispersal of books, manuscripts, and

same amount ; while 3s. purchased a large paper copy autograph letters was held at Sotheby's rooms on Dec- of Pickering's lacsimile reprint of Milton's Paradise Lost. ember 13th and two following days, a total of over £6,000

As ;i loutrast. mention should be made of such varied being obtained for the 735 lots. On the opening day, items us CnwUy's I'lic Mislrcssc, with other poems, first a feature was a number of first editions of 19th-century

iiu onijilit.'. .-) editions, but (.i'i , (.>iisliliilion the writers, , of Shelley's Epipsychidion 1821, making £175 ;

Slate of New l:i^^!,ii..i 11.711, ,1 lutlc wmlc .! ten leaves, Stevenson's New Arabian Nights, 1882, £40; Keats's

- >j . I ,.l in black letter. Um ,liiil,umli nliti.m Stevenson's Endymion, 1818, £to ; Kiphng's Echoes, 1884, £110;

Works, £86; an EnHl!--!! 1 iili unuiry Missal of 309 The United Service Chronicle, Kos. 1-58, containing about leaves, £^168; a present. itmn cuiiy of Childe Harold's forty contributions by Rudyard Kipling, 1878-94, very

Pilgrimage, a long 111 of with iiiseni)Uuii Byron's autograph, few which have been reprinted, £145 ; and, Wm.

£S^ ; and Voltaire's complete Works, in 70 vols., large Morris's Kelmscott edition on vellum of The Water paper, 1785-9, ;£i20. of the Wondrous Isles, £55. Mention, too, must be made Over /lo.ooo was realised on December 2nd and 3rd, of the finest known copy of Holland's Baziliologia, 161S, when a collection of books selected from the library which sold for £590. Nothing of very great import at Quantock Lodge, Bridgwater, the property of Mr. appeared on the second day, with the exception of a E. A. V. Stanley, was dispersed. The catalogue only French Book of Hours, circa 1450, which made £410. comprised 476 lots, so that the total realised was The concluding day was entirely devoted to autograph eminently satisfactory. Most of the gems were sold on letters and documents and a few literary relics. Burns the first day, though a few, owing to the catalogue was the big name of the day, one item alone realising being arranged alphabetically, appeared on the second Jb45. This was three pages of autograph poems on features the first collection day. The of day were a Capt. G— s (Grose). Three letters by the poet made £105 ;

of fine bindings, early editions of Cervantes, De Bry, his copy of Thomson's Seasons, £28 ; and his portable and Defoe, and a copy of Thomas Ilaridl's riiiifc ami wntinj-desk, Moo. For some autograph verses by

•:--, ,•! I True Report of the New Found Land \'ni:iiii,i. \-yi". li.Miiilv ' s was given, and 10s. less for twenty-four

This last-named item produced the hi-lie,-,t piKe m the ! u< 1- 111 tlir .iiitcigraph of Edward FitzGerald. The Burlington Fine Arts Club

An assemblage of pictuii-s drawn from throe centuries C osuuo (11.11. rrince I'.iul of Servia), with its quaint

of European art, and a more hontogcneous ctillection f)f blending, decorative feeling and naturalism, and its refined English furniture, belonging either to l^he Chippendale and sensitive colour, was a fascinating work. There"was period or the years immediately preceding it, constituted a good example of Creole de Roberti, in an Unknown

the Winter exhibition at the Burlington Fine Arts ("lub. Subjec I from Classical History (Sir Herbert Cook. Bart.), The pictures, though interesting iiulividuMlly. were drawn .nul :in .iltnictive for/rail of a Lady, by Giovanni Paolo from too diverse de Agostini

sources to po> (Dr. J. Seymour sess a high edu Maynard). An cational valiu unportant can-

for the student, s' a s. Tobia s who found him- taking leave of self confronted his Friends isolateil with (Mr. J. Thursby- I'elham), though stnmgly and

inspired D y e ff e c t i V e 1 y

diflferent trad i painted, hardly tions and ideas jus-tified its and having little .ittribufion to in common with Rembrandt: each other. The wlio was, how- Sienese school ever, represent- was represented ed by a typical by Andrea

St. Agatha (Jlr. (III Amsterdam W. S.M.Burns). h ant Merc . an attractive signed and dated

little panel ; and 16^2 (Lt.-Col.

Matteo di Gio Sir G. I,. Hol- vanni's Scenes h,rd). A very from the Story ul interesting Camilla (M r work was the

W. H. Wood I 'ieiv of a Street, ward), which by Claes Hals though pcrfctt (Mr. Robert C. ly authenti. Witt), as this

\- hardly exempli is the o n 1 fied the artist ai his best. Amon, example of the Florentine artist, one of pictures, a My- the seven sons thological Sub- of Frans Hals. ject, by Piero di A beautiful —

riir ( 'oniioisscii)'

piece of still -life eager to hear what painting, .1 Class other students of of Wine willi a the master, espe- Lemon on a Table cially the Spanish (Mr. W. B. Cham- critics, have to say ber! in), was the on the subject. Can work of Jan Jansz we accept the mo- van de Velde. Of delling of the head, British pictures, of these hands, as there was a the work of the characteristic great master? Raeburn in Lord Can we believe Bannatyne (t li e that he would have Mrs. Hon. Konnld established h i s Greville), showing figure with such

good colour, but an absence o f hardly so power- authority, and so fully characterised ineffectually have

as usual ; a good sought to give it middle period unity of atmo- Reynolds in Miss spheric envelop- Hickev (Kt. Hon. F. ment

Leverton Harris) ; .N o one will and a charming affirm that the Gainsborough present condition landscape, Mid-da v of certain parts of Rest (Mr. R. H. the picture, notably

Benson). Perhaps the hands, is what

the gem of the it originally was. exhibition, how- Indeed, in the ever, was the smtill circumstances, you but exquisite panel will perhaps permit of 5/. George and me to quote what the Dracon, by I wrote on the Hubert Van Eyi;k picture in The

(General de Plaou- Connoisseur o f tine), a little January, 1918 : masterpiece of " The horizontal early Flemish art. hne halfway up. The furniture had been very carefully selected, and across the arcliitectural background, might perhaps have included many pieces, .exhibiting the finest characteristics been more incisive, and so have better set off the knock- of Chippendale and his immediate predecessors. Lord kneed booby's right hand, holding a miniature ; and the de I'Isle and Dudley had lent his superb mahogany artistic feeling for contour and variety of design would card-table from Penshurst, a boldly carved piece of have been more clearly revealed by the yellow leather about 1740, with its top covered with a beautiful piece stool." of petit-point embroidery. Other choice examples came The picture was not dealt with at any length in the from the collections of Col. H. H. MuUiner, Lord Lever- official catalogue of the recent exhibition, in the first hulme, Mr. Leopold Hirsch, and Col. the Hon. Sir John edition of which the measurements were wrongly given Ward. as 77 in. by 67^ in. They were, however, correctly set out in the second edition as 69 in. by 42 in. Moreover, "Calabacillas, the Buffoon" there is no " carpenter's sawing-horse " at his side, but Sir, — You publish in the December issue of The a folding stool, called in Spanish silla de tijera. This is Connoisseur the opinion of Ilmo Sr. D. Aureliano de certainly the canvas lent from the collection of the Due de Beruete to the effect that the Calabacillas, the Buffoon, Pcrsigny, under the title of Le Fou de Philippe IV., to included in the recent Spanish exhibition, "was recognised the cxhilntion ( Xo. 165) held in the Palais des Champs not many years ago as an undoubted Velazquez, but has Elysijes, in Juh'. 1866. Subsequently it was discussed been little seen by the public." in the Gazette des Beaux Arts, 1872, vol. i., page 380. Sir Claude Phillips, however, in the Daily Telegraph Sir Herbert Cook, in an article published in the of November 4th, publishes a less favourable opinion on Burlington Magazine in December, 1906, vol. x.. page

this picture. He claimed that it " brings us face to face 168, put forward the claim that this portrait (then in with an all-important problem. . . . The attribution is the possession of Sir George Donaldson) was originally entitled to respectful consideration. Moreover, it is in one of the Royal Palaces at Madrid, and that it was hung as the clou of the whole show. . . . \Vc shall be one of a series of Court Buffoons and Imbeciles, several mh

—

Current .Irt Notes

of wliom were painted by \'elazquez. Evidently it is to be identified, he claimed, with the Portrail of another lichmond, reads as follows :— Buffoon, called Calabacillas, with a portrait in one hand " I just seen the picture of Calabacillas the and a billele in the other. That seems to agree witli have Buffoon, Velazquez, of which you are the happy this picture, and to be the earliest reference to it. Again. by article ' Re- Palomino, Court painter to Philip V., writing between possessor. I knew the excellent on A discovered Velazquez,' published in the Burlington 1715 and 1724, tells us (page 335) that he saw in Bucn

Magazine of last December, by . M. Herbert Cook. Rctiro portraits of Philip IV. 's buffoons. The inventory that, I entirely in agree- prepared at the death of Charles II. also gives their I need add nothing to and am ment with it. M. Herbert Cook has, in a masterly names, with a brief but sufficient description of each ; they included a Calabacas or Calabacillas, with a note in way, established the history of the picture. I am regard to certain observations one hand and a portrait in the other. (The billele, or also of his opinion in weakness in the treatment of the note, may be regarded as a loose description of the small for instance, the with that of the head. windmill, which, in his left hand, revolves at the end ol hands as contrasted " There is no doubt in my mind in regard to M. a long stick.) Ponz, writing between 1772 and 1711 1. represented also mentions such a picture. Herbert Cook's statement as to the person is well The name Calabacillas, signifying Calabashes or Pump- in your picture. He the Buffoon, so known in the title of Bobo di Coria. painted kins, is clearly a nickname for this unfortunate creature. the Prado under journey to Italy. a half-idiot who was paid to amuse the Court circle. by Velazquez after his second The Buffoon represented in the portrait in the Prado is He is to be identified also with the Bobn di Coria, or portrait Booby from Coria, a village near Madrid, who was painted about thirty years of age, while in your he by Velazquez in the picture now in the Prado (No. 1,205). fifte That Prado picture was perhaps painted fifteen to twenty

years later than the present canvas ; this would explain I may point out that in the i ith etlition of the catalogue the difference in the technique, now partly obscured b\' of pictures in the Prado, published in iy2o, we find that inferior restoration. the official title of Bobo di Coria has at last, after all

Pace Sir Claude Phillips, the facts 1 have summarised these years, been changed to El Buftln. Calabacillas above have received confirmation in other quarters. {D. Juan CalabazttS). Both in the new Prado catalogue Sr. Beruete, Director of the Prado Museum, by accepting (page 235) and in the second edition of the Spanish it in your columns as an authentic work by Velazquez, has Exhibition catalogue are to be found certain hitherto underlined the opinion given by his father, the well-known unpublished facts regarding the subject of the seated critic of Spanish painting, when in London on July nth, buffoon in the Prado and the standing one of the Cook 1907. That letter, written in French, and given by collection. We now know that documents in the archives Sir George Donaldson to Sir Herbert Cook, on March of the Palace at .Madrid call him Don Juan Calabazas. The Coiiiioissciir 1

^ h

LONDON MlSEl

He was, in fact, in the service of the Infante Don Fernando illustrating the building of the present London Bridge,, before he, in July, ibyz. passed into the service of a triumph of the engineering skill of ninety years ago- Philip IV.. and that with substantial waives, Inc.d, .nul a Othcr artists of the period whose work is exemplified, salary of 96,894 maraiedises, he also was ,i;iven. wlun on include T. S. Boys, G. Shepherd, G. Hawkins, C. Wild. S Sargent. on to- a journey, a mule for himself and a pack-mule for Ins J. Morton, jun., and G R Coming

havi- | I \\ils,,i,, W.Walton, Sir Ernest goods and chattels. (Beroqui : Adicioncs y Correccioues a later date, we J. al Catdlogo del Museo del Prado, iii., page 36, Valladolid, George, and others, wlnh illiisU.itmg the earlier school 1915) are some characteii^lit examples by Rowlandson, an Such new facts should, surely, be put on record even important drawing or two by J. Nixon, one of them at this length. —a representation of Vauxhall Gardens in 1 796—strongly

I beg to remani, showing the influence of the great caricaturist, though is Yours obediently, characterised by more restraint ; while there a charming

January lotli, 1921. M.-^URICE W. Brockwell. specimen of that now somewhat forgotten Academician,. W. Tomkins—a view of the High Ground in the Xorth Drawings of Old London at Lancaster House West, taken in 1762. This shows the delicacy, refinement, To the already rich accumulations uf drawings ilhis- and finished manipulation characterising the topographical trating the metropolis in past ages, now on view at the art of the late eighteenth century, when topography London Jluseum, there has been added an important absorbed the energies of most of the capable landscape addition lately presented by Mr. P. A. S. Phillips. The painters.

gift entirely fills two galleries in Lancaster House, and chiefly consists of drawings representing old buildings Old Engravings in the City and West End. It is interesting not c.nl\ .\n attractively diversified exhibition of engravings as an archaeological record, but as exemplifying the work is being held by Messrs. Davis Bros. (17, King's Road, of many artists of ability hitherto unrepresented in the Chelsea). A leading feature consists in the fine collection national collections. Thomas H. Shepherd is chiefly of colour-prints, including superb impressions from remembered for his illustrations to Elmes' Metropolitan favourite plates by W. Ward, after Morland, and a choice- Improvements, a work showing London as it appeared at set of six subjects after Buck, comprising the Meiiuet a the close of the Georgian era. The originals of a large I'Anglaise, Menuet a la Francaise, Caledonia in a Reel. in etc. Many fine mezzotint portraits number of these are contained in the collection ; careful Hibernia a Jig, and highly-finished sepia drawings of unimpeacliable in proof state, amongst them a very brilliant impression topographical accuracy, they perpetuate the aspect of of Juvenile Retirement (Douglas Children), by J. Ward, stipple- the London of the Regency, when Nash's pseudo-classic after Hoppner ; a large assortment of brown buildings were considered the highest embodiment of prints, and of scarce naval subjects in line and aquatint ;.. domestic architecture. G. Yates, who was contemporary and an extensive range of French line portraits b)-- with Shepherd, is represented by a number of drawings Xanteuil, are also on view. Current Art Notes

Nat onal Portrait Society ut somewhat less generally (Grafton Street, W.i). A fea- interesting. These give far ture consists in the presence LiL-atcr scope for individuality " of a retrospective element, :han a conventional black- " headed by Winterhalter's por- I tr.it portrait, but Sir W. trait of Her Majesty Oiicci: ( irpen manages to infuse a Alexandra, painted in isiq, line sense of reserved vitality the year following h e r mar- into his likeness of George S. riage to the late King Edward \'iii!l, Esq. Even greater VII. This interesting canvas chromatic restraint is notice- was specially lent from :Marl- able in The .Smiling Cavalier borough House for the occa- of Mr. Orlando Greenwood, sion. A Portrait of Miss will, li despite its nominal Mallory, by Etty, is a close -iiiiil.iniy to the famous work neighbour; and the retro- 111 tli<- Wallace Collection, spective idea is carried owes nothing to Hals in treat- out by the presence of an ment. As has been previously j'ortr.\it of cal.\i!.\ 1 I \s Till I'l 1 1 ODN early Sargent, an oval paint- by vei.azouez implied in these columns, the ing of Mrs. liicketts, marked secret of Mr. O. Greenwood's by strong French tendencies. None of these pictures style is serious thought, and though he is only a new-comer sounds the kej^note of the exhibition, however, which is to art, one would welcome a few more like him. Some largely influenced by the personality of its Pre.sident. interesting handling, ])articularly in the green shot-gold Jlr. Augustus John, indeed, has laid liimself out to make dress, in Jliss Flora Lion's Portrait of the Lady Sivaythling, the show individual, contributing no less than seventeen a composition of rich, even opulent colours, next claims Tharpe's bravura sketch- works in pursuance of his poUcy. Of them, none reaches attention ; whilst Mr. Charles such a high level as The White Manlilla, a silver symphony head of Miss Lillah McCarthy: Jliss Jane de Glehn's chalk set to a sombre accompaniment. I-ooking at this essay drawing oi Robert Martin, the Potter; Mrs. Laura Knight's F.sq. Leonard in tones, one was irresistibly reminded of Whistler's famous charcoal head of II'. H. Davies, ; Mr.

: Character .Study retort to a criticism arguing that his third Symphony in Walker's water-colour Portrait ; and " Sargent's brilliant aquarelle. The Pisherman, White contained colour : Does he . . . believe that Mr. John " ,~F. a symphony in F contains no other note ! Although the White Mantilla of Mr. John is entirely different in conception and treatment to Whistler's work, it serves Don Baltasar Carlos, Infante of Spain to illustrate and confirm the justness of the latter's This interesting portrait of the young prince was lent argument. There are many varieties and tones in its to the recent Spanish exhibition at Burlington House brusque handling, there are some almost startling from the Buckingham Palace collection. The young chromatic contra-positions, and there is a haunting sense Infante is seen, a full-length figure, in richly damascened his of something midway between Leonardo? and an un- armour, booted and spurred, with the baton in hand ; chair upholstered in crimson, and a definable Spanish painter in the ensemble ; but, despite he stands beside a all these, the picture remains another symphony in white. crimson curtain in the background serves to almost frame natural and the face In showing Jlr. John presidential preference, one has the figure. His attitude is very ; perforce to allot Mr. Glyn Philpot second place. As a of the boy— for he is no more—with his gold-brown hair fact, however, his Ali bin Amor ben M'lad No. 3 should cut straight across the brow, is fresh and charming. be bracketed with the work previously described. They The portrait of this prince was in Charles I.'s collection, and we are represent different styles, and are equally interesting. as The Picture of the now Prince 0/ Spain ; Air. Philpot's Eastern heads are becoming familiar to told that on December 31st, 1639, the envoy of the Grand gallery -goers, but never contemptible. That under Duke of Tuscany wrote that " a portrait of the Crown consideration is so subtle in its values, so elusive and Prince has been made in coat of mail and full gala, and spontaneous, as to render adequate description imjiossiblc. sent to England, as if His Highncss's marriage with the The Connoisseur

close at hand." This referred, of course, to the in- tended alliance of Charles I. witli the Spanish princess, which was never real- ised. The king's pictures were sold bv the immBX Com monwe alth after his death, this one among the others, but it was probably recovered for the new king after the Restoration. Sir Claude Phillips does not accept the attri- bution to Velaz- quez himself of this portrait, and considers that, though the painting has some attractive qualities, these are insufficient to raise it to the rank of a master- piece by Velaz- quez. He adds that there is another practi- cally identical portrait of the Infante in the Hague Gallery, and that Senor de Beruete, like himself, is of the opinion that there are here two dis- tinct copies of a lost original by Velazquez, the version at Buckingham Palace suggesting the hand of Carrefio. —S.B. Current .-I rt Nolc:

Vocalion Records " Old Bleach " Irish Linen Company, who guarantee to To ())cir ;ilic;uly established reputation as manufacliners replace all linen w-hich is unsatisfactory. Visitors to of the " VoeaUon," the Aeolian Company is now jno- the National Gallery will remember the words of Webster " (lucing gramophone records, and no praise can be too inscribed on the walls of the Octagon Room : Is not high as to their quality. old w^ine wholesomest, old jjippins toothsomest, old wood " Melodious and sweet in tone, no matter whether it be burn brightest, old linen wash whitest ? classical, rag-time, chamber, or comic opera, they must remove the hitherto old prejudice that the gramophone British Antique Dealers' Asscciation is not for the ear of musicians. .'\n E.xtraordinary (Icneral Meeting of the members of From day to day new records are constantly being the Association was held at Prince's Rooms, Piccadilly, added to their already considerable catalogue, which London, on January i.jth. There were nearly 100 include all varieties of music, among others, Felix Salmond, members present, including many ladies and country

Pestournelle, Albert Sammons, Rosing, and Lenghi-Cellini ; members. After the President's opening address, he Miss Destournelle's "Musette's Song" from La Boheme. brought up for confirmation the new rule as proposed. Kosing's rendering of the well-known "Pagliacci" song, -A long and animated discussion then took place upon the and Lenghi-Cellini's "Celeste Aida." being masterpieces. proposition to alter Rule 5 so as to widen the scope of The old favourites Gilbert and Sullivan arc still popular. eligibility of membership, and at its close it was decided Mikado selections (two on one disc) by the band of the to ask every member of the Association to send the Hon.

I St Life Guards are as pleasant to the ear as ever. Secretary at a later date a reply to a series of questions " For chamber music, there is the "Minuet and Konda which would be put before them, with a verbatim copy from Mozart's Trio in E Flat (Albert Sammons, Lionel of the daj-'s proceedings. Mr. J. Rochelle Thomas Tertis, and Frank St. Leger), and to Mr. Sammons we are addressed the meeting on "The Peculiar Business Pro- indebted for some delightful violin solos, and also a fine pensities of Antique Dealers," and remarks on his address 'cello record by Mr. FeUx Salmond of Popper's Gavotte were later made by a few of the members. Mr. Thomas

So. 2, and Saint-Saens' La Cygne. The excellent Aeolian made a very valuable suggestion of much importance to Orchestra gives us the " Hungarian March " from Faust, and every individual member of the Association, and the the " Intermezzo and Valse Lente " from Sylvia. Amongst President has decided to follow this up in Council, as he the lighter music there is a " Foursome Reel " and an feels he can assure the members that the anticipated " Fightsome Reel," " Peer Gynt," " Anitra's Dance (Morn- decision of the Council will be extremely helpful to every ing)," and very many others, a list of which can be member in the conduct of his business. obtained from 1 51-137. New Bond Street. In the evening the President and Mrs. P. A. S. Phillips held a reception at the Empress Rooms, Royal Palace Irish Linen Hotel, Kensington, which was well attended. The thanks F.\CTloN maj- rage in the fair sister isle, but it does of the Association are due to the President and Mrs. not prevent them from producing those beautiful table Phillips for providing one of the most successful functions damasks which are the pride of palace, manor-house, held for the benefit of members. and cottage. It is necessary to inform members that no magazine or Specimens of the " Old Bleach " Irish linen before us journal other than The Connoisseur is permitted by the indicate the care which must be taken in the selection Council to publish official notices or matter concerning of the fiax, and the weaving on the loom, to produce such the Association. Anything appertaining to the affairs of works of art, true to style and period. this Association which may appear elsewhere in the press

This linen is still bleached under the action of the is not official, and is not published with the consent of sun's rays, which, as Shakespeare says, " stays on his the Council, unless otherwise stated. course and plays the alchemist." Great as the advance of science has been within the Stained Glass for Lahore last hundred years, a process has yet to be found which The stained glass designed and executed by Mr. Leonard can compare with the action of the sun's rays upon fiax. Walker, R.I., to commemorate the late Edwin Woodall For table linen—and every true woman is proud of her Palmer, in Lahore Cathedral, can only be described as table linen—the designs of Derby, Coalport, Worcester, highly successful. Mr. Walker has rightly preferred to etc., are numerous and handsome, suitable alike for the re-adopt the early heavy-leaded principle as affording old oak and the mahogany. If for use as d'oyleys, greater play with rich harmonious hues than is possible drawn-thread work as for embroidery, it has long been with sheet- glass; especially since the more uneven recognised that the linen used must possess the essential surface provides greater refraction, resulting in an effect qualities. When beautiful and elaborate needlework is recalling an assemblage of precious stones. There are contemplated, often taking months to complete, the four single-light windows, emh,odying respectively figures money value of the linen is as nothing compared with of Our Lord with Children, SS. Ftancis of Assisi, Elizabeth the value of the time and work expended on it. of Hungary, and Eloy of Noyon. These are subordinated, Not only will the needlework wear better and look however, to the general massing and design, so that one better, but the ease and certainty with which the threads only becomes conscious of them when so inclined. The can be drawn, and the comfort of sewing on soft, silky, colour is very rich and diversified, ranking Mr. Walker smooth linen which offers no resistance to the needle, as one of Britain's premier exponents of the vitreous no other linen will satisfy. crafts. Before being despatched to India, the windows These virtues are claimed by the manufacturers, the were exhibited by the Fine Art Society (New Bond Street). —

The Coi//i(>/ss('/ir

Society of Graphic Art Sa\iour, which was rendered more poignant still by the The foundation of a body to protect the existence of grotesque types chosen to surround Him. Mr. W. draughtsmanship was never more needed tlian at the Kussell Flint's little pencil sketches of The Colosseum and present time. Starting quite innocently with Impres- A Tomb Dxvelling, Monle Sacra, Roman Camf>agna, were sionism, a tendency arose to avoid the strict delineation inimitable pieces of pencil-work—direct, sensitive, and of form : a tendency which eventually assumed the all-embracing. Very good in their degree were Mr. II. proportions of a vice. It is not exaggerating to assert Falkner's pencil views of Farnham and Lyme Regis, and that, until fairly recently, the future of drawing gave Mr. Ernest L. Hampshire's Old Street in Gloucester. Some serious-minded critics furiously to think. Fortunately, deft and effortless wash-drawings by Mr. E. S. Lumsden a sporadic revulsion set in against the formless idea, amongst them a Spitiik Monastery and Piyary Monastery and it is to be hoped that the new Society of Graphic - -were also welcome, thoroughly meriting the honourable Art will have the effect of centralising and combining positions accorded to them in the hanging. Mr. Herbert a renascent school of thought. Cole's decisive decoration in India ink, based on the old

The inaugural exhibition at the K.H.\. Galleries Xorth Country legend of "The Lambton Worm " ; Miss D. (Suffolk Street, S.W.i) was well served, nearly six hundred \V. Hawkesley 's Othello (wash) ; Mr. A. Garth Jones's Woman

items being hung. One understood that only black-and- with the Helmet (pencil) ; and various examples by Mr. white in its manifold forms would be admitted, but Fred Taylor, were also in evidence. The section of engra- Mr. Frank Brangwyn, the President, erred splendidly in ving and etching was very strong numerically, but one can- sending a pastel study of Christ falls under the Cross. not do more than select Mr. Warwick Reynolds's direct The unconventional treatment, although not what is and striking etching of a Macaw, Mr. Kobert Gibbings's usually termed " devotional," was highly sympathetic wood-cut called The Bather, and Miss Elsie M. Henderson's especially in regard to the superbly-drawn head of the lithograph. The Wounded Lion, for mention here.

Forthcoming Art Auctions and Exhibitions (February)

Arthur Ackermann & Son. —Old Sporting I'aintingsby I'erneley, Puttick & Simpson — Post.ige Stamps (1st, 2nd, loth, and

Aiken, Sartorius, Wolstenholme, Reinagle, etc. 16th, and March 1st and 2nd) ; Antique Furniture, Porce-

lain, etc. (4th, 11th, and 25th, and March 4th) ; Engravings Agnew i: Sons. —Water-colours by deceased and modern

(4th and I8th, and 4th) ; Instruments masters (opens about middle of month). March Musical (10th

and 24th); Books (9th and 10th) ; Pictures (16th) ; Porce- Barbizon Hou.se (Mr D. Croal Thomson). —Barbizon School lain, Textiles, and Lace (18th) ; Old Silver and Jewellery

Pictures : alsoD. V. Cameron, F. Brangwyn, and W. Walcot. (24tb); Baxter Colour Prints (March 3rd). i,See Advcr- Brook Street Art Gallery.— Pencil Society (to 24th). lisemcl paxes.)

Debenham, Storr & Sons, Ltd —^Jewellery Sales (1st, 2nd, 3rd, Sotheby, Wilkinson & Hodge \alual.le Early English 8th, 9th, 10th, loth, Ifitb, 17tb, SL'mi, •23rd, 24tli, 25th). Theological Book, IVom the lirilwcll 1. .art Library (Jan.

Mr. Basil Dighton.—English and French 18th-century Colour 31,st, Feb. 1st and 2n

MeJi.i v:il llluiuiiKited " and Indian Miniaim.-,. MSS. (8th) : Dorien Leigh "Galleries. — Polish Grapliic Ai ts ; .Miss Phyllis Engravings from ilu ('..uiii' -- ( lule:',. I-'. C'apel Cure's, Woolner's Paintings.

and late Sir P. I )uncniiil,c , lunpiiiic, 19th) ; Autographs Eldar Gallery. — Paintings, etc., by Odillon Redon. and Documents, Prints .ind P.iintings frum G. E. Monckton's

Fine Art .Society. —Memorial Exhibition of Drawings and property (10th) ; Old English and French Furniture, Tapes- Cartoons by tlie late F. H. Townsend, Art Editor al Punch, tries, the properties of Lord Willoughby de Broke, G. E. Monckton, Lord St. of Bletso, etc. (Uth): Silver 1905-20 ; Landscapes by Montague Smyth. John (14th); Old Master Drawings, the properties of Sir K.

^ Goupil Gallery. —Paintings by Mark Gertler ; Paintings and Mackenzie, Sir J. Stiding Maxwell, etc. (15th, 16th); Books Drawings by John Nash ; Negro Wood-carvings.

and MSS. (22nd, 23rd, 24th) ; Furniture, Objets d'Art Grafton Galleries. —National Portrait Society. (25th). ^See Advertisement pages.) Greatorex G,-illery.—Colour Mezzotints and Original Etchings. Arthur Tooth & Sons, Ltd.—Paintings and Drawings by Modern Hampstead Art Gallery.—Exhibition by E. M. O'R. Dickey.

Harmer, Rooke & Co., Ltd Stamp Sales (1st, 2nd, 5tli, Dr ngs by Gustavo de

9th, 10th, 12th, IGth, 17th, 19th, 23rd, 24th, 20th). (.S>,- ;n, Wm. Kneen, and .Mrs. Bu Advertisement pages. )

Leicester Galleries. —Senefelder Club, 11th Kxliibilion ; Draw- PROVINCIAL. ings by II. M. Bateman. Brighton Public Art Galleries.—Work by members of the Brighton Arts Club and Sus.sex Women's Art Club (to Little Art Rooms.—H. Bellingham Smith's Waler-colouis. March 6th). McLean Galleries. — Modern French and Dutch .\it. Dublin: Stephen's Green Gallery.—Works by J. B. Veats

( Macrae Gallery.—Colour Woodcuts by Mrs. 1-;. '. Austen Brown. (1-eb. 21st to March 4th). "Irish Glass," by M. S. Dudley Westropp, M.R.I. A. it is remembered that the manufacture of glass on this (Herbert Jenkins, Ltd. £3 3s. net) extended scale w'as carried on not merely for a few years, In the late eighteenth century, when Ireland contained but was extended well on into the nineteenth century, a population half as great as that of England, and in it will be seen that the total output of Irish glass must wealth and industry was a serious rival to the sister have been prodigious. island, glass was one of its chief articles of commerce. Glass was not only manufactured in Ireland, but was Mr.\ Westropp tells us that the manufacture of glass also imported into the kingdom in large quantities, and there may be said to have begun about 1585. From that in this Mr. Westropp discerns a pitfall for the modern date onwards various glass houses were founded in collector, as he thinks it difficult, if not impossible, to different parts of the kingdoni, and about the year 1675 distinguish between the imported pieces and those the manufacture was started in Dublin, destined to actually made in the country. He points out that most become one of its principal centres. As early as 1713, the of the glass houses erected in the island were set up by proprietors of the Round Glass House there were adverti- Englishmen, who brovght over English workmen, used sing that they " made and sold the newest fashion English materials, and followed English patterns and drinking glasses, and all other sorts of flint glasses, as styles of cutting, so that the pieces made under such good as any made in England, at very reasonable rates." circumstances could not materially differ from those Si.xteen years later, another advertisement was issued, imported. Mr. Westropp does not think that the colour which described the glass in more detail, enumerating test will greatly aid the collector in determining the place among the articles manufactured " all sorts of fine of origin of his pieces, for he urges that the colour varied drinking glasses, salvers, baskets with handles and feet not only in the wares produced in a particular factory, for dessert, fine salts ground and polished, all sorts of but even in the metal extracted from the same pot, decanters, lamps, etc.," which were to be sold much that taken from the centre being always considered cheaper than they could be imported from England. superior to that coming from the sides. He discards In 1746 the list was still further extended by the addition Hartshorne's account of the blue tinge in Waterford -of water bottles, jugs, water glasses with saucers plain glass as being altogether erroneous, and says that on the and moulded, all sorts of jelly glasses, syllabub glasses, contrary it is the whitest and clearest of all Irish glass. sweetmeat glasses for dessert, orange glasses, covers for He also puts forward the dates assigned to a large pro- torts, bells and shades, hall lanthoms for one to four portion of the early pieces. Though Mr. Westropp candles, barrel lanthorns, globe lamps, etc. Later adduces a large mass of evidence in favour of his con-

.advertisements give still more ample lists, but sufficient tentions on these points, one feels that he has perhaps wares have been enumerated to show that in the early carried his spirit of incredulity a little too far, and that part of the eighteenth century the Dublin glass-makers he is too apt to reject testimony which is not substantiated were rivalling those of England in the variety of their either by documents or by the marks of the manufacturers output. Other glass houses were established in Dublin, stamped on the glass. Such evidence is conclusive as and, as early as 1729, one was founded at Waterford, far as it goes, but unfortunately it throws little light on which was probably given up about 1740, but in 1783 the identification of the localities from which the majority a second one was established in the southern city, which of the finer eighteenth-century pieces, now attributed enjoyed a long extended career. Another was set up at to various Irish glass houses, really emanated. Many t)rumrea, in County Tyrone, in 1771; in Belfast itself of these pieces have been called Irish, because they were various a factory was initiated as early as 1781 ; while others bought in Ireland, and are characterised by Avere started at Cork in 1782, Newry shortly after 1780, peculiarities of form and colour traditionally associated Ballycastle 1754, and Londonderry early in the nineteenth with Irish pieces. Mr. Westropp does not deny that •century. In many of the towns mentioned at some Irish glass was marked by such characteristics, but he periods believes contemporary English pieces several glasses were in full blast at the same time ; apparently that and the extent of their operations may be judged from were equally distinguished by them, and that it is con- the fact that in one year alone, 1797, 401,808 drinking sequently almost impossible to discriminate between the glasses were exported abroad from Dublin, besides large productions of the two countries. The author himself, •quantities of glassware from other Irish ports. When however, furnishes valuable evidence to support a contrary The Connoisseur

" conclusion. He states that Dublin, and especially course of a few seconds, while it facilitates the com- Cork glass, often has the blue or dark tint," and gives a parison of similar works by different painters. The long quotation from a letter written by Elizabeth Walpole, representation of each artist is classified under the school one of the partners in the Watcrford glass works, which, to which he belongs. The index to the library appears though adduced to show that Waterford glass was in the form of a substantial volume of nearly three hundred colourless, appears merely to prove that all the other pages, though it contains merely a list of the artists- glass made in Ireland was not. The letter was written exemplified with the years of their births and deaths, in 1S32, over a century after the permanent establishment and particulars of their nationality. Yet this in itself, of the industry in the island, yet the writer says that altogether apart from its connection with the library, she had .1 conversation with an English glass merchant, forms a useful and handy work of reference, for it contains " who stated that all the Irish glass he had ever seen was information, frequently wanted by art students and dealers, dark coloured." She assured him that Waterford glass, which is nowhere put in such a compact and accessible was an exception, but this assurance carries little weight, form, and is incorporated in no other single English because it was merely that of a manufacturer anxious to work. The same qualities— completeness, compactness recommend her own wares. Even supposing that Mi5s and accessibility—which characterise the index are Walpole's encomium was accurate, it by no means follows shown to an even greater degree in the library itself. that Waterford glass, while perfectly clear when made, At the Victoria and Albert Museum, and other public would not change its tone in the course of time. A recent and private libraries, it would be possible to see an equal writer on the subject, Mrs. Graydon Stannus. describes number of reproductions after the works of most of the the peculiar tone on Waterford as a soft cloudy bloom, artists represented, and in some instances the complete- caused by atmospheric action on the metal, and only ness of the records would probably be surpassed, but occurring on some of the older pieces. The weight of in most of these places the reproductions would have to- evidence seems in favour of the contention that old be gathered from a variety of sources, and it might Irish glass is characterised by more pronounced coloration need the consultation of fifty or sixty volumes or folios than contemporary English wares, and that a very large to obtain the record of the work of a single artist. In quantity of it was produced. Though much of this was a few libraries there are similar compilations to that of exported, one may infer from the customs returns quoted Mr. Witt, but these are generally confined to individual by Mr. Westropp, that this largely consisted of wine artists or groups of artists, and nowhere else has there glasses and other commoner types of wares, and that the been an attempt to form a complete record of all that majority of the finer and more fragile pieces remained is good in ancient and modern pictorial art. The value in the island. One would wish that Mr. Westropp could of the collection can hardly be over-estimated. It forms, have thrown more light on the earlier productions of the indeed, an illustrated catalogue raisonne to the European, Irish glass houses, but he has resolutely refrained from and American schools of painting, exemplifying the work presenting any piece the nationality of which was not of most of the 8,000 artists included with a thoroughness susceptible to positive proof. unmatched in their orthodox biographies. The library will enable a serious student to obtain in a few minutes Catalcgue of Painters and Draughtsmen represented in information which it would probably cost him hours of the Library of Reproductions and Drawings formed by research to secure from any public institution. It is Robert and Mary Witt to be hoped that other libraries conceived on the same It is an axiom of English political economy that the lines as that of Mr. Witt may be established at other enterprises of greatest public utility should be initiated art centres. The facilities that they would afford for by private individuals. A case in point is the " Library historic research would be of immense value to the art of Reproductions of Pictures and Drawings," established education of the country. by Mr. and Mrs. Witt, at their residence, 32, Portman Square. Mr. Witt, in his catalogue of the artists repre- '* British Painting," by Irene Maguinness sented in the library, modestly explains that a " general (Sidgwick & Jackson. lOs. 6d. net) interest in art. and in painting in particular," lead to Miss Irene JL^guinness gossips pleasantly on British the inception of this unique library, which he has painting, giving an account of about two-and-fifty artists, generously thrown open to all serious students of art. and interlarding the notices of them with disquisitions It at present contains between 150,000 and 200,000 on British social and political life at different periods. reproductions—photographic and otherwise—of pictures She gives no new facts, and her salient criticism is pro- and drawings, the work of more than 8,000 individual pounded in homoeopathic doses ; but, nevertheless, her painters. All the reproductions are mounted on sheets work may be recommended to elementary students as of brown paper of uniform size, which are inscribed a good general introduction to the subject, put into a. with all the salient particulars of the original works. form easily digested. She commences with Holbein, They are arranged in easily accessible boxes, under the thus ignoring the one or two English primitives whose names of their artists, and are then further divided into work in portraiture, sparse in quantity as it is, equalled subjects which are classified into over sixty varieties. anything of its kind produced by contemporary con- How important this sub-division is may be gauged from tinental artists. John Greenhill should have been the fact that various artists like Rubens and other prolific certainly mentioned in the Stuart period, but Miss- painters are each represented by over 1,500 examples. Maguinness possesses scanty sympathy for his master. The fruit of this arrangement is that any individual Sir Peter Lely. In the next generation one looks in example in the huge collection may be found in the vain for notice of Samuel Scott, Henry Walton. Joseph ;

The Cofinoisseur Bookshelf

1 lighnioiv, Ccoi'sc Knaptoii, Charles Brooking, and other of the titled and official classes—the .'\rmy. Navy, Church, painters worthily represented in the national collections. and Law, and science, commerce, and art. It has also Cipriani should have as much right of inclusion as Angelica claims to be considered as the most useful of all directories, K'auffmann, Zoffany more right than either of them for though the fat tomes, which contain lists of all London but one might double the number of painters included householders, give more names, they are neither drawn in Miss Maguinncss's survey without passing below her from so wide a sphere nor are the particulars given con- lowest standard of admission. Turning to the artists cerning their owners anything like so full and ample. whom the author does review, one cannot quite agree Who's Who gives not only all the various addresses of with eight pages being allotted to Burne-Jones and six all the people of any prominence in the country, but lines to Albert Moore, and there are other cases in also their clubs and telephone numbers, and all particulars

which the disproportion is even greator. The bcink is necessary to identify them, so that with its aid tliere is well illustrated and possesses a good index. no fear of approaching the wrong Smith or Jones. It has, in fact, now become a work equally indispensable to "The Miniature Collector," by Dr. George C. William- business men and those who move in fashionable society son. "The Collector's Scries." (Herbert Jenkins. as to writers on current events. 7s. 6d. net) Its smaller companion. The Writers' and Artists' Year- Dr. \Villi.\mso.\ excuses tlie issue of yet auotlier Book, may be described as the vade-mecum of everyone book on miniatures by explaining that his volume on connected with literature. It contains all the information How lo Identify Portrait Miniatures is now out of print, that a writer is likely to need in the exercise of his pro- and that recent investigations have brought new facts fession, including a full list of Briti.sh, American and

to light which it is desirable to place on record. Both Colonial journals and magazines, the style of contribution pleas are valid, and all collectors who have not provided that they are prepared to receive, and the rates paid themselves with the writer's previous works on the for accepted work. Lists are also included of British, .subject will be glad of the opportunity of acquiring American and Colonial publishers, editors, art, literary such a compact, useful, handily-arranged and well- and musical agents, and film producers. Other features illustrated book, published at a very moderate price. include digests of copyright laws and valuable advice Dr. Williamson gi\-es interesting critical biographies of regarding the placing of literary and artistic copyrights. all the well-known miniature painters working in England, The volume is admirably indexed, and its contents classi- from Holbein down to Sir William Ross, supplementing fied so as to be susceptible of easy reference. his account of Nicholas Hilliard with various important particulars which have not appeared in his other books "Vision and Design," by Roger Fry dealing with the subject. Perhaps, however, the most (Chatto & Windus. 25s. net) \aluable fresh matter is the full and detailed account of Criticism is largely a matter of outlook. We must ask

William Wood, a prolific eighteenth-century miniature of a critic : not that he should regard art ,and nature painter, whose work has hitherto not received the atten- with our eyes, but that he should intelligently comment tion it deserved. A special appendix is given containing upon what he sees with his own. If he does this success- the names of nearly 1,200 of his sitters. Other valuable fully, he has carried out his mission. Mr. Roger Fry's features are the chapters on " Plumbago Drawings," wTitings fulfil this ideal. One may not agree with them, " American Miniature Painters." " Foreign Miniature but one must certainly confess that they emanate from Painters," and " Forgeries." The last named contains a logical and well-informed mind, and that the manner information concerning the pigments used by the older of their expression leaves little to be desired. Their men, of the greatest utility to collectors. The book is weakness lies in the fact that Mr. Fry can hardly be said certainly the most complete, authoritative and interesting to possess or appreciate the artistic temperament. The of the smaller works on miniatures which has yet been basis of his mind is intellectual ; and he surveys the produced, and. taking into account the popularity of realm of art with much the same spirit that an engineer its author and the modesty of its price, should speedily might display towards an ancient castle, resolutely fixing join the long list of Dr. Willi: his attention on the fundamental principles underlying of Us construction, and despising any departure from them, fur tlie sake of beauty, as a weakness. This bias gives "Who's Who?" £2 2s. net; and "The Writers' and him a predilection for art which directly conforms with Artists' Year-Boofc." 5s. net. (A. and C. Black, Ltd.) what may be termed the elemental rules of expression, " These two annual volumes, each of which is indis- and thus he is inclined to rank Giotto as the greatest pensable in its respective sphere, both make their appear- artist that ever lived," and .shows a warmer appreciation ance with additional letterpress. W7io's Who now forms for the work of the bushmen and the crudely cut figures a substantial book of nearly 3,000 pages. Many new of African wood-carvers than for the masterpieces of biograpliies are given, and though deaths have caused Renaissance sculpture. Hence he naturally admires substantial reductions from the records of those celebrities advanced examples of Post- Impressionism. Mr. Fry's whose names appeared last year, the additions do far ideal in painting is rhythm. For this apparently he is more than fill up the vacant pages. As a dictionary willing to sacrifice tone, texture, verisimilitude in colour of contemporary national biography the publication is, and form, and most other qualities which differentiate of course, unrivalled, and all readers must perforce consult pictorial from merely decorative art. Such an ideal may its pages who have occasion to find out the records of be attained by an artist of limited accomplishment ; the thirty thousand individuals who constitute the elite it implies a curtailment of effort such as would occur in — ;

The Connoisseur

literature if a writer were to string his words together an orthodox modern house. In his other chapters he merely to form musical cadences without regard to their gives a good general idea of his subjects, and tlie illus- grammar or significance. Mr. Fry may be an able and trations, chiefly from line blocks, are both numerous and consistent writer, but art would be the poorer if his \ icws useful. Generally speaking, the author has tried to could be carried to their logical conclusion. compress too much within the compass of a single \olume, with the result that various portions of his theme are Print and Picture Catalogues treated in too perfunctory a manner to be of much value The series of illustrated catalogues issued by Mr. to the student. Thus the two or three pages devoted Albert Berthel (39-41, New Oxford Street) deal with a to Christian symbolism utterly fail to give an insight wide variety of books, prints, drawings, and pictures. into such .1 complicated subject. One devoted to works of the Dutch school enumerates, among other items, an original picture by Rembrandt "Bristol," by Dorothy E. B. Woollard; and " Warwick, and a choice example of Matthew Maris The Old Spinner Leamington, and Kenilworth," by R.S. Austin. (Adam —which was one of the attractions of the Memorial and Charles Black. 2s. 6d. each) Exhibition of the artist's works in 191S. These are, In the latest issues of the well-known " .\rtist Sketch of course, high-priced works, as are also some examples Book Series," Miss Dorothy WooUard records the beauties

by J. Meerhout, Joseph Israels, and Aert de Gelder of old and new Bristol, and Mr. R. S. Austin those of but in the same list are included numerous drawings and Warwick, Leamington, and Kenilworth. Both artists engravings at sums sufficiently low to tempt collectors maintain their usual high standard, and the books form with very shallow purses. Another catalogue is concerned not only attractive records of the places illustrated, but with old coloured prints and drawings, chiefly of con- furnish examples of sentient and picturesque sketching tinental origin, issued between 1780 and 1830. Other which might well serve as models to amateur artists. lists deal with French colour -prints, drawings, books, The series constitutes a delightful epitome of the beauty- and engravings connected with Greece, Turkey, the spots of most of the well-known British towns, and a Balkans, and the Near East, and pictures and drawings file of them should form part of the library of every of various schools. The last-mentioned enumerates over tourist desirous of appreciating the urban attractions of two hundred items, among which are included an the United Kingdom. important engraved work by Landseer, and characteristic examples of Gainsborough, Burne-Jones, and other well- "Tristram and Isolde," written and illustrated by known artists. Evelyn Paul. (George G. Harrap. 21s. net) In Malory's history of King Arthur, the storyof Tristram "Design and Tradition," by Amor Fenn and Isolde forms a kind of parenthesis having little "Universal Art Series." (Chapman & Hall. 30s.net) connection with the main narrative, "and only suggesting In his work on " Design and Tradition," Mr. Amor by a few stray hints the ultimate fate of the hero and Fenn summarises into a single volume an account of the heroine. Miss Evelyn Paul has retold Malory's story,

principles and historic develciimn m of .11. Iiitecture and freeing it from much of its discursiveness without des- the apphed arts. This is a .liiii uli t,i k to attempt, troying its old-world charm, and has supplemented it

and it has only been achieved \>\ iln ,iuilioi . onccntrating with details garnered from Celtic-French romances which

his attention on what he regards as tlic . -ruti.ils of his give the final consummation of the tragedy. It makes subject. His longest section is devot'il lo j lu^toric interesting reading, and will probably possess more review of design, in which he traces u-. \,iiioiis d, \Llop- appeal to the younger generation than Malory's original; ments from the time of the ancient Ei;\iiti,m^ until the while this appeal will be greatly heightened by the end of the French Empire period. His survey is lucid attractive illustrations with which Miss Paul has em- and well arranged, forming an admir.ible summary of bellished her work. The artist has succeeded in catching the different movements governing applied art and the romantic spirit of her theme, and picturing a fabled architecture during this lengthy period. Other sections age of chivalry in a manner to make it convincing to her are given over to " Mouldings," " Architectural Pro- readers. Her black-and-white drawings follow in the portions," " Division of Surface," " Development of traditions of Burne- [ones, but are imbued with greater Conventional Ornament," " Treatment in Design," realism, and in many instances are expressed with an " Mythology and Symbolism," and a short discussion on emotional intensity that recalls the early work of the " Ways and Means." These are a little unequal in merit. pre-Raphaelites. Miss Paul's colour -work appears to " " The one devoted to Architectural Proportion is highly have lost something in their reproduction ; she generally useful as far as it goes, but is practically confined to shows a penchant for bright and rich hues, which she examples of classical styles, and no distinction appears harmonises with great success. Her tournament scenes to be made between the proportions adopted by the are realised with much spirit, and the love episodes are Greeks and Romans, the latter being generally given illustrated with pathos and feeling, while a special word without comment. The author, in this connection, of praise must be awarded to the ornamental borderings. entirely ignores Gothic architecture, and gives little Altogether the volume must be pronounced as a most information which would apply to the construction of attractive gift-book.

Registered for transm Canada and Newfoundland at Magazine Post Rates. Printed by Bemrose & Sons Ltd., 133, High Holborn, London. W.C Derby, and published by the Proprietor, W. Claude Johnson, at 1, DUKE STREET, ST. JAMES'S,

LONDON, S.W.I, England. Subscriptions land 39/., Foreign 37/. I Canada 32/-, bV THOMAS OlKTl.S. 1775 ISOli faoisseuR In the possession of Mr. Thomas Cirtiii The Loan Collection of Drawings by Thomas Girtin at the Fitzwilliam Museum Part I. By C. Reginald Grundy

The exhibition of drawings by Fhomas Walston, Dr. GuUlemard, and other well-known Girtin, lately held at the Fitzwilliam Museum, connoisseurs. The display was especially rich in was interesting as exemplifying all phases of his examples of Girtin's early period, and showed work in a singularly complete and perfect manner. his progress—one may not say from topography It was chiefly drawn from the uniciue collection to art, but from an art, in which the expression

of Mr. Thomas Girtin—a descendant as well as of personality was subordinated to topographical a namesake of the painter—and reinforced by exactitude, to one in which Girtin was able to some choice examples belonging to Sir Charles give free vent to his genius, unhampered either

Vol.. I,I\.— No. 235.— <; The CojiHoissciir by deficiencies in technique or the desire to set Mr. T. (iiitin, was ])aiiitr(l wholly in ciniilation down in facsimile the local peculiarities of the of that nf his master. scenes he was (Icpictiiis- .V ilrawin,!,'. Melrose (Xo. i in llic catalogue), This period of dfvel()])inout lasted the eleven jiaiiitrd by Dayts in lyqz, included in the

1

1 The Loan Collection of Dnneim^s by Thoiiias i'lirtiii

i|)l(i\-<'(l him t

pnititablc to l\i-c.\vn ixukit. Cir I tlii^ ((iineiiti(pn. One fancies, howex'er, that

rebelled, was imprisoned as a refractorx- apprentice, the pupil had discovered that Ins master s masonry and was only releasi'd by the Karl of l{sse.\ was rather of the pie-crust order; that his colour, purchasing and cancelling his indenture-. though clean and attracti\-e, was lacking in dej)th The ten exhibition drawings, painted by C.nliii and that his brush-strokes wanted crispness and at- in 1792 and 1793, gave ample reason for tin' explicitncss ; and that Girtin consequently

quarrel of master and pupil. They show that t( in]3tcd to improve his own work in these respects. the latter had learnt all that his preceptor could His Kirkstall Abbey (No. 2), indeed, showed teach, and was improving on the latter's methods little or no change except that he added to Daycs's in a most disconcerting manner. Uayes had refinement and delicacy a firmer handling and Castle evolved a scheme in light blue, grey, and green greater purity of colour ; but in his Denbigh which had the merit of reproducing natural colour (No. j) there were distinct symptoms of revolt. in a con\-entionally accurate manner, and at tin- He had emphasised the character of the broken same time offered few difficulties to the print masonry, until every stone of which it was coni-

beautiful drawing and colour, the general effect in tracing its developments. Among these must was a little too unrestful to be entirely pleasing. be placed the line sense of distance and space Girtin appears to have profited by this experience, which he appeared to bring into being after for in none of his other drawings were his efforts painting the Denbigh. By contrasting the latter

DUMBARTON CASTLE THOMAS GIRTIN 1792-3 to gain variety of tone and texture permitted to with Conway Castle, one was instantly led to interfere with the reposeful effect of the whole. appreciate the artist's progress. The details of Henceforth he allowed nothing to disturb the the broken masonry were equally well rendered arrangement of his masses, achieving such variety in the Comcay, but they were so subordinated as as he wanted by subtle gradations in tone or tlie not to detract from the solidity of the building, introduction of a few strong accents of colour. the end portion of which was depicted, softened It was a mark of Girtin's precocious genius that and greyed in tone, as seen through the intervening he gained his effects with a parsimonious economy atmosphere. Another instance was afforded in of means, limiting his highest lights and strongest the Dumbarton Castle, an exquisite miniature-like darks to minute touches, hardly noticeable at gem, showing a rocky headland stretching out first sight, yet which inevitably accented the into a narrow arm of the sea. Girtin in his compositions in the requisite places. Thus in drawing had seized upon all the irregular outlines the Tynemouth Priory, the one absolute ]iatch of of the castle-crowned promontory as a means of white was given on the sail of a distant ship introducing telling picturesque detail, but when ; in the Goodrich Castle it appeared on the body it came to adding colour, he deliberately minimised of a small cow in the foreground ; while in the their importance in the interests of atmospheric Plitscardine Priory the whole drawing was put truth. So. too, in the Dunnottar Castle—a composi- into focus by two specks of pink, introduced in tion liki til. 1,1st, less dependent on its architectural the broken arch of a rainbow. Each of these Ir.iiui. s th.iii (in the presentation of the irregular beautiful miniature-like drawings was worthy of exciesceiices of a protuberance of jagged rock. detailed examination, though perforce they must In this, as in the others, Girtin nowhere showed be passed over quickly, for one is less concerned himself overwhelmed by the mass of detail that in discovering the beauties of Girtin's work than he had to present, but everywhere subordinated — The Loan Collection of Draioijigs by Tlionuis Ciyti)i

it — chiefly by the judicious nudcrinj,' i mentioned the pink in the rainbow of the Plits- atmospheric environment — to the main Hi cardinc Abbey. That had apparently been inserted his composition. as an afterthought, for the bhie of the sky had In the Helmslcv Cas/le, seen amidst a been rubbed off to make place for it. (iirtiti

covered landscape, Girtin had a new problem to apparently was pleased with the result of the face, viz., the presentation of a composition in experiment, and for a time but few of his drawings which the absence of greens would not allow him were enlivened with just a touch of pink, always to employ his usual method of relieving the greys, placed in juxtaposition against similar minute whites, and blues of his colour-scheme. He solved touches of blue and white. Generally a woman's it, not as a less capable craftsman might have dress served as the medium for the introduction. done, by the introduction of strong contrasts in In the Glasgow Cathedral there was a woman in black-and-white, but by the e\olution of a delicate a pink skirt in the midst of a little group near the tonal hannony, artistically satisfying and com- foreground ; in the Lincoln (No. 12) one appeared pletely in accord with nature. in a somewhat similar position ; in the larger The Glasgow Cathedral completed the series of Lincoln (belonging to Sir Charles Walston) the drawings produced by Girtin under the Dayes three touches of colour—pink, blue, and white inspiration, and, though logically it formed part were distributed about a boy, in blue coat and

of the earlier groups, one may perhaps best consider white shirt, carrying a pink jar ; and in the Lichfield it in conjunction with the trio of cathedral they were divided up among the costumes of two drawings—the two Lincolns and the Lichfield— women. But always they occurred, put in with which marked the beginning of his artistic inde- microscopic delicacy and precision, and with pendence. Girtin during his tutelage had evolved intention—a device that might almost serve as a several improvements in colour, tone, and com- hall-mark for Girtins of this particular period, like position on the Dayes formula. He had a white horse helps to establish the identity of a " discovered, first, that the introduction of a touch Wouverman "— and then Girtin suddenly dropped

of pink provided an effective relief to the greys, it, and the jMnk-skirted females disappeared from blues, and greens he favoured. (3ne has already his work. The Coi/iioisse/ir

A second expedient— a by no means uncommon The two remaining drawings of the 1794 one — that he frequently adopted at this time "cathedral trio" at first sight appeared almost was the somewhat arbitrary introduction ot curved identical in their general composition. Both and broken lines to contrast with the regular presented triple-spired minsters seen end-on from forms of the buildings in his architectural com- a little distance away, under similar conditions positions. The Glasgow affords a marked instance of light and time. They, however, were charac- of this. Girtin had treated the theme more terised by the marked distinction that whereas naturally than usual, toning up his greens so that the building in Lincoln Cathedral rose from the they reproduced fairly closely the actual hues of ground in plainly marked perpendicular ridges of nature. And then he appears to have discovered masonry, the sides of Lichfield Cathedral were that, successful as his drawing was in colour, it covered with invoked, tortuous, and complicated

was too placid ; there was not sufficient contrast surface ornamentation. Hence it was requisite between the somewhat regular outlines of the that their surroundings should be differently trees and the symmetrical contours of the cathe- treated ; so to contrast with the placid symmetry dral. So Girtin introduced the curved and jagged of the Lincoln, the artist formed his foreground outlines of a large bough projecting from one of with a broken mass of houses, the red tiles forming his tree- trunks. It rambled into a series of the roofs of which were presented as a troubled impossible sinuosities and angles utterly unlike chaos of variegated form, thus affording an nature, but nothing natural would have so readily apposite foil to the severely regular lines of the given the required effect. minster. The complicated tracery on the Lichfield The small Lincoln, a somewhat similar subject, masonry required a setting of an entirely different showed more explicit design. Here \aricty was character; hence, instead of the tumbled sinuosities afforded by a great double curve fomied by a road of the tiled roofs, the artist introduced a few and a hedge-bank stretching across the foreground, straight lines of paling, which formed an admirable and constituting a perfect foil to the upright per- foil to the richness of the cathedral facade. pendicular lines of the distant cathedral. In this In these three drawings, Girtin, if he did not drawing Girtin showed a more extended palette reach his greatest height, at least revealed that than heretofore, introducing a note of delicate red it was possible to unite topography, nature, and in the roofs of the tiled houses clustering about art to a greater degree and with a more beautiful the building. He had also varied his sky, using effect than any English water-colour painter had horizontal bands of cloud as a backginuiul to iin- done previously. He had succeeded in freeing phasise the height and slenderness ni tin -(i.niiii; himself from the thraldom of the engraver, and spires. Altogether this drawing, pamtiil iii 171)4, had substituted for what was practically a three- showed a marked advance in outIo(jk and design colour interpretation of nature one which showed on any of his production'; of the pre\-ious two years. that he had in him the makings of a great colourist. —

potable CoUections

The Collection of the Hon. Sir John H. Ward, K.C.V.O. By Herbert CescinsKy

iHK cal)noK- Ir.u mh l-ni^li-li chairs makes to tiic was broken up b\' a moulded collar, midway, its appearance as early as tlie short reign nf the leg changing gradually from the square to James II., but in a very primitive form. A nice the round section below this collar only. In some eye for the shape of a cabriole is the supreme test cases the leg below this moulded member changed for a good chair-maker, as there is no royal mad to its production. The pattern, or template, is first cut out in thin wood, and then laid on the Oueeu \n\\c days saw tlu -c of tlu' smooth, block of wood selected for the leg, and marked undecorated cabriole leg, ai il is (luring this off, the one way only. After this shape has been ])eriod that perfection and ul\- 111 line weri- cut out —in modern shops, with the band-saw attained in this form. 11 linglish cabriole the piece which falls off is used as a " saddle,' irototype— in the so that the wood can lie flat on the saw-bench fact that the nisiilc line is .dways straight, or while it is being cut the other way. When this nearly so ; whereas the Dutch cabriole always second cutting is completed, we have a rough straddles. Once appreciated, this smooth English cabriole form, but in square section. The shaping, cabriole, finishing in the plain club-fcjot, with the from the square of the knee to the cylindrical straight inside fine, never loses its favour. Its shaft and the rounded toe, is effected by the clean grace is not improved, but rather tlje reverse, spokeshave, the rasp, the scraper, and, la-^tlv, wlicii a \\(>alth of carving is expended on the

,i ' with glass-paper. It is in this fniisliin,L; tli,ii I' "M I h ill iif knees or toes. cabriole leg is either Peifection having ~--.~ made or marred. It been obtained in the presents no great makmg of this difficulties to a good smooth luiglish cal)- chair -maker; but, liolc leg, a fashion then, it is quite easy set in, about 1705, for a pianist to play foi its decoration. a piano. the This smooth, un- cMallnp-.hclI, and, carvcd cabriole leg rarclx-. ilic acanthus- appears to have pre- carxing on the knees, sented difficulties in ami the ball-and- the late Stuart or claw on the feet. the Orange periods, Occasionally the toes and, to hide this were covered by a uncertainty in result, simple conventional the early legs were fronded leaf—a very either left in the charming, but rare, square section—that detail. The Ixdl-and- is, cleaned up as they came from the saw • Tit,- firit pari oj litis or the straight sweep art if If ttppeartd in our of the line from knee January number. A The Coiniois^ciir claw, in the earliest examples, is always clean cut, At first the new details were treated in a coarse but the claws with a vigorous grasp, and sometimes vigorous fashion, as in the stool (No.i.). The satyr heads are well carved, foliated on the car-piece, and united by a flat gadrooning. This stool—one of a pair—has a covering of fine French broche, which is probably older than the piece itself.

NO. ii. has the swept arm of the early Georgian ])irii)d, with a carved patera at the junction of the sujiport with the arm-pad. The knees have i^ the lion head with a foliated ring in the mouth, and the feet are of the usual flat-paw type of this K'liod. The covering is a French needlework,

1 pastoral subject executed in gros and petit-point, with the finer details worked in silk.

No. iii., a mahogany chair from the Middle >niwing Room, is a bolder example of the same period, upholstered in a green Genoese velvet, to match the rest of the furniture in this room. The paw foot persisted for some years after the tails of the lion or satyr mask had declined fa\our. The fine mahogany side-table, shown

No. i\-., of date towards the middle of the ;liteeiith century, has the finely carved cabriole

; linishing in a bold paw foot, in conjunction w ith an architectural type of frieze decorated with a lattice- work of Grecian key-pattern design. Above this is a bold ogee, carved with the con- \entional " strap " pattern, which finishes under the thick Verde Antico top. Side-tables of this kind were the forerunners of the later sideboard —that is, a piece for use in the Diiiini; Room, cut right through, showing daylight between the claws and the ball which they hold. The motive was unquestionably borrowed from the familiar Chinese detail of the dragon's claw holding a pearl. The 1>,ill-,in.l-. law UnA nUiins its favour with the Hii,i^li-li MMir-iiMkir until almost the end of the Chiii|M ihlaji iniind. with certain short periods of decline. The first of those occurs during the fourteen years of the reign of the first Hanoverian king. The new dynasty probably demanded something new from the chair-maker, in the same way as the year 1887 produced the Jubilee mug from the British potter. Mahogany was coming into favour at the period of the South Sea Bubble, and Sir Robert Walpole was using the new wooil lavishly at Houghton in ciica 17.^5. Tlic luw king, or the new wood, indicated that ^(1lllrtlling was required in the way ol a dcjiaiturc from accepted traditions, and we get, for a short period, the lion or satyr masks on knees, and, for a longer space of time, the lion's-paw foot to accord with the new details. Original lion-carved chairs are

rare ; forgeries abound at the present day. Dudley House can furnish several examples of this transition period from the decorated Queen Anne to the Lion periods of English chair-making. No. 111.— 5it

—

The ColU'cfioH of the //on. Sir /o/ni //. II 'ani constructed to contain wine, napery, cutlery, and period, and subject to very heavy duties on the like. Sideboards of this kind only evolve in the importation. hands of the Ilepplewhite school, about 1770, and M M,v fi^lii..!: ill tlir li,,it,nrnt of the cabriole

01 THE MIDDLE OF THE EIGHTEENTH CENTl were then nearl}' always composed of an indepen- kg jostled each other in the years from 1730 dent central table (sometimes with, but more to 1745. The plain club, the ball-and-claw, the often without, drawers in the frieze) flanked on paw, and the scrolled or leaf-fronded feet are all either side by pedestals surmounted by turned used indiscriminately in these years. The decora- and carved urns. These urns were sometimes tion of cabriole knees is even more diversified. purely ornamental, turned from solid wood, but The cabriole of Queen Anne days is either quite were also hollowed out and fitted to contain plain, or embellished with the escallop -shell spoons, forks, or knives, or fitted with linings and or the Grecian anthemion, but the seat-rail is taps, to hold a supply of rose-w'ater for use in always straight, with the knees finishing below it. the finger-bowls on the table. Thomas Chippen- After 1745 a similar fashion revives ; the seat- dale made a fine sideboard of this type for rail is straight, and the usual knee -carving is Gawthorp— afterwards Harewood House—in the acanthus, as in No. iv. During the fifteen Yorkshire. That he borrowed the general idea years referred to above, however, the only fashion of fonn and arrangement from the rival school which may be said to persist— and even that is " " of Hepple white is unquestionable, and the Hare- very transient— is the cabochon-and-leaf shown wood sideboard is in the manner of Hepplewhite on the knees of the two chairs Nos. v. and vi. as assimila ted and embellished by Robert Adam Both are from the Middle Drawing Room at Dudley as in even the third edition of The Director (1762) House. The first is in walnut, with a covering the sidebo ard is still a side-table, made to support of the same green and cream Genoese velvet as dishes an d the like, but to contain nothing, in in No. iii. ; the second is gilded, with gros-point the same fashion as this side-table from Dudley needlework seat and back. In No. v. the knee House. T hat these tables were lavish pieces, of the leg curls over the seat-rail and finishes in made only for the very wealthy, is beyond question. a bold spiral whorl. The cabochon is decorated. Mahogany was a rare and ccstly wood at this In No. vi. the seat-rail is straight, the material Tin ' C 'o////oiss< 'lit'

finished with brass-naiUng on a thumb moulding coiisole type. This table was purchased from car\ed with a splayed gadroon. The cabochon Sir John Hume Campbell, of Marchmont, Ber- on the knee is plain, and tlic feet arc nf tlir l,af- wick, and is now in the Large Drawing Room.

fronded French type. The whole chair has a Two examples of that curiously clums\- but pronounced French feeling, but the workmanship vigorous West of England style, erroneously is unmistakably English. The arms have the known as " Irish CliiiipciKl.ile " (all of which same cabochon ornament as on the knees. dates from ten to lifu. n \. ais liefore we have any In these years, from 1730 to 1745, architects real knowledge of Thomas Chijipendale at all), are had a good deal to do with the designing of the given in Nos. ix. and x. The flat top moulding furniture which was made at this date. We have of the first, with its narrow plain frieze and the the curious spectacle of architects masquerading carved " apron " below uniting the legs, are as furniture designers—Kent, Chambers, and Gibbs characteristic details of this style, and in some in particular—and furniture-makers styling them- examples these carved " aprons " were exaggerated selves architects. Kent was responsible for much to a ludicrous extent. No. x., although it suffers of the furniture at Houghton and at Montagu from the detached character of some of the orna- House, and the results, to say the least, were ment, is a vigorous piece of designing. This unfortunate. Chatsworth indulged largely in the table—one of a pair—is in deal, stained and architect -joiner manner, and the gesso table waxed to the shade of walnut. (No. vii.) is an example of this new fashion carried Sir John Ward's collection is especially rich in to a logical degree. The palmette cresting to examples of stools of the first half of the eighteenth the masks on the knees gives them a strong century. No. xi. has the scrolled foot which resemblance to Red Indian heads in full panoply. Chippendale afterwards adopted in his French The scrolled leg finishing on to a hocked paw- manner, and which became so fashionable in the foot, although not fortunate from the designer's decade from 1765 onwards. This stool, however, point of view, is quite characteristic of this is considerably earlier in date than this, as such manner. The top is decorated, in the French details as the French " apron " uniting the legs, taste, with a raised gesso in low relief, and the the leaf-carved cabochon on the knees, and the entire table is gilt, with the groundwork slightly " square-and-dot " V-tool engraving show. The sanded. French needlework with which it is covered, No. viii. is freely adapted from the late Louis XH'. although evidently made for a much larger piece. VII. — GILT GESSO TABLIJ —

No. IX. — "IRISH CHIPPENDALE" T

No. X. "IRISH chii'I'kndale" table The Collection of the IIou. Sir John II. Ward

lira- is also an old silk wlvtt. Xo. xiv., the last

(No. xii.) oriRinallN vil to of this serios, is in walnut an unusual wood for fiirnitun'. It is no ,f a p. the ]XTiod- and is late (about 1770), in s])ile of

No. XI. Pictures

The Valencia Altar=piece from the Priory of the Knights of St. John of Jerusalem By Cyril Bruyn Andrews

AuouT tUty years ago, the early Spanish kneeling in front against a landscape background, altar-iiiece belonging to the Priory of the Knights while on each side stood a panel about 57 in. of St. John of Jerusalem at .Valencia passed into by 23 in., one representing St. Vincent of the hands of the father of the present owner, Valencia in a deacon's dress, " young, mild and with the exception of three panels which were reserved," a cross—the criix decussala— in his acquired by the Metropolitan Museum of New right hand and a palm -branch in his left, the York. As far as can be ascertained from the figure of a panels that still exist, the altar-piece, which is of bearded man re- considerable interest and importance, consisted clining on the of a large central panel, 8i in. by 32^ in., ground at his

representing Christ in a mandorla supported by feet ; while the Angels, the Vir- other, which is in gin and Ajiostles the possession of

THE MISSIO.N OV THE 57 IN. EY 23 IN. The I 'alciiciii A Itar-piccc

tin- M.'l ropolilan and wood showing few Musouni of Xcw York, tiacrs of their age represented St. Giles. and the canvas being The remainder of tlie i)iil\- in a few places altar-piece consisted torn from the wood apparently of fi\e underneath, thev can " smaller panels : The be studied directly and Devils cast out of w ithout the disturbing Heaven " and " The inlluence of modern .Mission of the restoration. Apostles," belonging The panel of St. to the Metropolitan Vincent of Valencia Musenm, and " Christ has a distinct charac- at the Column," ter of its own, anrl " Christ in the Tomb," it seems probable that, and a " Noli me tan- if the altar-piece was gere," in which last the work of several the \-i\-id ccjntrast painters working to- iHlwern the black i;itluT under the same irr,< and gold back- inlluences, the panel gn.und -ii-^r-^ts the lit St. \'incent, the

p,>"ilMlit\ .il .111 early

(K -lie ti' p.iiiu a sun- tiiwn. was the work

rise, showing the time (if the master-painter; of day at which the Init this, however, is scene took place. s was concerned Gallery Funds and for >h(irtly before he died, the benefit of the w .1^ considered by him Sociedad de .A.niigos to have the same " delEspafiola, the altar- " provenance and to piece was described as he i)y an artist not late fifteenth century, \er\- far removed from but in the opinion of the Valencia altar- a Spanish authority piece ; but this is the from Valencia, it was ciiily suggestion that considered to belong has been made so far more probably to the as to its authorship. early fifteenth or late .\ pa r t , however,

ci t fourteenth century. ! r HI a 11 y e x a c There is no precise c|uisticins of origin, information, however, thc"-c' panels form as to its date or exact >t liking examples of origin, although con- the sincerity and of siderable interest has tlu' religious spirit of been taken in it by the the early primitive Metropolitan Museum ^^^m^.^*^^&^^4^?^k painters, and are a in New York and by significant contrast to English experts. the pseudo-primitive :hrist supported by Y u r t h e r research affectation w h i c h might possibly be useful. and, as nearly all the some artists ad. )pt. The composition of panels xcellent condition, the each also excep tionallv liiu\ and in each The CoiiuoissciiK case closely related to its subject. The triangular value is appartiit, i)riniiti\r art has a ctTtain and composition of the " Xoli me tangere," the circular permanent place as one of the most important ,^,^^f5^^

" lines of the panel of the Scourging," rather stages in the development of art. Its character- obliterated in the bad condition of the lower istics also are being appreciated more and more half, and the concave semi-circle suggested by the for their own values, and not merely for what " lines of the Burial," are all perfect in their they led to. In colouring, in composition, and, appropriateness and in the manner in which the above all, in sincerity and power of expression, significance of the lines of composition are main- they are seen to be of the highest value, and, if tained and not lost in the mere anecdotal interest the spirit which lay behind them is understood of the picture. The upper lines of the crux and their excellences no longer merely childishly decussata, whirli ajipiars to fcirni the composition copied, their influence will play a useful and of the central paml, t;i\c a frrlin,^; of uiiward leading part in furthering the highest principles movement to thf ri,t,'ure of Christ in tlic .\srension, of the art of the future. and the lower arms of the cross, vaguely noticeabh- in the grouping of the figures beneath, give an appearance of rest and stability to the lower part. A few years ago the admiration for primitive art was considered to be a mere passing phase of a few enthusiasts, but to-day, while the absurdity of treating primiti\'e art as the only art of any

\\ ^^^^ •-'j< • %^ * >^^-; <- >^< >0> ,>0< ',.)iQ< if}

The i \)i/i/oiss('//r

TurKoman Rugs By Major Hartley ClarK

I,—Two I'KAYHK\i\< Rrcs:1 Bokhara I'kopkk and The illustrations show two \'ery tine old S|)eci- Sakik Tukkoman. mens of (\) a true Bokhara prayer rug, and There is such widespread misconception on (B) a Sarik Turkoman prayer rug. Of these, the the subject of Turkoman rugs that the oppor- former type is frequently called " Beshir." The tunity of illustrating a few very early and reason for this name, if there be one, is very interesting specimens may serve the purpose of obscure. Most certainly it has no connection, shedding light where hitherto ignorance has as is popularly supposed, with Bushire, the port reigned supreme. on the Persian Gulf. There is, however, a small The main cause of confusion is the \anety of hamlet of the name of Beshir on the Oxus river names which for trade purposes is apjilied to these between ("hardzhui and Karki, i.e., on the borders " rugs. Some of these names, such as "Bokhara of the Ersari Turkoman country and Bokhara, and " Khiva," are given promiscuously to prac- both of which types of rug are often referred to tically every type of Turkoman rug, and indeed as Beshir. It is, however, neither a specially to others that are not even Turkoman, the reason noted place for rug- making, nor even a great being that these two cities are the capitals of tradi' rrntrr. The latter type (Plate B) is what " " the Khanates bearing those names, and are big is usually, but erroneously, called a Bokhara " trade centres, to which come all classes of Turko- prayer rug, sometimes more particularly a Prin- man weaves as inerchandise. As a matter of cess Bokhara." In reality it is the purest type fact, neither Bokhara nor Khiva is to any great of nomad Turkoman prayer rug. extent a rug-making centre, though both are Plate A, illustrating the real prayer rug of big rug markets. Actually, the rugs woven in Bokhara, shows a rug of about 150 years of age, or near Bokhara are but a sinall proportion of and, as will be seen, it is not one that would be the Central Asian output, and by no means the classified as " Bokhara " either by the general best, nor do they v^ery closely resemble the rugs public or by dealers. It is, nevertheless, typical usually mis-labelled " Bokhara," which are in of the best produce of that province. reality those woven by the nomad Turkoman The Bokhariot is not a nomad Turkoman, and tribes of Transcaspia. his rugs differ from theirs both in design and Then, again, a lot of meaningless names are colouring, though they show kinship as regards introduced, principally by American writers, the knot used (Persian) and the finish of the which only make confusion worse confounded : as, ends and sides, and other technicalities of weave. for instance, " Royal Bokhara," " Princess Bok- .\s regards colouring, these rugs resemble the hara," " Tekke Bokhara," e\-en " Khiva Bokhara," Tmkoman fabrics in their employment of large and so on ad nauseam. (jnantities of Turanian red, but differ from them Similarly, in some cases a genuine attempt is in the introduction of a considerable amount of made to classify these rugs according to the yellow, chiefly in the borders. This is obviously districts in which they were supposed to be woven, an importation from further East. The colours e.g., " Merv," " Punjdeh," etc. Now, although on the whole, though good, are somewhat more this system of classification is a sound one as garish than those of the Turkomans, and show regards Persian rugs, it is apt to break down and influences from Samarkand and the Turco-Chiiiese be most misleading when applied to Turkomans, group generally. since these nomad tribes have for many ages As regards design, their kinship with Turkoman been engaged in internecine strife, in turn ousting rugs is only seen in the stiff geometric treatment each other from the more favoured localities. of their lloral devices, the employinent of which For example, the Merv oasis has during the shows Persian influence. Moreover, they introduce nineteenth century alone been occupied in turn other designs, as will be shown in a later article, by the Salors, Sariks, and Tekke Turkomans, so showing distinct Mongohan influence. The " head that the rugs of any of these tribes might correctly and neck " shape of the mihrab, or prayer niche be called Merv rugs according to the period of of this rug, is characteristic, and is essentially their manufacture. different from the tent-shaped niche of the nomads.

A still further cause of confusion is the niunber The shape of the rug is somewhat long and narrow of hybrids that have grown uj) connecting the compared with the shorter and broader prayer pure tribal tyi)es, from such causes as intermarriage rugs of the Turkomans. between tribes, the capture and enslavement of This rug has a central panel of old rose, extending large numbers of one tribe by another tribe, etc. up into the mihrab, outlined by a border of —

The Coiuioisseur turquoise blue, lying upon a field of ivory which consisting, on the top and at each side, of a again is bounded by turquoise blue. Throughout common Turkoman geometric design with outer the whole are beautifully designed but stiff and and inner guard stripes of the double saw-tooth rectilinear floral forms, somewhat large in size pattern. The broad bottom border is in a peculiar and in bold variety of colour—green, blue, brown, shade of bronze, as is usual in these rugs, and and red- arranged symmetrically in vertical rows. contains a series of Trees of Life in old rose, with The borders contain entirely geometrical devices. alternate branches in salmon-pink, the drooping The Bokhara rug proper is never woven very ends of these branches terminating in what fine, but is usually of stout texture and of good resemble pendent lamps. material, though inferior to the best Turkoman Within these borders, on a deep old-rose ground, rugs. is the main field, within which is an inner field, Plate B shows a prayer rug of the Sarik Turko- which in turn contains the Holy of Holies in the mans, which is one of the oldest and finest examples shape of the cross- panels before mentioned. of its type still in existence, being probably more The design of the main field consists of double than 250 years old and in excellent preservation, bands at the top, bottom, and each side. The except for the portion at the lower end, which topmost band contains the nine tent -shaped has been replaced with a rough old piece of Turko- mihrabs, and beneath this is a band of beautiful man canvas webbing to complete its appearance plum-colour, on which is a row of the tops of and to prevent further wear. Trees of Life. The purest Turkoman prayer rugs, i.e., those Each outer side design of the main field is a of the Yomuds, Tekkes, Salors, and Sariks, are stalwart Tree of Life in deep blue, similar to all of this main type, with differences only in those in the broad bottom border, and each " " regard to minor tribal designs and colour-schemes. inner side design is a stiff vine formation. This particular specimen is made with the The lower band is one of rectangular figures finest " pashm," or undergrowth of lamb's-wool, containing double rows of curious brackets, and which makes it delightfully soft to the touch, beneath this is another band of tree-tops. The and in part accounts for the wonderful way it inner field is bounded by a border formed by a " has lasted through the ages. The colouring is series of devices like jews' harps," and on it the richest of deep rose in predominance, with appears again the curious double bracket device minor qualities of dark blue, brown, ivory, and similar to, but larger than, those in the lower pink, together with a deep skirt of peculiar bronze. band of the main field. This bracket device An invariable characteristic of these Turkoman corresponds to and has the same significance as prayer rugs is the division of the inner field by the commoner Y-shaped design of the Tekke broad vertical and horizontal cross-bands, though Turkoman prayer rugs. The central horizontal in this particular rug the inner field is so com- panel is decorated with trefoil forms in groups paratively small that it is not so markedly of four with crossed stems. The central vertical quartered by the cross-bands as is often the column is divided into two similar portions above case. and below the horizontal band. Each portion In consequence of these bands forming a kind contains a Tree of Life on a rich plum-coloured of cross, these rugs have come to be known by ground, and each is defined by a border containing Armenians as "khatchli," or cross-pattern; but, the well-known " S " device of religious sig- of course, nothing was further from the thoughts nificance, and culminating in an arch, which is a of the strict Sunni Mohammedan weavers than subsidiary mihrab. any representation in their prayer rugs of a Such is the typical Punjdeh or Sarik Turkoman cross with its Christian symbolism. design of prayer rug, and is without doubt the

A feature to note is the series of mihrabs. most beautiful of the prayer rugs of the Turko- They are small in proportion to the size of the mans. Modern ones may be had in plenty. rug, and are tent-shaped, thus differing entirely Incidentally, they may be had in a variety of from the prayer niche of the Bokhariot. These colours differing totally, after the gentle influence mihrabs are sometimes single, but are frequently of washing and chemicals, from the colours their as many as three, five, seven, or even nine in a makers gave them. Good ones "of a certain row (as in the illustration). age," perhaps up to 100 years, may be had in The composition of the field and borders of limited numbers. The genuine antique, the real this rug are most interesting, and well worth thing, is almost as scarce as the dodo rara analysis. There is first, the main outer bordering. avis. Beafi possidentes. Mr. Percival D. Griffiths' Collection of Old English NeedleworR Part II. By Eugenie Gibson BiiioKii entering into further descriptions highly skilled workers command a quaint beauty of the specimens reproduced, it would perhaps that is all their own, and attain artistic distinction be of interest to the collector to give a short by reason of the perfection of their craftsmanship. account of the means by which these old works Although largely influenced by tradition, these of the needle were created. Some people call works to some extent entered into rivalry with these Stuart and Tudor works inartistic, and the productions of contemporary painters. The condemn them as such on the plea that the designs needle, like the brush, was used to attain pictorial are stiff, and even ungainly. Yet there can be results, and hence to some extent the technique little doubt but that specimens carried out by of the actual needlework can be coin])ared to the

TOP OF FITTED WORK CASKliT The Connoisseur

painter's bnishwork. In fact, the styles of the silver, and coloured purl ; coloured gold and silver, stitchcry were so varied that some of the finest pure gold and silver thread, glass, mica, and real stumpwork and petit-point pictures emulate the pearls, all of which were of an unpliable texture. effects attained with pigments, a result to be Hence the stiffer, less rounded and less graceful marvelled at when it is remembered how slow and appearance of these later works. Yet withal laborious is the manipulation of the needle in that, they are great works of art, from the point comparison to the free and facile handliiif,' of the of necdlecraft, and deserve warm admiration. jKiintcr's brush. In their right place, like Mr. Griffiths' house, The steel needle was first introduced into Eng- where they form an artistic ensemble, in harmonv land by a native of India in 1545, which naturally with the furniture they adorn, they give the caused needlework to be much more finely exe- visitor a feeling of the greatest pleasure. A cuted, and raised to a higher artistic standard large number of these specimens were worked on

than when it had to be done with a much coarser white satin. They come under the denomination implement. This also leads one to the preference of Stamp, Stump, or Embosted work, the last of using the word Needlework or Needle-craft to having been the accepted name for it at the embroidery, which latter is derived from the Tudor and Stuart periods, owing to the fact that French Broderie, and in French again from an the subjects produced by all manner of intricate archaic source. workmanship were raised to \'arious heights, The progress of working these magnificent which was accomplished by the raised portions examples illustrated was a very slow and lengthy being stuffed either with pieces of silk, cotton-wool, one. Taking the stumpwork Embosted (being the or even carvings of wood to support the figures,

old English word for it) first. This was popular balderkins, etc., etc. The coverings of these are

from James I. through the Commonwealth until worked in the most exquisite stitches, taken from

Charles II. ; but the fashion for it was at its examples of old and contemporary lace. Oriental,

height through the reign of Charles I. During and other examples of embroideries, as well as the whole of that period stumpwork was mostly those of the usual convention. There was also worked by the aristocracy and Royahsts, the a great deal of gold, silver, coloured lace, and themes chosen being in the majority of cases passementerie (passement being the old English ones with royal associations, portraits of Charles I. term) also used for it at that period. These (the martyr king) and his spouse Henrietta materials were made by the workers, a task Maria, fn <|neiitl\ .iccompanied by their courtiers, often more arduous than the embroidery itself,

being i-|ii(i,ill\ |)(i]]ular. Biblical, mythological, for, Hill ()iil\- for passement, but also for the gold

and alleyiiiical ^( lunies were also in vogue. The antl siher wurk, the thin cord had to be twisted, workers were not always very exact in their intertwined, plaited, sometimes knitted or cro- rendering of costumes, which may be explained chetted, and even worked in pillow-lace with by the fact that they sometimes took older pictures spangles and paillettes introduced into it. The as models for their composition. When they braids used had to be woven in all manner of created original schemes, a landscape with a intricate patterns and ornaments, from the narrow- castle in the background nearly always appears est to the widest range. The coloured passement in them. Clouds, rocks, ponds, and tents, with was made in the same manner as that of gold sun and moon often shining at the same time, and silver, and was also carried out in the finest are also introduced. The juxtaposition of these Filoselle silk, either in plain or shaded colours two luminaries is quoted by most of the writers wound over square, long, short, round, or narrow on these examples as amusingly incongruous, and strips of parchment, and then formed into flowers even as incorrect. Yet this phenomena actually and their foliage. Conventional designs also were occurs in nature at certain times of the year, and often fashioned with these into a frame-like its representation by the people who created border for a medalhon of petit-point. The silk these works shows that they not only copied used for this sort of work was of the finest, some- other examples, but frequently observed nature, times even as fine as human hair. directly deriving their motives from her and (Stu.\rt adding to them the poetical and interesting Work Casket Period, 1O72), FITTED WITH symbolisms which appear in their work. AND CONTAINING WINDERS OlP Silk Initials A. P. It should not be forgotten that this Enghsh and needlework was the outcome of a natural instinct This work casket is in quite exceptional pre- for decoration, to which the materials originally servation, and of the finest stumpwork. On used were suited and adaptable. Later on, the lid are Charles I. and his Queen. The however, these materials were, in the majority of king's face, in relief, is covered with satin and cases, modified by the introduction of silk, gold, jiaintcd. His crown is of gold purl and real FRONT OF FITTKD WORK CASKET STl'ART i'FRIOD. I672

jHT side OF FITTED WORK CASKET ;

r/ic ( 'oiiiioissciii'

LEFT SIDE OK FITTED WORK CASKET STt'ART PER seed-pearls, his hair of silk French knotting, and puffed slee\-es, and has a border unitating fur in the sceptre in his hand of gold. He wears a purl-stitch ; the front of her dress and stomacher are heliotrope tunic, in lace-stitch, shaded from dark made in high raised green and red French knots. to light; his cloak is pink-edged and lined with an On her hands, likewise of painted wood, are seed- imitation of ermine worked in chenille in flat- pearl bracelets. She holds a vase-like ornament stitch ; his collar and cuffs are in point-lace-stitch in gold in her right hand, and stands on a grass liis hands are ground inter- carved in spersed with wood and flowers worked painted, - and in h e r r i n g the ground he lione-stitcli. is g'< stands on T he k i n executed in attend a ii t green and wears a brown - salmon - c o 1 striped tunic- oured Gobe- shading into lin-stitch. The fawn, w i t h queen wears a crown of gold buttons; he and real liolds cap in pearls, and her hand- also in face, like that minted wood I of the king, and stands is in painted (ieferentially relief on behind the satin, and her king. The hair in French queen's at- knots. She tendant, must wears a seed- elaborately pearl neck- dressed in a lace ; her tunic of niille- cloak, shaded tleur, red and from dark red pink striped, to orange, is with a fur-like AL SILK, FOU.ND IN WORK CASKET looped up into fringe of silk Collcctioji of Old English Ncedlciuork

(1 baldcrkin witl: ladies belonging to, or related to, this clan. There

too, wears ;! is also a Stuart castle, supiwsed to represent

seed-pearl necklace, and her hands are also made of Whitehall, Hanked by tiny trees with gigantic jiainted wood. These four figures are surrounded fruit, the latter being almost the size of the people's bj- the usual symbols, such as the lion for sover- heads. In this example are only curtains of clouds, eignty. The strawberry denotes her descent from but the sun's rays break through, illuminating the the Frazer clan of Scotland, this emblem being sky and the doves that, as symbols of peace, hover generally worked into needlework pictures by above. The leopard is not forgotten, to denote - The Connoisseur

the British ad- and the letters herence to the "A. P.," being royalties. the same as on Front of the the cardboard Casket. — This winders found shows the figure in the casket. of a friar, sit- Mr. Griffiths ting in a gar- thinks that the ment beautiful- casket and mir- \y worked in ror were worked petit-point, and by the same holding a frond jierson, in which of palm as a surmise he is symbol of re- ]XMfectly c o r ligious feeling. red, this being Between the proxcd by the berberry and entire similar- oak, worked in i t y and e.xcel- splendidly 1 e n c y o f t h e beautiful lacc- needlework and stitch, sits the its character. l-RONT Ol- CASE HAM- OPT-n) , , ^ M IIKKOU STUART PKRIOD, l672 ^. . hare, wrought This mirror of petit-point, a symbol of the man's soul; and at used to be on loan at the London Museum, and b\- the end is seen the Tudor rose, entirely worked in one of those wonderful coincidences which some- silk purl, and there is a charming silver scutcheon times happen, these two specimens found them- for the keyhole. selves reunited after hundreds of years, finding a Right side of the Casket.— Amongst the usual most appreciative home in worthy surroundings. emblems of grubs, snails, The figure on top is strawberries, and flowers, worked in exquisitely per- grouped with a parrot-like fect flat-stitch. It repre- bird sitting in an apple sents Charity, forming a trc, is seen a ship worked rha lining composition in in purl. Gobelin, and flat- Itself, being surrounded b\' stitch. curtains and two pillars, Back of Casket. —Here, • and trees worked in purl, again, are symbolisms of .^^^g^A suggesting a frame. The all kinds connected with 'Ji^^H figure is worked in the fin- the Tudor and Stuart ImBBB est lace-stitch, in red silk periods. n/,^.^.SiiinH shading into cream. The Left side of Casket. —This two medallions on top show- shows the back of the winged mythical birds, castle, which is rather a worked in flat lace-stitch repetition of the front. and purl. The figure of The whole casket is bound the warrior and court lady round with lovely gold are examples of perfection and silver lace and braid, in stitchery seldom sur- and is a masterpiece in passed, and form a most stitchery. Inside this pleasing picture in them-

'•^' '- "' ^"' '" casket Mr. Griffiths found * ' selves. The two medal- some dozen or more card- lions at the bottom, too, board winders, with the original silk on them, and are most interesting, and there is introduced a the initials " A.F." touch of fun by the picture of the water-sprite. She sits, her fish-tail curling round her, in a Mirror in its Case. A Original grotto of rocks, out of which corals grow at the As far as craftsmanship goes, this is an equally pond's edge, in which fish swim about. The interesting specimen as the casket. It was acquired appearance of the water is finely suggested by by Mr. Griffiths in its original wooden case, on the mica, which is laid over the surface. This the back of which are inscribed the year "1672" work must be seen to be fully appreciated. 7«: f.:

^« 1.

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3<^iS3*:s

LICHFIliLD CATHKDRAI HY THOMAS (JIKllN, ITW Oiiitcr. Mr. T. (Jiitin Sissa£

—

Old Pewter or Britannia Metal By Howard Herschel Cotterell, F.R.Hist.S., etc.. of Walsall

To L-wrv colliTtor i)f old pewter ha> tact that the word [neuter ap])ears in the souwnir euiin: at some time that terrible bogey, bow must be regarded as an error." At the same time, rightly to distinguish it from Britannia metal, they reiterate and confirm their letter at jx 156 and though I do not purpose going into the of The Connoisseur for March, 1918, wherein subject as a whole at the moment, I do desire they state that there is absolutely no trace of to roll aside what I am tempted to believe may their ever having made pewter wares, no moulds, have been one of his greatest stumbling-blocks, no recollection amongst their oldest employees, the connection between Messrs. James Dixon and nor can any whose forbears have worked there Sons, of Sheffield, and the pewter industry. tor three or four generations call to mind their That the matter is in some quarters still regarded fathers or grandfathers having mentioned pewter. as sub judicc is indicated by the correspondence In a letter from the firm, dated July 27th last, r. at p. 6i of The Connoisseur for Septembi they say : "In Pewter-marks and Old Pewter

I recently in connection Ware, C . iq2o ; and as have but — by A. Markham, published in 1909, is ^"^- with my book, Old Pewter : Its Makers and Marks, . illustrated, at p. 119, the mark ^^^°%f This which Messrs. Batsford will shortly be publish- has no connection with our firm, which did not ing corresponding with Messrs Dixon begin business —been James until about 1806 ; but it may and Sons on this very matter, and as they, with have something to do with the contusion at present their imfailing courtesy, have once more gone existing amongst pewter connoisseurs. In the very carefully into the question, I feel I may, same book, on pp. 47 and =54, are given illustrations with their entire approval (the MS. of these notes of pewter articles which are undoubtedly our own having been submitted to them), and therefore Britannia-metal productions." with full authority, set the considered facts before I think Messrs. Dixon have called attention your readers. to what may well be the beginning of the confusion,

The correspondence referred to above arose and the point was of so much interest that 1 out of a review in the July Connoisseur of a determined to prosecute it further. book entitled Collecting as a Pastime, bj' Charles Mr. Markham, at p. 120, gi\-es this mark as

Rowed, wherein the author states, at p. 57 : appearing on an inkstand in Mrs. (lerald Walker's " collection. Next I obtained a short history of the Towards the end of iqk), .Mrs. Walker's lirm of James Dixon & Sons, and found they collec- tion was dispersed at auction at Messrs. did make pewter in their early days," Sotheby's, and fortunately I was able to trace this inkstand Unfortunately, this is true in so far as the to its present ow-ner, Mr. W. D. Thomson, of writer's statement goes. Unfortunate, because Birmingham, who kindly sent it to me for exami- the little booklet to which he refers had a wide nation. My surprise can better be imagined " free circulation in the form of a centenary souvenir than described when I found that the Dixon & of the firm's foundation, published about the year Son, 1749 " was not impressed into the metal, as 1906; and again unfortunate because the statement those of every pcwterer and Britannia -metal in the booklet is based on no actual fact, for manufacturer were, but engraved !!

Messrs. Dixon are quite at a loss to know how With the present owner's consent, I forwarded " the paragraphs crept in, and they say that tin- the inkstand to Messrs. Dixon for examination —

The Connoisseur and report. On August 12th last they replied metal. Whenever you are in doubt, err on the as follows :— side of safety and refuse the piece. The advanced collector prides himself that he " Wo quite agree that the name Dixon & Son, knows by instinct, by the touch or "handling" of engraved on the bottom of the inkstand, makes a piece, but such knowledge is only acquired by it impossible for this to be regarded as the years of experience and through failures. maker's mark; we always stamp our name on many In this connection, many useful hints would be the bottom of any article which we make." obtained by a careful study of the many illus- What has already been said should clear away trations in Mr. Frederick Bradbury's History of two wrong impressions. First, Messrs. Dixon Old Sheffield Plate, from which would be formed never did make pewter wares; and, secondly, a good idea, generally speaking, of pieces which neither their firm, nor any other of the same title, were not made in pewter. In my forthcoming so far as my knowledge goes, existed in 1749. book I hope to illustrate such pieces as were made In all my years of hunting, I have come across in pewter, of undoubted reputation, and whicii the name of but one Sheffield pewterer, and from can still be obtained if sought for assiduously and the connection, he was but a man in a very small through the right channels. way, whose name and date could neither of them .\s a final word, I would reiterate the advice " be fitted in in the present case. line has given to so many beginners : Why, when After all, the question of distinguishing between there is so much that is beyond suspicion, collect " pewter and Britannia metal need not be a very anything that is suspect ? It is far, far better tremendous obstacle, for the following amongst to have a small and blameless collection than a " other reasons : large one with a good smattering of packing," First, collectors of old pewter, except in the and the Britannia-metal bogey would then cease case of something of quite exceptional interest, to perturb one's enjoyment of one's treasures. do not care for pieces so late as the end of the There is no need to smother fine pieces in an eighteenth or early nineteenth century, at which accumulation of second-rate and doubtful speci- time Britannia metal first came into existence. mens; it does but give the impression that "bulk" Hence, although in some instances the makers rather than selection is the obsession of the of Britannia-metal wares may have reverted to owner. earlier types, in the main their productions have If collectors would only bear this in mind, one a distinctly more modern " flavour " than the would seldom hear, when discussing a collection pieces we look for as pewter. with a friend, the all too frequent comment : Secondly, the total difference in outline and " Yes, he has a big collection, but so frightfully feeling of most of the Britannia -metal articles mixed ! should save collectors of pewter from even a One can call to mind but few collections, not of the excepting those of acknowledged status, second glance ; and again, the appearance that names Dixon, I. Vickers, Wolstenholme, Broad- would not be improved by careful and constant will in head & Atkin, Ashberry, or Colsman of weeding ; two or three alone stand out one's themselves settle the point, for none of them made mind as bevond the pale of criticism in this pewter wares ; as also should the small catalogue respect. numbers one so frequently finds on the underside It has been the writer's privilege to advise in of salts, peppers, mustards, caddies, tea and this operation of weeding in more than one in- coffee-pots, and cream-jugs. The pewter which stance, and the elimination of some hundred the collector seeks was made before the catalogue pieces has invariably added more than a hundred era, as we know it. On the whole, and one may per cent, to those that remained. Avoid over- say it without bated breath, it is safer to treat crowding, and you will be charmed with the every tea or coffee-pot and cream-jug as Britannia insistent, if mute, appeal which each cherished metal unless marked with a pewterer's " touch," treasure will make, not only to its owner, but to and many salts, mustards, peppers, caddies, the wider circle of its owner's friends and fellow- tobacco-jars, etc., etc., are made of the same collectors. {The Editor invites the assistance of readers of The Connoisseur who be able to impart the information required by Correspo?idents.^

Unide\tii-iei) Paintim; (No. 356), are at pre'Sent more iluable Italy than in February, 1921. England. Cl.MDE Pll .LIPS. SiK, —Tliis is obviously a Sihyl by Guertino. l)ut whether the original or not it is difficult to I'm •.TiFiEu P.MX'iiNi. (No. 357). say. This gives t^if itnpressi"" nf being a g""'! "^n;. -W )aptrs connected with this jHcturc picture.. I vagueh icmtmber a similar Sxlnl b\ wuc bum \' mistake some years ago, but as

Guercino in one of the Roman palaces. This well as I remember, it is called The Angel of Death. master's works (according to Sig. Adolfo \'i ituri) The picture measures 7 feet 10 inches in height —

The Connoisseur and 6 feet 5 inches in wiilth. ami is in a \t ry sood families here. Can any of your readers help us state of preservation. It has hrcn in the family to identify the lady ? for a great number of years. There are sonic The family it belonged to had it catalogued as idcntitication marks on the knee of the dead man a Romney ; we have shown it to several of our in the right-hand corner, which arc like this : leading people here, and they all believe it is

genuine ; but the difficulty is to identify the 1st, House ; 2nd, uncertain, like a dome, subject. or, sideways, like a rat ,;nl. Obelisk : : 4th, Inside measurement of picture, 24 inches by Fish ; 5th, Pheasant ; and ()th. Snake. 20 inches. The photo seems to be a Httle harder I shall be pleased if your nadirs can give me than the original.— S. Kozminsky & Co. (Mel- any details about the picture and its author.^ bourne).

Ei^NKsr .\. Winnop. Francis \V'hi:ati.ev, k.A., 1747-1801. Iniijkntified Painting (No. ,520), Sir, —In re-reading your volume on this artist's December, 1919. life and work, by Mr. W. Roberts (1910), it has Sir, —At first glance this appears to be in the occurred to me that there must be a good deal style of Bartolome Esteban Murillo, the cele- more known of him than has yet been published. brated Spanish painter, who produced many It probably is not generally known that his body- Madonnas very like the one in question, some lies in St. Mary's Church, High Street, Marylebone, of which were offered and sold to the masters of the church that records the baptism of Lord the vessels leaving Cadiz for the Colonies, and Byron (March ist, 1788), Horatio Nelson Thomp- are still kept in South America and the .\ntiUes. son (May 13th, 1803), the marriage of Sheridan

J. ASHTON, (1773), and the deaths of Baretti (1789), Rev. Charles Wesley, Hoyle (1769), Allan Ramsay Unidentified Portrait (No. 358). (1784), and Cramer the musician (1799). I should Sir, —We forward a photo of a very old painting value any information concerning Francis Wheat- which we now have in our possession, and which ley which your readers may have, apart from was brought from England by one of our oldest that which has already been published.—O. Pink.

UNIDKNTIFIED I'ORTB Links with the '45 The article on Inintiii^ >\viirds in Thk clu.'fs and g.ntk-m.-n, who had takrn pari in the COXNOISSEUR (July, 1920) attracted the notice risinij, fled to France, and afterwards to(jk st'rxicc of sword collectors, with the result that several in the French army under Louis XV. In all interesting weapons have been brought to the probability, this dirk was the property of one of notice of the writer. Among them is a good these Highland refugees, who (or a son) later on specimen of a Scottish Highland dirk, in the became an officer, and took part with the troops possessit)n of Professor Sir Wm. Ridgeway, at the invasion at the landing at Killala Bav which at one time was considered by a former mentioned above. Naturally the captors would owner to be a coiileau de chasse. No doubt it has not be likely to recognise the dirk as of Scottish assisted, in early times, in giving the coup de g^race origin, and, from its unmilitary appearance, to many a stricken deer, as it was an everyday assumed it to be a coutcau de chasse, under which weapon worn by the clansmen in the Highlands title it came into the hands of its present owner. " in the good old days," so it has some claim to —W. BR. be classed with hunting swords. This dirk, which we illustrate, has a grip of wood of either chestnut The Frans Hals Pictures at Haarlem or ivy-root, carved in the usual Highland fashion, The pictures by Hals and his contemporaries, with an interlaced knotted ornament of Runic or which for so many years were ill-hung, and, in Celtic design. The pommel is of brass of a deco- the opinion of some, not too well protected against rative character. The blade is just over I3i in. fire, in the Town Hall at Haarlem, were, in May, long, li in. wide at the hilt, and tapers to a 1913, transferred to No. 62 in the Groot Heiligland,

point ; it is back-edged part of its length, and on the south side of the city. They are now grooved on the upper half. For the sake of housed in the Oudemannenhuijs, or Almshouse comparison, a similar dirk, though somewhat for Old Men, which provides a far more suitable smaller, owing to the frequent grinding of the setting for them. W'hen the building was being blade, is shown on the same plate, and is reputed converted into a museum, the opportunity was to have been used at the battle of CuUoden. taken to consider the proper arrangement and It is now in the writer's collection. lighting of the eight magnificent portrait groups, One of these weapons, almost identical in every as well as the two single panel portraits by Frans detail, is figured in Sir Guy Laking's catalogue Hals. It was decided not to place them in one of the Royal collection of armour in Windsor overcrowded gal]ir\-. but to spread them about Castle, and is described as of Scottish workmanship in the four galkrir-- nl the south wing, and so of the seventeenth century. The short history give them a nortluiii and constant light. Some of our subject is that it was taken from a French were also brought out at an angle from the wall officer captured after the landing from the fleet to show them to the best advantage. The galleries of the French expedition in Killala Bay, West of are neither too large nor too high.

Ireland, in August, 1798, when the last attempt .\s time went on, it was found desirable to face was made by France to invade Ireland. It will the vast problem of restoring these canvases by be remembered that after the defeat of Prince Hals. For they are the glory of Haarlem, where Charles Edward and the Highlanders at the the students may best study the work of one of battle of CuUoden, on April i6th, 1746, many the greatest masters of the brush in the art of Tlic Coiu/oissciir

any country of Europe. l)ut for a few minor This classification of injuries. It was seen tho great wielder df that a drapery in the the brush at Haarkiii top left-hand corner liiinss him, at least in had been overpainted cntain aspects, into at some subsequent the select group that jxriod with dark includes Titian and brown, the removal of \'elazquez, Veronese which so completely and Rubens, Rem- changed it that we can l)randt and Turner. only now again see the ^et such general de- natural folds in the tluctions are apt to iieavy green draperies prove delusive. For- (Fig.ii. and Plate). The tunately, the Board o( canvas, having been Management was full\ otherwise well cared conscious of their re- for, did not need to be sponsibility to th< relined. Incidentally,

whole civilised world. we may note that it For, if damage had was finished during resul ted, the harm the year in which Hals would have been per- was summoned before manent and calami- the Burgomaster of tous. Thus it was Holland for his irregu- decided that if, while lar habits and cruelty

the work of restoration to his first wife. was i n progress, any It was ascertained doubt arose as to the that the varnish on this desirability of continu- canvas was thicker ing along the lines than that on the Gover- broadly sketched, the nors of the St. Elizabeth advice of their Chair- Hospital (No. 128), man should besought. which had already been Moreover, the Di- restored in igi8. \Ve rector, Heer G. D. now realise that the Gratama, was request- lighting of this group to ed permit and su- of iive men, whose pervise the restoration collars are to-day seen of a fresh canvas only as originally painted after the one previously in 1641, is derived from finished had been exhi- the unseen window bited for some time. high up on the left. Thus every precaution Also the map hanging was taken » to this end. on the back wall is It was found that the now more full of detail. Banquet of the Officers The faces are to-day of the Shoot ins, Com- once more aesthetically pany of St. George of and logically lighted Haarlem highi..\nd dirks {No. 1 23 oi the from one point in this catalogue), 1920^ painted in 1616, and so one of group, which is, perhaps, the best of all those at Hals's two earliest and authenticated groups, was Haarlem. Indeed, it antedated Hals's appearance covered with brown varnish, which had become so before the public notary for debt and various other opaque that the painting as it originally left the troubles in his private Hfe. Only the over-critical hand of Hals could be seen only imperfectly. The would remark that the present coat of varnish is old varnish was removed, and the whole canvas a Httle too ,^list. '11111-. gained enormously thereby. The actual painting Certain |k 1 -uii- Im\iiic; claimed, without justifica- was, moreover, proved to be in a very good state. tion, that the 11^1 ni alcohol during the restoration Notes

.-gri OF THE SHOOTI ,;E0RGE of HAARl.EM HV FRANS HALS, of this group had removed some of the original cleaning, had had (hat sinister appearance which colour, a local chemist analysed some of the certain Parmese and Bolognese pictures present chilled varnish that had been removed from the in many galleries of Northern and Central Italy canvas. But he could find no trace of colour to-day. Now, at last, we can rightly assess the in it. \-arnish very dirty original colour-scheme, as it is no longer imprisoned The old had become ; but, ha\-ing been chemically separated from the by an opaque and falsifying varnish. dirt, it was spread between two pieces of glass, Special interest attaches to the Governors of in a coating the same thickness as that formerly the Old Men's Almshouse (No. 129), also lately applied to the canvas. By placing the old varnish restored with good effect, as it presents to us the (so contained between two glass plates) against six Governors of the very building with which we the restored canvas, the condition of the Governors are now concerned. It is, in fact, one of the very before and after cleaning could be demonstrated, latest of Hals's works. The superb treatment of the and that with no detriment to the canvas. It man in the centre of the group is now heightened was proved by the chemical analyst that only the by the greater accent imparted by the restorer, coating of old varnish, and not any glaze used Heer D. de Wild, to the brown curtain on the left. by Hals, had given it an unpleasantly yellow At the time of writing, great advances have appearance. Moreover, the glass-contained var- been made in the restoration of the Banquet of nish, when placed upon the colours of the original the Officers of the Shooting Company of St. George and stripped canvases, rendered white as yellow, (No. 124), painted in 1627. It is the smaller blue as green, \'iolet as brown. In a word, what and later group of that subject in this gallery. Hals had rendered in a harmony in whites, blues, Of set purpose, the cleaner has left untouched, and violets had — through the deterioration of for the better guidance of the student, the head the varnish—been transformed in the eye of the and ruff of Colonel Aernout Druyvesteyn, seated beholder into yellows, greens, and browns ! Yet on the left of this composition. The upper part the original colours had in themselves undergone of his figure is at present unrestorcd, and is in no change. Further evidence to the same effect marked contrast to the telling figure of the seated was also afforded by photographs taken before Captain Nicolaas Verbeeck, with healthy com- and after cleaning. The canvases, previous to plexion and white ruff. Deliberately uncovered

67 — —

Tlie CoinioisscKr

Fic. II JEORGE OF BY FK,1

Still are the hands and the right side of Michiel of Hals. The fine Assembly of Officers of the de Waal, seated in full face in the right foreground. Kloveniersdoelen (No. 126), of 1633, will evidently One section of the standard held by Boudewyn benefit considerably when its turn comes. The van Offenberg over his right shoulder looks green Lady-Governors of the Almshouse (No. 130), painted instead of blue, as it should. In the past, some as late as 1664, and superbly careless in its handling, slight injury has been inflicted near the left cheek is hard, dry, and marked with whorls, as well as of Michiel de Waal and the figure of Dirk Dirksz too yellow in tone, especially for so late a period Scheetgen, who stands behind him. These un- in the artist's ceuvre. For then his colour-scheme restored sections and blemishes, as well as the became ashen-grey and his outlook gloomy—like doorway now promimnl cii tin- right, are clear the world around him. Indeed, he was then some to see in the accompaiuinc; illustration (Fig. i.) eighty-four years of age, and buffeted by a The head of Captam Nicolaas Graauwert, in thankless world. the grou]5 of nineteen figures that form the Officers Anyone who will compare—mentally at least and U ndi-y-Officers of the St. Jorisdoelen (No. 127), the canvases still uncleaned at Haarlem with has already been roughly cleaned, merely to the pair of portraits of the artist's best period, show how necessary a thorough restoration is. formerly in the collection of Lord Talbot of This group of 1639 is the largest here, as it Malahide, but now in that of Mr. Taft, will admit measures 80 in. by 164 in. It is becoming that until lately we have had at Haarlem to guess hard and dry. Michiel de Waal, now become at, rather than actually see, the colours originally treasurer, stands in the foreground, and has used by Hals. Thus we now enter on a new phase clearly aged since his inclusion in the earlier in the study of his wonderful achievement, and group of 1627. The same man, at a still earlier delight to think that no mere botcher of a century age, is known to us by the canvas by Hals that ago impaired the beauty of sucli iiu^tiuKilile can- passed from the Arthur Sanderson collection into vases. Although the early ami -luu-rK mtitled that . of Mr. and Mrs. Charles P. Taft at Cincinnati. Laughing Cavalier, of the Wall.M 1 ..ll. ction, is Also, the BiiiKjini <-/ the Officers of the Klove- apparently not in need of restoration, it might niersdoelen (Xc 1^5) df 1(127, in which a landscape quite well "come out," after attention, in a slighth- is seen through a winchiw in the centre of the less yellow tone and with a less garish colour- back wall, is getting too dry and obviously over- scheme. But it would, perhaps, then become less yellow in tone to represent the original colouring popular ! M.\urick W. Brockwell. o tl.

;i3 o

Pictures and Drawings " " Is tliero a boom in art collecting ? Strange as it Queen u) Scotland, by J. .Mabuse, panel, 14 x 10 in.,

those the steadily falling prices los. ; may seem to who watched £136 and two river scenes on panels by J. Van in the sale-rooms during January, this question was Goyen, £451 los. and £;iS3 15s. respectively: the one actually to Connoisseur a London newspaper put The by dated 1655, measuring 31 x igin. ; the other, 17J x I2.tin. " in search of advice. Stranger still was the reply : Yes A drawing of Tintern Abbey, by Copley Fielding, ran and No." And yet there was reason for the enquiry, up to /i.ooo at a sale hold by order of Lord Crawford for although the entirely phenomenal figures of a few- at 1. Carlton Gardens, l.<.!ul(in. seasons since have ceased to exist, and the selling public In Edinburgh, Messrs. Dowell. l.ld., received £1.] i 15s. is not venturing its goods on the market in other than for Sir J. Lawton Wingatc's painting, Machrihanish,

i() in. small quantities, the fact remains that many collectors 20 X ; £105 for Hugh Cameron's Largo Bay,

are taking advantage of the market to buy against a rise. iih X I4i in. ; and [loz iSs. for Robert Alexander's

January's picture prices permitted many bargains to Sporting Companions. ^<) x -lo in. be made by astute purchasers. The only lot to realise an amount of any importance at Christie's was Sir L. Engravings

Alma-Tadema's little panel painting. An Apodyterium £22o los. was the highest price ri-alised for a pair

(ante-chamber of ladies' baths under the Roman Empire), of engravings at Christie's in January, that amount which realised /i,07i. This work, which measured being bid for Rustic Benevolence and Rustic Sympathy. i8 X 24 in., was hung at the R.A. in 1SS6. Other prices by G. Keating, after I'". Wheatley, printed in colours. realised by pictures at the same rooms during the month Puttick's secured £110 5s. for an impression, also in colours, included Xi57 i°s. for H. Fantin Latour's Wood Nymph. of Selling Rabbits, by W. W:ird, after J. Ward. At the

II X 8 J in.; ;i([i05 for G. F. Watts's Mrs. IHtzmaurice, same rooms, a set of four aquatints in colours. Fox Hunting,

23i X 20 in. ; /131 5s. for Stark's Road through a after C. llunt, down for 8s. J. by and were knocked £50 ;

Wood, with a cottage among trees, 12 x in.; i^s.for set, of six, S. los. lOJ £162 another by and after Howitt, £73 ;

G. Vincent's panel, A Woody Lane (1826), ijj x 2oJ in.; and a plain mezzotint, Sunset: a. View in. Leicestershire,

£H7 for J. Van Goyen's panel, Landscape, with a collar;,- by J. Ward, after (;. Morland, £35 14s. Printed in among trees, and figures 16 in. for Thouglits (1633), X 22J ; £231 colours, on Matrimony, by J. R. Smith, after Maes's Interior a in. ,/iio of Barn, 34! x 2g| ; 5s. for W. Ward, and Thoughts on Single Life, by and after

•VUan Ramsay's Mrs. Vanderwal, in. J. 29} x 24] ; and J. R. Smith, made £68 5s. Nine sheets engraved in

£102 iSs. 6d. for L. Munthe's Winter Sunset : a Norwegian aquatint by T. Kirk, with types from the Guards' Regi-

Village, in. 27 x 45i ; whilst a pair of drawings by ments (published I7

Birket Foster of Hythe Sandgate, in., and .\\ x 5? made and sold by the Boydells), netted £103 ; and a similar £105. figure secured possession of five vols, of The Caricature

.'\t Puttick & Simpson's, drawings by the lastnamcd Magazine, with plates by Rowlandson and Woodward. painter of On the Seashore and On the French Coast, both A number of Diircr prints were put up at Sotheby's,

7 X 5i in- secured jCj^ 12s. and ^54 12s. respectively. wlien impressions of Adam and Eve (Bartsc'i i) and Amongst the pictures sold at Willis's rooms, a Land- Melancholia (B. 74) fetched /40 apiece ; The Little White scape with mansion, coach and figures, by T. Ramsey Horse (B. 96), with bull's-head watermark, and The Little made £;ilo 5s.; Portrait (1755). a 0/ Margaret Tudor, Passion (B. 16-52), £30 each ; and The Virgin and Child The Connoisseur crowned by Iwo Angels (B. 39), and The Holy Family and Mary chairs, worked in petit-point by ladies of the with a Butterfly (B. 44), ^25 each. By an early Florentine Byron family, which ran up to 500 guineas, as against master, an impression of The Tiburline Sibyl, in the fine 240 guineas bid for another less ornate set. A Jacobean manner (Hind, CIl., 10), fell for /32 ; and Rembrandt's oak bedstead, said to have belonged to Oliver Cromwell, Landscape, with a collage and a large tree (H. 178), £40. fetched 200 guineas.

January loth was a carpet day at Christie's, but bidding Silver and Metal-work was mainly confined to moderate amounts, the highest

Silver touched 3s. id. per oz. in many cases at Christie's being £278 5s. for a Persian silk example, with a foliage lots during the opening weeks of 1921, leaving few to and arabesque design on red ground, measuring 14 ft. portrait, be recorded. A tazza, engraved with a lady's 3 in. X II ft. 3 in. Three days later, /115 los. was

4? in. high, 6 in. diam,, 1560, maker's mark a. Tudor rose paid for a pair of Kien-Lung famillc-rose figures of

(weight 9 oz. 2 dwt.), secured 400s. per oz., from the pheasants, 12* in. high; whilst on the i8th an Urbino

S. C.I.F., B.E. property of Brevet-Col. J. Thompson, ; dish, painted with Neptune, and lustred at Gubbio, to whom also belonged a cylindrical mustard-pot, pierced iii in. diam., ascended to ;£262 los. On other occasions, with trellis, and with glass liner, 1766 (3 oz. 3 dwt.), 80s. Louis XVI. clocks by Etienne le Noir (17 in.) and Rogeur different sources, a plain cream-jug, on round foot, From ii Paris (14J in.), mounted with ormolu figures, realised

oz. 16 dwt.), realised lOos. ; three cylindrical 1733 (2 /215 5s. and /210 respectively ; a mahogany and satin- gadrooning, in. and casters, pierced, and embossed with 7 wood cabinet of Louis XVI. design, 32 in. vride, £136 los. ; dwt.). circular sugar- 5i in. high, 1693 (141 oz. 12 955. ; a a Queen Anne walnut cabinet, 40 in. vride, /173 5s. ; a basket, pierced with trellis, -etc., DubHn (5 oz.), 90s. ; Chippendale mahogany settee with triple back, on carved high, oz. dwt.). a plain caster, 7} in. by C. Adam, 1707 (7 14 cabriole legs, 66 in. wide, ;£iio 5s. ; a pair of 17th-century spherical 78s. ; a gilt teapot of nearly shape, by John Flemish ebonised cabinets, 43 in. wide, overlaid with

Chapman, 1732 (11 oz. 11 dwt.), 95s. ; a tazza, engraved tortoiseshell plaques, and set with paintings of the Rubens

in. maker's mark with armorials, 12.J diam., 1661, PD school, ;£i57 los. ; and a pair of Florentine side-tables, over a mullet (25 oz. 8 dwt), 145s. ; and a plain oblong inlaid in pietre-dure mosaic, 74 in. wide, £210. inkstand, by Paul Lanicrie, 1735 (49 oz. 9 dwt.), For other interesting lots it is necessary to return to

165s. Puttick's. Here, a set of six and two Hepplewhite

£265 was given, " all at," for an interesting gold cup, mahogany chairs, carved with Prince of Wales' feathers,

in. Pierre Harache, oz. dwt.), 2j diam., by 1702 (4 14 made ;ti36 los. ; a pair of mahogany and walnut cabinets, beneath with engraved with the Wynstanley arms, and of Louis XVI. design, 4ii in. wide, £157 los. ; a Queen a skull and crossbones, and various initials and dates, Anne walnut bureau - bookcase, 41 in. wide, ;(;i68 ; a surrounded by the inscription, " I was your friend unto Stuart elbow chair, described as the " chair of John

' " my end, your friend I was and so did dy." Kyrle (1637-1724), the Man of Ross,' £126 ; an old

On January 25th, a fine three-quarter suit of Bavarian Spanish leather four-fold screen, 95 in. high, £126 ; a armour, painted black and gold, etched, dating from Flemish 17th-century tapestry panel, Venus and Mars, at about the middle of the i6th century, netted £3,570 10 ft. 10 in. X 14 ft. 8 in., £36-/ los. ; and a half-shawl Christie's. of Brussels applique lace (exhibited at the National

Curious as having been found in the Mahdi's treasury, Museum, Washington, 1910-13), ^^73 los. Khartoum, an early 16th-century " Maximilian " helmet, Exhibited at Bradford, 1904, a Ralph Wood figure of belonging to Field-Marshal Lord Grenfell, made /96 at Cupid on a Panther, 8J in. high, netted £Sg 5s. at the 31st. los. purchased a set of three Sotheby's on the same rooms ; whilst ;f94 At Sotheby's, a beautiful English late 13th or early vases and covers, and a pair of beakers, Kang-He, 17 J in. 14th-century stole, worked with 38 shields of arms, went high. for /115 at the latter rooms on the 27th. The property The " Muir Mackenzie " Strad was auctioned at Put- of Lord Willoughby de Broke, it was exhibited at the tick's in December, changing hands for £1,700. It

Burlington Fine Arts Club, 1905. measured 14I in. length of body, and possessed its original label, dated 1694, whereon "Antonius" was

Furniture, Pottery, Porcelain, etc. rendered " Antonins." On more recent occasions, a

.\MONG the first features of the 1921 furniture sales violin by Dominicus Montagna, Venice, 173-, scored ;£200, must be counted the dispersal at Byron's home, New- and one by Carlo Antonio Testore, Milan (1756), ;£i2o. stead Abbey, conducted by Messrs. Knight, Frank and Stated to be the highest price yet bid at auction for

Rutley. Most importance attached to a suite of William stained glass, an English 13th-century panel, 30J x 31^ in.. ;

In the Sale Room fiirming part of a Jesse Tree, realised $70,000 at the Messrs. Sotheby closed their rooms for 1920 with a American Art Association's rooms, New York, when tliree-days' sale of books of a more miscellaneous than the Henry Lawrence collection came nnder the liammer. valuable character. Several prices, however, are worthy

of record. Amongst a number of first editions of Stamps Dickens's works, a copy of A Tale of Two Cities, in parts, of Messrs. Harmer, Kooke A: Co. dispersed a famous with the original wrappers, made £-j() ; 8g vols, the

collection of rare stamps fornted by a Belgian philatelist, publications of the Hakluyt Society went for {60 ; and on Februarj' ist and 2nd. Some record prices were a fine copy of Williamson's Oriental Field Sports (1807) obtained. The highest price scored was for the iSi paras realised £.\.\. stamp of the first Moldavia (Roumania) issue, an unused Many interesting items appeared in a three-days' copy fetching /420. This is the largest amount realised sale of books from various sources held at Sotheby's for any single stamp, saving the " Post Office " Mauritius. rooms on January 17th and two following days, a total

The other three values of the same issue were sold as of over i;8,2oo being obtained for the 785 lots catalogued. by the /i,7io follows : ; 108 paras, Of this total, over a fifth was produced 27 paras, i\},o ; 54 paras, {31 and /115. One of the rarest English stamps, the los. King realised for a copy of the 1664 edition of Shakespeare,

Kdward issue, overprinted " I.R. Official," fetched ^300. the third impression, and the rare first issue of the title-

It w-as issued in 1902, for use in franking correspondence page. On the second day the chief item was a copy of the Inland Revenue Department. Tlie example sold of Eliot's Indian Bible, the excessively rare first edition, in February was a lightly post-marked one. Only two or which made £550. Only two copies of this book have three copies of the stamp are known, and no copy has appeared at auction during the past thirty years,

still the opening day the following items are worthy terne," unused, fetched /50 ; and another copy in the On rarer orange- vermilion colour, brought £130. A used of record:—Richard Lovelace's Lucasta (1649), ;£ll2; strip of four of this stamp, with one of the stamps inverted and Esquemeling's Bucaniers of America (1684), £(>2 ; in the strip, brought /95. while the second day's items included The Spectator,

Nos. 1-555, first edition, £(>2 ; Higden's Polioronicon Honour and Books {1495). £75 ; 3-nd Massinger's Maid of (1632) Some excellent prices were realised at a sale of books twelve other plays in one volume, £8\. held at Puttick &. Simpson's rooms on December ist, The concluding day produced the following : —Aquinass

for the works of Dickens, Thackeray, and authors such Questiones (fifteenth century), £61 ; Aristotle's Ethicorum Cicero's as Combe, Ireland, Surtees, and Apperley, whose illus- (1479), the second book printed at Oxford, /99 ;

trations have given their works an added appreciation Officiorum (1465), the first edition of the first classic ever Hieronymits, amongst collectors. printed, £385 ; Caxton's translation of S.

The remarkable sum of ^280 was paid for a set of Vitas Patrum, printed by Wynkyn de Worde (1495),

first editions of Dr. Syntax's Three Tours ; while ^188 £210; a 15th-century Flemish Book of Hours, £325;

was paid for a set of numbers of Vainly Fair, in the original • ind Aiken's National Sports, £^150. wrappers.

Other prices of note were : —Ireland's Life 0/ Bonaparte, War Medals and Decorations 1828, ; Moore's Annals Gallantry, /cjo £84 0/ 1814, ;

Apperley's Life of a Sportsman, 1842. ^74 ; Surtees' Messrs. Glendining & Co. are holding on March 16th Sporting Novels, 5 vols., 1853-6,5, £92; and Carey's Life and 17th, at their rooms in Argyll Street, an important

in Paris, 1822, ^46. sale of the collection of medals and decorations formed

In conclusion, mention must be made of several early by l.t.-Col. Birkin, D.S.O., of The Park. Nottingham. editions of the works of Rudyard Kipling : —Plain Tales The rare items included are too numerous to specify the Hills, in original from the (native) cloth (1888), £ig ; individually, but on the firet day there are no fewer Departmental Ditties, original wrappers two (1886), /31 ; than seven officers' gold medals for the Peninsula,

The City of Dreadful Night, also in the original wrappers, Victoria crosses, gold naval medals, and decorations

/32 ; and a copy of the first edition of Hardy's Far from while the second day opens with General Viscount Hill's the Madding Crowd (1874), in the original cloth, which orders, decorations, and medals, and several important sold for £46. groups. The Modern Society of Portrait Painters One anticipates surprises from the Modern Society of Ronaldson's Thingummyjig ; whilst Mr. J. St. H. Lander's Portrait Painters. Last year, it was some spoof " ad- temperamentally treated head of Mrs. Edward Chamher- vanced " paintings; but in February, 1921, the body layne, Mr. Oswald Birley's sensitively painted Fur Cap, relied for its principal sensation on political rather than Mr. A. E. Cooper's Holbeinesque Dutch Merchant, and on artistic Bolshevism. Nor did Mrs. Clare Sheridan's Mr. Fiddes Watt's portrait of James Cameron, Esq., six busts of Lenin, Trotsky, Kr'assin, Kameneff, Zinovieff, Head Keeper (property ot Lord Glen Tanar), should also and Dsirjinsky attract less attention because they were be cited.— F. G. R. records rather than works of art. After all, excuses may be made for sculpture produced under such obviously Royal Society of Painter-Etchers and Engravers unfavourable conditions, especially when the results, Although the thirty-ninth annual exhibition of the however unsatisfying in themselves, are likely to be of Royal Society of Painter- F.tchers and Engravers (at the some historic value to posterity. Time is kind to tyrants. K.W.S. Gallery, 5a, Pall Mall East) was no luckier than as is abundantly evident when one considers the gentle its predecessor in regard to Presidential participation. interest taken to-day in such a cold-blooded villain as Sir Frank Short being unrepresented, the walls were Robespierre. well covered by work of good quality. Some of his But statuary did not form the most important part sensitive and spacious coup d'ceils were contributed by of the Modern Portrait Painters' show (held at the R.I. Mr. Leonard R. Squirrel, a drypoint, Derbyshire Hills, Galleries, Piccadilly). Though always difficult, and often being specially interesting. The strength of Mr. E. S. absurd, to state an opinion as to what was the "best Lumsden's etching, Gunga, made it tell from the wall; " picture in an exhibition, it is possible in the present whilst the directly rendered Dorset Village of Mr. Martin case to award the palm with fair certainty to Mr. Glyn Hardic was also a plate displaying observation, and Philpofs likeness of The lit. Rev. Bishop Charles Gore. D.D. ability of expression. The play of light on foliage was The prelate was simply posed in profile against a pale successfully translated by Mr. Wm. P. Robins in his salmon-coloured curtain, a suggestion of which was drypoint study of An Old Walnut Tree. Picturesque diffused by subtle tone variations over the dark cassock " bits " elicited capable etchings from Miss Minna Boling- itself. This obviated the presence of a dead black patch broke (A Norfolk Barn), Mr. Walter M. Keesey (notably in the centre of the composition, and preserved the his Coutances), and M. Eug. Bejot. Mr. Percy Robertson's modelling of the torso, the position of which was further Grey Stirling, Bulwark of the North, was an atmospheric determined by a heavy pectoral cross seen in perspective. essay of real value, touched with the direct assurance

Not only had Mr. Philpot treated this presentment in tliat speaks of a cultivated selective sense ; and Mr.

his most scholarly style ; he had infused into the aged Alfred Hartley's Storm was intensely dramatic in feeling. head and bowed shoulders an air of patient dignity and If there is anything in the reincarnation theory, then resignation. Mr. Robert Spence must be spiritually linked with some Lively chromatic essays were also afforded by Mr. seventeenth-century etcher, so closely does he interpret

W. G. De Glehn's Xoel and Mrs. Odo Cross : two ladies' the atmosphere of that time. His sturdily treated figure portraits, the latter's composition being pleasantly un- of Oliver {Cromwell) might almost have been a contem- conventional. porary production. Mr. Gerald Kelly's half-length of The late Sir Hugh Lane It may be mentioned here that this society, which, " was dark in tone and antique in conception ; but Mr. G.W. under its charter, exists, inter alia, for the promotion

Lambert's virile Self-Portrait was, if anything, a trifle of engraving in all its forms," has recently formed a too sweepingly stated. Slashing dexterity singled out Print Collectors' Club in order to bring people interested Mr. T. C. Dugdale's Laughing Woman, and though the in etching and engraving into closer touch with those vehement brush work was startling, there was much in it, practising the art, and to promote general knowledge of notably the well-drawn hands, that merited study. There all forms of engraving. A feature will be an annual were the makings of a good picture in :\lr. T. Martine issue to niembers of presentation prints, limited in edition —

Cnryetif Art Notes

J Acom and reserved entirely for such issue. To inaugurate with sport, but a few ronrtiieil tlu-niselves to topics this. Sir Frank Sliort and Mr. \V. P. Robins have promised essentially artistic. Take, for example, the delightful to present the first plates. The entrance fee (except for study of a worried portrait painter, setting out his palette,

the first two hundred original members) is /l is. ; the to whom comes a letter from a Professor: "Dear Sir, annual subscription is £3 3s. Applicants for membership I regret I shall not be able to sit to you this morning, should apply to the Secretary, Royal Society of Painter- but knowing that you are anxious to get on with the

F.tchers and Engravers. 5a. Pall Mall East, London, outside of the portrait, I herewith enclose my necktie."

This is good enough to be true : one would not be sur-

prised to it . learn that was. " Senefelder Club for Original Lithography Excellent again is the lecturing art-master, who The Seuelelder Club's eleventh e.xhibition at the always puts things so tellingly," declaring that "it's all Leicester Galleries (Leicester Square) was disappointing, light and shade, ladies, whether you're painting a battle- interesting items by living artists being exceptionally piece, a bunch of grapes, or a child in prayer ! few and far between. Popular interest centred, of Although obviously whimsical and extravagant. Town- course, in Mr. Edward Saltoft's head of Trotshy, which send, in his " suggestion for the decoration of the Lots was, however, more forcible than convincing. The same Road Power Station" by placing a gigantic mounted could not be said of Mr. Frank Brangwyn's The Return statue of Carlyle, his horse's hoofs firmly planted on those (from the Promised Land), a work wherein the artist four familiar Chelsea chimneys, had a touch of genius seemed to have captured that toucli of refinement the in its conception. He almost persuaded you that the lack of which detracts so subtly from some of his otherwise thing was feasible. most exquisite productions. The historical section was Townsend's technical ability was considerable, and, made up of impressions from stones by T. S. Boys, though his drawings were not always comic in themselves, Cericault, Charlct, Corot, Whistler, and other familiar they invariably well illustrated the kindly, seasoned wit hands.

Th' late F. H. Townsend: Memorial Exhibition Another New Gallery The late Frederick Henry Town.5end, who died whilst After many years' service with the Goupil Gallery, golfing on December nth, 1920, was born on February Mr. \V. P. Winchester has opened the United Arts Gallery 25th, 1868, and studied at the Lambeth School of Art. (23a, Old Bond Street). The first exhibition held there Five or six years ago he was elected an Associate of the included choice paintings by such favourites as Fantin Uoyal Society of Painter-Etchers, but his chief claim to Latour, E. Isabey, Carriere, Daubigny, and S. Lepine. public recognition has always rested on his reputation as one of the most talented Punch artists of the present "A City Banquet," by Fred Roe, R.I., R.B.C. generation. In 1905 he became art editor of that journal, Interesting both as a work of art and as a pictorial to which he had already contributed for nearly a decade, record of notabilities, most of whom have since passed retaining the position till death. A memorial exhibition, away, Mr. Fred Roe's picture of A City Banqitet has held by the Fine Art Society (148, New Bond Street, been presented to the Clothworkers' Company by Sir W.i). was mainly formed of original Punch drawings, W. H. Davison, K.B.E., M.P., and placed permanently many of which were old favourites. Most were concerned in the Company's Hall. The picture, which measures riic Coimoissci/r

4 ft. 10 in. by 7 ft. 10 in., was hung in the Big Room at tickets, either for the series or for individual lectures,

the 191 1 Royal Academy, and was afterwards exhibited may be obtained from the Hall ; Messrs. P. & D. Colnaghi

at other galleries. The scene is laid in Clothworkers' and Co., 144, New Bond Street, W. ; or Mr. A. M. Hind, Hall, at a moment when the late Mr. Justice Swinfen 82, Kensington Park Road, W. The lectures will deal Eady (afterwards first Baron Swinfen of Chertsey) with " The Making and Keeping of Collections," " Old was replying for " The Visitors." Reading from left Prints," " Modern Prints," and " Old Master Drawings,"

to right, the seated figures are as follows : —The late and, emanating as they do from the writer of so many

Chas. C. Graham, Past-Master, Armourers' Company ; standard works on engravings and drawings, should be Mr. F. W. Pomeroy, R.A. ; Sir Melvill Beachcroft highly interesting instructive. ; and the late Major-General Sir Coleridge Grove, K.C.B. ; Mr. Deputy Francis Farnan (then Master, Clothworkers' Works by Albert Goodwin, R.W.S. Company); the late Sir H. Von Herkomer, R.A.; the The action of Messrs. Frost & Reed in arranging an

late Nathaniel Cohen ; Sir F. M. Fry, K.C.V.O., Past- exhibition of Mr. Albert Goodwin's water-colours at

Master, Merchant Taylors' Company ; the late Arthur their Bristol Gallery (8, Clare Street) revealed considerable Hacker, R.A. Each figure is a studied likeness, skilfully foresight. At the present moment, when eccentricity drawn and firmly painted. The accessories and plate, is too oft-en mistaken for art, it requires a certain amount including the famous Pepys cup, which figure on the of courage to place before the commercial public the bufifet in the background, are rendered with equal spirit, work of one who has painted, not for notoriety, bvit for whilst the usually hopeless task of conveying an atmo- satisfaction. Fortunately for art, it is a truism that sphere of artificial illumination has been discerningly really good paint always comes to the front sooner or surmounted. later, although, alas, it is the latter which more generally A finished sketch portrait of the late Sir Coleridge liolds good. Messrs. Frost & Reed have already gained

Grove, executed in connection with the picture, is in their clients' confidence in the past by proving to them the National Portrait Gallery's Reference Library. tliat " Wmiperis's " and " T. B. Hardy's" were not only interesting pictures, but often good investments, and it Lectures by Mr. A. M. Hind on Prints and Drawings seems likely that their exhibition of "Goodwin's" will A counsE of four lectures on " The Collecting of Prints be attended with similarly satisfactory results. and Drawings " is being given by Mr. A. M. Hind, of the British Museum, a leading authority on the subject. Breughel's " Ad^ of the Kings," at the National The lectures will be given on Thursdays, March 3rd, loth, Gallery and 17th, and Wednesday, March 23rd, at 5.30 p.m., in xceptional instances that we canni the Steinway Hall, 15, Lower Seymour Street, W., and opinion of the great Italian niaste ^>J3:^^

THE GEOGRAPHER BV VERMEEK OF DELFT SoiMI^

C11 rrent Art Notes

in the National Gallery. With the Dutch and Netherlands so hard-breathing their efforts that their pictures seem schools we are equally fortunate, in that our Gallery laboured and stale. Breughel, on the other hand, strikes sliows admirable examples of all the greatest men save us as seeing nature originally, with eyes contaminated Hugo van der Goes, Hieronimus Bosch, and Pieter by no formula or fashion, but without being aware that Breughel. his vision is anything but natural. So that we suspect Pieter Breughel the Klder (i5.;3 1369) painted enough that he really did see nature in the way he depicted her. " pictures in his relatively short career to "go round Nor is there anything arbitrary or distorted in his inter- the great galleries of the world, were strict rationing in pretation. In his Alt Pays de Cocagne. for example, the force. But his most important work was acquired in a anatomical structure of the sprawling figures is superbly

block by the Hofniuseum, Vienna, from the collection true ; they are a masterpiece of correct foreshortening. of Rudolph II. The sparse residue of his output is in What is strange about the picture, to eyes accustomed

jealous private hands and public galleries abroad. Until to more elaborately detailed compositions, is the extra- the other day but one genuine, if not first-rate, example ordinary economy of Breughel's means. It is not—as was known to be in England, and the prospect of our with our young Primitivists— that he uses distortion and ever owning one seemed negligible. It may not be exaggerated rhythm, but that he rules out everything inappropriate, therefore, to give a little thought to deter- but the barest essentials for the expression of bulk and

mining of what Breughel's genius consists. In the first structure. To put it in an easily understood way. his place, he is the only Netherlandish painter who attained method was rather that of Phil May than of Du Maurier. the monumental quality of design that we find in the The profound anatomical science of his draughtsmanship,

great Florentines. Though his exemplar Bosch (died to say nothing of his heart-rending sympathy, is further

1 5 16) foreshadowed the largeness and simplicity of style exhibited in Les Aveugles, one of the supreme expressions that go to build up this monumental quality, he did not of subtle movement and emotion. No master has equalled reach Breughel's pitch of simplicity and largeness. His this rendering of groping gait, of lurching and pitching

attitude, perhaps, was too satirical ; his association with fall. Nor has any expressed such dehumanising helpless- the old tradition of illuminations too close. Even in his ness and hesitation, such panic and isolation. most decorative and passionate moods, something of the The naivele of Breughel's vision did not consist in his symbolist and caricaturist his style. affecting in cramped the vision of children the nursery ; nor, To a large monumental style of design Breughel added given the chance, would he have harked back to negroid the northern sense of character, which was a'ways more sculpture. It was true originality of vision in advance individual and realistic than the Italian. In this respect of his time, expressed by the utmost skill and draughts- he is definitely more modern than the great Italians. manship available. His people are people we know, and their emotions are His Adoration of the Kings, the only first-rate specimen those we share. They are not grand figures in a remote of Breughel's art ever likely to be acquired for the National Olympian hierarchy, but unmistakably the citizens of Collection, shows him in a new light. Painted in an age

mainly a master of the grotesque is imperfectly true. of deep religious conviction in Netherlandish art. Breughel and those who hold it have not reaUsed how deeply human has conceived his subject as taking place in a setting of IS his intuition, how intensely sympathetic his truth to indifference and doubt. The Virgin and Child and the nature. It were as imperfectly true to lay the first nobly serious Kings are treated with great reverence. stress on the grotesque side of Daumier or Forain. His subtlest draughtsmanship and most dignified design The essential characteristic of Breughel's perception are evident in the Kings, and in Mary and the Child we is its penetrative view of life. His masterpiece. The are surprised by his delicate craftsmanship. But where Massacre o] the Innocents, is wonderful for the originality Memlinc or Hugo van der Goes, and even Matsys, had and satisfaction of its design and its superb draughtsman- .surrounded the central figures with devout and impressed ship. But it is more wonderful for the depth of human spectators, Breughel has signalised the changed attitude understanding it reflects. In it Breughel has done what of his own day. Joseph's reception of the whisper in

hardly ; another painter has compassed he has expressed his ear ; the satirical aspect of the Jew behind him, and the emotions of the man in the street in monumental the grinning, almost guffawing curiosity of the peasant phrasing. His people are subtly and indefinably true to soldiery, all tell their tale. Powerful in design, rich and

life, not actors on a stage ; though pieces in a superbly original in its colour-scheme, free and masterly in draughts- organised rhythm, they seem so inevitable, and, as it manship, this picture also is a document of exceptional were, accidental, that their cunning part in a decorative interest. It comes from the Roth Collection in Austria. arrangement is the last thing we notice. No figure in The dated signature— 156.(—shows its late place in Breu-

the picture has a thought to spare for the spectator ; ghel's work.—C. H. C. B. no heroic gestures are made, no calculated appeals to our pity and sentimentality. Every figure, too,, is a A Beautiful Jacobean Hanging cardinal part of the design, and no limb or staff or twig .\t the gallery of Mr. Frank Partridge (26, King Street, but is placed with consummate judgment and justice. St. James's) is to be seen an exceptionally fine piece of This ability to preserve the accidental look and Breu- Jacobean needlework. It consists of a single hanging, ghel's naivete of vision are of the utmost significance 13 ft. 4 in. in length by 6 ft, 4 in., the whole to our younger artists, who are so dreadfully anxious to being elaborately and beautifully worked in petit-point, recapture the candid vision of an incorrupt and un- gros- point, and cross-stitch, on a canvas background. sophisticated age. For so heavy is their anxiety and The central panel represents a court scene, possibly — — — —

r/ic C 'oi/i/oissi'//r

intended to represent the Queen of Sheba's visit to King Association to supply a certificate of the probate

Solomon ; or, as has also been suggested, King Lear and valuation which would be acceptable to the Inland

his three daughters. It is separated from the side panels Revenue authorities ; in other cases the charges by a rich bordering embroidered with flowers, which is made by the Association would be strictly moderate. continued throughout the hanging, dividing it into a The Association is willing to pay the travelling and series of compartments filled with representations of hotel expenses incurred by the individuals acting on trees, flowers, animals, and birds. Homogeneity of feeling behalf of the Association." is secured by the repetition of the same leading motif The Council feels that members will be pleased to know in the design of each of these compartments, the tree that their Association will assist them in matters of such or clump of flowers being placed in the centre, with an importance as are indicated by the above resolution. animal or bird on either side; while in the two large com- .\ large number of suggestions has recently been partments to the right and left of the principal panel placed before the Council by members of the Council this theme has been developed into needlework com-, itself and by ordinary members, which shows the increased positions, each with an elaborate landscape setting interest taken by such members in the Association's depicting houses and meadows and numerous birds and affairs. Many of these concern matters of close interest beasts. The four corners of the hanging are filled with to the Association, and would necessitate considerable

elaborate aigrettes of ostrich feathers rising out from discussion at the Council meetings. It is hoped that behind four lions' masks, with rings hanging from their some conclusion as to these will be reached in the near mouths festooned with loops of ribbon. These are future. Information as to any decisions come to will finished with remarkable minuteness, and the plumes be published to members in the usual way. and ribbons are so well shaded in their natural colours The following books have been presented to the Stoner

as to suggest the swing of the feathers and the easy flow Memorial Library since the last report was sent out : of the festoons. The colour-scheme, though rich, is low- By Mr. Cyril Andrade -.—The Art of the Old English Potter,

toned and harmonious ; the bordering is in executed by Solon ; A History of Furniture, by Jaccjuemart ; Illus- yellowish fawn on a groundwork of darker material trated ; ; History of Furniture, by Litchfield Old English the animals and foliage are represented in the natural China, by Hodgson. By Mr. W. W. R. Spelman, of

hues, now mellowed by age, while a brighter note is struck Norwich : Lowestoft China, by Spelman. By Mr. Robert

in the rich blues of the woman's robe. The hanging, B

Drawings by H. M. Bateman sell, is, ,,| (, 1,1 It. .11 Street, Bond Street, W., have through Mr. Bateman is possibly our greatest living humorist tian .M.iii,iL;niL; Director, Mr. E. H. Dring. been elected in line. His drawings are irresistibly funny in themselve.-;, members. and, unlike the general trend of comic art, do not depend The Annual Outing will take place on :\lay 26th, and on underlines for their wit. The text is complementary the Annual Meeting and Dinner on the 27th. It has to the drawings ; frequently it is quite unnecessary been decided by the Council to hold a Dinner this year, to comprehension and enjoyment of the joke.s. There instead of a Luncheon as previously. Further details i.s no living man who can so fittingly fill the place will be sent to members in due course. voluntarily vacated many years ago by " Jassef " Sulli- In the King's Bench Division, February 2nd and 3rd, van, and if one does not particularise the contents of before Mr. Justice Coleridge Martin-Hursl v. Dakin. Mr. Bateman's exhibition at the Leicester Galleries, it Plaintiff claimed damages for neglecting to supply a is because his work is too widely esteemed to require win- !i..nii> uiiicli was reasonably fit for the purpose of any " bush." h.iir.jiiiL' .1 |iMi, .Klin dish, resulting in damage being done

ti) s.\ii,il \..UMl.le articles. Defendants denied liability,

British Antique Dealers' Association but judgment was given for plaintiff for the sum of /Ji-i",

At the Council Meeting on January 26th, the President, with co.,ts. acting on the suggestion put forward by Mr. J. Rochelle A careful note .should be taken of this action by all Thomas in his address to the members assembled at the dealers, in order to protect themselves against accidents Extraordinary General Meeting on January 14th, moved that may happen to holders or stands supplied to them a resolution, which, after careful consideration and some for valuable antiques. amendment, was unanimously carried to the following effect :— Notes from Italy "The Association will afford, if desired, to the The report wliich has been lately issued at Venice oil widow or dependants or other legal representatives of the results of the twelfth International Exhibition of Art any deceased member, every assistance possible (free in that city, officially closed on November 7th last, is on

of expense if in the opinion of the Council it is a the whole satisfactory, and " has," we are told, " shown necessitous case) in the matter of a valuation of by its magnificent results that the faith was justified any stock-in-trade left by the deceased member for and the hopes fulfilled with which its organisation was the purposes of probate, the valuer on behalf of the undertaken." Cuyrent Art Notes

" " It is well known," says the report, how the pre- of scenery, costumes, and accessories. There is also on paratory work of this ' Mostra ' commenced under \ery view a series of screens enriched with portraits, autographs, unfavourable circunistances, and was carried out anions- and souvenirs of singers and dancers, who were once the numerous and varied difficulties, caused principally by idols of the public, but arc now almost forgotten. The the disorganisation of the public services-— above all, constant influx of visitors shows how anything connected that of the transport—and the deficiency and high cost with the theatre— especially the Theatre de la Monnaie— of materials and labour. These difficulties naturally appeals to the public. A permanent museum has been carried with them outlays of time, energy, and money, decided upon in connection with the " Theatre," and which were difficult to bring into line with the limited this will be opened at the conclusion of the above ex- means at the disposal of the undertaking. hiljition, and already several gifts have been received " When the ' Mostra ' was opened, other elements nml Iniin " amateurs " for exhibition at the future museum. circumstances supervened to directly and seriously himler I'he painter Jean Jacques Gaillard has undertaken

it ; these were political agitations, continual strikes, the decoration of the Chapellc de la Station Missionaire the competition of other local and national art markets, Amcricaine of the Eglise of I.a Nouvelle Jerusalem, Kue the weather conditions and those of the money exchange, Gachard, Brussels. This modest chapel, where a few of l)ecoming more and more disquieting and tending to the disciples of Swedenborg meet, presents a very curious hinder— and for a time even to suspend- the advent of aspect. By a very simple process this decoration gives the public and the acquisition of works. an effect of ephemeral spirituality in a very modern " In spite of all this, we are in a position to .sincerely setting, which is solely due to the arrangement and athrm that the financial success of the undertaking has colouring of the subjects represented. It would be been no less flattering than its artistic achievement, and impossible to describe it, or even to reproduce it, except has in the end surpassed, e\'en under the above-mentioned in colour. This latter method would be the only manner conditions, the most optimistic forecasts. It will suffice in which full justice could he afiforded to the warmth here to say that the sum-total of sales amounted to the of his reds, his mauves and gold shades which surround blues, conspicuous figure— not hitherto attained in any art the tabernacle ; the cold the greens, and the greys, exhibition—of 2,539,126 lire, a sum which may be even which give the small room such a mystical aspect. The notably increased if the negotiations, which are still in young artist is to be congratulated on his original con- hand, arrive at a good conclusion. ception, which has been executed entirely by himself. " Among the works of first importance acquired, it is A small exhibition was inaugurated (which was prin- well to note those of Antonio Mancini, whose entire cipally composed of personal possessions of deceased personal exhibition was sold, almost en bloc, for the artists, workroom documents, small sketches made before

sum of one million one hundred thousand lire. Besides they became famous, etc.) at the seventy-fifth anniversary this, the Presidency of the exhibition is happy to state of the formation of the Classe des Beaux-Arts {the Royal that three valuable self-portraits, namely, those of Academy of Belgium). Several delicious pieces were to .\mbrogio Alciati, of Frederigo Beltran Masses, and of be seen, full of savour and spontaneity, revealing the Antonio Mancini, were requested and obtained in gift true natures of the artists, a side of their character which for the famous Gallery of the Uffizi at Florence. is usually omitted from exhibitions. Here one can With regard to the gate-nioney, the results were admire the technical skill necessary for the development equally notable, since fully 2.(0,510 visitors were registered. of some of these artists' conceptions.

"In conclusion : from the total results as above A large exhibition of interior architecture has been stated, we may justly derive the highest satisfaction, arranged at Vander Borght's and tie, where Mr. Willems as showing not alone the issue of a noble and bold enter- has created numerous halls, staircases, and sitting, dining prise, met courageously and conquered, but also the or bed-rooms, where every detail was fitted in the most certainty that the effort of Venetian art, now on a modern and charming taste. stronger footing than ever, will not fail in the near future, Woodcarving or panelling, fireplaces, chandeliers, car- under less adverse conditions, to achieve yet wider and pets, wallpapers or stuffs, furniture of every kind and more complete triumphs." description, carried out in the most lovely materials, were The well-managed Galleria Pesaro of .Milan has recently assembled in the most charming way. held a triple exhibition of considerable interest of the One may assert that a genuine modern style for homely work of three painters and a sculptor. The painters architecture has now been found, and exists completely. were Bresciani da Gazoldo, Mario Lomini, and Vindizio The endeavours of MM. Blomme and Willems have done

.X.nlari IVsenti ; the sculptor, Aurelio Bo.ssi.— S. B.

Brussels Art Notes "The Geographer," by Vermeer of Delft The directors of the Theatre Koyal de la Monnaie The picture called The Geographer, by John Vermeer have arranged for an exhibition of pictures in the Galeries of Delft, reproduced as a plate, is the least studied of du Cercle Artistique, which will be of interest, both from this master's works, the reason being that the late Vicomte an artistic and documentary point of view. What the Du Bus de Gisegnies, since he acquired this painting " Opera " is to Paris, so is the " Theatre de la Monnaie" in i8g8, at the sale of Kums Museum, absolutely refused to Brussels. The exhibition includes rough decorative to show it. It has recently been inherited by the Comte sketches in the form of small dioramas, which give the de Kenesse, however, and we have been able to examine public in an artistic manner a realistic idea of the progress it carefully. A thick varnish formerly covered the which has been made in recent years in the production painting, and the date, the authenticity of which cannot ) : ) ;

The L 'oi/iioissciir be doubted, has only now been discovered, togctlier with closer together the tails of his letters, making them most difficult read. first line seems to be illegible a signature. to The ; Vermeer has painted another Geographer (Krankfort on the second we read a signature quite similar to that Museum) in quite a different way, and he has painted on The Courlisatie, and which also recalls the monogram an Astronomer (Edward de Rothschild's collection). The of the View 0/ Delft. At the foot of the first tail of the " " " " former bears a spurious date (1669). On the latter .\I is a kind of hook, giving the V of Vermeer, " " Messrs. Hoofstede de Groot • and Plietzsch f read and, in the middle of the M," an I," the initial of " without any certitude 1673, and it leads both critics to John." It must be confessed that the whole signature believe that the three pictures were painted towards the reads " Mer," but the third letter might be an " c," the " " end of the painter's life. But this date 1673 is not very last letter of the name ; the r might have disappeared. legible, and could be interpreted as 1668. The present On the third and fourth lines we think that there might picture bears a very clear date (1665) written in Arabic be letters and numbers. In any case, this signature numerals just above the middle of the right-hand side seems to us to be quite genuine. page of the book propped up against the globe. One ought also to pay more attention to the two small

As we only knew till now of three dated pictures by letters which are visible, one in the book the geographer

Vermeer, this newly - discovered date brings a most holds in his hand, the other one on that propped against " " " interesting light on all Vermeer's work, and may aid the globe, which can be read as V and M." a more precisely chronological classification of some of Certain writers claim that this picture and The his pictures. Aslroiwmer in the Rothschild collection are identical. On the left-hand corner of the map hanging on the wall They made this mistake because they had not seen the are four lines of writing. This map is drawn obliquely. Rothschild picture, but only its engraving in Lebrun's Vermeer, respecting the laws of perspective, brought Galerie des Peintres Flamands (1792). There is a similarity between both pictures, and as the engraving is reversed, a lack of attention might lead to this false belief, but a Hoofstede de Groot, Holltindische MalerEssl. comparison of the two paintings themselves reveals many Catalogue No. 5. \ points of difference. R. G. t Plietzsch, Vermeer van Delft, Leipzig, 1911 —

Forthcoming Art Auctions and Exhibitions (March)

Royal Institute of I'ainters in Water Colours. Macrae Gallery. — Drawings and Paintings by Elinor Darwin.

(1st, 15th, 16th) : Arthur Ackermann & Son.—Early English Water-colours ; Fine Puttick & Simpson — Stamp Sales 2nd, Coloured Sporting Prints. Baxter Prints (2nd, 3rd): Engravings (4th, I8th) ; Porcelain,

Objets d'Art (8th): Furniture (4th, 11th) ; Books (9th, Agnew & Sons. —Water-colours liy deceased masters of the lOth); Musical Instruments (10th): Pictures (16th); Lace, English school. Textiles, China (18th) : Silver and Jewellery (23rd). (See Cutts Co., Ltd.—Spring Exhibition of Water- Bromhead, & Advertisement pages.) colours by past and present masters. Sotheby, Wilkinson & Hodge \alual,le Printed Books The Carroll Gallery Pictures by Turner, Daubigny, N. — and MSS., including properties of the late Sir Philip Dun- H. J. Baird, and C. J. Ceilings. i,See Advertisement pages.) combe, Bart. ; tlie late Paul Butler, of Wvck Hill. Cilos. ; and Silver Debenham, Storr & Sons, Ltd.— and Jewellery Sales (1st, the late Du Cane Godman, D.C.L.. F.i-l.S., Trustee of the •2nd, 3rd, 8th, 9th, 10th, 15th, 16th, I7th, •22nd, 23rd, British Museum (1st, 2nd, 3rd. 4th) ; Persian, Indo-Persian, •24th, 30th, 3Ist). and Indian MSS. and Miniatures, property of Capt. F. W. Eastwood & Holt.—Oriental Porcelain, Objets d'.-Vrt, etc. E. Townshend, R.K-: a .".tli .rni.ir v 1 irsco Ir.un the Caves

- .' nl (14th and loth). (See Advertisement pages.) of Ajanta, propc-iii ^i Mi-\\ili I Limi-ir (7th) ; - ' i i -. Modern luchiii;;- : \ -Mrs. Fine Art Society. — Paintings by Richard Jack, Bertram Priest-

,1: -1.1:, 1. : man, and Archibald Barnes. Spring Rice's, ;iihi i--. in.iperties

.; >,,,•^^, ' .' ^ (Sth.ythh l'iri-1.'.,., I ,,:.. l-iiii Stir- Frost & Reed.—See under "Provincial" and in .Advertise- ling Ma-.,«.ir ;.,..,.., u ('.111,!: \ li i' • W .n Early ment pages. • Englisli I'... 'in ',,.,,, ill-' wiM ^Mir

Glendining Co.—Oriental Sale (1st) ; Stamps (8th, 9th, 22nd, :•<:,. & \ luihi (lOth, lllii> : iH.,,l.>an.l M.sS. (I (:i.. ; 1-iooks, •23rd)'; Coins and Medals (I4th, 15th, I6th, I7th, 18th). (.s,v property ol .Mr. J. V. Hcseltinc (ITlii. IStlii. Adver- Goupil Gallery. —Spring Exhibition of Modern Art ; Works by tisement pages. Monarro Group. members of the Arthur Tooth & Sons, Ltd.— Portraits by lesser known artists " Greatorex Gallery. —Water-colours of Old-Worid Gardens," of the early Fnslish srhonl. by E. Arthur Kowe. Walker's Gall. 11-.-. A-iualints (to •29th) ; Water-colours by Grosvenor Galleries. —Paintings and Drawings by contemporary MissRiJvr.i, .nnl M),. D.iwn; by Mr.Lytten (lOth to •23rd) artists. bv Mr. 1 laiTV ( ;. .< hI win. .on of Mr. Albert Goodwin, R.W.S.

1 1 . 1 . vm 1. Hampstead Art Gallery. —Works 1\ i '-n m (•ind to 21 si).

Harmer, Rooke & Co., Ltd.^^ ! i I. :!nl. .ith, PROVINCIAL. 9th, 10th, 12th, 16th, 17th, I'.i;:,. JJ. ,. -:i; ., :;iiil.. Hist). (See Advertisement pages. Bristol— Frost & Reed (at their Clare Street Galleries).— by Goodwin, R.W.S. (See Adver- Knight, Frank & Rutley. — Furniture, Pictures, and Book Sale Water-colours Albert tisement pages.) (4th, 18th) ; Jewels and Plate (11th). by Jaro.slav Hneokovsky Taunton—William J. Villar & Co.—Auction of Pictures Leicester Galleries. —^Jungle Paintings ; d'.-^rt. property of the late Rev. Cou/ens Paintings and Drawings by R. Ihlee : Patchings by Donald and Obiets J. J. (.See Advertisement pages. Shaw MacLaughlan. (21st to '24th). ) "A Record oF European Arms and Armour," by Sir few anterior to the sixteenth century. At this period, " Guy Francis Laking, Bart. Vol. III. (G. Bell & Sons, the Quillon," "Rondel," and so-called "Kidney" Ltd. To be complete in 5 vols. £15 15s. net) daggers, which had all been in vogue since 1360, wen- I'nE third volume of this monumental work ranges all falling, or had fallen, out of use, and for the early types over a wide variety of subjects. Daggers, halted weapons, of these pieces Sir Guy Laking was largely forced to crossbows, horse armour and accoutrements, each form depend upon their presentation in ancient effigies. What " " " the theme of a separate chapter ; another is devoted is known as the Ear dagger, so called from the two to the sixteenth-century armour in the Tower of London characteristic flattened disks that issue from either side ;

while a series of half a dozen is devoted to types of of the pommel cap at an obtuse angle to line of the armour specially associated with various countries and grip, and resemble ears," was derived from the East by master- craftsmen. Of daggers, like swords, there are way of Venice, and was popul.ir during llu- last lialf

few authentic early specimens. Hertford House contains of the fifteenth and the first half of the sixteenth cen- by far the most representative collection of any of our turies. The broad-bladed " Cinguida " type flourished public museums, and among the weapons there are very contemporaneously with this, and has been extensively

83 —

The C \>i/iio/ss('/tr

forged during recent years. The liafted weapons described which, though never intended to be oiifered as originals, and illustrated include such varied implements as maces, are frequently passed off on the unwary despite their battle-axes and war-hammers, spears, pole-axes, and distinguishing marks. There are numerous modern halberds, each of which are represented by numerous forgeries of varying qualities of the same china, while types. It appears curious that specimens of the old long- in the eighteenth century Baldock, with the aid of a bow, England's most typical weapon during the centuries clever Quaker artist named Randall, converted many which prefaced the general use of gunpowder, should be pieces of plain Sevres into richly decorated examples, even more difficult to obtain than those of the con- calculated to deceive all but the expert. All these temporary crossbow, though the latter, one of the imitations and forgeries, as well as the genuine porcelain, commonest weapons of the Middle Ages, is itself excessively Mr. Litchfield describes in full detail ; and he does a scarce. Of early horse furniture, spurs alone seem to similar office for the productions of all the more famous survive in any numbers, and this is less owing to the Continental and English factories and their more or less superior care taken to ensure their preservation than to- spurious duplicates. He is equally informative on old the facility with which or they were temporarily lost furniture, lacquer, enamels, and bronzes ; and the reader mislaid, to be found by later generations in river-beds of his book, if not actually converted into an expert and other places where they had been dropped. Saddles himself—a status that can only be secured by the pos- are only lightly touched upon, but some of the most session of natural good taste, fostered by long experience beautiful existing specimens from the thirteenth century will at least have little excuse for falling a victim to the and onwards are described and illustrated, while horse ordinary " flat-catchers " of predatory commerce. .Mr. armour is dealt with at greater length. Then come a Litchfield's personal reminiscences—the record of some series of chapters dealing with the armourer and his of the most eventful experiences, in the law courts and wares, at the most beautiful period of his craft, when it elsewhere, of an art expert of fifty years' standing—make was used as much for purposes of pageantry as for actual highly interesting reading. Moreover, these anecdotes warfare. The Tower Armoury contains a magnificent afford valuable hints to the collector, as all of them suit presented to Henry VIII. by the Emperor Maximilian. illustrate situations which he may be likely to encounter The latter gave his name to the fluted style of :umnur himself. The book is profusely illustrated, and contains introduced about 1510, of which many fine suits ;uo numerous reproductions of china marks, lists of makers extant. In this, the Gothic manner of tlic old annuiiri-rs (if furniture and artists in bronze, and other useful infor- was superseded by the Renaissance inspir.itiim. I'rnin mation. Altogether it may be recommended as one of the Maximilian style was evolved what is va,L;iR-ly termed the most valuable and interesting works for collectors Landsknecht armour, which could be used either on that has been issued since the war. foot or horseback. To the sixteenth century also belong many suits evolved on purely classical lines. It was "The Art of E. A. Rickards," with a personal sketch the great period of the German armourer, wlm \\as i;i\(.n by Arnold Bennett, an appreciation by H. V. Lancaster,

constant employment by the German and Sii.inish i nurts. and technical notes by Amor Fenn. (Technical For the latter was made that very laryu il,:ss ,.1 iiKm- Journals, Ltd. £3 3s. net) armour known as Spanish, though it chiefly cmanatcii Edwin Alfred Rickards may be accounted as a from .Augsburg, Landshut, and Innsbruck. Contemporary war victim. He was among the men over military age with this notable period of German armour the school uf who responded to the appeal of the War Office for archi- " Lucio Picinino flourished in Italy. As the courts of tects to do " special work." The " special work Vienna and Madrid were the great patrons of the arm- turned out to be ordinary clerking, done under circum- ourers of the period, their finest productions are still stances which necessitated continual exposure to the to be found in the royal coUectinns in these two cities. weather. Rickards, a delicate man, had to be invalided home, and finally, in the spring of 1919, he broke down. " Antiques—Genuine and Spurious," by Frederick Litch- .\ year at a sanatorium at Bournemouth failed to restore field. (G. Bell & Sons, 25s.) his health, and on August 29th, 1920, he died of tubercular It is as useful to those who seek to accumulate antiques meningitis. It was a tragic ending to a distinguished to know what to avoid as what to collect, and on this career, which had hardly reached its meridian, and was point Mr. Frederick Litchfield is exceptionally full and cut short just as Mr. Rick.irds w.is lnL;inning to taste explicit. He writes on porcelain, furniture, enamels, the fruits of a liic spent in uim nuttiiv.; study and creative and bronzes, always with a lucidity that confirms Iiis efiort. The volume, cnshriiiini; his inciuory, issued by high reputation as an expert and with the charm of a the Technical Journals, Ltd., is worthy of its office. practised writer. Yet one may say that the most \aUuible Mr. Bennett's sketch of Rickards' career as architect and portion of his book is that dealing with imitations and .irtist gives a vivid and life-like picture of the man, and fakes. Many of the former po.ssess high artistic merit oi Mr. Lancaster and Mr. Fenn supplement it with an their own, and are quite worthy of collecting so lout; as appreciative and discriminating account of his achieve- they are known for what they are and are not passed ments in architecture and art. Yet perhaps the best off as examples of their prototypes. This is especially testimony to his genius is contained in the fine series of likely to happen in the case of porcelain, the European admirably reproduced illustrations, in both half-tone makers of which generally endeavoured to emulate the and colour, from his work. These reveal Rickards as productions of earlier Oriental and European factories. a fine architectural artist, capable of realising on paper Thus Sevres porcelain of the best type and period lias tlie ultimate appearance of his designs, with a precision been reproduced at Tournay and by Minton's in wares and clarity of statement that make his drawings appear The Connoisseur Bookshelf less the outcome of unembodied conceptions than views of tlieni than the more flattering pencils of L;iwrence or taken from actual buildings. Among them are included Racburn. Sir Walter Scott is a case in point. The his original disi.;;iis for the fai,ades of the Central Hall, stout gentleman of Edouart's silhouette, with straiuhl.

SILIIOUKTTE

Westminster; Welsh National Museum, Cardiff; and high forehead, domed head, and undeniable snub nose, other important buildings, all presented from the stand- presents a different figure to what is shown in most of point of an artist, and interesting, altogether apart his portraits. John Gibson Lockhart, Scott's son-in-law from their architectural merits, as able and incisive topo- and biographer, is shown more in accord with his usual " graphical views diversified by well-conceived arrange- presentment ; and there is a quaint silhouette of Spice," ments of light and shade. Other reproductions in the Scott's rough-haired terrier, one of the last of the long book reveal Mr. Rickards as a fluent and accomplished series of dogs who owed willing allegiance to the master landscape painter and a clever caricaturist. He was, and builder of Abbotsford. The Scott circle, indeed, is in fact, an all-round artist, one of the men of the same well represented : there are the law lords Cojckburn and

type as those geniuses of the Renaissance, who could Jeffrey ; William Motherwell, the poet ; Miss Ferrier and practise in every art .ind show themselves ni.istcrs in Miss Jane Porter, novelists ; and the hitter's brother. each. Sir Robert Ker Porter, famous in his day for producing pictures the size of panoramas in less time than it would "Ancestors in Silhouette cut by August Edouart," by take most artists to paint an orthodox academic work. Mrs. F. Nevill Jackson. (John Lane. £3 3s.) There are numerous others represented from among those

In her book on .\ugnst Hduuart, .Mrs. 1-. XevUl Jackson who flit in and out of the pages of Lockhart's biography, may be said to provide for the reader a Dictionary of the elite of Edinburgh and Glasgow society, and a large National Biography illustrated in silhouette, covering number of temporary residents of the former city composed ICngland and America during the second quarter of the by Charles X. and his court, who were all silhouetted nineteenth century. It is, of course, not complete, for by Edouart when the ex-King of France took uj) liis though over a hundred thousand sitters of this period .second term of residence at Holyrood. had their profiles taken by Edouart, not every celebrity Bath—always a city specially favoured by rank and sat to the artist, and Mrs. Jackson has not been fortunate fashion—was another centre of the artist's activities, and enough to secure access to all his works, but only to what may be termed the Bath portrait gallery includes some ten or twelve thousand of them—duplicates of the a number of celebrated sitters, as well as several tvpical portraits he supplied to his sitters which he kept to form Bath characters. But Bath and the Scottish cities were a private record of his own. These, however, include by no means the only extra-metropolitan towns that extensively silhouettes of many interesting personages ; and one Edouart visited. He appears to have toured knows that they are good likenesses, for Edouart was a throughout the British Isles, stopping at every centre capable artist, who with his humble black paper and of population and portraying the principal inhabitants scissors often revealed the characteristics of his sitters and visitors. His longest journey was to the United with greater incisiveness than the poorer painters of his States, which he visited in 1839. He made a ten years' time could express with brush and paint. Part of this stay there, cutting thousands of portraits, including those success Edouart owed to his truth-telling proclivities of at least six presidents. however, to English ; Probably, he disdained to flatter his sitters, and one suspects that readers, the most interesting of the series will be one of

he gives a more faithful, if a more limited, idea of many Longfellow, taken in 1841, when the poet still possc.s.sed The Connoisseur

a palpable waist, and had not yet started to grow the and materials of the rugs, and after describing the typical beard which is such a striking feature in all his later designs, methods of weaving, and materials employed portraits. Returning from America, verging on the in different localities in Persia and elsewhere, he tabulates allotted span of life, Edouart had the misfortune to be the characteristics of the different types under the shipwrecked, and the peril he passed through appears headings of Field Patients, Borders, IVarp, Weft, Knot, to have robbed liim of the power of exercising his art. Weave, and Pile. The reader is thus given seven salient He had with him the whole of his collection of silhouettes^ points to determine the identification of each rug, and a large accumulation, for he made it a practice to retain though some varieties have two or more characteristics in it a duplicate of every silhouette he cut. Only fourteen in common, there are always sufficient distinctions in of the folios, containing nearly as many thousand sil- their other features to discriminate between them. The houettes, were saved, and these by a lucky chance came author also supplies clues to distinguish old rugs from into Mrs. Nevill Jackson's hands a few years ago. She modern ones, and gives some useful data regarding prices. has compiled alphabetical lists of the names and addresses The volume is illustrated with a number of plates, giving of all the sitters whose portraits have been preserved, characteristic e-xamples of various types of rugs, and also and gives interesting biographical sketches of the most a series of hne blocks illustrating the component details noteworthy of them. The task was well worth the doing, which go to make up the well-known patterns and the for among them, besides the celebrities, were hundreds of formation of the different knots, and the manner in which interesting people of whom no more elaborate likenesses the weft and warp cross one another. These details have been taken or preserved than Edouart's silhouettes. vary considerably in different localities, and the illus- He was a thorough artist, realising the possibilities and trations give valuable assistance to the reader in limitations of his medium, and not seeking to carry it identifj-ing different types of rugs. beyond its proper sphere ; and though he occasionally produced essays which have little to recommend them "Philadelphia Silversmiths, I682-I850," by Maurice beyond deft and elaborate manipulation, lor the most Brix, Philadelphia. (Privately printed) part he centred his attention on producing likenesses of The importance of Colonial America as a centre of his sitters, and generally succeeded to a remarkable art and craft is hardly sufficiently recognised on this extent. His work is good enough to recommend itself to side of the Atlantic. This is probably because we are the authorities of the Victoria and Albert Museum as an apt to measure its achievements almost wholly by the example of art, and to those of the English and Scottish work of its painters—an unsatisfactory criterion, for National Portrait Galleries as records, a dual testimonial pictorial art is always the last of the arts to be initiated that conclusively establishes his standing as a serious artist. and the longest in developing. It is to the more utilitarian and domestic arts that we should turn if we want to gain "A Quaker Inheritance," by Sir George Newman, a true idea of the aesthetic development of America K.C.B., M.D., D.C.L. (Central Literature Council of before the Declaration of Independence, and among these the Society of Friends, 140, Bishopsgate Street, E.C.2) perhaps the work of the early American silversmiths is Thi; reprint of Sir Goorije Newman's addn-ns to ,\merican of the greatest importance. At the time of the Revolution Friends, delivered at Jordans, in Buckini;h,iiiwliiir on they had already established an important industry, and August iSth, 1920. furnishes an eloquent liilmti i^ thoM- their productions and those of their immediate successors

Buckinghamshire Quakers who in the seventeintli c . iituiy will bear comparison with contemporary English work. managed to force from the English Government the The importance of the industry may be gauged by the freedom to worship God in their own way. Penn was List of Philadelphia Silversmiths from ibS2 to iSjo, which the most distinguished of the company, but there were has just been compiled by Mr. Maurice Brix, the well- men and women belonging to it well worthy to stand known writer on American silver. This contains the side by side with the founder of Pennsylvania. Sir names of fourteen hundred silversmiths—not including George tells their story briefly and forcefully in language those of allied artificers—of whom two-and-sixty flourished that is worthy of the theme, and his address in its present prior to 1800. The list, a highly useful compilation in form deserves to take a permanent place among classic itself, has been issued with the object of gaining additional English essays. data for a History of Philadelphia Silversmiths, to be illustrated with photographs of their marks and works " Bri.x, Howr to Identify Persian Rugs," by C. J. Delabere May which the author has in preparation. Mr. whose (G. Bell & Sons, Ltd. 6s. net) address is 125, South i8th Street, Philadelphia, will Mr. Delabkri-; May has succeeded in compressing into greatly appreciate any suggestions or information which a small volume of under 150 pages the salient facts will add to the completeness of his work. necessary to enable the reader to pick out Persian rugs from those of other origin, and determine in what districts "Highways and Byways in Northumbria," ty they were made, their age and quality, and also to '.^aiii P. Anderson Graham, illustrated by Hugh Thomson. an inkling regarding their market value. Incidentally, (MacmUlan & Co., Ltd. 7s. 6d. net) he gives a good deal of useful information concerning Between the Tweed and Tyne lies one of the most

Eastern rugs of all descriptions. The book is so well romantic stretches of country in the British Islands ; arranged, so clearly and concisely expressed, that it every acre of its shaggy moorlands and every reach of forms a most valuable reference manual to the advanced its numerous streams and rivers are associated with as well as to the elementary collector. Mr. May obtains tales and legends extending back into the days before his clues to identification from the patterning, texture, the Roman Conquest, and reaching forward to within The Connoisseur Bookshelf

king memory. Even modern industnalism, wiiicli lias power of lively narrative and its accomplished and vivid vaded parts of the district, has failed to deprive them illnstrations in colour and black-and-white the same tlieir historic interest, and Newcastle, the capital, author's l.asl Crusade. He found Mesopotamia a country

f# S !

^ ^^^m

FROJI GER\ •JTS D ORFEVRERIE, IN MESSRS. PARSONS .^iND SONS I9JI CATALOOrE

though one of the most go-ahead cities in the kingdom, more distinguished by its mud and the meanness of its still retains many of the old buildings and monuments dwellings than by the marvels accredited to it in the

which link it with a remote past. The difificulty of Arabian Nights. Nevertheless, even the poorest of its writing on such a country is more owing to a plethora habitations appear to have been picturesque, and, under of than a scarcity of material ; but Mr. P. Anderson Graham, certain conditions, beautiful, and the memorials bygone in his Highways and Byways in Northumbria, shows that ages in the form of old ruins and older superstitions

It is possible to put all the more eventful of it into a afford a piquant contrast to the advancing modern reasonable compass and still not overload his narrative. civilisation in the form of oil and railway lines and their

.\s he conducts the reader from place to place, he weaves accompanying machinery. The reader is introduced to a fascinating vestment about ever}- spot at which he the ruins of Babylon the Great, the Garden of Eden, the lingers, now telling of some famous event which links Mouth of Hell, and other famous places, which are

it with English history, or of some ballad or legend local described as they appear to-day, and recorded in sentient in its import but racy of the soil and throwing a vivid and delicate colour. light on the past, or again describing some antiquarian Jlessrs. Goff and Fawcett are more concerned with remains or noted beauty-spot. antiquities than Mr. Maxwell, and their book, while Mr. Graham's efforts are well seconded by Mr. Hugh giving a graphic picture of Macedonia under present Thomson's illustrations. In these the artist showed that conditions, also dips into the past, and there are good he could draw^ rural and urban scenery in the same deft accounts of antique ornaments, architecture, and other and attractive manner that he made so successful in his beautiful relics, which make a strange medley with the figure-pieces, and his success, in what to him was practically cheap machine-made rubbish imported from Western a new metier, makes one regret his recent death the more. Europe. The work is picturesquely written, and contains The volume is certainly among the most beautiful and much solid informaticm concerning the inhabitants of

interesting of the attractive series to which it belongs. the country and their manners and customs, its natural history and resources, so that it probably gives a better "A Dweller in Mesopotamia," by Donald Maxwell, idea of modern Macedonia than any recent book. Mr. 25s.net; and "Macedonia: A Plea for the Primitive," Fawcett's drawings, both in water-colours and mono- by A. Goff and Hugh A. Fawcett, M.R.C.S., .21s. net chrome, have the merit of attaining a pre-Raphaelite (John Lane) fidelity to nature. They are carefully wrought, delicately Both these works are produced in the artistic guise coloured, and present the topographical and architectural and with the finished workmanship usually characterising features of the country in minute and exact detail. publications emanating from the Bodley Head, and both are more interesting than orthodox books of travels as "Who's Who in America," edited by Albert Nelson chronicling and illustrating a state of affairs that will Marquis. (Stanley Paul & Co. 45s. net) speedily disappear before the inroads of more advanced Who's Who in America . now in its eleventh year of ivilisations. Mr. Donald Ma.xwell's book recalls in its issue, fulfils the s.ime useful purpose for the inhabitants T/ic Coiiiioissc/ir

of the United States that its prototype, the Enghsh Probably the .general reader will enjoy this work even Who's Who, does for tliis country. The volume for better its than predecessors : it not only compresses the 1920-1921 shows an increase in bulk on its predecessor, bulk of the information contained in them into consider- containing 3,.?02 pages of letterpress against .^,191, and ably less space, but also puts it in a form more wholly biographical sketches 23,443 against 22,968. No less free from technicalities and more easily grasped, and it than 2.514 of the latter are fresh additions. A feature also embraces the results of various researches made of the work not duplicated in the English Who's Who since the earlier books were written. A better intro- is the Geographical Index, grouping the names of all duction to the history of Indian art could not be obtained, the individuals, whose biographical records are inserted and it will also serve as a most useful handbook to under the states and towns where they reside—a most travellers in India, who are anxious to obtain reliable useful feature, as it enables the reader to quickly locate archfeological information concerning the ancient works the distinguished inhabitants of any portion of the of an artistic nature that they see there. The progress country. is The book brought well up to date, and of Indian art is traced, if not from prehistoric times, forms not only a complete biographical dictionary of living at least as far back as the third century B.C., beyond Americans, but also a valuable directory, giving the which modern research has scarcely penetrated ; though addresses all of those Americans, whether living at home Mr. Havell is able to give some interesting data for or abroad, which the European reader is likely to want. associating the earlier architectural works of the country with native rather than Persian traditions. He points "The Fan Book," by Maclver Percival. (T. Fisher out that indigenous traditions have had a permanent Unwin, Ltd. 2Is. net) influence in Indian architecture, and should be known The title of this book is somewhat over-comprehensive, for the latter to be understood. Mr. Havell's own as holding out hopes of a more extensive survey of fans introduction to the subject is illuminative and suggestive. and fan-makers than is fulfilled, by its contents. These Almost two-thirds of the volume are devoted to archi- practically deal only with the folding fans of the seven- tecture, and in this section the author deals at some teenth and eighteenth centuries. Earlier and later work length with the alleged designs made by European does not come within the scope of the survey, which also architects for important Indian works, of which the omits the unfolding feather fans which occasionally famous Taj Mahal affords perhaps the most noteworthy appear in seventeenth and eighteenth-century ladies' example. Mr. Havell shows that Veroneo's claims to portraits. Within its limitations, however, the volume be cniisidereci ;\s architect of the Taj are based on such covers its ground fairly exhaustively, and gives sleiiil. much 1 l.iniHljlhins as to be practically negligible, while useful and interesting information which will be valuable the ImiiMiiil: ii-.rlf is strictly fashioned according to to fan - collectors and those who are interested in the Indi.in li.ulilioiis, slightly modified to conform with history of these dainty aids to flirtation. During the Mohammedan requirements. The section devoted to golden age of the fan in Europe, France almost monopo- sculpture is less full but fairly adequate, while that lised the manufacture of the finer examples, and even de\nted to jiainting would be impro%-ed by a more extended Spain, a country with which fans are especially associated alluMi.n to tlic m.idern school. The work is profusely by tradition, imported them largely from her nei^liliour. illii>tr,iti'.l Willi lialf-tone blocks, all of which are of French fan-makers immigrated in large numbers into England during the reign of Louis XIV., and by 1709 the industry was so strongly established in London that "Penrose's Annual, 1921," edited by William Gamble, the workpeople were incorporated into a Livery Company, F.R.P.S., F.O.S. (Percy Lund, Humphries & Co., Ltd. which is still in existence. The actual painters and 10s. 6d. net) designers of the pictorial decorations on the fans do not This well-mounted annual make its reappearance appear to have been made members of the companies, in what is perluips the most attractive and interesting and, judging by the few authentic specimens existing of its t%\enty-three yearly issues. The plates, which signed by well-known artists, few of the more distiiisuishod embody all the latest improvements in various forms of painters of the seventeenth and eighteenth . rnt\n-ii", ]irocess work, include reproductions in colour or black- actually worked on fans, though many an 1 1 ulitiondlx ,iiid white after S. J. Lamorna Birch, Russell FHnt, reputed to have done so. The author gi\i-,in mhK^tiiiL: A It hill K.ickham, and other well-known modern artists, list of artists whose work has been defini(rl\ idriiUlicJ, iKMdub numerous plates after old masters, and photo- while most types of painted and printed fans are fully graphs. They are superbly printed, and form a fine described, and their materials and manufacture lucidly representation of the best types of modern reproductive dealt with. The volume is well illustrated, and contains work. The articles accompanying them are all written a useful glossarx-. with expert kimwledse, and form an unrivalled epitome of the most rceent de\eliipments in photographic process "A Handbook of Indian Art," by E. B, Havell. (John work .ind mndern l)lock-inaking. Murray. 25s. net) Mr. Havell is a widely recognised authority on most "Domestic Life in Scotland, 1488-1688," by John War- forms of Indian art, and his previous books on the subject rack. (Methuen & Co. 7s. 6d. net) have taken the position of standard works of reference. Collectors of early pieces of furniture will find few His present volume may be said to summarise into a more informative works on the subject than Mr. John more concise form his previous contributions to the Warrack's nomeslic. Life in Scotland, 14S8-168S. From history of Indian sculpture, painting, and architecture. old inventories, descriptions in contemporary sources and The Connoisseur Bookshelf

similar litoratuic. tlie writer has been able to reconstruct overlooking the t'haiuiel. Her power lies largely in her the domestic hfe of Scotland during two centuries about reticence, in her power of suggesting more than she actually which very little is known, and describe the ho\isehold expresses. There is a sense of an original and imagina-

!,'ear and apparel in use during that period. Scotland, ti\e individuality behind her work that is fa.scinating. of course, was a poor country, a generation or mon- behind England in the introduction of what would now "Four Irish Landscape Painters," by Thomas Bodkin. be considered as ordinary necessaries of life, but which (The Talbot Press, Ltd., Dublin; and T.Fisher Unwin, were then regarded as luxuries for the rich and effeminate. Ltd. 21s. net) Kven making allowance for this, however, it is surprising Or this quartette of painters, two— Barrett and to find witli how little furniture the wealthy land-owners O'Connor—flourished about a century ago, and two and burghers of the fifteenth century were able to content —Osborne and Hone— are practically contemporaries. themselves. The so-called surviving specimens of pieces Beyond their common nationality and the fact that glibly ascribed to that period would probably suffice each practised in landscape, there is practically no

to replace all the actual pieces then in use niany times connection between the careers of the four artists ; yet, o\er. Mr. Warrack also throws an interesting light on if not altogether congruous company, all the men are the identity of many pieces described in contemporary sufficiently interesting in themselves to make one grateful documents, the purpose of which has been lost sight of. for these compact, handy and well-written monographs Thus he can tel! us what were " treying copes," " wair- on them. In most respects Mr. Bodkin is an ideal stalls," ' comptours or counters," " gardevyands," and biographer for minor masters. He confines himself to " " ])nzzled ilcfine essentials, and brings within compass of few pages (lesburyds ; but even the writer is to the a a " compterfutc wcschel," having only succeeded in everything that it is desirable to know concerning the discovering that most ancient Scottish inventories contain career of the individual artist. Each biography is well a reference to a single example only, and that, therefore, illustrated, and accompanied by good lists of the subject's it was a vessel used for a specific purpose, and that the works, with lull particulars of the date and place of name had no connection w-ith the material from which their exhibition, and the prices realised by such examples it was made. Chairs were a luxury reserved to heads as have passed through the auction-room. Mr. Bodkin of households until well after the time of Mary Queen of has done his work with exemplary thoroughness, and Scots, and pieces of furniture popularly imagined to lie sliows himself a well-informed and discerning critic. in vogue in quite early days do not generally begin to Of (he four biographies, perhaps that of James Arthur make their appearance until the reign of her successor. O'Connor (1792-1841) is the most valuable, for this artist, Mr. Warrack has succeeded not only in giving a graphic who has been variously called the " Irish Claude " and

picture of the domestic life of Scotland for two centuries, the " Irish Wilson," was prolific in his output, and his and its gradual advance in social amenities, but also in work is frequently ascribed to other men. He painted

describing the introduction of numerous arts, crafts, and • almost exclusively in oils, excelHng in his rendering of ap])liances for the first time has given the modern collector moonhght scenes, and, while a close student of nature,

valuable data for testing the authenticity of so-called frequently presented it under a romantic and poetical early examples. The carefully selected illustrations of aspect. The reputation of George Barrett, R.A. (1732- historic pieces of furniture, tapestry, etc., also contribute i-iS^), suffers from the reaction which occurred after to this end. his death against the too exalted reputation he enjoyed during his lifetime. By contemporaries he was con- "The Little House," by Coningsby Dawson, with sidered a greater landscape artist than either Gainsborough

illustrations by Stella Langdale. ( lohn Lane. 6s. net) or Wilson, and when such claims were discovered to be

Mr. Dawson's latest work is a pretty and placid war- highly exaggerated, critics went to the opposite extreme time romance, supposed to be related by the " little and altogether denied his merits. His work, which is Old House." Though not revealing any deep insight almost entirely unrepresented in our national collections, into human nature, it is perfectly true to life, and the was generally conceived in a brighter key of colour than characters are sketched in in a sympathetic and attractive had hitherto been adopted in British landscape art, and manner. Perhaps a note of greater distinction is afforded did much to free it from that thraldom to brown tones to the volume by Miss Stella Langdale's illustrations which was finally dissipated by Constable. The work than by the story itself. She wisely confines her drawings of the two modern artists, Nathaniel Hone the younger to what may be termed the background of the narrative, (1821-1917) and Walter Frederick Osborne (1859-1903), and so avoids intruding on the reader a heroine and hero has commanded the respect of all modern critics, and is with whom he is not in sympathy. She is the more likely to command a higher position in the future than justified in this because her designs help to establish the it does at present. In presenting these concise, well- war-time atmosphere of the story—that environn^ent of informed, and authoritative accounts of their careers fear and suspense in which all England was submerged. and achievements, Mr. Bodkin has done valuable work, Half of her drawings represent London during the time which is likely to commend itself to posterity as well as of the searchlights ; the others take the reader nearer the to contemporary readers. front. But all are alike in their power of impressive suggestion and their strong chiaroscuro effects. Miss "The Print Connoisseur," vol. i.. No. I. (W. P. Langdale is equally good in conveying an idea of the Truesdell, New York. SI) tranquil but sombre atmosphere of a lonely London square, th( raging inferno at the front, or a stretch of sea-cliffs The Coinioissciir and drawings. Mr. W. H. de B. Nelson describes the occurred in past times during the progress of all groat work of Frederick Reynolds, one of the few living American revolutions. This carnage, therefore, hardly ran be exponents of mezzotint. Of more general interest is legitimately used as an argument, and is already wholly the account of " Some Italian Drawings from the Schiff discounted by the working classes. The latter are Collection." by Mr. George S. Hillman. Other articles determined not to go back to the pre-war regime, with are by Mr. Walter Patch, dealing with " The Etchings its uncertainty of employment and its exploitation of and Lithographs by Odilon Kedon," and Mr. Frank workmen for the benefit of capitalists, and the\' look Weitenkampf, on " New York City in Recent Graphic upon Bolshevism as an effective remedy. Mr. Jones

Art." The number is profusely illustrated, and the owns that they are probably right in their surmise, but quality of the block.s, paper, and printing leaves nothing points out that the remedy is worse than the disease, to be desired. inasmuch as it wholly destroys family life, and reduces the workman to a condition of slavery, unable to choose "The Modern Colour-Print of Original Design," by his own employment or regulate its conditions, and Malcolm C. Salaman. (Bromhead, Cutts & Co., Ltd.) liable to deportation away from his family whene\or Mr. Malcolm C. Salaman, in an interesting little industrial conditions demand it. Mr. Jones's remedy is brochure, discusses learnedly on the Modern Colour-Pritil increased peasant proprietorship and co-operative fac- of Original Design. Incidentally he describes the methods tories, thus giving the worker a share in the proceeds of producing the old English and French colour-work, of his work, and, consequently, individual interests and contrasts it with the modern process, which is, in antagonistic to the universal system of state ownership reality, the oldest of the series. The modern colour- demanded by Bolshevism. print is based on the methods of the old German wood- block engravers, which in turn are almost exacth A Bookseller's Catalogue similar to those used by the Japanese. Essentially 1 .\ssuKE you that 1 live under the delusion that they consist in printing on the paper a number of flat when I am writing a book I deny myself a great deal tones of colour, superimposed from different blocks of that would be very pleasant to me ... . because I wood, zinc, or other material. This can be made to have found by experience that this habit is necessary produce the naost subtle as well as the most bold effects, to my art, and that I cannot do my best without an and in the hands of capable exponents the medium has entire devotion to it." Thus wrote Charles Dickens, produced effective and beautiful results. The author February I2tb, 1856, when refusing an invitation from describes some of the more recent work, his remarks M.icl.inic l,ui|\ict. in a letter which is very far from being having special reference to the exhibition of it held at tlif iii.rst hii;hl\ priced item in the 284th catalogue issued

Messrs. Bromhead, Cutts & Co.. the publishers. liy.Mf-MS !: r.irsons& Sons (45, BromptonRoad, S.\V.3).

StrciiL; .is It IS in Dickensian autographs, however, the "Bolshevism: Its Cause and Cure," by C. Sheridan Jones interest of the list is carefully diversified. Mention of (Stanley Paul & Co. 2s. 6d. net) twii ciriginal sketch-books belonging to James Stark,

Bolshevism : Its Cause and Cure, is a timely brochure .ind .1 l.irm' tdlloction of his drawings; a set of brilliant by Mr. C. Sheridan Jones, describing the evils of the tirst iini)rissii>ns of Kneller's Beauties of Hampton Court,

great movement threatening our present social system, beanni; the subsequently erased address of T. Cooper ;

and suggesting the most effectual means to combat it. a rich assortment of French regal bookbindings ; and Mr. Jones writes lucidly, and adopts a tone of strict an unique copy, grangerised with extra plates, of Racine's moderation. He points out that the bloodshed attendant Oenvres (176S), from the Renouard Library, will serve to the establishment of Bolshevism in Russia was merely to indicate the variety of sections covered. In addition,

incidental, and though of an especially brutal character, there is a varied selection of indispensable reference books may be matched by the similar loss of life which has on art subjects. Prices are arranged to suit all pockets.

Registered tor transmission to Canada and Newfoundland at Magazine Post Rates. Printed by Bemrose & Sons Ltd., 133, High

Holborn, London, W.C.t, and Derby, and published by the Proprietor, W. Claude Johnson, at 1, DUKE STREET, ST. JAMES'S, LONDON, S.W.I, England. Subscriptions— Inland 39 -. Foreign 3T/., to Canada 32/-, per annum. Published the 1st of each month. Published by Gordon & Gotch, in Australia and New Zealand; by The Central News Agency, in South Africa; by Higginbotham & Co.. in Bombay and Calcutta; and by The International News Co., in U.S.A.

PORTRAIT OK A I.ADY liY JOHN AUSOLON, R.I.. 1S15-1S95 Q>l)^OI$S(UR K

The Japanese Collection of Mr. W. Harding Smith, R.B.A. Part III.—WorRs of the Eighteenth and Nineteenth Centuries By W. G. BlaiKie Murdoch

The later works belonging to Mr. Harding Christians. This, they will point out, was a Smith ha\-e fully the interest of his earlier political measure, taken on behalf of the safely treasures. Like these, they have been chosen of the realm, and herein they are right. But with sound acumen, whence they illustrate well Lafcadio Hearn reaches the ludicrous when he tlie main trend of art declares, blandly, that in Japan during the lyeyasu was not eighteenth century, cruel.* So blood- with the first half of thirsty were the on- the nineteenth. The slaughts by him, and forces underlying art afterwards^ by the are so mysterious that third Tokugawa to endeavour to tell Shogun, lycmitsu, on exactly why, at any the votaries of the

given time, a country Cross, that in i().;

Vol.. LIX.— No. 236.— >93 1

The Comioissciir all those savage for the expounding persecutions were to young men really justifiable. of the teachings And, in great pro- of Confucius. bability, question- These, for a long ings on this head t i in e thereafter, had a large share had on Japanese in the making of thought an influ- that intellectual ence whose weight activity, that could hardly be ex- philosophic spirit, aggerated.* Next which, growing up there dawned, in Japan, as tin too, an ardour in sixteen - hundred- studying Japan's drew to a closf. o w n antiquities. became more and .\nd presently the more evident, in go\ernment appa- the eighteen til rently began to century. mark that the new lyemitsu's su( speculative temper cesser, lyetsuna. could not be in power from 1651 quenched, for the to 1680, forbadi eighth Tokugawa translating i n t ( Shogun, Yoshi- from J apanese an y mune, ruhng European books, 1716 to 1745, his passing ol repealed the law which law indi against translation cates that, if few ofEuropeanbooks. or no translation The tenth Toku- dating from hi- gawa Shogun, time are extant, lyeharu, directing the essaying of the realm from such was wide 1760 to 1786, spread. In 16M personally abetted the renowned a> translating from Dutch, tronomer, Y a s u i t Shunkai, consider- "One of the most ably reformed the striking things in calendar. And Oriental art," although at this says Mr. Laurence time the Shogun- Binyon, "is the of tracing ate sternly inhibit- .\o. n. .^monkeys v.ww MORI sosEN (1747- difficulty ed all, save purely any one pictorial mercantile intercourse, with the Dutch traders at conception to its first origin and creator."^ And, Ueshima, these were stealthily interrogated, much indeed, in pre-Tokugawa years, the paramount about the civilisation of the Occident, her surgery limitation with Japanese painters, as a whole, had and medicine being topics on which enquiries were been a lack of the individual note, a readiness to specially keen. But if they must be denied right accept the formuL-e prescribed by the academies. acquaintance with Western science, at all events Confucianism, so strongly inculcating communism, they would be amply versed in Chinese scholar- ship, the pkilosophes would seem to have declared.

For never, before the later decades of the seven- * Compare article, " Confucianism,"' in Things Japanese, by teenth century, had thinkers in Japan shown B. II. Chamberlain. London, 1891.

.such keen interest as then in the learning of the + .See various articles, "Tolaigawn," in Hislorical Dictionary Middle Kingdom. In 1690 there was founded at ofja/'an, by K. Papinot. Tokio, UiO'.l.

Tokio designed 191:!. the Seido, or Hall of the Sages, :;: Painting in llie Far East. London,

The Connoisseur veneration for the past, the duty of submission than in any pre\-ious epoch. For the demand to established rule, is the foe of indi\iduality. was augmented hugely by the spread of compai.i-

And along with, if not as a result of, that \ast tive financial comfort with the masses. .\nd ii

No. -MOTHER AND CHILD COLOURS BY UTAMARO (1754-1S06) increase of Confucian influence in the eighteenth was the generahty of artists, the host ministering century, there was evinced in art more than ever to the enlarged demand, who betrayed the lack of the old tendency for mere echoing. " The of the personal note. The eighteenth century, spirit which secluded Japan from foreign inter- and beginning of the nineteenth, were a time course," says Kakasu Okakura, " narrowed and signalised by the advent of numerous exceptionally cramped artistic creativeness also," and he speaks bright personalities in art, men uttering a truly of painting being " limited thus to a narrow individual vision, giving instead of taking a round of expression." * It must be remembered, formula. Were not the doings thus of these however, that the actual output of art was bright personalities the outcome of that philo- infinitely larger in the mid-seventeen-hundreds sophic temper characterising their own day and

its immediate predecessor ?

* Ideals of the East. London, 1903. About the date the Seido was founded, there

196 The Japanese Collection of Mr. IV. Harding .Smith

was started, also in Tokio, a home for aged and pictures ; he wisely stood for intimate acquaintance infirm dogs and horses, the ruler whose wisdom with animal life itself. But although Okie was instituted this excellent symbol of Japan's fondness certainly of that select few, giving instead of

;.1 ^

no. vi te.^pot in satsuma pottery No. VII.—JAR decoration in polychrome. on a ARITA PORCELAIN, DE yellow ground AND WHITE (late eighteenth centcry) (early NINETEENTH CENTURY) for animals, becoming known as " the dog Shogun." following a lead, he had not nearly so strong an .\nd among the rarest painters of the seventeen- originality as Sosen (1747-1821). This master hundreds were two preoccupied chiefly with long kept a monkey in his garden, coming to feel, animal painting, Maruyama Okio and Mori nevertheless, that scanning the antics of this

Sosen (Xos. i. and ii.). Near the village of Kasumi, pet did not afford him quite the knowledge of about a hundred miles north-east from Kyoto, monkeydom he desired. And, with intent to there is a temple which, rightly called Daijo, knowing it from within, he would often camp is frequently styled the Okio temple, on account alone in the woods, living there for weeks together of its richness in pictures from Okio's brush. on nuts and fruit. Owing to his persistence in He (1733-1795) was the son of humble parents, drawing monkeys, he acquired the nickname of knew dire poverty as a young art-student at " monkey," the little boys calling it after him in Kyoto, but received kind help there from a priest, the streets of Osaka. For that town was his Mitsuei. And this priest being later appointed home, and almost everyone there knew him by to Daijo, he was sought out by Okio, who, by sight. How well-merited, too, was his high fame, then rich and famous, painted pictures gratuitously his surely unrivalled skill in the monkey-picture, for the temple. The dogs of Okio's limning are rendering Sosen an isolated figure, not just in even finer than his birds, and the enduring nature Japan's, but in the world's art. of his renown is instanced by the publication, If a speculative temper with a country is likely long after his death, of two albums of reproductions to make her finer painters eager to express what from his work (1837 and 1851). they feel, in place of tamely working in an estab- Okio avowed keen interest in the Western lished tradition, so also is such a temper likely engravings he saw in the Dutch houses at Deshima. to stimulate thoughts towards the augmenting of He laughed at his preceptors, however, for telling artistic media. .\nd thus it proved in the sex-en- him he should form his own art by study of old teen-hundreds in Japan. Woodcut pictures in TJic Coiii/oissr/ii'

HOYEN (EARLY NINETEENTH CENTURY)

monochrome were produced there as early as prints thus came to be utilised especially for the eighth century, the printing of books com- portraits of theatrical stars. And by drawing mencing some two hundred years later. But these portraits an artist might get his name either craft was virtually the servant of religion associated widely with the names of the actors alone till the seventeenth century. Towards its he depicted, wherein lay a quick road to celebrity. close, Saikaku (1641-1693) fairly caught the It is the laurel of Utamaro, born seven years taste of the populace with his Rabelaisian tales, after Sosen, that he openly uttered scorn for this so that soon analogous tales were being written way of winning the mob's applause, vowing he lavishly. Shortly, all this new popular writing would choose a path for himself.* He took was being printed. And the popularising thus his subjects from the ordinary life of the populace of books brought the request that they should (No. iii.), also drawing endlessly the Yoshiwara be illustrated. Among the earliest coming to beauties. And, granting that a few before him repute by designing woodcuts for this purpose, had handkd such topics beautifully, it was in likewise subsequently designing independent wood- the da\- immediately following that of Utamaro's cuts, was Okumura Masanobu (1688-1768), a best things that Japan passed to create her superb painter who kept a bookshop in Tokio. And galaxy of art from that ordinarj? life of her Mr. Harding Smith is the fortunate possessor of denizens. Here, in these prints and paintings some of the very uncommon prints by this artist. depicting the humbler folk, lies the prime departure In Okumura's day the woodcuts were either of the eighteenth century from earlier epochs. in monochrome or merely in two or three shades. Japan has a genius for speedily recognising It was when Sosen was at the height of his power her masters, and a wide renown was Utamaro's that xylography was quickly developed into ere his death (1806). Even had he not been the capacity of yielding the lovely prints in many rebel he was, even had he not drawn mother and colours. Meanwhile, Saikaku's contemporary, child often, with a talent in likelihood quite Chikamatsu, had inaugurated a species of drama, unparalleled by any of his compatriots, he would delighting the masses, whence presently the theatre was an institution, even more popular * Oiitamaro, le Peinlre des Maisons ve J, par Edniond de than the story-book. The new monochromatic Goncourt. Paris, 1911. LX.-iHi; iiiiti

A^-7^^ No. X. — UIKD STUUV Tlic CoiiiioissciD'

^;

^'.;^. Q. a =: <: 5 «

1

The Japanese Col/eefion of Mr. If. Haniiiig Smith

.•TING BY HIROSHIGE (1797-1S

fondly styled him his grandson. And doubtless that he came of a samurai family. But he must receiving some tuition from the great master, have known poverty, for he served for a time in Xi-ho also worked for a while at the Fourth the Tokio fire-brigade, being, moreover, said Avenue Academy.* The twelve paintings by to have travelled about with little bags of coloured

him are all on silk ; each is a little bigger than a sand, with which he would improvise pictures quarto volume. There are studies of birds and for the delectation of the crowd. Only an

fish, flowers and shells ; there are genre pieces, occasional painter, primarily a designer of wood- and landscapes with figures. Lack what it cuts, the master issued several books of such, may, is not the Japanese school easily the one notably, in 1851, his Tokaido Fukei Dctu\ or towering above every other, since the Greek, "Scenes on the Tokaido," this last being the high- in technical proficiency, as likewise in decorative road from Kyoto to Tokio. It was in the latter town

skill ? And it is those purely orthodox qualities the artist principally lived ; it was there he died which characterise Xi-ho's art. in 1858. And a memorial portrait of him was Of Mr. Harding Smith's treasures, dating from drawn by Kunisada, writing, above his signature, a still later time than that of Hoyen and Xi-ho, " Thinking of Hiroshige, we weep."* the outstanding are numerous works by Hiroshige. Various writers hold that two, if not even Some are colour-prints, the others being land- three men, were at the making of the alleged

scape paintings on silk, each about the size of a output of Hiroshige. Be that as it may, it was folio volume. And of the two sets, the paintings one of the greatest masters of time who fashioned are, in a sense, the more important, as they are the best of the things signed Hiroshige, along presumably without replicas, whereas copies of with usually the word gwa (picture) or fude the prints may be assumed to exist in other (brush), equivalents oi delineavit (Nos. xi. and xii.). collections. Hiroshige was born in 1797, and it Drawing the bird-study, or the flower-study, in is asserted, in a book of soon after his day, Ukiyoc that fairy-like mode, which is nearly a Japanese Bi Ko, or "Xotes on the popular School of Art,"

• By far the best account of tlie master is that in The Herita^ * T/ie Painters of/apan, by Arthur Morrison. Edinburgh, 191 of Hiroshi^^e, by Dora Amsden. .San Francisco, 1912. The Couuoissc/ir

-TWO IRON KEITLES (LATE NINETEENTH CENTURY) prerogative, the artist was furthermore deeply in graphy, telegraphy, and lighting by gas, all love with fine architecture. And he drew buildings which were introduced by Shimatsu Seihin,* as accurately, as precisely, as Piranesi did, so a direct descendant of that Shimatsu who has been that a history of Japanese architecture might seen (previous article) inaugurating Satsuma almost be compiled, with no data save Hiroshige's pottery. And it was five years before Hiroshige's work. In the preface to his Tokaido book, it death that the American, Commodore Perry, " is observed that those who have visited the came sailing into the fair bay of Tokio. The places represented will be vividly reminded of coming of his fleet was to lead, quickly, to the them by the pictures." And, indeed, Hiroshige opening of Japan to foreign trade, and her resultant as landscapist showed himself as eager for truth endeavour to Westernise herself. But, long after to nature as Rubens or Constable. But if ever Perry's arrival, she continued to evince a glittering man saw for himself, uttering his own vision, skill in the making of donK-ti. utin^iU, the in his own way, stamping his personaHty on two kettles shown here being 1>. iili .|uit' iinKlcni. whatsoever things he depicted, that man was Kettles closely kin with these (Xo. xin.) may Hiroshige. As yet, he has less renown in the be seen often yet, not just in the houses of the West than his great contemporary Hokusai. rich, but in those of the poor. For it is among Nevertheless, it is a fair question whether it is the glories of Japan that, as masterly in applied not Hiroshige who is the crowning consequence as independent art, she was long wont to offer of that questing spirit which came upon Japan to her very humblest folk a lofty beauty in the towards the advent of the rnitury, which gave form of necessities, plates and cups and trays, the master birth. besides kettles. What other country can claim It would be interesting to know wliat Hiroshige, to have done this ? with his active, enquiring mind, thought of the changes going forward in Japan in his day. This * See article, " Kagoshina," in An Official Guide to Eastent witnessed the introduction to the land of photo- Two Portraits by William Bell of Newcastle By Hilda F. Finberg

Although great progress has been mailr him for some years at his London house, and also in recent years in the study of eighteenth-century at Seaton Delaval in Northumberland and his portraits, much of this interesting field remains other country seats. Betw'cen 1770 and 1774 unexplored. Too often the name of the artist Bell painted the full-length portraits of Sir John who painted a portrait is unknown, and the and Lady Delaval and of their two elder daughters, picture, for want of better information, is attri- Sophia Anne and Elizabeth, which are still at buted to Hogarth, Reynolds, Gainsborough, Seaton Delaval, and besides painting portraits of Raebum, or one of the other well-known masters. the family, he taught the children drawing. Yet there were many portrait painters of the In 1775 he exhibited two pictures at the Royal same period who, although not in the front rank, Academy, a North View and a Soitth Vieit of were capable of producing good work. Signed Seaton Delaval, his address being given in the e.xamples by any of these minor men are rare, catalogue as "At Sir John Delaval's." Edward and where they do exist they are particularly Edwards, in his Anecdotes of Painters, makes the valuable as furnishing clues which ought not to characteristic remark that "the merit of these two be neglected by the student. Two such examples views did not impress him sufficiently to enable are to be found in the pair of interesting portraits him to describe them afterwards from memory." which are here reproduced. At Doddington Hall, near Lincoln, there are two They were bought many years ago by Dr. views of Seaton Delaval which answer to the I-'hilip Norman, and nothing was know^n about description of those exhibited by Bell at the them beyond the fact that they were said to Academy. They were inherited by Colonel Jarvis represent an actor and his wife. The man, who in 1830 with the estate and mansion-house of is about fifty years of age, wears a red coat Doddington Hall, which formerly belonged to and a grey wig, and holds in his right hand a Lord Delaval. Although they are not signed, letter which is inscribed "W. Bell pinxt. 1788." these are probably Bell's two pictures. Seaton The woman is much younger than her husband. Delaval, now the property of Lord Hastings, was She is fashionably dressed, and has dark curls partly destroyed by fire in 1822. The Neiccastle falling on her shoulders. The signature on her Magazine for that year contained two engravings " portrait is partly obliterated, but W™ B-11," representing the South Front and the North Front and the remains of a date, are still visible, although of the mansion. No acknowledgment was made they cannot be seen in the reproduction. There to any artist, but these engravings appear to ha\'e is no doubt as to the name of the painter in the been taken from the j)ictui('S which are now at case of these portraits. Doddington. William Bell was born at Xewcastle-on-Tyne In 1776 Bell sent a historical picture, Susanna about 1740. He came to London in 1768 to and the two Elders, to the exhibition of the Free study painting, and was one of the first students Society of Artists, giving as his address " At to enter the Royal Academy Schools. In 1771 Mr. Thickbroom, Organ Builder, New Round he obtained the gold medal for a historical picture, Court, Strand." After this he did not exhibit I'emis entreating Vulcan to /on;e Arms for Jineas. any more in London. He returned to Newcastle, He found a patron in Sir John Hussey Delaval, where he found employment in portrait painting afterwards Lord Delaval, and was employed by and also in restoring pictures. He is said, for The Coiniflisstiir

ILLIAM BELL, instance, to have restored successfully the portrait a la Mode.' " The original owner of the ticket of Charles II. in the Newcastle Exchange, which has added a date " 1760," and the words " I had been damaged by fire in 1791. The portraits Played S"" Archy." This last refers to the charac- of the unknown actor and his wife, dated 1788, ter of " Sir Archy MacSarcasm " in Macklin's were therefore most probably painted in New- farce Love a la Mode. It was not clear whether castle. Bell died in Newcastle about 1804. Mr. Austin himself or some other actor had played The only clue to the identity of the actor, " Sir Archy " on this occasion. On looking into which Dr. Norman possessed, was a Drury Lane the matter, it became evident that the actor, Benefit ticket, which had been affixed to his whoever he was, had made a mistake in giving portrait, and was sold with it. The ticket bears the date of Mr. Austin's Benefit as 1760. He the printed inscription: "Mr. Austin's Benefit may not have written on the ticket until many at the Theatre Royal in Drury Lane, on Friday, years after the Benefit had taken place—perhaps

' 24th of April. ' Woman is a Riddle,' with Love not until after his portrait was painted nearly :

Tii'o Portraits by Willlain Bell of Ncivcastlc

thirty years later. In any case, the 24th of There seems to be no further room for doubt April sitters. The in 1760 was a Thursday, not a Friday ; about the names of William Bell's but in the Public Advertizer for Friday, April portraits must be those of Mr. and Mrs. Austin, 24th, 1761, we find the following announcement although we do not know what induced Austin " Drury Lane. For the Benefit of Mr. Austin to take such a round-about way to record his and Mr. Moody at the Theatre Royal in Drury name, when he might have written it plainly on

Lane, This Day, April 24, will be revived Woman the back of the canvas ! is a Riddle (' Courtwell ' by Palmer) .... To This is the only known portrait of Austin. which will be added (for the only Time this Season) He is not represented in the large collection of Love a la Mode {' Sir .Archy M 'Sarcasm ' by Mr. theatrical portraits at the Garrick Club, nor is ." Austin, after the manner of the original). . . there any engraved portrait of him in existence. The Cotiiioisscitr

Very little is known about his caifiT as an actor, years. In 1814 he was between sex'enty and but a few details are given in Gcnest's Accounl eighty years old, according to Genest, " and had of the English Stage, and in Gilliland's Dramatic the appearance of having been a good-looking Mirror. On October nth, 1759, he played the man." He died in 1821, by which time he must " " part of Captain Strut in Double Gallant at have been well over eighty. Unfortunately, Drury Lane, and on March 20th, 1760, he was nothing seems to be known about his marriage, to have acted in Kitty Clive's farce, Every although in this connection there is an amusing Woman in her Hnmour, at that actress's Bene- story. Genest tells us that in October, 1771, fit. Having accepted a country engagement, he Austin married a lady worth £14,000. This failed to appear on this occasion, at which piece of infonnation was obtained, no doubt, from Mrs. Clive was deeply offended. On April 25th, a paragraph which appeared in the newspapers 1761, the night after his own Benefit, he on October 3rd, 1771. In addition to giving the " " played Harwood in Reed's farce, The Register amount of her fortune, the paragraph stated that Office. the lady came from near Whitehaven, Cumberland, It ai)pears that between 1759 and 1761, Austin that she was nearly ninety years of age, and that was employed at Drury Lane not only as actor, her relations were about to apply for a commission but as i)rompter, assistant manager, and, in fact, of lunacy against her ! The fact that this piece " as Garrick's right-hand man." " For two of " news " was contradicted the following week \'ears," says Genest, " nothing was right unless seems to have escaped Genest. The Public Austin was consulted.". It is said, however, Advertizer for October nth, 1771, contained the that Garrick " did not reward him very liberally following : The Account of the Marriage of for his services, and consequently Austin left Mr. Joseph Austin, Manager of the Theatres of Drury Lane for Dublin. In 1762 he was engaged Newcastle and Sheffield, to a Lady of Fortune in " " " " by Barry, and acted Tom and Scribble Cumberland, inserted in some of last week's at Cork. In 1767 he became manager of the Morning Papers, we are assured, is without old theatre at Newcastlc-on-Tyne, which circum- Foundation." stance forms the link between him and the painter, This notice is valuable, because it gives us

William Bell. Austin's Christian name, which is not mentioned Austin remained at Newcastle for about twenty elsewhere; but it l>riiii;s us no nearer to knowing years, at the end of which time a new theatre whom he did e\(iuiiali\ marry. We have only had been built there—the Theatre Royal—to the evidence of William Hell's portrait that at supersede the old Play-house. Before the opening the time of her marriage Mrs. Austin must have of the new building, which took place early in been nearer nineteen than ninety, and that 1789, Austin retired from the management. although she may not have possessed a large This suggests that the portraits may have been fortune, she probably belonged to the well-to-do painted to mark his retirement. They may classes. The air of assurance with which she wears possibly have been presented to him by admiring her remarkable head-dress proclaims this. In her friends in the town with which he had been so mushn fichu and gown of " flower'd Sattin " (as long associated. advertised in a Newcastle journal of the period), Austin moved from Newcastle to the^neighbour- Mrs. Joseph Austin makes a \-ery charming and hood of Chester, where he lived for a number of decorative picture. Potteryand Porcelai

Collecting Porcelain and Pottery Cats By Kate Villiers Clive " In my article on Collecting Porcelain nKulrl, Imt, strange to say, he has ne\-cr been and Pottery Dogs," published in The Coxnoisseik IHipnlar with any of tiie noted china factories. some years ago, I ventured to suggest that the I think the first cats made in England were far-seeing collector of small pieces of china niii.'ht tlicise (if stoneware, decorated in slip. One of do worse than turn his attention to niotlels of these is in the celebrated Falkner and Sidcbotham cats. I only wish I had practised what I preached, collection. He is a most quaint-looking animal. and if I had done so, should now have by me a He is 3I inches in length, and his stoneware

nest-egg of considerable value, and one which I body is coated in wliite. It is ornamented could easOy dispose of at a very satisfactory with spots in brown sii]), and probably was profit. China and ware cats are now in great made about 1680 or earlier. The would-be col- demand, and likeh' to increase in value each year. lector must not e.xpect to be able to possess The principal reason for this is, they are so rarely one of these, as, out of museums, they do not met with, and the unobtainable, as we all know, exist. We next come to those made in solid agate always has and al- ware. In No. i. we ways leill have a see one of these very nameless charm for rare- examples. They mankind. Who- are contemporary ever sets out now m age wifh the to collect t h e slip-ware " Toms," " " domestic tiger and are composed will have an ar- of two or more duous task before different coloured him ; but to the clays. This one really keen sports- s h o w n stands man (or sports- 5 inches high. The woman) this will head is just the oni\- add zest to colour of a light the chase. It is stone ginger - beer hard to sa\- wliv Iiottle, going off the cat has been into the agate, so little depictetl which is lirownish- during the last ,i.;iey with darker hundred-and-fi f t \- grey ni o I t 1 i n g . years. Going back as far as the days l)atcli under t h e of the Egyptians, ciiin, on the shoulder he was looked upon and on the haunch, as a sacred animal, hut this is not very and stood for the obvious in photo. spirit of content- Tlie pencilling in ment. With thcearly ears is blue, and makers of Eng- the eyes deep-brown lish pottery he was and very bead-like. a most favourite xo. I saw in a museum The Coiiiioisscitr

some years ago an \- u g 1 old lady equally fine one. seated in a chair, He was a little smoking a pipe, larger, standing and on her knee 6 inches high, and was squatting a was made of three still more ugly intermingled cat. I believe clays. He was there were dclf lead -glazed, as is cats made at both often the case in Bristol and L.am- these early cats. hith, and when No. ii. is from met with are the hand of the large in size and potter Whieldon. coarse in design. The does photo 1 11 salt - glaze we not do real jus- seldom, if e\cr, tice to its subject, find the despised as in these mot- cat, although a tled specimens it collector told me is haid to repro- a short time ago duce the features he had seen one. clearly. The glazr It was seated u})- is most wonder- right, measuring fully brilliant, and 3 inches in height, the colour i n g and the only those soft greens touch of colour and browns al- about it vv a s ways "seen on shown in its WTiieldon's work. I yes, which were It is seldom one No. II. black and bead- meets with single like. No. iii. is of figures of cats made by him, and he preferred to two rather later pussies. The Httle gentleman on introduce them in his groups. A very strange the cushion is a ginger "Tom," and the green one I saw a short time ago, which was certainly cushion with yellow tassels at the corners is well more quaint than beautiful, ft showed a verv suited to his complexion. He is 3 inches long. a t

Co/Arf/j/o- Porcelain ami Poffet'v Cats

No. IV. —THRtl; K1TT1£> has a very Roman nose, and is contentment front paws is painted (tlie ])li()lo does not show personified. He is very light in weight, and I this) a large yellow bird. 1 gatiier it is meant ihink his birthplace was Leeds. The other to be a canary, but compared to size of the kittens, model by his side is a very realistic tortoiseshell, its dimensions are more like those of a hawk. and was made at the same place. I met with I think these are also Leeds. his ditto a short time ago, but the markings were From the Chelsea - Derby works we get tlie different, being dull pink and yellow. - What his charming specimen shown in No. \-. The cat breed was would puzzle the most expert cat is certainly quaint in shape, and is about to fancier. No. iv. is of a most charming family box the ears of the poodle, who is in possession of kittens. They are of pottery. Those on of a delightful moss-covered and much-flowered each side are 2 inches long, and marked with kennel. This is a most uncommon piece. I brown, yellow, and black spots. Round the base saw a very rare Stafford china group a short time of rach is a deep maroon line, and between their ago, and was just too late to procure a photo of The Connoisseur

it. Mother Tabbvskins was teaching her ofl

the size of the kitten, it was a dangerous game for one has only to see such a fascinating example the kitten. to be sadly bitten with the "cat craze." As

Perhaps of all tlie porcelain factories that con- many of my readers know . when the Derby works descended to pro- broke up in 1848, duce the despised several of the cat, the Derby work m c n thus works made the thrown out of greater number. employment star- No. vi. is of two ted small porcelain Derby examples. works on their The larger one is own account. The

2-1- inches high, and whole thing, how- is on a buff stand e\-er, proved a with a gold line failure, and s o o n round it. The came to the body of the cat is ground. D u r i n g white with tortoise- the short time their shell markings, and \enture existed, all the whole thing the china made was is of the finest marked with a blue quality. If possible, crown, and a large

it is surpassed in number of animals charm by its smaller were made, the cat companion. I am amongst the num- sure my readers ber. I have recently will notice how life- seen one of these like its expression cats, and cannot T admired it. It is, and the deep x,,. vii— a df.rev groc sav Co/Iccfiiii^ Porcelain a)id Pottery Cats

" black was 'ill white, quite hollow, and, as it was made made by the old potteis. As Tabbies" and from a clumsy cast, it was not at all an interesting "Toms" are more usually met with than any other example. Cats figurine; in groups arc very rare, coloured cat, it seems a strange fact that they

and thc'owner~i)f Xo. \ii. is much to be envied. were never depicted. The iillle group I have just It is also from the Derby factory. Perhaps the described stands 4i inches high, and there is most delightful Derby puss I have ever seen is the another to make a pair with it. The difference

one I am able to reproduce in No. viii. She is in the two is, the mother and kitten in the " sit I J inches high, and is a golden Tabby," and her second one are all white, and the rug they olfspring favours her in colour. Both of them have on is deep blue with gold border. Xo. \. on gold collars with little gold bells, and are seated is of a little larger pussy, and I wish I could say on a grass;grecn cushion with gold-and-whitc for certain where she was made. She is of such

cord round it. I ha\-e never seen a Derby piece very fine pottery, and has such a strange glaze,

I like better. My readers will seldom meet with that at first sight you pronounce it "salt-glaze." such a rare cat as shown in No. ix. It is of You look in vain for the orange-pitted surface, Rockingham porcelain of beautiful quality and only to find it missing, so you have to fall back " design. The basket she is sitting in is straw- on Leeds." It is as light as the proverbial colour with a gold edge round the top, and inside feather. It is the grey-white of the best quality-

is lined with a green rug with a pink border to it. salt-glaze, and the markings arc buf and black. The mother-cat is a fine piece of moulding, and Before concluding my article, I would like to she and her baby arc creamy-white with pale- speak a word of cheer to the cat collector. There

brown and yellow markings. I would like to say, is one great recommendation to the antique cat.

in passing, that I have never seen an antique cat and that is that, up to noiv, he has not been con- with "Tabby" markings, and the larger number sidered sufficiently attractive to " fake." That is met with are white with tortoiscshell markings. a great stumbling-block out of the way. Just " Never, I feel sure, was a pure black " Tom now, when you do meet with a nice little pussy. The Coiiuoissciir

" you may know he is a right one." Of course, will not last long, and it is only a question of " " your finds will be so few that yon may gel time before the spurious cat is as common as

Nil. IX. — A ROCKlNliH disheartened and take up a more easily acquired the spurious dog. So my parting advice is, "Catch subject to collect. This happy state of affairs your cat w^hilc yon ran." Some Notes on the Portraits of Sir Philip Sidney By Dr. G. C. Williamson

DiKixc recent years there ha\-e ct)ine m a ,!;ai-den, which is iiitii tile inarki't certain miniatures and other b\- insrer to be hat uf IVnslmrst, the lH)rtraits which purport to represent Sir Phihp liouse itself appearing in the distance. On the Sidney, and some of them, by reason of the other hand, Vertue differs from Granger (see pedigree supphed with them, and because they B.M. Add. MSS. 23o6c)-4i.//.), and declares tliat bear a certain resemblance to Sidney, have fetched the house represents Willmi He is probably high prices and now adorn notable collections. correct in this statem^ anger is probably-

It may be interesting to give some attention in error. This mini:

t(i t lie iiurt raits of Sidney. Ml o rder ascertain w hi eh tliein ma\- be ill all good tnir represent i..nsof him, and so • decide

wiongh- attributed. T/ic Coiiiifli^srur and without a mous- the figure in tilting tache-. surroundings.

A V e r )• s i ni i 1 a r No other name has portrait, pai u t rt\ by I \er lieen given to the same artist, aud ilii~ >uniptuous work signed with his con- ihaii that of Sidney, joint initials, is to be • Mid I claim it as a found in the collection I'liniine portrait. It

(jf Mr. Laurence Curric -renis to nie t(i l)i- {B). This was origin- (cilainly the same ally at Pcnshurst, ami personage as in the came to its prcstiit portrait at Windsor; owner, with several l)ut now we see him other portraits, pur- as a man, and his face chased from the house is adorned with his by Mr. Curric's an- famous moustache. cestor. Its provenance Bearing in mind is, therefore, wholly (B)- that Sidney was born

,• l_i T,. 1 1 . IN TIIF, COLLECTION MR. L.\URF.> reliable. It has always in 1554, and died in borne the name of Sir Philip Sidney, and I see 1586, we may reasonably expect that the portrait no reason to doubt the accuracy of the attribution. of him (D), engraved by Renold Elstracke (fi. These two miniatures I incline to accept as 1590-1630), which appeared as a frontispiece to ad viviim likenesses. an early edition of Arcadia, was a more or less Then we have a drawing (C) on vellum, to accurate representation of him. It definitely which my good friend, Lord Ronald Sutherland- states who is represented, and if it is correct, Gower, first drew attention. He found it at then certainly is the M'rest Park drawing, and the Wrest Park, where it was attributed to Isaac converse is also the case. OUver, and I am inclined to suggest that he was Two French prints are clearly of the same man the artist responsible for it. The name of Peter as Elstracke portrayed. One was by J. de Courbes,

Oliver (1594-1648) has also been attached to .Mill fciiiir.l ,1 frM]iiiv|)icce to the French edition this curious drawing; of Arcadia, published but if it is Peter's in 1625; and the other, work, it is an imagi- by an anonymous en- nary portrait, as he graver, belongs to never saw Sidney, and about the same early it does not, in my cliite. . opinion, seem to be a .\ e c e p t i n ,i,' t h fancy portrait, but an Elstracke - Com])ton actual representation Holland engraving, of Sidney, who is \\c are boimd also to dressed in rich armour accept the portrait and standing before which appears in Hol- his tent. I and's H ertologia, We have no e\i- i()2o, and which has dcnce, however, that been stated to be the Isaac Oliver e\-er saw work of De Passe, Sidney on the field of although the evidence war, and in this draw- for that statement is ing there are tents not very clear, and and military array in the initials upon the the background; but plate (E) do not appear all this may have been to be his. In this the composition of tin- jirint the armour of artist, who, painting IClstracke's engraving Sidney in a rich and has given place to a splendid suit of ar- doublet with an im- mour, desired to place posing ruff, the hair S(W/c Xo/rs on the /'orfraifs of Sir IViilip Sidjiey

is far more ciirl\-, nnich resemblance in and the grave like- e\es, nose, or mouth ness that Elstracke in the Gheeraerts presented, has gi\rn picture, and the en- place to a more graxings from it, to eheerful appear- the same features in ance. the Windsor, Currie, Following on this, and Wrest portraits, although, on we c o m c t o a n the engraving {F) hy whole, I am disposed

Vertue, which, if the to accept the Gheer- jiortrait, last is Sidnej', may aerts and also be accepted. It the engravings which represents him in a arc from it, as true slashed doublct.cloak portraits of Sidney, idthough and ruff, as the la->l. illogical but with the additiiiii this may apj.ear lo of a book and sword, be. attack a a staff with an en^ I Then we piciblem of still l)lematic s e r p e n t (lcr]Kr about it, and the complexity. motto Vix Ea Xus- riiere is at Pens- tni ]'oco. This en- hurst I Place a jior- is graving is, howe\er. tiait (G) that said stated to be from a tu represent Sidney, picture formerly m and which for a the collection of long period has had the Earl of Cheslrr- his name attached to is field.* it : and there at The questions then Warwick Castle an arise, from what almost i d e n t i c a 1 picture are these portrait (42 x 32), prints taken, who ' also styled a portrait H.NGRAVED BV KENOLD KLSTKA painted the portrait, (D)—PORTRAIT of Sidney. The one and what claims it has to be accepted as a at Penshurst Place lid to have been painted Castle was, genuine likeness ? To none of these queries can by Zucchero ; the one at Warwick Eworth. I make a satisfactory reply. There is certainly a it is now thought, painted by Hans portrait belonging to Lord De LTsle and Dudley, Furthermore, there is at Woburn a somewhat and hanging in the old Sidney home at Pens- similar picture, very slightly different from the hurst, which Dr. Cust says was probably painted other two. They all represent a very young man by Marcus Gheeraerts, and which he says closely with quite smooth face, thoughtful eyes, high resembles a portrait of Sidney at Blickling, which forehead, small mouth, and fairish hair. He is appearance, latter I have not seen. From it, I can readily dressed in a slashed doublet of rich believe, the Vertue-Chesterfield engraving was and wears a gorget of armour surmounted h\ a made, and, allowing for the variations which ruff about his neck. One hand rests on his always occur between a painting and an engraving, sword; the other, on the smallest finger of which tile resemblance is a satisfactory one. If the is a ring, he has placed on the elaborate sword-bell in \'ertue engraving is of Sidney, so is the Gheeraerts which is about his waist. Dr. Lionel Cust, portrait, and vice versa, but we have no definite his important article on the jiortraits of Hans " of the relations evidence either way. There is no proof ' that Eworth,* says that in \iew the Penshurst Place portrait ever belonged to between Hans Eworth and the Sidney family, ha\e Lord Chesterfield, there is no evidence at all con- it is to be expected that this painter should cerning a Chesterfield portrait, and therefore none ])ortrayed Sir Philip Sidney in his youth," but subject of the portraits of the that it was of Sidney ; and I cannot see /cry he adds, "the whole Sidney family is one which requires separate investigation." I gather that he is no!, quite * Two other versions of it are known, Both are liy anony- nious engravers, and one forms a plile o TIk- a III ill nity of • W.ilpok- Society, vol. ii., p. 42. Trade, el,., by a Peer of England, 1813. The Connoisseur

h^ 'ORTKAiT OK KKMBKANUT AS AN OLD MAN. Hh 1;N0RA\ING nV KOBERT KARLO.M. 17b7

So}ne Xofi's 0)1 the Portraits of Sir Philip Sidiiex illustrations, is at W.lh.ek Abbey*

Sithiey, I am disposed silvery-grey doublet to tiiink that this braided with horizon- portrait, a 1 t h o u s; h tal stripes, and with ]M'oliably of a ininiher a falling collar with .if the Sidney family, narrow lace edge.

.It the age of twenty- In George Vertue's two, is'not a portrait catalogue of the minia- of Sir Philip at all. tures (1743, No. 86) llf. however, it is to appears the following W- rejected, then, with note concerning this u. falls the traditional i:ortrait :- - attribution of a grou]i " Said to be Sr of two boys at Pens- i'hilip Sidnev Kl done hurst Place {H), which l)v N Oliver." is called a portrait of Mr Richard Holmes, Sidney and his bro- in an artiek' in the ther, and which it Burlington Magazine closely resembles; and. (IX. 27), accepted the moreover, this p o r - portrait as one of Sir trait does resemble the Philip Sidney, a n d

M o n t a g u House described it as one " I ... of singular ])ortrait, to which ,,. i.m n. i -...n. power refi-r lower down, and ^'^ ruNSHeKsr i'L.».Lt, and individuality." so the difficulties of attribution increase. Then Mr. Goulding, howeve more wiseK' terms it the we come to some puzzliii.sj nuniatur^^. There portrait of a gentleman. Accepting Sir Richard

(/.) — MI.N-I.\Tl-RE

{A/) — .MI.Nl.\TeKE UV ISA.\C OI.IVF.R IN THE POSSESSION OF THt DIKE OF lU'CCI.EVCH ,

The Coi/i/oisscitr

Holmes's dictum. I in- cluded it. as a pDftrait of Sidney in my His- tory of Portrait Minia- tures in 1904, and am now sorry that I did so. Whoever it is, it is clearly not Sidni\ because there is ai Pcnshurst Place a pi' turc of an unnanud man (A') whosi- fra ti'.rcs a r e a 1 m o > t identical with tlio-i

of this miniatun . He is described by Mr. Goulding a s having brown hair and represented as rising from the sea. while beneath him the Birth is depicted of Venus ; and on the picture are two inscriptions of his age and the date. reading " 1597 .¥J- suje 2

\- S i d n e Soific \ofes oil f/ic Portraits of Sir Philip Sidney

Fcro," and is an interesting ami iniiMirtant pwf dsout it from his correspondence. .'4 The sittings trait. It has an early inscription upon it stating ivere in Venice. The portrait was in existence in that it is a portrait of Sidney. 1574, when it was in Vienna, and" in 1575 when The one represented in Prars' CorrrxptDuliiicc of t was in Prague. Lanquet wrote of it that he

{P)—PORTR

"1 Sidney (0), the boy's portrait (P) which in 1905 d wished it but hi belonged to Mr. E. M. Hodgkins, and the engraving Dclaimrd it tc highh by Zouch, after a portrait by Velazquez, at of it. \Vent\vorth Castle (Q), which appears as an \\'here it now is no one can tell. Its disco\ery

illustration in the Memorials of Sidney (iSoS), would settle many of our questions, and if only

I dismiss in unhesitating fashion ; nor am I disposed a lock of Sidney's hair could be found, we might to accept as true portraiture a head of Sidney be satisfied about some attributions, but in the in the Print Room in the British Museum (No. 25 meantime we can but surmise. in the Catalogue), while a figure of him in com- I make no pretensions that these notes are plete armour in the same place (No. 2^ in the in any way decisive or even complete, but they Catalogue), and another one engraved by \\'arren will at least serve to bring together the various (No. 21), are what they profess to be, merely portraits which bear the name of this valiant figures of fancy. knight, and may serve, in the hands of a more Of the one portrait lor which we know Sir skilful iconographer than I am, to settle in some Philip did sit, we have no trace at all. It was authoritative fashion the difficult problem with his portrait by Paolo \'enjnese, and we know which they are concerned. —

N®T^"^''QU^I^

{Tht Edilo vites the assistance of readers of TllK Connoisseur 7vho may he able to impart the information required by Coyrespondents.'\

UxiDEN'iii n:i) Painti (X. i/, March, L92I). I'(iKiK.\rr OF D.win Html? (No. j6o).

Sir, —The subject''of Unidentified Painting SiK, I believe this to be a p(jrtrait of Da\id

(N0.357) is Apollo and Artemis slaying the Children Hume by Thomas Gainsborou£;h, when they were of Niobc. The painter would appear to be an both young—Hume about 2()-.jo, and Gains- Italian working at the md of the seventeenth borough 14-17. century, or the beginning of the eighteenth, more I bought the picture some twenty years ago or less in the style of Luca Giordano. For him, at a bric-a-brac shop in the Knightsbridge Road. however, the execu- it Hum e was tion is too feeble. iu.lon St mg Ci..\uDE Phillips. through the press his Trcatisi.' on Human

Xalurc ; \-ols.) in Gl.\ss SCICNT (

ForNT.viN (No. 359). 1738-41 is certain, and Gainsborough SiK. — I have a piece that was also there of what I consider about old Irish glass in the that time as a student form of a Chinese at the .Vcademy in St. pagoda. It is probably Martin's Lane and in an old scent fountain, Hayman'> studio i-^ also certain, so that and is 2 feet 5 inches in height, with pear- the o p p o r t u n i t y drop hangings, and existed. also long, round, finely Gainsborough cer- cut lustres. The dome tainly painted a num- forms a tank, which ber of portraits for ,^5 wnll hold about^two or /6 during his early quarts. life in London, when he lodged in Hatton I have been a collector of old glass (larden. for nearly twenty-one riu- rurious fact years, and have never that Hume during his come across a piece early residence in Lon- ilon wrote to a friend anything like it, nor about his have I seen a piece in Scotland illustrated. disappointment at the reception of his book 1 am anxious to obtain some informa- and his regret at published it, tion about it. having and his dislike at being I. 11 Bill. ..\SS SCENT FOCNT.M

226 Notes and Queries kept there reading the proofs, adding, " I have done my best to conceal my identity, but I fear without success," -eems to explain why ilie book on which thi- sitter's left elbow n-^N has " Hume vul. _> on its back, ami pr<' truding from uiulc r ii the half-e.\poM(riiui

-id,' of a letter, .m whuh thr onlv wunl- " \isible are, ]i><|rc . Street—London."

The style of tli. portrait is similar tip Gainsborough's carix w ork, and there seems nothing in the features

(jf the sitter differing from those of Hume in the well-known por- traits (if him in lat. r life, but only thr

^limness of youth as compared with stout- ness of his later ycais. —T. C. Carte K.

rNIDEXTII-Ii:i)

I'AIMING (Xo. .55(1,

l-"ibruary, 1921).

SiK, — I happen to p(jssess an engra\iii,L; of the • picture you refer to under the above number. Iln subject is Persian Syhil

(Sibilla Persica). The picture was engraved by Pietro Bettcllim from the original woi k by Francesco Barbicii. called II Gucrcino. Th, The Old Plate of Harvard University, by E. Alfred Old England for New England. Although the Jones, M.A. Massachusetts Bay Colony had in 1636 voted rNiNEKsiTY, .fouiulixl in i().;(), and Hakxakd the sum of ;f400 for the establishment of a school the oldest seminary of learning in America, was or college in that colony, it was not until the " granted a charter in 1650 for the education of arrival of Harvard in the following year that the English and Indian youth of the country in the project was finally settled. Unhappily, he knowledge and godlynes." The founder of the died in 1638, at the early age of thirty-one, and college, John Harvard, was the son of a London bequeathed the substantial sum of £779—equal butcher, and was born in Southwark High Street, to about £3,900 in our own day—and his own near London Bridge, in the year 1607. Entering library of 320 volumes to the college. Of these Emmanuel College, Cambridge, on December 19th, volumes, only one escaped destruction in the 1627, he took his degree in due course, and was disastrous fire of 1764, namely, his own folio of ordained a clergyman of the Church of England. Downame's Christian Warfare Against the Devi!, In 1637 he married the daughter of a clergyman, World, and Flesh, printed in 1634. and in this same year John Harvard and his By the generosity of Harvard men, a chapel bride made the momentous decision to lca\-e in Southwark Cathedral has been restored and Nofes furnished, and a itained-glass window added as of Boston, Massachusells, and is engra\ed with a permanent memorial of Jolin Harvard. One the Stoughton arms and an inscription com- of the tragic losses in the Great War is the death memorating it as the bequest of William Stoughton of John Harvard's descendant, Lionel Dc Jersey in 1701. The donor was an alumnus of tiie Harvard, who went out from England to Harvard college, a member of New College, Oxford, and rni\ersity at the invitation of the President and lieutenant-governor of Massachusetts, and was the staff of the University, and was being educated presiding judge at the celebrated witchcraft there when the call of dut}' brought him back trials. William Stoughton, whose portrait hangs again to the Old Country. He was granted a at Harvard, was a generous donor of plate to coinmission in the Grenadier Guards, and was churches in Massachusetts.* killed in action in France on March 30th, iqiS, Of the four plain American sihcr tankards in having attained the rank of lieutenant. the collection, the flat-topped one on tiie left The connection between Harvard L'niversity of the illustration is the oldest, its maker being and John Harvard's College at Cambridge has Edward Winslow, of Boston (1669-1753). The been perpetuated by the recent gift of a cup by tlat-topped tankards were made in New England alumni of Harvard. in goodly numbers betw-een the years 1690 and The oldest piece of plate preserved at Har\ard, 1730. The cherub's head applied to the end of and one of its most cherished possessions, is a tiie handle is a conspicuous feature on many old plain English silver salt of the seventeenth century, .\merican tankards. wrongly shown in the illustration with the three On the handle of the second tankard, wrought scrolled brackets (intended to support a napkin) by Ephraim Cobb (1708-75), of Plymouth, acting as feet. This salt is an early example of Massachusetts, are engraved a variety of initials, a t\-pe which became comparati\-ely common in whose owners have not been identified, namely, which doubtless commemorate the time of Charles II. The marks are partially HD 10 HO i"' vibliterated, and the precise date cannot, therefore, various family alliances. A shilling of Queen the Edinburgh mint in S, be ascertained ; but a clue to the approximate .\nne, struck at 1707-

upon it, and that it subsequently passed to Richard Kneeland (1698-1760), were the gifts in 1729, Harris, a brother of Elizabeth Glover, and one as is testified by the inscriptions, of two fellow- of the first tutors of Harvard College, to which commoners of Harvard College, John and William he bequeathed it in 1644. It was probably a \'assall, sons of Leonard Vassall. John Vassall marriage gift to Rev. Jose Glover and Elizabeth was born in 1713 in the West Indies, and married Harris, and its date may be assigned to the second Elizabeth, daughter of Spencer Phips, lieutenant- quarter of the seventeenth century. A similar governor of Massachusetts. His grandson, Spencer salt, of the year 163S-9, belongs to the Mercers' Thomas Vassall, born at Cambridge, Massachusetts, Company. The donor was the son of Rev. Richard entered the British Army in 177S as an ensign Harris, Rector of Bletchingley, in Susse.x, where in the 59th Foot, and after a distinguished career he was born in 1617, and was educated at Win- rose to the command of the 38th Regiment of chester College and at New College, Oxford. Foot, and died from wounds received while he He died on August 29th, 1644, at Cambridge, was gallantly leading his men in the storming .Massachusetts. In the year 1654 this salt was of Monte Video on February 3rd, 1807. Colonel and ^alued at {5 is. 3d., at the rate of 4s. per ounce. Vassall's remains were brought to England Bristol, where a monument Its height is 4I in., and its diameter 6| in. buried at St. Paul's, Turning from this brief account of the onh- by Flaxman was erected to his memory. It specimen of old English silver in the collection will be remembered that another American-born at Harvard, the ne.xt piece of plate in point of officer, General Sir Sanuiel Auehnuity, was in of date is a handsome caudle cup and cover of command of the British troops at the ( aiUure American workmanship, with two handles such Monte Video. in as are seen on English cups of Charles II. period, The large plain two-handled cup and cover which was wrought by John Coney (1655-1722), the centre of the illustration was wrought b\- John Burt, of Boston (1691-1745). from the proceeds of a bequest in 1731 from Colonel Samuel * Rev. Jose Glover sailed from London in 1038 with tlic intention of setting up the first printing-press in America, in * association with Stephen Daye, who accompanied him cjn tlic ///, Old Sihir of the American Chi K. Alfred same ship, but he died on the voyage out. Ji.ncs 1913, pp. 140, 289, 449. Tlie Coin/oisscitf

INSCRIBED JOH^

Browne, of Salem, Massachusetts, whose arms LG. and the date 1770. This last cup was are engraved upon it. An American basin, with formerly in the possession of the late Mr. Rathbone. embossed decoration, of early nineteenth-century who told me that it was the one described and " date, made in or shortly after 1817 from twenty figured in Solon's Art of the Old English Potter half eagles" given by Judge Wendell in that year, (ed. 1885, pp. 242-3). In that book the side of is the last of the Harvard plate. the cup which shows the coat of arms is alone Among the recorded losses* of the college are figured (two of the quarterings being referred to a " silver-tipt " jug, which probably denotes a the Staffordshire families of Brete and Pershall).

sixteenth-century stoneware jug mounted in silver ; and the other side is described as decorated with and a small trencher salt. —E. .\lfred Jones, " the monogram E.G." My cup, as stated, has M.A., F.R.Hist.S. the separate letters LG. with a small heart between them, within a scrolled border. Early Leeds Pottery You may think the matter of sufficient interest " A JL'G inscribed John Barnes, Chadlington," to your readers to publish photographs of these and otherwise tallying in description with the three pieces. —C. B. one referred to by Mr. Freeth in his interesting article on early Leeds pottery, printed in your An Outpost of London

February issue, happens to be in my possession. Having explored , in prt'xious notes, some spots The lettering on my jug, though, is red, not black. eminently fertile in aiitiqu.uian interest, I now lUustrativ'e of the same period, and of the same propose to enter a desert and describe an obe- " pottery (which Mr. Freeth is no doubt right in lisk : the "desert being healthy but hackneyed

attributing to Leeds), are a patchbox inscribed Southend-on-Sea ; the obelisk, that familiar beach " Wm. Turner, 1768," in red letters, and a two- attraction called the Crowstone. To be accurate : handled cup, having a coat of arms painted on there are two obelisks, but they are always spoken one side, and on the other, in red, the initials of collectively. Standing side-by-side on the foreshore, their bases covered at ifood-tide to a of several feet, possess enigmatic * Peirce's History of Hanjard Univasily, 1831, p. 17. depth they an m

w

iXflfes

OF LEEDS

liill

I. jurisdiction ; and, until the early yt'ars of the Knt. Lord Mayor 1802 yorlh | Face- HGod I | present century, marked the boundary of the Preserve The City of London Charles Elower | | | | Thames Conservancy Esqr Lord Mayor I |

Board's powers. The I SoQ Mat the I olderof the two obelisks (\V)un(,l) K>,|r. I I must have been erected Lord Mav..r | iMd j well within 200 years William Ilevi^'ate I of to-day. That there l.unl Mayor i'xi. | I was a mark here in (i.S)j,; Kt. Ho(nor)- I early times (just as at able 1 \V(ill)iam | Yantlet Creek, and up- Th(ompson) Lord | river at Staines) need Mayor (1829) [!. West | not be questioned, but F ace — T h e wording a writer in 174O ex- here is almost entirely plicitly stated that the illegible, nothing more Southend erection had remaining than !| Wil- disappeared many liam Copeland Lord | I years before. In ad- Mavorl 18(35) 1|. This dition, there is the l.i-i was, of course, the detail that the first < i>|)ilaiid of ceramic perceptible date is fame.

1771 ; but the inscrip- The second obelisk is leeds hahui'.on, ins.ki ''''' tions have so badly hewn in green granite, deteriorated that I wish to place them on record and is larger than its companion, measuring some as they now survive. 14 feet high. Its North Face is blank, but the It will be gathered from the last sentence that others bear inscriptions as follows, all com- the Crowstone is a sort of civic sherd of Amenartas, paratively Right well preserved :—West Face— || covered with the names of Lord Mayors who had Hon. Willm. Taylor Copeland Lord Mayor | | | visited, and been " bumped " on, the stone in Lawson Esqr. Aid. David Salomons Esqr. John | j accordance with ancient custom. The earlier stone Sheriffs Preserve the City of London | God | | | is the further off shore : a stumpy obelisk, said to South Face Sir Pirie ||. — | 1836 |! 1842 John be granite, but sadly corroded by wind water. Bart, Sir Duke 1856 David Salo- and 1849 James | | I I

The south, or rivcrward face, is carved with the mons Esqre. ;[. East Face— Sir Willm. Heygate i| City of London's armorials and " 1285" in Arabic Bart. Willm. Venables Esqr. James White I | numerals. The remaining inscri])tions are as Esqr. .-Mdermen Duke Esqr. Sheriffs James | I | — —

riic Coin,'i>issr//r

HANDEL .S rllCH-I'IPE

Elect Waltr (sic) Anderson Peacock Johnathan I ha\e in my collection, with a short account of | I [sic) Chs. Prior Thompson Common it. My remarks brought an interesting letter Joseph | | Council Robt. Finch Solicitor from Mrs. H. Goddard Himsworth, saying that Newman | I | Nathan Saunders Bailiff Saml. Beddovve she " recently had occasion to erect a memorial Water | |

Common Cr3'er Francis Firth There in Rivelin Cemetery, Sheffield, . . . and decided James I|. I | may have been another line to this to ha\-e reproduced a sundial verj'

inscription. If so, it occurred at similar to the one you illustrated, high-water mark, and has long since the original of which was put up been expunged from the stone by the in Baslow Churchyard by Dr. lapping waters. Criticvs. Wrench on his family tomb " (The Connoisseur, April, 1912, page Handel's Pitch-pipe 258). This interesting relic of Gcorgr When stopping at Buxton, I made Frederick Handel is a plain mahog- a pilgrimage to Baslow, found the any pipe, with a tuning-slide of the tomb, and enquired for Dr. Wrench, same wood inlaid with a brass scale but, alas, was informed that he had

for altering the pitch. It is enclosed passed away in a tragic manner. in an inner leather case, which is in An elderly gentleman, he had been turn covered by an outer mahogany through the Crimean War and the case. On silver plates fixed in the Indian Mutiny. A few months be- case-lids are engraved the names of fore my visit he had gone into Bux-

the successive owners from Handel ton with his wife ; on the return to the gentleman from whom its journey, when only a few miles on present owner acquired it some years his road, his heart failed, and he ago. At one time it was in the ll^Bi died by the roadside. possession of the Sacred Harmonic ^^^^ I sought out Mrs. Wrench, who Society. Its present owner is received me most kindly, and gave Mr. William Bradford, a retired me a photo of the tomb here illus- ckucifoi .iNDiAL cathedral singer, of the Royal Oak trated, which shows the sundial Hotel, Leominster, Herefordshire, who sang at clearly. Mrs. Himsworth points out slight additions the coronations of King Edward and King George. of " three symbols carved in relief on the stone, —Walter G. Churcher. viz., a shell on the end of the right arm, a star on the left arm end, and a crown on the end of Cruciform Sundial the head, which interpreted mean, ' A Pilgrimage,' Ix tin- January issue (1912) of your Journal, ' Hope,' and ' Glory ' respectively." Maberly 3'ou gave an illustration of a cruciform sundial Phillips, F.S.A. Pictures and Drawings The auction debacle of January did not outlive that provided a surprise on the 18th. This head, which was month, and the advent of February seemed to act as a sent in unframed, and was ascribed in the catalogue to herald of better times in store. This may have been " Stuart," without further comment, measured 28A x 23} " " due, in some degree, to the fact that a more marketable in. It soon became evident, however, that this dubious

discovery had attracted attention ; a brisk contest class of picture was offered than previously ; but, in any case, the omen was auspicious. The first collection ensued, terminating with a bid of no less than £1,575. to be dispersed (February 4th), in King Street, was the In addition to a black and red chalk drawing by J. B. late Edward Thomas's drawings by T. Rowlandson. \an Loo, The Artist, sealed, instructing a Pupil, llix 8} in.

These fetched strictly moderate figures in the main, the (£i.|i 15s.), a few of the late Mr. David Martin Currie's highest bid being one of £63 for Tim Botch. Cohblir. pictures were sold on the same day, when a panel painting

II X 13 i in. Then followed a miscellaneous assortment by F. Mieris, Vertumnus and Pomona, 12J X 154 in., scored

in., of works from tlie same property, of which it is only £588 ; one ascribed to Perugino, St. Michael, 22} x 16 necessary to mention a pair of drawings by D. Langendyk £220 10s. ; one catalogued as by Watteau, The Two

in., Voys, (1772), Hawking Party Setting Out and Figures Hawking, Lovers, 8J x 7} £152 5s. ; and one by Ary de

in., quaint pair of paintings, A Gentleman playing a violin at a window, lOJx in., 13 X 19J £110 5s. ; and a 7i as Garden catalogued as by Scott, views of St. Paul's jrom Adelphi £115 10s. ; in addition to such canvases A diam., Gardens and The Horse Guards Parade, 19^ x 29i in., Scene, by J. S. Le Clerc, in painted circle, 13 in.

£241 10s. The day's real interest centred, however, in £294; La Jeune Polonaise, by Greuze. 16 x 13i in., £231; Mr. Robert H. Humphreys' collection of works by K. M. and A Fete Champetre, by N. Lancret, 22} x 27} in.,

Wimperis, comprising five paintings and a dozen drawings. £136 10s. Belonging to the late H. J. King, a pair of

In the former section, £288 15s. purchased Slittenham panel portraits of A Cavalier and his Wife, by A. Van whilst in. 10s., The Watering Ravcsteyn (1628), 47 x in., made £504 ; Moor (1896), 19i x 29i ; £241 34J

in. 15s., Carting Fish, Sir T. Lawrence's Portrait of Mrs. A nastasia Jessy Bonar, Place (1891), 14J X 24J ; and £204 Newlyn (1896), 19* x 29i in. The drawings, several of Wile of Thos. Bonar, of Camden Place, Chislehurst, 55} X 43} which had been exhibited at the R.I.. included The in. (which netted £639 9s. in the Thomson-Bonar sale,

in., Tossing the for £399. From other sources, a Drouais por- Village on the Marsh, 19i x 29i £210 ; 1897), went trait in white dress and yellow skirt, seated at Hay, 14 x 21 in., £120 15s. ; and A Moorland Stream, of A Lady

her dressing-table, 50 37i in., made £609 ; Portrait of 14 X 21 in., £115 10s. ; all three dating from 1893. x

in., High Life February 11th was less propitious: a pair of small a Gentleman, by F. Bol, 28* x 23 £273 ;

paintings by Delaroche, 17} x 21 in.. The E.xecution and Low Life, a set of four canvases, 38 X 52i in., by portrait of A Lady in of Lady Jane Grey and The Earl of Strafford going to P. I.onghi, £231 ; a Lawrence Portrait Execution, said to be the same pair which realised white ddcolletd dress, 29 x 24 in., £252 ; of

£1,365 in the Kurtz sale. 1891, and £299 5s. in the ••Souvenir," by Ben Jlarshall (1829), 38* x 49J in., Gentleman, by G. Romncy, Holden, 1913, now attracted so httle interest that only £262 10s. 6d. ; Portrait of a Western, T. Iludscn, £61 19s. was bid. Drawings of Loch Awe, Argyllshire, 29i X 24J in., £220 10s. ; Mrs. by Boats in a Breeze, by Birket Foster, 10 X 14} in., and Fittleworth Common, 49* X 39J in., £105 ; and Fishing

by Tom Collier, 10} x 17} in., secured £215 and £126 panel, 23i X 29 in., by .\. Van Beyeren, £357. respectively. February's most important picture sale took place on

A dingy looking portrait in oils of General Washington the 25th, when the late Mr. A. E. I-iwley's collection —

The Connoisseur

came under the hammer. The cUni of the sale was (1.S2S). touched £315 ; whereas £210 bought A Landscape,

undoubtedly Turner's drawing of Derwenhvaler. or Keswick by T. S. Cooper (1868), panel, 24 x 18 in. ; and £105

Lake, lOi x 17 in., which registered an advance of The Mill Stream, by Constable, panel, 13 x lOi in.

100 guineas on the amount secured by it in the Taylor The last-named bore a pedigree on its back, signed sale, 1912, by realising /2,415. Some other drawings by Chlford Cons-table, June Uth, 1895 :—" This picture was

Turner followed, headed by one of The Grand Canal, painted by my grandfather, John Constable, R.A. It

Venice, 5i x Si in. (^367 10s.), but, with the exception was formerly in the possession of my aunt, Isabel Con- noted, none passed the £100 limit Other items in the stable." Water-colours by Birket Foster (Evening on same collection were Boys Fishing, by David Cox, the Thames. 12i x 7 in.), J. D. Harding (The Grand

10} X 141 in., £493 10s. ; Crossing Lancaster Sands, by Canal, Venice, 43 x 31 in.), and A. Mauve (The Watering

the same, 7] x 10} in., ./304 10s. ; The Asinelli Tower, Place, 18 X 11 in.), were knocked down for £157 10s.,

Bologna, by R. P. Bonington, 7i x 4| in., /210, as £147, and £105 respectively. against /;i62 15s. in 1912; River Scene, by P. de Wint, A Luini altar-piece of the Last Supper (the centre-piece

9 X 13 in., ;£220 lOs. ; A Moorland Scene, by Tom Collier 70 X 90 in., the wings 70 x 49 in.) fell for £210 at the

in-. IValeriiig Place. dispersal of 0\-erstone (1875), U-Jx 203 O^'^ : ancl The the late Lady Wantage's property at by Birket Foster, 7J x 13 in., /215 os. Of drawings by Park during the early days of February.

Copley Fielding, Staffa (18.-)3), 17i x 30i in., went for

£1,365, a notable advance on the £584t given for it in Engravings and Etchings

1891; being followed by Be^n Venue: Scene over loch Formed circa 1800, an interesting collection of en- gravings was dispersed by Puttick & Simpson on February Achray (1845), 10 x 14 in., i682 10s. Amongst Mr. Lawley's pictures, a canvas called Carting Gravel, by 18th. French prints were in most demand, the highest individual bid (£294) being given for a pair, finely printed E. M. Wimperi.5, 29^ x i^ in. (exhibited at the R.O.I. ), secured £aa6 10s. From another source, a panel by in colours, of Le Minuet de la Marie'e and La Noce au Chateau, by and after P. L. Debucourt. These plates J. Israels, The Fisherman's Family, 15^ x 11 in., made ;£325 10s. u-ere fortunate in possessing very wide margins, a quality Noce de Village and Foire de Village, by Belonging to the artist's daughter, Jlrs. ]. Linton shared by Boyle, several works by Henry Moore were put up at Descourtis, after Toumay, which fell for £199 lOs. Also Puttick's on February 16th. A canvas called A Calm printed in colours, Le Diner and Le Souper, by L. M.

Bonnet, after B. Huet, made £75 12s. ; whilst a at Sea, 36 x 54 in., was knocked down for £126 ; whilst J. (plain) state of Le Concert, by A. Duclos, after £84 purchased a water-colour, 23i x 39 in., The Shore at second J. a.p.d.r., for of six Scbeveningen (R.W.S.. 1882). The following day witnessed St. Aubin, with went £21. A set some excitement at Willis's rooms, where a pastel aquatints in colours of Foxhunting, by and after S. Howitt (published by Fores, November 1st, 1794), reaUsed £99 15s. portrait, by J. Russell, of Miss lieid, who married John sale, followed a volume of H. Bun- Meares, of Eastinglon, Pembrokeshire, was run up to £525 in the same being by Illustrations to Shakespeare (twenty plates in It came from the property of the sitter's grandson, the bury's (plain) late George Meares. colours), £78 15s. ; and by a second state, with margins, of Miss Farren, Bartolozzi, after Consisting of nearly 250 lots, a collection of Old Master untrimmed by a of drawings totalled over £1,971 at Sotheby's on the loth Lawrence, 32 gns. On other occasions, volume aqua- tint Portraits of the Winning Horses of the Great St. Leger and 16th. Of special interest were the following : Study Stakes at Doncaster, iSis-24, by Sutherland and Reeve, from the Nttde : a Youth, in bistre, pen and wash, touched after F. Herring and Wm. Dolby, with letterpress in \vith body white, 9J x 6J in., by Rembrandt, £210; J.

original cover, made £50 8s. ; and a set of six lithographs in David at Mahanaim, bistre, pen and wash, 5J x 8J in., by the same (from Paul Sandby's colours, by H. Aiken, The Right Sort, £42. collection), £190 ; Several desirable plates appeared at Sotheby's during Village Scene, pen and bistre, lOJ x 15J in., by P. Breu- ghel the Elder, signed and dated 1559, £124; and View the same month. From Mr. F. Capel Cure's portfolios in the Outskirts oj Amsterdam, black chalk, bistre, pen came several pairs, printed in colours, by S. Freuden-

and wash, 7J x 12J in., by P. de Koninck, £116. berger : notably Les Chanteuses du Mois de May and In the provinces, there must be noted some pictures La Petite Fete Imprevue (£100), Depart du Soldat Suisse

which came up at a sale held at " Leeside," Hertford, and Retour du Soldat Suisse dans le Pays (£76), and Le

by Messrs. Flashman & Co., in conjunction with Messrs. Toilette Chanipetre and La Propeti Villageoise (£61). Si.x

Braund & Oram, on February 15th and Ifth. A panel. aquatints in colours. Peasant Costumes of Berne, Moral,

211 x 10 in.. On the Firth of Forth, by P. Xasmyth and Argow, Sivitzerland, by J. L. Alberti and B. A. Dunker, /// the Sale Room

after J. L. AlbcTti. reached £41. Aiuitlier properly than tlie /2,S3 10s. given for a portrait of A Gentleman in black doublet contained uncoloured proofs of Le Cnrqiiois Ef^uise, by and lace collar, by S. Cooper (1660). Shortly N. de Launay, after P. A. Baudoin (£91) ; Le Billet Doiix, afterwards, a Louis XVI. octagonal gold box. the same, set with by after X. Lavreince (£4G) ; and Promenade du Se\res plaques and enamelled, realised /32.'i 10s. Soir, by Ingouf. after Freudenberger (/41). In addition On the second day, /399 purchased a Limoges enamel must be mentioned An Airing in Hyde Park and A chasse, set with plaques probably painted by Couly Xoilier,

Promenade in SI. James's Park, by T. Gaugain and F. D. 7.} in. wide. A few pieces of porcelain ma_\' also be Soiron, noted, namely, a after E. Dayes (proofs), £11 ; Lord Rodney, by Kicn-Lung eggshell plate, 8} in. diam., /189 a S6vres G. Dupont, after Gainsborough, £32 ; Sophia Western. ; ecuelle, cover and stand, painted by

R. after /r)4 Dodin and Baudoin by J. Smith, Hoppner (second state), ; (1773), £420 ; a Sevres plate, painted Sir Hyde Parker, C. after £'30 with bacchantes and by Townley, G. Romney. : Roman historical subjects, by

Lord Robert Manners, by W. Dickinson, after Reynolds, Dodin, gilding by Leguay, front a service, part of which

is /58 ; Robert Monckton, now in the Royal Collection, by Watson, after B. West, /40 ; J. Windsor, £157 10s. ; four

General Washington and General Green, by V. (Ircen, Sevres plates, painted with flowers and birds, £231 ; after C. Peale, pair and a teacup and saucer, W. with open-letter titles. /42 ; painted witli children, from the Fox-hounds Breaking Cover (Sir Jlasterman Sykes), b\- .same factory, £l94 5s. .\ Louis .W. marqucterie com- W. Ward, after B. mode, 50 in. wide, went for H. Chalon, /29 10s. ; and Juvenile £336 ; and a Louis XVL clock, by Breant, Retirement (Douglas Children), by J. Ward, after Hoppner, a Paris, HU in. high, /315. Some with title cut off, /25. Printed in colours. Mrs. Jackson tapestries from other sources were put up towards the close of the 10th. and Mrs. Tickell, by J. Conde, after R. Cosway, fetched An interesting property was that of Lieut. -Col. Xoel Baxendalc, £32 and £31 respectively ; whilst /23 10s. purchased ,i and removed from Preshaw House, Upham, Hants. set of four prints published by J. Phillips, The Four Early in the 18th century, these

Stages panels belcmged to the first oj Elopement ; £41, The Darling Asleep, and Sir William Heathcote, at Hursley Lodge, Hants companion, by Freeman, after Buck ; /(Ui, The Taglioni (now Hursley Park), and were

/.iO, purchased with the estate Coach, by J. Harris, after C. Henderson ; Windsor by Lieut.-Col. Baxendale's Castle, G. JIaile, father. A set of four Soho by after J. B. (arrow) ; and /To, Mrs. Q., panels, wo\-en with allcories by W. Blake, after Huet Villiers. of the elements, etc., after Lcbrun, probably by John

\'anderbank, all The following figures were secured by .Messrs. J. iV R. measuring over 10 ft. high, ^nd three

: nearly 14 ft. wide, Kdmiston, of Glasgow, for etchings —By Zorn : Mile. .scored £'1,890; a similar figure being bid for three Olga Brail. 205 guineas ; Ernest Renan, 166 guineas late 17th-century Brussels panels, all nearly ; Au Piano, 140 guineas; Mono, 128 guineas. By D. Y. 9 (t. high (Teniers subjects). .Another quartette of Soho panels, with Cameron : Ben Ledi, iah guineas. By Muirhcad Bone : mythological subjects, was included from Building, another collection. 100 guineas. By J. McBey : The Lion Brewery, Probably by J. Morris, circa 1730,

4.1 guineas. these realised £1,995, all being about 9 ft. high. They were .similar to those signed by Mcrris, fiinnerly m the Gwydyr Castle Sale late General Clive's collection.

GwYDYR Castle, Carnarvonshire, is to be sold by The late J. H. King's property was dispersed at King

auction its Street on the 17th, first ; and contents, including linen-panelling, the notable, price being £966 state bedsteads, an armoury. Gobelin and Brussels for a pair of Kang-He groups of peep-shows, with

tapestries, pictures, prints, and other articles, will be Louis XVL ormolu mounts, llj in. high. Some Dresden dispersed by Messrs. Ward, Price & Co., on .May 20th from the Massey-Mainwaring collection exhibited at the

and 2Ist. The old mansion was the home of the antiquary. Bethnal Green Museum followed, the highest individual

Sir John Wynn, whose troubled spirit is said to haunt bid being /183 15s. for a group of a lady (in crinoline)

the neighbouring Swallow Falls. and gentleman (with .snuff-box), 8i in. high. A bronze bust of a lady, 15 in. high, on marble pedestal, ran up, Furniture, Pottery, Porcelain, Tapjstry, etc. rather unexpectedly, to ,/609 ; whilst a pair of six-light Despite a modest commencement, the February sales candelabra, of Directoire design, with bronze figures of of furniture and objets d'art displayed a gratifying nymphs, and ormolu mounts, 42 in. high, on fluted wood tendency to recover their wonted animation. The first pedestals painted to represent marble, was knocked down event calling for notice was the David Martin Currie for £693. The day's real attraction, however, centred sale, the 9th on and 10th. The first day opened with in a Louis XV. library table, 6 ft. 6 in., veneered with miniatures, but no higher figure was offered in this section tulip and king- wood, and with ormolu mounts, which —

The Couioisscur

until " provoked a stern contest, not ceasing /3,150 had 1699 (2 oz. 17 dwt.), 180s. ; a tazza, inscribed The been registered. Later, seven Beauvais tapcstrj' fau- Gift of Richard Hannay to Richard Jones, January the teuils, with frameworks of Louis XV. design, fetched I2th, 1673," 14J in. diam., by Joseph Stoaker. Dublin, gilt circa /2,100 ; and an old English lacquer cabinet on stand, 1670 (31 oz. 8 dwt.), 230s. ; and a plain octagonal

6 ft. 7 in. high, 4 ft. 8 in. wide, ;^535 10s. On other cream-jug, 1716 (3 oz. 14 dwt.), 420s. occasions, an old Worcester dessert service (about 40 At Puttick & Simpson's, a small oblong tray, Dubhn,

£'787 10s. ; and a ditto circa pieces) was valued at tea service 1750 (13 oz.), netted 66s. per oz. ; whilst, sold " (about 60 pieces), ;i525. The latter belonged to the all at," a set of four plain boat-shape salts on paw feet, " " late Mr. Lawley. 179!) (15 oz.), went for £24 ; six rat-tail table spoons, Puttick & Simpson received the follo\ving bids in tin- ir)94, £38; and a pair of old Sheffield plated four-light course of their musical instrument sales : —For violins by candelabra, 27 in. high, 30 guineas. Tomasso Carcassi, Florence (1750), and Joannes Baptista A Paul Lamerie oval soup tureen and cover, 13| in.

Gabrielli, Florence (1767), ;£85 apiece ; for a violin by (London, 1738, 137 oz. 5 dwt.), bearing a coat of arms,

J. B. Vuillaume, Paris, ;£70; and for "a fine old Italian apparently that of Madden impaling Lamont or Tyrrell, violin, in case," £^o. At the same rooms, a Kang-He were knocked down at 18s. per oz. Two sets of thirty-six famille-verte vase, \\\ in. high, made ;£409 10s. ; circular silver meat plates, plain with shaped gadroon edges, famille-verte dishes of the same period (one 14 in. diam.), realised 6s. lOd. (London, 1792, 600 oz.) and 6s. 8d.

48 guineas and 42 guineas apiece ; a set of three Nankin (London, 1813, 605 oz.) respectively. The following were vases and a pair of beakers, same dynasty, 12 in. and put up, " all at " : —Twenty-four repousse dessert plates, cover, 13 in. high, 62 guineas ; a Sung pottery bowl and by Louis Heme and Eras. Butty, 1758 (376 oz.), £160 ;

9i in. high, 60 guineas ; and a Ming circular jardiniere, a covered tankard, 7 in. high, 1678, maker's mark R.N. diam., guineas. Capt. Harold Locke's Nantgarw crowned oz. 2 dwt.), 5J in. 48 (42 £163 2s. 9d. ; a chalice-shaped pieces), painted Billingsley, cup, in., dessert service (32 by and 4J WR inside a heart (4 oz. 7 dwt.), £78 ; a pair bearing the impressed mark, " Nantgarvv C.W.," netted of candlesticks, 8 in., 1693, maker's mark R over a pellet, a total of ;£320. A Chelsea vase, painted with a mother £76 ; and a two-handled cup and cover, gilt, 27 in., in teaching her child to play the hurdy-gurdy (anchor Renaissance taste, 1891 (395 oz.), £88 17s. 6d. mark), made 50 guineas. A 17th-century Brussels tapestry panel (Alexander & Roxane), 7 ft. 10 in. x 12 ft., Books

;£220 10s., and a Mortlake panel, 7 ft. x 10 ft. (Perseus The first important sale at Sotheby's during February and Medea), /304 10s., were notable amongst a number was that consisting of the official correspondence of

of other interesting items ; whilst a Queen Anne walnut General Robert Monckton, during his service in North writing cabinet, 39J in. wide, /105, must not be omitted. America, 1752-63. Catalogued in 180 lots, the whole .\t Sotheby's, some antique Chinese porcelain with collection was offered as one lot, finally falling to Mr. silver mounts included a famille-verte bowl and cover, Quaritch's bid of £5,050. Just prior to this, Benjamin the old English fittings bearing maker's mark N.S. West's painting of the Death of General Wolfe fell for £250. several times repeated (height 10 in., diam. 9 in.), ;£80. On February 22nd and the two following days, at the A striking bracket clock, by Colley & Preist, Fleet Street, same rooms, a miscellaneous collection of books and height (including bracket) 3 ft. 2 in., brought in /112. MSS. from various sources, extending to over 1,000 lots, Lord Willoughby de Broke's fine tapestry panel (Flemish, produced £5,147. On the opening day, items of note 15th century), woven with the Descent from the Cross, included Hooker's Botany, in six volumes (1844-60),

Entombment, and Resurrection, made ;^3,000 on the Uth ; £60; Dresser's History of the Birds of Europe (1871), whilst Lord St. John of Bletso's old English 18^ x il ft. £70; and ]a£(\\im's Florce Aitstriaca; (1773-8), £82. On petit-point panel, ornamented with armorials and decora- the second day a copy of Shelley's The Cenci (1819) tive roundels, traditionally connected with the Lady Mar- realised £50, and £115 was paid for a copy of Fitzgerald's garet Beaufort, although of somewhat later date, secured first edition of The Rubaiyat of Omar Khayyam (1859),

£1,600 ; and the same owner's armorial panel, 15 ft. 8 in. a book which, it will be remembered, was thrown into the X 17 ft. 1 in., commemorating the marriage of Oliver penny box by the disappointed publisher, on its publication St. John, 4th Baron St. John and 1st Earl of Bolingbroke, proving such an utter failure. On the concluding day, with Elizabeth Pauletin 1602,/1,500. Mme.Negrel's early the most important items were Annals of Sporting and 18th-century Brussels tapestry panel brought in /780. Fancy Gazette, £100; Rolfe's Naval Chronology (1820). 1^1,065 was bid for a suite of nine Hepplewhite chairs £76; Curtis'sJ5ote»M'ca;A/fl^fl^j«e, 129 volumes, £150; and and two settees, £690 for an early Georgian triple-back Chaucer's Works, printed at the Kelmscott Press. £170. settee (from Lord Willoughby de Broke's collection), and A few good prices were made at a book sale held at /810 for a Louis XVI. table, by Beneman, ebeniste. Puttick's rooms on February 9th. £115 was paid for a copy of Daniell and Ayton's Voyage round Great Britain.

Silver Other prices were : Stevenson' s Works, Swanston edition,

The silver market was not particularly interesting £22 ; LUford's Coloured Birds of the British Isles, £40 ;

during February, and only a few prices need be placed Dresser's History of the Birds of Europe, £27 ; Boydell's on record. At King Street, at per oz., a chamber- Scenery of Norway, £54; Audubon's Birds of America,

candlestick, 1685, maker's mark TC monogram (7 oz. £56 ; and Aiken's National Sports of Great Britain, £130 5 dwt.), secured 135s.; a plain tumbler-cup, by John Cole, —the highest price in the sale. Tapestries in the Franco-British Exhibition To the generosity oi the French Government, and Falconry from the " Musee des Arts decoratifs," showing Frencli and Enghsh owners, we owe the greatest collection tiny figures by a rivulet in a forest. It recalls the Hard- of tapestries ever brought together in England. The wick hunting tapestries, but less strongly than The Franco-British Exhibition of Textiles in the Victoria and Boar Hunt, a fragment lent by M. Demotte. A most Albert iluseum was an idea born in the darkest days of important panel, woven about 1440, contributed by the war, when it must have seemed a dream impossible of Miss Enid du Cane to the British section, represents the fulfilment, but the cordial co-operation of the two Govern- celebration of the "Tonsure," or Holy Orders. A bishop ments, the work of their committees, the unfailing energy cuts the symbol in the hair of a kneeling youth, accom- of M. Sa\'ille Seligman and M. Dumonthier, Administrator panied by similar figures, a lady and nobleman. This of the Mobilier National, turned the dream into a piece was originally one of a series forming a large tapestry triumph, .\lthough inclusive of Savonnerie and other of The Seven Sacraments, disposed in two horizontal rows, carpets, embroideries, silks, gloves, and furniture, the the upper illustrating the origins or prototypes of the outstanding feature of the exhibition is the tapestries, sacraments, the lower, their usage in the fifteenth century. which range in date from the early fifteenth to the late For example, Matrimony was represented by God giving

eighteenth century. Eve to Adam, in the upper series ; in the lower, by a The earlier period is represented by the beautiful fifteenth-century marriage. Seven of these subjects are

THNTURES DE FRAN?OIS BOUCHER IN THE POSSESSION OI" J .M.BERT MUSEUM [CROWN COPYRIGHT] a

The Coiiiiflissciir

in the Metropolitan Museum. New York, to wliicli tluy remarkable for brilliancy of colour and magnificent ren-

were presented by the late J. Pierpont Morgan, who dering of foliage and flowers. The whirling draperies in acquired them in Paris. One of these represents Con- The Dance of the Nymphs are resplendent in crimson and firmation by Jacob laying his hands on the heads o£ purple, while the effect of movement is extraordinary. two children of Joseph, and an inscription associates By Leymoine of Lorraine are the borders, containing this scene with "Tonsure." An interesting "Charle- small figures, draperies, and ornament on a quadrille " magne tapestry, lent by the Hon. J. J. Astor, shows ground. The fourth series. The Old Testament, after the apparition of the banner of St. James and the Antoine and Charles Coypel, is the least successful. It Emperor with his peers, including Ogier the Dane and may be that the taste is cloyed after experiencing the " " Rolat (Roland ?) issuing from a gateway. To M. brilliancies around them ; but these tapestries seem

Demotte belongs a magnificent series of early sixteenth- lifeless and laboured, an effect which is not ameliorated century tapestries representing sacred history, what has by their very broad and florid borders. The four series, been called The History of the Seven Deadly Sins, from the with The Termes, after Lebrun, are in splendid co- hangings at Hampton Court (to which subject The Last ordination in the decoration of the Court. Later Gobelin Judgment from the Louvre belongs), and The History of tapestries are lent by the Duke of Portland, K.G., from the Creed. These subjects have much in common, the Welbeck—a series of three, representing episodes from three grave and bearded Persons of the Trinity and the Tasso's Sylvia and The Fortune-teller, all after Boucher, figures of the Prophets and Apostles in the corners being The subjects, enclosed in realistic woven frames, are set the most apparent. Mr. D. T. B. Wood has thrown in a deep crimson damask ground upon which are mag- much light on the scope of these subjects and their nificent wreaths of flowers, birds, vases, and cupids, relation to each other. With these tapestries are exhibited designed by Tessier and Jacques. They are signed three magnificent examples of The Life of the Virgin, " Neilson, 1783." The Duke of Rutland, K.G., con- from the Cathedral of Rheims. The " tenture," originally tributes La fausse Dulcine'e from the Don Quixote of seventeen large tapestries, was presented to the series at Belvoir. It is signed by Cozetti, and was finished cathedral circa 1530, by Archbishop Robert de Lenon- in 1770. Another beautiful Gobelin, the property of court, whose arms and those of the Chapter appear Capt. Geoffrey Darley, represents Europa and the Bull, throughout the tapestries. Those exhibited represent of the series taken from The Metamorphosis of Ovid. The Virgin in the Temple, The Adoration of the Magi. The Beauvais tapestries lent by French collectors have and The Presentation of Christ, being respectively the proved one of the sensations of the exhibition, especially sixth, twelfth, and thirteenth of the series. The first is the " Chinese hangings " by Boucher and Dumont, which taken almost bodily from a Book of Hours of the usage was first woven at Beauvais in 1743, and many times of Rheims before 15 17; the other two were inspired by repeated. The property of M. Stettiner, these tapestries the Biblia Pauperum, while other panels bear influence are remarkable for superb composition, exquisite colour of the Speculum hiimaucs salvationis. all books of early and marvellous atmospheric effects. A charming pastoral origin, tlir \\\r~,r \.,yr^[\\r^ ,\rc' and so hvutcs m C.iithic, attributed to J. B. Huet, onr ! tin- h,i:l,:iales a draperies

.m.l ,., \'\ but the bordn- .n.hiir, inn Kmn^jn, The bleues el arabesques, hasbevu \'ut \l I h'ddore Reinach. weaving is of I'landcis, v,lM?r .1 -.nunt; li-.iuh intluence Of later weaving are the m^iiiou^ ( < ., ./^ Mililaires, by was prevalent, perhaps in Tournay. Homely touches, F. Casanova. — \V. G. Tho.msox. such as the hen and chickens before the stable in The Adoration of the Magi, and the rabbit scratching its ear Sir William Blake Richmond, K.C.B., R.A., 1843-1921 in The Virgin in the Temple, were probably drawn by The death of Sir William Blake Richmond, which the weavers. occurred on February nth, removes the last of the group To the British section H.M. the King has contributed of distinguished painters associated with Leighton, The Death of Hercules, from Hampton Court. Millais, and Watts, as the leaders of English art during The seventeenth-century tapestries are few, chiefly a the second half of the Victorian epoch. Sir William fine set of Tenieres belonging to the Earl of Crawford was probably the most learned of the group, and may be and Balcarres, and woven by Van Borcht, Brussels J. der ; regarded as the most consistent exponent of academic the interesting Ecole of M. Perdreau ; and Mortlake painting whom England has produced during the nine- hangings, the property of the Duke of Rutland, K.G. teenth century. He was a portrait painter of no mean The "Salon d'Honneur," or North Court, is hung with ability, but his strongest claim to remembrance by pos- a series of tapestries little known outside France, and terity will lie in his classical pictures, in which the woven at the Gobelins from 1686 to 1733. Those repre- traditions of Greek art were embodied in a beautiful senting scenes from the Iliad, after designs by Antoinc form acceptable to contemporary taste. He was also and Charles Coypel, are of extraordinary power, especially responsible for the mosaic decorations of the interior of The Wrath of Achilles, woven by Jans the Younger— St. Paul's, had written several books, including one novel, woven picture in all but the name. The Seasons and and given numerous erudite lectures on subjects connected Parnassus, woven between 1686 and 1691 from paintings with art. Sir William came of an artistic family. His by Mignard, are less strained in effect, and have delightful father, George Richmond, R.A. (1809-1896), was one play of colour throughout their pleasing compositions of most popular portrait painters of his time, while ; the here and there, as in the figures of Storm in the Winter, his grandfather, Thomas Richmond (i 771-1837) was a the realism is too intense. The four hangings from well-known miniaturist, and on his mother's side he was Sujets de la fable, based upon sketches by Raphael or descended from George Engleheart, the most successful Giulio Romano, and woven between 1693 '"^nd 1705, are of Cosway's rivals. Born at Y'ork, on November 29th,

Current Art Notes

Kichi r. Sir William's rejuitation as an artis

tlKirci c-lly by liis ivprisiiitalions of scripUira

[crown copyright] entered the Royal Academy Schools, where he fjaineci and classical themes, of which his Aitdicnct: in Athens two silver medals, and in 1859, when only sixteen, painted and his Prometheus are now in the Birmingham permanent his first important picture, Enid and Geraint, a work collection, and his Venus and Anchises at the Walker Art strongly pre-Kaphaelite in treatment. The sale of this Gallery, Liverpool. Sir William was elected an A.K.A. enabled him to make a six weeks' tour in Italy, and in in 1888, and an R.A. in 1895. He succeeded John Kuskin in 1861 he made his first appearance at the Academy, to as Slade Professor at Oxford in 1878, retiring 1883, which he was a regular contributor until his death. as he found that the duties interfered with his painting. Sir William was generally represented by portraits at In i8gi the artist was asked to investigate the practica- Burlington House, among his best-known examples in bility of decorating St. Paul's Cathedral, and, as a result this m^lier being his two portraits of Mr. Gladstone, and of his researches, was entrusted with the task of decora- those of Kobert Browning, Darwin, Prince Bismarck, ting the interior in mosaic, a labour on which he spent many the three daughters of Dean Liddell, the Countess years, and though his efforts have been much criticised, Grosvenor, Mrs. Fuller Maitland, and Mrs. A. H. there can be no doubt but that their effect is rich and Drummond. Though enjoying great popularity as a dignified. Sir William was created a K.C.B. in 1S97.

243 —

The Coimoissciir

George Dunlop Leslie, R.A., 1835 1921 iliiiiiiisiims. Interesting as these were as tours de force, On February 21st, Mr. G. D. Leslie, the oldest member it must be confessed that in most instances the smaller of the Academy, died at Lindfield, Sussex. Mr. Leslie examples by their artists were preferable, as being less was bom in 1835, the youngest son of Charles Robert set and formal and revealing more fully the personal Leslie, R.A., a well-known genre artist and the painter feeling of the painter. Turner's Lake of Lucerne from of several well-known official pictures, such as the Fluelin (circa 1809) was an instance in point. Well Coronation of Queen Victoria. His, acquaintance with composed, and showing considerable charm of colour, the inner life of the Royal Academy began long it appealed to one rather as an intellectual triumph before he commenced exhibiting there, for his father than as a spontaneous outcome of the artist's imagination. used to take him to act as his nominal assistant on The Lake of Zug {1843), a favourite of Ruskin, showed varnishing day, and in this way, during the 'forties, he more artistic passion; the superbly brilliant blues, .set off came into contact with Turner and other great artists by reds and yellows^a combination that Turner was belonging to the beginning of the Victorian era. Young never tired of harmonising—exemplified him in a moment Leslie became a student at the schools of the Royal of inspiration, when his mastery of colour was fully Academy in 1856, and first exhibited there in the following evinced. None of the master's other examples in the year. He was also showing at the British Institution, exhibition quite reached the same height, though they and the first canvas he sold—a picture he called Hope, and included The Descent of the St. Gothard, Valley of the priced at £10—was hung at the latter gallery. Leslie Ticino (1842-5), with its beautiful grey distance; the " possessed the gifts of painting a pretty face and relating Pembroke Castle (circa 1829), engraved in the England an anecdote graphically in paint, and these qualities and Wales" Series; and several others. Perhaps most soon made him a popular favourite. He became A.R.A. akin in poetical spirit to Turner's work were some of in 1867, and R.A. nine years later. At one time repro- the drawings of his predecessor, J. R. Cozens, among ductions from his pictures were among the leading which may be mentioned the Villa Frascati, Mountains attractions of print-dealers' windows, and the engravings in Elba, and Lake Nemi. Cozens was a tonist rather from School Revisited, and other of his works published than a colourist, and in these tender drawings he rarely during the 'seventies and 'eighties, commanded a very went beyond the range of grey, green, and blue, more or extensive sale. Mr. Leslie's work, if not attaining the less composing his drawings as harmonies in one or two highest artistic altitudes, was always simple and unaffected, colours, and attaining variety by subtle modulations of and endowed with considerable charm. tone. P. de Wint was not quite at his best in either the large Bolton Abbey, with its fine sky effect, or the Mason Hunter, A.R.S.A., 1854-1921 equally Brobdingnagian Lancaster (1853), which, though The death of Mr. Mason Hunter occurred at Edinburgh well composed, was a little lacking in atmosphere. The in the latter end of January. Mr. Hunter was born in Snowdon of Copley Fielding would have gained by 1854, the son of Mr. Andrew Hunter, a Linlithgowshire execution on a smaller scale, his work losing something merchant. He studied at the Edinburgh School of in delicacy and hardly gaining in strength when covering Design, and at Paris and Barbizon. Since 1889 he was such an extended area of paper. Among the works of a frequent exhibitor at the Royal Academy, but was artists more rarely to be seen were several examples by better known north of the Tweed than in London, and F. Towne, distinguished by their flat colouring and

attained considerable repute as a landscape painter, decorative feeling ; a charming head of The Duchess of chiefly of Scottish scenery. In 1913 he was elected an Ancaster, by W. Hamilton, R.A., which, though slight, Associate of the Royal Scottish Academy, where he had gave warrant to his contemporary reputation of being

been a constant exhibitor since 1879. a pleasing and facile portraitist ; a pretty but weak

drawing by Wheatley, entitled Summer ; and a Portrait Arthur Lucas, 1842-1921 of the Artist, by John Flaxman, R.A., which suggested Mr. Arthur Lucas, formerly well known as a fine art that in acquiring a sculptor the eighteenth century had publisher and dealer, died on February a 2nd at Brondes- lost a portrait painter of some ability. A beautiful and bury. Born in 1842, Mr. Lucas was the only surviving highly wrought drawing of The Violet Field exemplified son of John Lucas, the well-known portrait painter. the art of Fred Walker to advantage, and there were One of his earliest successes as a publisher was the engrav- typical examples of Girtin, Cox, MuUer, Pinwell, and ing of Leighton's Moretta, issued in 1875. He was among numerous other representative aquarellists of the nine- -the earliest patrons of Gerald Robinson, R. S. Clouston. teenth century. David Law, E. Gaujean, A. Brunet-Debaines, and other well-known English and French engravers. For many The British Industries Fair years he was a leading member of the Printsellers' Asso- This year the British Industries Fair took place at an ciation, the Fine Art Provident Institution, and other inauspicious moment. The trade slump had not yet important trade societies. After his retirement from been dissipated, and buyers—both English and foreign business he wrote a memoir of his father, John Lucas, were hardly in a position to indulge in a large outlay. which was distinguished by considerable literary ability. Nevertheless, the fair proved a success. It was the finest display of its kind ever held in England, and many "Water-colour Drawings by Artists of the Early English who came merely to look round discovered so much that School was new and attractive that they became heavy pur- A NUMBER of the drawings shown at Messrs. Agnew's chasers. in that galleries (43, Old Bond Street) were of unusually large In no section was more enterprise shown than Curroit . I rt Notes

[crown copvrighiJ devoted to pottery and porcelain. Before the war, with each other, or in conjunction with dull black, gave English ceramic manufacturers were somewhat over- strikingly effective results. This type of decoration was disposed to rest on their laurels. They had got their used on pieces intended for a large variety of uses, from finer productions to a pitch of technical perfection that teacups and saucers to vases and other ornaments con- it appeared impossible to surpass ; the demand for them ceived in entirely novel and beautiful forms. Among was world-wide, so that they had far less temptation to the more beautiful were the large rose-bowls. WTiat was essay new lines than foreign manufacturers, who had specially noteworthy in all the examples was the technical both their reputation and connection to make. The excellence of the ware ; its fineness of texture and evenness present exhibition showed a departure from this policy, of surface conformed with the highest ceramic traditions, and even some of the more conservative firms exhibited while the purity of tone and clear articulation of the striking novelties. colours were remarkable. Obviously, many of the designs were inspired by Post-Impressionism, but the The Royal Worcester Porcelain Co. garish hues, affected by disciples of the latter cult, were One ot the most interesting displays in this connection arranged in happy combinations, so that instead of was that of the Royal Worcester Porcelain Co., among strident discordances, one had effects of jewelled splendour, which a large number of beautiful novelties were shown, suggesting in their brilliant tones Eastern opulence rather establishing quite a fresh set of artistic traditions for than Western restraint. this historic firm. Side by side with hlett dii roi vases, enriched with gold, and decorated with landscape- and Josiah Wedgwood & Sons, Lid. floral panels, and other reproductions of the former The keynote in the display of this historic firm was periods of Worcester porcelain, were a number of pieces restraint A quiet setting of grey sparingly accentuated wholly new in conception and design, which may be said by black formed exactly the right setting to the exquisitely to have echoed the ideas of conventions prevalent in finished pieces in Jasper and Balsalt conceived in the modern art in the same way that the older forms echoed austere and refined classical style of the eighteenth the contemporary art of an earlier century. With the century. There were repetitions of many of the oldest older colours, such as rose du Barry and powder blue, patterns, real triumphs in potting that have not been were introduced various tones of crJabash yellow, jade attempted for m.my years, but are now executed with green, lacquer red, and others, which, used in combination the gem-like finish of the originals. Colour was not The Connoisseur

ahsi-nt, but was well exemplifiiil in the tine display of procisoly similar result. The beauty of these decorations earthenware table sets, generally conceived on eighteenth- is enhanced by being applied to pieces which in form and century lines, for the public so connects Wedg\vood with texture are nicely calculated to show them off to the best the ceramic triumphs of this period that it would hardly advantage. In many instances they are used to formu- tolerate a complete departure from the well-established late patterns and designs, which, whether simple or elabor- traditions. One important departure exemplified, how- ate, are always of artistic merit, and sometimes embody ever, was the almost complete substitution of underglaze creations of great beauty. Among the pieces shown in the for overglaze patterns, a change which, while in no way exhibition were many which vied in quality and effect with impairing the beauty of the decoration, makes it permanent any examples of ancient or modern porcelain. and indestructible. The " Khodian " ware—a fine hand- painted, thrown and turned series of fancy pieces of ir. Moorcrofl. Ltd. large proportions in vases, large bowls, and large plaques The stall of W. Moorcroft, Ltd., of Burslem, was decidedly —was well exemplified. It is executed mainly by a one of the features of the exhibition. The band of young students who have attended the classes Moorcroft ware is made largely on the same principle as the at the local schools of art in the Potteries, and have ancient Staffordshire slip ware, but the result is gained scholarships. The freedom of the manipulation far more technically perfect, for the intense heat used and the grasp of the style which was originated in Persia, fuses together colour, glaze, and clay so that they become and passed through to the island of Rhodes, showed a homogeneous body practically indestructible. Each that it was no mere copy of existing samples, but a free piece is thrown on the potter's wheel and entirely made adaptation of the original style brought up to present- by hand, thus securing subtle variations and avoiding day English requirements. In china ware more latitude that monotonous uniformity of appearance which too is allowed, and some very excellent rich and new effects often occurs in machine-made products. Mr. Moorcroft, were to be found—a full yellow ground of great purity who not merely manufactures the ware, but is also largely had been used with good taste, supporting well-drawn responsible for its design, is an artist of great ability designs in black, blue, and even multi-coloured bands of and originality, possessing that intimate knowledge of " the technical fruits and flowers. Powder- blue " still retained a possibilities of his ware which ensures that premier place among the colours. The many attempts all decoration shall be thoroughly congruous to the piece to rival it not having resulted in the discovery of a to which it is apportioned. Thus in all the examples substitute for the full, rich, pulsating colour, which either shown there was a harmonious unity of colour, form, and alone, or in conjunction with gold, or any of the full- decoration, combined under the same guiding spirit to coloured designs which it is called upon to support, form a work of art marked by a beautiful appropriateness remains a permanent favourite with the public. in all its parts, and possessing an innate charm like that Originally pioneers in lustre ware in the eighteenth of a flower or some other beautiful object of nature. century, Messrs. Wedgwood still are ever ready with some new creation in this beautiful medium. This time, The National Gallery following upon the great display of " Fairyland " lustre The Trustees and Director of the National Gallery, in last year, they had an entirely new motif of Eastern consultation with His JMajesty's Treasury, have agreed splendour in a pattern called " Lahore," suggested by that on and after Monday, April 4th, during the existing the study of an Indian tomb, and possessing all the financial stringency, the number of paying-days at glory of tropical colour. Trafalgar Square shall be increased from two to four in each week. None of the existing facilities for educational The Royal Doiilton Factory. institutions, or for members of the National Art-Collections Among the chief features of the Royal Doulton display Fund, will be affected by the change, and the Gallery were the w^ares inspired by some of the best types of will be open free to the public, as before, on Wednesdays, Oriental porcelain, which, though resembling their proto- Saturdays and Sundays. But on Mondays and Tuesdays, types in the general character of their decoration, displayed as well as Thursdays and Fridays, until further notice, a wider range of colour and effect, and even surpassed an entrance fee of sixpence will be charged. This them in tonal brilliancy. The Rouge Flambe, Crystalline, temporary change has been decided upon with reluctance. Opaline, and Titanian wares each represented the modern Yet in this way alone can the inadequate purchase funds

rediscovery olf certain lost glazes, modified and adapted of the Gallery be supplemented at the present time, and to conform with modern taste. Finer even than these the additional entrance fees will be specifically devoted were the pieces of " Sung " Glaze Ware, with its wonderful to the maintenance of the Collection. ranges of colour, tint appearing beyond tint, and colour beyond colour, in the same manner as in the opalescent Christian Art tones of a sunset sky. These beautiful tints range from The audiences at Dr. Dearmer's lectures on Christian vivid reds and orange, deep blues, purples, and greens, Art, at King's College, have grown so large that the to tender half-tones and jewel-like spots of colour. Some- lectures arc to be moved next term from the Theatre to times the effect is similar to that of a brilliantly hued the Great Hall of the College. The first of the new rocket bursting against the dark background of an course will be on Wednesday, May 4th, at 5.30 p.m., evening slcy, at other times to the subtly shaded plumage and the subject will be " Gothic Art in the Second Half of some gorgeous bird. The charm of these pieces is of the Thirteenth Century," including Architecture, Sculp- that there are no exact repetitions ; each one is unique ture, and also Painting before Giotto. The lectures are in itself, for the alchemy of the furnace never produces a free, and no tickets are required.

246 — .

Current Art Notes

Royal Amateur Art chaperon, which gives the Exhibition panel its distinctive name. liiK Annual l^xhibition The print is exactly the same size— loj in. high 111 the Royal Amateur Art Society {President by 7J in. —as the original, WW. Queen Alexandra) and suggests the colora- tion, tone, and handling will be held this year at of latter with singular .'-. Grosvenor Square, the face Irotu Jlay Sth to iitli. fidelity. The and the rich deep reds of the 1 ntending exhibitors should communicate with turban are especially good, only criticism the Hon. Secretary— I^idy and the that one would like to Dallas. 36. Eaton Square, S.W. suggest is that the dark of the subject's dress Ihe Loan Annexe will hues the background have consist of pastels and and v e r - drawings by D. Gardner, been somewhat o accentuated. This, how- II. Hamilton, and |. is very minor Downman, of eighteenth- <^ver, a For decorative century china baskets defect. jnirposes the print is (British), and of Chinese as good as the jade ornaments. Owners practically original, and offers to willing to lend any such admirers of Jan Van Eyck articles should write to chance of securing a the Hon. Sybil Legh, the l.i,,,nnlr of one of his Artillery Mansions, Vic- toria Street, S.W.

The National Art Gallery Grosvenor Galleries of Victoria The r<--(ipening of the 1' K o IE S S 1; \\lLLI.\.M Galleries by Rothenstein's painting Grosvenor Messrs. P. D. Colnaghi of An Artist in France, and Co. (New Bond St.) igiy to igi8, now being ex- restored a favourite hibited at the Gallery of has to the art life of the Alpine Club, has been feature The first of the ])urchased for the National London. series of exhibitions Art Gallery of Victoria, new held there was one Melbourne, under the to be of the best selected of Felton Bequest. This is season, losing none the second picture by this the interest because artist acquired for this of its of the pictures were collection. In 1906, the many retrospective works. Mr. painting Aliens at Prayer, Sargent, for in- which was selected for John represented the approval of the stance, was r.MR masterly portrait Trustees of the Chantry by his lESSRS. EDW.^RDS ONS' o.\Li.EKiKs Hirsch, Bequest and not ^j j^,j^^ Leopold Sir James Guthrie, sanctioned by them, was purchased for Australia by in addition to some smaller canvases ; Connoisseur, Mr. George Clausen, K.A. The present canvas represents by The Velvet Cloak (illustrated in The by his Adoration of the Professor Rothenstein whilst serving in France as an July, 1915) ; Mr. Glyn Philpot. alluded to in citticial artist during the war. Kings, and portrait heads previously Mr. Charles Shannon, different instalments of these notes ; " Mr. Gerald Kelly, by a tno Portrait of a Man with a Turban," after Jan Van Eyck. by his Infant Bacchus ; and Consuelo V Facsimile in colours. (The Medici Society, Ltd. 27s. 6d.) of canvases, including his irresistible Italian in sympathy. The reproduction in colours of Jan Van Eyclc's Man Well drawn, hard, cold, and Tresse formed a striking with a Turban, published by the Medici Society (7, Grafton Mr. Gerald L. Brockhursfs La colour of Mr. David Street, W.), offers wliat is perhaps as near a semblance contrast to the adjacent warm chromatic pageant to the original as it is possible to attain in process work. Muirhead's Sanctuary, and to the rich Funeral of Kaid The picture, No. 222 in the National Gallery collection, exploited by Sir John Lavery in The Tor. by Mr. C. H. is signed and dated October 21st, 1433. It is a head- Sir Harry Maclean. A landscape, Hey construction. and -shoulders portrait of an elderly man wearing a dark Collins Baker, displayed not only clever distributed the dress with a fur collar, and, round his head, the red but a considered tonal variety which "

The Connoisseur

balance of interest over the entire composition. Perfect of Kentish scenes by Wm. Green, after J. G. Wood and co-ordination of detail rendered Mrs. Laura Knight's himself ; and examples by Paul Sandby, Pollard, Thales

Spring a tour de force ; and Mr. George Clausen's Flowers Fielding, F. Jukes, J. Jeakes, the Havells, E. Duncan, in Sunlight was a lovingly observed and sympathetically and D'Agoty, completed a show, to leave which was rendered essay in atmospheric conditions. A firmly like stepping from one century to another through a handled head. Fine Feathers, by Mr. E. Barnard Lintott ; magic mirror. the interesting form displayed, though in widely differing metiers and themes, by Mr. Harold Knight's Gladys Drawings by Cicely Roscoe and Vera Down

and Mr. Oliver Hall's March ; and a soundly painted Some water-colours of Taormina and Jersey by Still Life, by Miss Isabel Codrington, also call for comment ; Mcsdames Cicely Roscoe and Vera Down, at Walker's whilst some Macabre war and armistice impressions Galleries (118, New Bond Street), revealed promising furnished evidence of Sir William Orpen's prowess in talent in two ladies who have still " to arrive " in the the oil medium. art world, although the latter, unless one is very much Amongst the drawings, a leading place was occupied mistaken, obtained a place at the Royal Academy of by Mr. C. J. Holmes's water-colours, of which Rain over 1919. Apart from dissimilarities of style due to personal Watendlath was especially dramatic in conception and characteristics, both painters seem to have a single aim, forcible in rendition -F. G. R. and that a laudable one. Religiously eschewing the aid of eccentricity as a means towards gaining a meteoric Drawings by Mr. John E. Aitken notoriety, they have concentrated upon attaining pro- By the time that these words appear in print, Graves's ficiency in their medium, and have already acquired a old Pall Mall house will seem almost as much a thing of pleasing facility of touch, which, coupled with refinement past as the Robert Harding Evans's auction-room, the of colour and sincerity of endeavour, makes many of site of which was swallowed up by the Carlton Club. their water-colours distinctly attractive. Fortunately for gallery-goers, however, Messrs. Henry Graves, Gooden & Fox's fresh premises at 60 and 61, The Greatorex Galleries New Bond Street, are even more capacious and attractive Repe.\ting a former success at these galleries (14, than the firm's old home ; so that the loss of one landmark Grafton Street, W.i), Mr. E. Arthur Rowe arranged an is more than compensated for by the institution of attractive exhibition of water-colours in his accustomed another. metier. His drawings of old-world gardens are always Though not quite complete, sufficient accommodation pleasing, and evince marked sincerity of purpose. in the newly opened galleries was available by February Dealing in detail rather than in broad effects, he some- for the purposes of an inaugural exhibition. This was times permits himself to be carried away by a compre- provided by Mr. John E. Aitken, the son of Mr. John hensive observation of minutiae, with the result that a Aitken, and, like him, a member of the Liverpool and few of his more laboured studies lack reticence and Manchester Academies. Mr. J. E. Aitken's drawings, become spotty in construction and coloration. An artist mostly sensitive appreciations of atmospheric phenomena, should be judged by his best works, however, and in deal largely with marine or coastal incidents. It is both such a sensitively rendered and varied sketch as A curious and interesting to observe how he has drunk Quiet Corner— Villa Borghese, Rome (to quote but a single at the same founts as Dudley Hardy, Tatton Winter, case), the dross was eliminated, leaving pure quality and Burleigh Bruhl, or rather has approached, quite behind. independently, subjects studied by those artists in a similar spirit to their own, yet always preserving that The Monarro Group ingenuousness of feeling which distinguishes the searcher The second exhibition of the Monarro Group at the

from the imitator. Goupil Gallery (5, Regent Street, S.W.i) contained several interesting, but few distinguished works. The Old Aquatints tender, sensitive colour of Mr. Lucien Pissarro's Blackpool

Another worthy addition to Walker's Galleries' series Bridge and Blackpool Vale atoned for much, it is true ; of aquatint exhibitions contained many subjects of the Mr. H. Clements Hassell's quay-side scenes formed

quaintest interest, whilst others were of even more value bright, arresting patterns displaying ability for design ; as technical demonstrations. Such a scene as that of and Mr. Albert Lemaitre's Sous la Tonnelle and Les vieux

The Long Walk, Windsor, by and after Wm. Daniell, was, chenes-liege possessed the reality of sunlight. Mr. J. B. in its realisation of space and its atmospheric coloration, Manson was another serious contributor. His Flowers a work of importance. An interesting plate of the was a pleasing and discerningly varied piece, and his Aqueduct at Barton in Lancashire, with the inscription, portrait of Br. Bernard Dyer, although the formation " Draw-n on the spot by Wm. Orme, of Manchester, for of the skull was a little hard to understand, was marked which he obtained the Larger Silver Pallett from the by charming tonal limpidity. Orovida's and Miss E. M. Society for the Encouragement of Arts, Manufactures, and Henderson's drawings of animals were practically the " Commerce ; two large scenes of Evening and A Wood only drawings of any merit. Scene, by M. C. Prestel, after Moucheron and P. " Brughel On the whole, it was a relief to leave the Monarro respectively military exhibition for Goupil Gallery's spring show, held in ; some incidents by and after J. A. the gallery, Sargent's familiar Atkinson ; and two sets of seven hunting scenes by Henry the lower where Mr. J. S.

Aiken, also merited attention. A number of fashion- .tI \'ele Gonfi, flanked by the Httle Interior, Doge's Palace— its the place of plates by Debucourt, after Vernet ; an extensive collection superb in rendering of values—occupied

248 —

Current Art Notes

honour. The names of Corot, Daumier, Boudin, Monti- the success which has attended their elforts is well merited, celli, Lcpinc, Kibot, Condor. Wm. Nicliolson, James Pryde, and warrants this being made an annual function. and D. Y. Cameron, to take a few at random, will indi- To meet the wishes of many country members — whose cate the range of the collection, which also included an interests the Council is always desirous of considering Interior with Dutch-looking peasants, by Etty. a con- the dates of the annual functions have been alleri'd so trast to his accustomed nudes, an example of which was that the General Meeting shall be held on the afternoon hung in the same room. of Thursday. May 26th next, to be followed by a dinner at Princes' Galleries, to which some important guests The Work of William Kneen have been invited, and the outing will take place on An art-master's calling is by no means an unmixed Friday, May 27th. Members should take particular blessing. Not only has he to attempt the impartition notice of these new arrangements. This will, the Council of technical knowledge to large numbers of persons, a hopes, enable more members to attend than usual, as high percentage of whom will fail hopelessly to derive any the usual rush will be obviated, and country members direct benefit from the process, but he must necessarily will be able to get home easily for the week-end. impede his own powers of expression in the effort. Announcement will be made later as to the place of Keeping this point well in view, it is gratifying to note interest to be visited. that Mr. William Kneen's long career as art-master at The London Chamber of Commerce is urging members Westminster School has not prevented him from main- to sec that their correspondence is posted earlier in the tainmg a highly interesting series of sketches in tempera day, so as to obviate the necessity of employing additional and gouache, some of which were recently placed on and expensive labour for the evening mails, and thus view at Walker's Galleries (iiS, New Bond Street, W.i). to assist economy in the service. Printed matter, Although an occasional reference to the work of Pro- invoices, etc. (included in the Jd. rate) should be posted fessor Frederick Brown, whose pupil he was. may be before 3 p.m. Traders are strongly urged to make a traced in Mr. Kneen's style, the fact remains that his point of communicating immediate information to the

paint is largely individual in character. He docs not police, with full details, on every occasion, when they shirk the employment of mannerisms—such, for instance, sufifer loss in any way from pilferage of goods. Efforts as a formal arrangement of clouds, or a prismatic colour- are being made in all directions to stop this evil. scheme which tends to place most of his landscapes as The Council would like to see country members visiting decorative conventions, derived from, rather than actually the Association offices more frequently. Advantage could inspired by, the scenes before him. At the same time, be taken of the reference library and of the use of the there, and members he does not constrain himself to produce stereotyped telephone ; letters can be addressed

effects, as is testified by a simple but assured view of can attend to their correspondence. The President and Pennard Castle, a misty vision of wharves and chimneys Hon. Secretary have decided to be in attendance each on The Thames at Hammersmith, an essay in subdued Wednesday afternoon froin 2.30 to 4.30 to meet members tones called Dawit, or a very sensitive little figure subject who are in town and would like to see them, in order to under the title Sf:ii}ig. discuss matters of any particular interest to themselves or of general interest to the Association. It is hoped More Early English Water-colours that members will take advantage of this arrangement .Messrs. Bromiiead, Cutts & Co. (i8, Cork Street, to keep ill touch with headquarters. W.i) hung nearly ninety less frames than Messrs. Agnew. but their show was skilfully arranged so as to fill the The Society of Pewter Collectors gaps left by the Bond Street display. Thus there was The January meeting of the Society of Pewter Collectors cme Turner {The Pantheon, Oxjord Street, on the morning was held, by the kind invitation of the retiring President. after the Fire, 14th January, i79^). far exceeding in age Col. G. B. Croft-Lyons, at his hou.se, 8. Neville Street, any drawing by the same hand at the other gallery. Onslow Gardens, London, where a pleasant and instructive There was a beautiful little Study of Box (1882). by Ruskin. evening was spent, members having previously met for and a dignified Seascape with Boats, by Charles Bentley. dinner at Gatti's Restaurant. Mr. Walter G. Churcher Other items included two small but very dexterous was elected President for the ensuing year, and Mr. Alfred sincere vote black-and-white chalk rural sketches by Gainsborough ; B. Yeates, F.R.I.B.A., Vice-President. A for his services an early Chepstow Castle, by Girtin ; and, as a few modern of thanks was passed to Col. Croft-Lyons men were included, a typically refined and atmospheric as President. Mr. Lewis Clapperton was re-elected Hon. Edge of the Wood, by that veteran A.R..\.. John W. North. Treasurer, and Messrs. Walter G. Churcher and Howard H. Cotterell, Hon. Secretaries. The names of Mr. Antonio Price, were added The British Antique Dealers' Asscciation de Navarro, F.S.A., and Dr. Seymour The first dance given under the auspices of the to the Committee. have been Association was held at Princes' Galleries. Piccadilly, on The venue and date for the Summer Meeting thus to afford March 9th, and was a brilliant success. Members and fixed for Taunton on Monday, June 20th, fine collection their guests to the number of over 150 attended, and had members the opportunity of inspecting the a most enjoyable evening. In the intervals of dancing, of their fellow-member, Mr. T. Charbonnicr. advantage was taken to view the exhibition of the Royal Institute of Painters in Water-Colours. Thanks must be 20, St. James's Square, S.W.I most famous awarded to Mr. Frank Stoner and his small Sub-Committee No. 20. St. James's Sciuare, of the taken over by for their careful organisation of a new undertaking, and in a group of famous buildings, been The Connoisseur

Messrs. Hampton & Sons' Estati- Agency, which has Caroline Matilda of Denmark (17JI-1775), sister to been removed from Cockspur Street for the purpose. George 111., during her imprisonment in the Castle of This splendid example of late eighteenth-century archi- Celle. The Duchess of Wellington's quota amounted to tecture was built under Robert Adam's own supervision a collection in itself, and it is impossible in the space at for Sir Watkin Williams Wynn, the renowned connoisseur. command to do more than glance briefly at a few of the Fortunately, it is possible to assign an exact date to the most important items. These included a beautiful and erection from the following inscription on the front of a finely i)reserved petit-point panel, of fifteenth-century lead cistern, which, by a happy thought of Messrs. workmanship, representing the Woman oj Samaria at the Hampton,—has been inserted over the entrance-hall lI'cW, and well illustrating contemporary feminine costume; fireplace : " :i Sr. \V. Wms. Wynn's House Begun a rare beadwork cushion, dated 1630, with figures of a | | Finish 'd ." " Aug. 1 771 | Aug. 1774 man and woman ; several pictures," amongst them an I

The decorations, from the ceiling paintings by Angelica example dated 1636, similar to one at Carisbrooke Castle ; Kauffmann, the elegant marble mantels, the superbly and a Queen Anne card-table, its petit- and gros-point delicate ironwork on the grand staircase, to such details top worked in simulation of playing-cards. Col. H. H. as the elegant brass door-furniture, are of the first quality, Mulliner was also responsible for some loans of high and it is the more gratifying to reflect that this property interest : an early eighteenth-century winged arm-chair,

is receiving the loving care it merits. Judicious restora- entirely upholstered in petit-point ; a beadwork bag of tion is revealing its full beauties, almost the sole alteration the same period, boasting more than i.ooo beads to the being i carried out in such perfect harmony that it is square inch ; and a needlework portrait (2 ft. in. by hardly apparent to the initiated. This alteration consists I ft. 8 in.) of Queen Anne and a pa?e. beneath a baldcquin in the conversion of the back courtyard into a room, supported by figures of Fame and Renown, may be cited. the original arcading on the south side of which has Mr. Dyson Perrins (in addition to other contributions) been faithfully reproduced on the north wall. sent a needlework panel of the Five Senses, on a silver thread background, inscribed " Elizabeth Cornwalleys, " Adam and other Furniture 1639 ; Sir Wm. and Lady Plender, an exceptionally .Although none of its original movable furniture has bold piece of stump-work in The Judgement of Solomon,

clung to 20, St. James's Square, its nature can be gauged dated 1686 ; and Mrs. A. C. Thynne, part of the dress in to some extent by a couple of cabinets now in the which Louisa, daughter of John Carteret, Earl Granville, possession of Messrs. Edwards & Sons (157 to i6i. Regent was married to Thomas Thynne, 2nd Viscount Wej'-

Street, W.i). These were evidently made for the house, mouth. in i 733. since they are designed in accord with its extreme refine- ment. The main features of the decoration are classical A Forthcoming Sale scenes in the Angelica Kauffmann manner, their warm Sotheby's will hold a sale during the summer to assi.st colours being effectively foiled by the colder tones of the in raising /,'6,ooo for the University College Athletic architectural ornamentation. The antique furniture Ground, partly to pay off an old debt, and partly for a collection at this house is particularly strong in eighteenth- needed extension of seven acres. Already several valuable century pieces, a fine Chippendale settee, and a rather gifts have been contributed, and it is hoped that collectors unusual folding table in the same style, being notable in will spare one or more items towards the object. Offers their class. Amongst earlier examples, a seventeenth- should be submitted to Mr. Walter W. Seton, University century table, all carved and notched by the boys of a College, London. school from which it was brought, has a singularly human appeal. Brussels Art Notes On behalf of Mr. Clarence Mackay, from New York, Loan Exhibition of Old English Needleviork Sir Joseph Duveen has presented to the Belgian Govern- The position of honour in the Loan Exhibition held ment a " shoulder- guard " which formed part of a at the Royal School of Art Needlework (Exhibition Road, harness made for the Archduke Albert, Governor of the S.W.7) was given to Henry Vllf.'s shoes, which were Low Countries 1598-1621. The horse armour made for illustrated in the first part of our article on the Percival the Archduke is in the Musee de la Porte de Hal at

Griffiths collection ; whilst the petit-point panel of a Brussels, and is damascened exactly in the same manner. hunting scene, reproduced in the November issue, figured The remaining part of the harness is at present in prominently amongst the treasures lent by Lord Lever- Vienna, but the Belgian Government, according to hulme. These also included a pair of richly embroidered Article 195 of the Treaty of St. Germain - en - Laye is

gloves worked and worn by Mary Queen of Scots ; a claiming its return. muff-cover and brush-back traditionally ascribed to the The shoulder-guard was at one time in the collection

same fair hands ; and an unusually decorative panel of of the late Sir Guy Taking, Bart., Keeper of the King's Charles II. embroidery representing David and Bathsheba. Armoury, and was sold at Christie's in April, 1920, Said to have been worked by Anne Boleyn, a coif and realising 700 guineas. The Keeper of the Jlusee de la head-piece with fine black and gold scroll-work on linen Porte de Hal was present at the sale, but was unable to was contributed by Lady Violet Astor. Another historic afford so high a price. rehc was the settee lent by the school's President, H.R.H. The generosity of Mr. Mackay and of Sir Joseph Duveen the Princess Christian. The covering of this, decorated is highly appreciated in Brussels. The piece was handed with a crowned cypher surrounded by floral sprays, by Sir Joseph Duveen to M. Lambotte, who acted as was worked by the lender's great-grand-aunt. Queen the representative of the Belgian Government. a

Ciirre}it Art Notes

In memory of his friend, the late Charles Leon Cardon, .\n important and absolutely genuine portr.iil of a great Belgian collector, Mr. Kleinbergcr, lias given to Peccpiius, Cliaiiccliet Je lirabniil, by Rubens, has been the Brussels Gallery two valuable works of art which lent to the Brussels Gallery by Princesse Pauline d'.\r:'n- formerly used to belong to Mr. Cardon. The i:rst is an berg. It is a dignified picture, and the hands arc of the anonymous picture by a Flemish master of the fifteenth finest quality.

century. It is ascribed by M. Hulin de Loo to Hieronymus Amongst the numerous exhibitions I must mention Bosch in his early period. Other critics mention the those of Jean Laudy and ,>\lbert Baertsoen. Both were name of Mostaeart. It is a strong and bright bit of a great success, and well worthy of sincere admiration. colour, in a very good state of preservation. As a landscape painter. Baertsoen is a powerful and The second work given is a small stone bas-relief, dignified master, and it is pathetic to learn how indiffer- probably French, from the end of the si.\teenth century. ent his health is at present. His friends fear that he

It represents the Garden of Eden. It is a fine and delicate will never more be able to hold his brushes. piece of carving. Jean Laudy, who is younger, exhibited a series of por- .\nother precious treasure of the same collection— traits, interiors, and still-life pieces, showing a wonderful small portable altar—has been bequeathed to the Louvre gift of harmony and an exceedingly clever " technique." at Paris. It is an early French work, with a statue of The two painters, whose work is represented in several

Our Lady and folding wings painted in the style of the museums and galleries, have sold nearly all their exhibits ParewenI de Narhontie, another " pearl " of the Louvre. at very high prices.

Forthcoming Art Auctions and Exhibitions (April)

( .\rtlmr .\ckermann & Son. - Spei iai K.llidum of tine oM 1 ..icr^trr -..il I, ries.—Paintings and Drawings by Wyndham Coloured Sporting Prints. Lewis; Water-colours of Morocco by Robert Burns. Alpine Club.—Pictures of the Belvoir Hounds, Horses, Thos. McLe.an. — Important works by British and Con- etc., by A. J. Munnings. tinental Ma.sters. Brook Street .\rt Gallery.—Water-colours and Etchings, Macrae fiallery. —Paintings of Spring Flowers by contem- " artist.'-.. Old Shops and Streets," by John Bacon (1st) ; porary Water-colours, " The Sea and Ships," by Conwav Mansard Gallery.— Friday Club. Blatchford (20th). Puttick & Simpson .-^Engravings Sale (1st, 1.5th,

Carroll Gallery. — Pictures by Turner, Daubigny. 29th) ; Books (6th, 7th) ; .Mu.sical Instruments (8th.

N. H. J. Baird, C. J. Collings. (See AdveHiscmcnt 21st) ; .^ntioue Furniture, Objets d'Art, Porrelain

pages.) (8th, 22nd, 29th) ; Stamps (12th, 13th, 26th, 27th) :

Pictures Textiles (Lith) ; Collectors' Gallery.—Modem Paintings and Drawings. (13th) ; China, Baxter

iK: Prints Silver Jas. Connell Sons.— Etchings by Whistler, Haden. (20th) ; Old English and Jewellery McBey, Muirhcad Bone, D. Y. Cameron. (28th). (See Adveitisement pages.) Debenham, Storr & Co., Ltd. —Sales of Jewellery, Sotheby, Wilkinson & Hodge.—Modern Books and Watches, Plate (5th, 6th, 7th, 12th, 13th, 14th, 19th, MSS., including books relating to Whistler, property

of late ; by 20th, 21st, 26th, 27th, 28th) ; Musical Instruments, W. Heinemann drawings Walter Crane,

China, Paintings, Books, Bronzes, etc. (4th, .")th, (ith, property of Mr. IJonel F. Crane ; Books and Letters

7th) ; Household Furniture (loth). l)v D. G. Kossetti ; Kipling and Stevenson collections, " " Dorien l,eigh Galleries. — Work by Take Sato .ind etc. (4tli to 6th) ; Japanese Colour Prints and Books,

Hon. Stcpher. Tennant. property of Mr. .Arthur Morrison ; Sir E. T. Back- house's' early (him-.- hl.r.MMJ- Till Ml:l: .Auto- Fine .\rt Society.—Water-colours by Stafford Leake ; the

Soriet/ of Animal Painters. craphs and Docun:,ni-, nnln^li,:, i|.- I :. . i^rave Hall Frost & Reed.— See under " Provincial." Munmu-nts, Ik-njamui li.i]tk:iii .m.j -i W .ilter Scott (.ith, (lltli. liitli,, r.,u,l.iii. .uid Glass, Glendining & Co.—Stamp Sales 6th) ; Oriental correspondeULo Works of Alt belonging to Prof. J. N. Collie (Ilth. properties of late Caniiii .MiU.inl, Duclu-.-s of Welling- i;>llection 12th. Kith) : House and Contents, Battle, Sussex ton, Sir E. T. Backhouse ; fpton of Old

(2r)th) ; the late Holbrooke Gaskell's Coin Collection l-'.nglish Wine Glasses (Kith. 14th); |-urniture.

(28th) ; Coins (27th) ; .Medals (28th). (See Adver- Tapestries. Needlework, Rugs. pi-0()erties of the tisement pages.) Duchess of Wellington, Sir j. Trelawny, Capt. R.

Goupil Gallery.—Modern British and French Paintings. Ford, etc. ; fine set of 17th-century Tapestries from

Greatorex CJallery.—Etchings by Muirhead Bone, D. Y. Whitton Court, Salop (lotli) ; Books and Bindings, 1. Cameron, McBey, Zorn, etc. priifK rtir- (.( M.iioi ili( 1 .11 M.mrire Baring, Capt.

( s;r Hampstead Art Gallery.—Etchings by J. C. Moody, A. W. liii.ii^l, \ |oli,((, ^ir J. Horner, Mrs. ilsili i.r :_'ni|i); S. Tushihgham, A.' S. J. Finberg, E. Lauder, E. Siiii|i-.iii (^,-ir,ui Engravings, Pattison, S. Peck. pr..)irin ,1 l.iir s M \(i(iu' iJoUi. 21st); Textiles

I , iii. Harmer, H. R.—Stamp Sales (11th, 2.-)th) : and Phila- and uiiniiir. luding priiperty of late E. Abbey,

II I ! ( telic Literature (12th) ; War Stamps by order of K .\ . IN Uiiii.sh Tapestry Panels, formerly at

Cnpt. Brodie (26th) ; Old English Silver, property Col. ii. nil M.id. Ixriit, property of Lady I.eveson (22nd).

' nf Col. Hamilton (28th). (See Advertisement passes.) (.Se. A.i.r.lu.nur.t fu„-^A

l.t I I'.nii.iii-- lesser Harmer, Rooke & Co., Ltd.--Stamp Sales (2nd, 6th, .•\rthur Tooth i.^: Sons, by known 7th, 0th, 13th. 14th, 16th, 20th, 21st, 23rd, 27th, artists of the Early iMiuiili :-.. (iniil 28th, 30th). (See Advertisement pages.) Twenty-One Gallery.— I'.uni im'^, i.\ liiiiry Bishop. Walker's Galleries. Pastor.jl i;xliil.iii..ii of Modern Water- Hodgson & Co.—Sales : Coloured Books ; Works from colour- .1st to 22n(li ; Allied Knrh (L'Sth to May Kelmscott Press ; Original MS. of Keats's poem to I lanilev Iru-nds l4th to ; Countess of and 16th) ; 14th I Charles Cowden Clarke, etc. (29th) ; Valuable Books (2(lih ('.. Miss ,\lu;e I'ranelev to 2!ilh) ; Mr. Thompson and Bindings from an old country library (during Maxwell-Lyte (Oilsl !to 20th) : Miss howler and l.ady April) ; the late Wynne Edwin Ba.xter's library, (Water-colours) (2.5th to 7th). including a collection of original and early editions May of Milton's works (during May). (Sec Advertisement PROVINCIAL. pages.) Bristol—Frost & Reed (at their Clare St. Galleries). - Knight, Frank & Rutley.—At Galleries—Furniture Sale Works by .Albert Goodwin and Julius Olsson. (1st) (8th, Earlscliffe, by Messrs. Price & Co., ; Jewels 22nd). \t Folkestone Gwydyr Castle.— Sale Ward, (6th, 7tb, 8th). commencing May 23rd. (See Advertisement pages.) " Hugh Lane's Life and Achievements." by Lady Gregory. a strong opposition from the local press and authorities (John Murray. 18?. net) of Dublin. So irksome did this prove, that he made a Lady Gregory's story of Hugh Lane's Life and will, leaving many pictures that he had intended to give Achievements reads more Hke a novel than an orthodox to the Dublin Municipal Gallery to the English National biography. It is a graphic impressionistic study of a Gallery. He revoked this bequest by an informal codicil, man whose career might be Hkened to a romance, were which unfortunately his sudden death in the sinking of not the incidents in it too improbable to be accepted by the Lusitania prevented him from properly executing. readers of conventional fiction. The best compliment The Government agreed to bring in a Bill to carry out that can be paid to the author is that she has made it Sir Hugh Lane's wishes—the only possible way of obtaining comprehensible and given us a vivid and convincing pic- legal sanction for them—but owing to congestion of ture of a genius whose conduct of life can be gauged business, the measure has never been introduced. Though by no orthodox standards, and whose career, meteoric Sir Hugh Lane did not entirely succeed in fulfilling his in its brilliancy, appeared both in its successes and failures artistic ideals, he at least made Dublin one of the leading to set all rules of probability at defiance. Lane was a artistic centres of Europe. Bv his shifts and direction cadet of a well-known Irish family. A delicate youth he transformed the Dulilin XmlihiI Callery from a of eighteen, he made his entry into the picture trade as collection of merely seciii^l i\ hmih rimce to one sur- assistant to Martin Colnaghi, on a salary of /50 a year, passing that of every BriD^li iii-ututii m of its kind out eked out with a modest subsidy from home. He dis- of London. He also elevated the Dublin Municipal covered that he had a remarkable natural flair for pictures, Gallery collection into a fine epitome of the best and most and cultivated it by economical trips on the Continent, original phases of modern art, and had he been able to in which the heaviest item of his expenditure appears to fully carry out his purpose concerning it, it would hav'e have been for admission to picture galleries. A little rivalled the Luxembourg in interest. His gifts constituted later he set up for himself, with little experience and a large fortune, but their importance is less to be measured practically no capital. The latter was first derived from by their intrinsic value than from the fact that they participation in a " knock-out," probably the only one in formed in themselves a homogeneous collection of the which Lane ever shared, and after that progress became highest educational importance, selected with rare comparatively easy. Lane possessed the gift of being discernment at a y.nu,,! \\\„u tlir competition of .America able to instantly recognise a good picture, no matter how and Germany semi'il t.^ mil., it impossible that such a disguised by dirt or repainting, and the courage to act collection could In- ,.iiliir..| ii.-rtlier. without hesitation on his own judgment. He bought with apparent rashness, constantly exhausting both his "Lustre Pottery," by Lady Evans, M.A. (Methucn

cash and credit ; but his geese invariably turned out and Co., Ltd. £2 12s. 6d.) swans, and he quickly accumulated a large fortune, none In pure beauty of colour, the only ware not inspired the less substantial because the bulk of it was represented by Chinese pottery which may be said to vie with it on by valuable works of art. Then came his unofficial even terms, is the lustre pottery produced in Persia, connection with the Dublin galleries—a connection Egypt, Syria, Spain, and other southern countries formerly disastrous to himself from a financial standpoint, be- under Mohammedan rule. It is the more limited in its cause it consumed his time less without any pecuniary return, range, and technically perfect in its execution ; but and he freely gave of his choicest treasures to the its charm and attraction are undeniable, and its beauty

Irish national and municipal institutions. It also placed and originality of design make it sought for by collectors him in a somewhat anomalous position, for ignorant all the world over. Lady Evans, in her finely illustrated lookers-on could not realise the possibility of a pic- and tastefully mounted volume, gives what may be ture-dealer still engaged in business, devoting both his regarded as the most complete and authoritative account talents and fortune to the public good, and accused of lustre pottery that has yet been issued in England. him of being influenced by ulterior motives. Like all It is a valuable and much-needed work, for the literature men who try to assist in the art work of municipalities, on the subject is somewhat scanty, and a book like this, and endeavour to raise the taste of the community to which treats on practically all the different types of the appreciate anything of higher a^.sthetic merit than the old ware now sought with such avidity by collectors, coloured almanack style of painting. Lane had to face forms a welcome and important addition. The origin .

The Connoisseur Bookshelf

of lustre pottery cannot be traced to any definite source, the lute Dowager \iscountess Wolseley, July 28th and 29th,

and claims ha\'e been advanced on behalf of Eg\'pt, iT,951 ; while Messrs. Hodgson held a number of mis- Syria, Mesopotamia, and Persia as being the first place of cellaneous sales realising amounts running well into four its manufacture. Lady Evans, though wisely committing figures. The highest priced individual item sold during licrself to no definite statement, appears to lean towards the year was an unique copy of the fourth edition of

the claims of Egypt. She points out that before the Shakespeare's Venus and Adonis, which made ;(;i5, 100 -\rab conquest of that country, it was already richly at the Britwell Court Library sale, at which a copy of endowed with native arts and industries, and mentions the first folio realised /2,100. Other high prices were that a plate of the Roman period of Egyptian potterj-, afforded b\- an English thirteenth-century MS. of the in collection at Bolehall now the Macgregor Manor, Apocalypse. /5,700 ; an English twelfth-century MS. of actually is similar design Si. though not lustred, in to lustred Cuthbert. £5,000 ; and a fifteenth-century French

pieces of later date. The koms, or heaps of rubbish Horte, ;f4,750. all of which were put up in the Yates in old Cairo on the site of Fostat, which are known to Thnmp.son sale. have been in existence in the thirteenth century, ha\e given up thousands of pottery fragments, indigenous as "The Year's Art, 1921," edited by A. C. R. Carter. well as imported, and among these were numerous lustred (Hutchinson & Co. 8s. 6d. net) pieces, some of which were probably made on the spot Tf one's library on current and recent art were reduced and bear lettering of the ninth and tenth centuries. By to a single volume. The Year's Art would the the eleventh century the manufacture of lustred pottery be one selected. The forty-second annual issue of this indis- appears to have been a well-established and characteristic pensable vade mecuin to artist, collector, and dealer industry of the country. In Persia the manufacture of makes its appearance slightly increased in bulk, with all its lustred pottery attained a splendid height during the customary records and information as accurately and twelfth and thirteenth centuries, while in Spain specimens concisely set forth as usual. Mr. A. R. Carter, have been found which have been assigned to the tenth C. under whose able editorship the has national and eleventh centuries. book grown to be a institution, gives his usual interesting the Lady Evans devotes a substantial portion of her work summary on events of the past year, while illustrations are to the description of the various types of Spanish wares, the chiefly taken from pictures bringing high prices during which are illustrated by numerous examples chiefly drawn the year's sales and important acquisitions to the national from English and American collections. Persian pieces museums. are also well represented, and Egj'ptian also, though in The obituary for the year is heavier than usual, over a less complete manner ; and there is a fair selection of fifty deaths being recorded of artists art workers. pieces emanating from Bagdad, Syria, and other places and The art sales, though much above the average, failed to where the beautiful potter>^ was produced. The author equal the wonderful record of 1919, when 100 pictures shows an intimate acquaintance with her subject, and sold for 1,400 guineas and upwards. The number for has obviously studied it at first hand in the different 1920 was only sixty-three, but this has only been exceeded countries where the finest existing examples are to be found. in 1919, 1913, and 1909. Among the chief sales of the season 1919-20, apart from the dispersal of the Yates Thompson manuscripts and the Christie-Miller library "Book-Prices Current, 1920," edited by J. H. Slater. at Sotheby's, were the sales at Christie's of pictures (Elliot Stock & Co. £1 12s. 6d. net) belonging to the Duke of Hamilton and the late The new volume of Buok-l'iiccs Current maintains the G. Harland Peck, which realised /UkS.OOO and /:56,000 high level of previous issues, and may be cited as a model respectively. of its kind, well arranged, as concise as it is possible to make it, yet containing all the information likely to be " of use to the reader. The season 1919-20 which it covers How to Look at Pictures," by Robert Clermont was of special interest to the book collector, for the Witt, C.B.E., F.S.A. Revised and enlarged edition. sales were unusually numerous and important. The last (G. Bell & Sons, Ltd. 7s. 6d. net) portion of the Huth Library- sold at Sotheby's brought Thk third edition—revised and enlarged and well ;fl5,628, making the total for it realised at auction over illustrated —which forms the eighth issue of How to Look a quarter of a million. This does not include the books at Pictures, by Mr. Witt, contains an additional chapter selected for the British Museum or the Shakespearean on " How to Show Pictures," besides numerous revisions. items sold privately. The Britwell Court Library, The book has now become a classic of its kind, and forms belonging to Mr. Christie-Miller, dispersed at Sotheby's an ideal work for that large class of people who are fond in December, 1919, brought /1 10,356, and the same firm of pictures, but have not yet acquired the cultivated also sold the collection of the late Mr. P. M. Pittar and taste to enable them to appreciate the best art. Under other properties, December 17th to 19th, /14, 275; a portion Mr. Witt's guidance they will acquire an insight into of the Hamilton Palace Librarj', February 18th to 20th, those points which diiiferentiate great and original creations

1 920, /9,538 ; a selection from the library of Lord Pembroke, from work which is merely superficially pleasing. The March 15th to 17th, /1 1,452; and a portion of the Yates additional chapter, though written chiefly with regard to Thompson collection, March 23rd, in which thirty-four lots the judicious display of pictures in public galleries, made /77,965. Among the interesting sales held by contains many admirable suggestions in regard to back- Messrs. Puttick were those of the library of the late Mr. grounds and arrangements which are equally applicable John Piatt, January 1st and 2nd, £i,~i\, and the library of to small collections of works. ;

The Coi/i/oissc/ir

"Artes Etruriae Renascuntur," fold by Harry Barnard. "Ideas and Ideals" and "The Realities of Self." (Josiah Wedgwood & Sons, Ltd.) (Limited editions, hand-made, issued at 10s. each. The In 1709, J.)siah Wedgwood m<)\i-d from Burslem to Brooks Press, Wirksworth, Derbyshire) Etruria, then a beautifully wooded and pastured country, The attractions of liand-madc paper, artistic type, and in the midst of which he erected his great potteries. well-spaced and clear arrangement distinguish the little In tlie century and a half that has elapsed since then, volumes issued by the Brooks Press, and the purchasers the works from time to time have been altered and of them have the satisfaction of knowing that they are enlarged ; but much of the original structure still remains, as nearly permanent as any volumes, not printed on with many of the appliances, fittings, and pieces of furniture vellum, that have been issued since the time of Gutenberg. in use in the time of the great Josiah himself. Mr. Harry The two works which constitute the first issues from the Barnard gives a most interesting description of thfee, Press are each delightfully dainty in their appearance, the attraction of which is greatly enhanced by the series though composed of materials which will stand any of drawings—many of them of considerable size—con- amount of rough handling, Each is decorated with an tributed by Mr. James Hodgkiss. These give a vivid initial letter in colour, though otherwise the publishers idea of the implements used in pottery-making a century trust to the beauty of the type and setting as providing ago, and illustrate many quaint old bygones now more sufficient adornment for the volumes. Ideas and Ideals often found in museums than associated with a flourishing contains fifty or so apposite quotations from well-know'n and thoroughly up-to-date factory. Mr. Barnard explains authors, chiefly modem, including a large number who the uses to which all these were put, and affords the are not generally levied upon for such service. The reader a vivid insight into the working of the factory excerpts are chiefly concerned with the philosophy of " " in its early days, many of the particulars of which he has self and the conduct of life, and are helpful and in- gleaned from the survivors pi those who used to be em- spiriting in their tenor, doing credit to the discrimination ployed there. It is a book which all who are interested of the Editor, who modestly conceals his identity under in the production of early English pottery and porcelain the initials "F.W.B." The Realities of Self is conceived would do well to read, as there are few works giving a on similar lines, but in this the quotations are fewer and better idea of the actual conditions under which these longer, being taken from the works of half a dcjzen authors. beautiful wares were produced. "Europe and the Faith," by H. Belloc. (Constable " Honderd Teekeningen van Oude Meesters in het and Co. I7s. 6d. net)

Prentenkabinet der Rijks-Universiteit te Leiden." (W. Mr. Belloc 's Europe and the Faith develops an interest-

L. and J. Brusse, Rotterdam. Paper covers, florins VPO ing thesis without bringing forward sufficient corroborative cloth, 9'75; with text separate, and 96 sheets of plates, evidence in its support. His contentions are that the together in folio, I2'50) Roman Empire was never submerged by the waves of It is unfortunate that most Englisli readers will be barbarian invasions, but that its unity and machinery unable to appreciate the able introduction by Professor of governance, though changed in name and considerably

J. J. de Gelder which accompanies the hundred repro- modified in character, were preserved throughout the ductions from selected drawings in the collection at the Middle Ages under the guardianship of the Catholic Rijks University at Leyden. Written in Dutch, a lan- Church. The real disruption of the Empire was only guage somewhat neglected in this country, it will be brought about by the breaking away of England from comprehensible only to comparatively few. The great the Church at the time of the Reformation. AH the attraction of the volume, however, lies less in the letter- great conflicts of modern civilisation are a direct result press than in the reproductions of the drawings, which are of this action, and we cannot expect a settled peace of admirable quality, and have been judiciously chosen until England returns again to the fold. Mr. Belloc to illustrate the extent and variety of the University quotes Gildas to show that the Saxon and Danish invasions collection. Dutch and Flemish drawings naturally of Britain were merely a series of raids, resulting merely predominate. A few of them illustrate the fifteenth- in a series of settlements along the coast, but failing to century masters, including examples of Aert van Leyden materially modify the race characteristics of the inhabi-

and various unknown artists; but the great bulk of the tants of the country ; but he does not succeed in collection belongs to the sixteenth and seventeenth formulating a convincing case, and quite ignores the centuries. Among these are representative works by fact that the wars occurring in Christendom before the Jan Swart, Bartholomeus Spranger, Jan Wierix, Jacob Reformation were as numerous and relatively more de Gheyn the younger, Abraham Bloemaert, Hendrik sanguinary than those occurring later. Mr. Belloc is Avercamp, Andries and Jan Both, Leonard Bramer, always lucid and interesting, and his writing is dis- Cornelis Bega, Gerard Terburg, Wallerant and Bernard tinguished by its usual fascinating style, but one feels Vaillant, Wilhelm Schellinks, C. Sternhoove, and many that the development of such a theme demands a far of the later masters. There are also a number of more substantial foundation of solid facts than he has

examples by foreign artists. thought iit to bring forward.

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