DOCSLIB.ORG

Catalogue of an Exhibition of British Mezzotinto Portraits of the Eighteenth Century

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Catalogue of an Exhibition of British Mezzotinto Portraits of the Eighteenth Century BRITISH MEZZOTINTO PORTRAITS OF THE EIGHTEENTH CENTURY M. KNOEDLER & COMPANY 14 EAST FIFTY-SEVENTH STREET NEW YORK 1 I CATALOGUE OF AN EXHIBITION OF BRITISH MEZZOTINTO PORTRAITS OF THE EIGHTEENTH CENTURY NOVEMBER 1ST TO I3TH, 19Z6 M. KNOEDLER & COMPANY 14 EAST FIFTY-SEVENTH STREET NEW YORK ALPHABETICAL LIST OF MEZZOTINTO ENGRAVERS REPRESENTED IN THE PRESENT EXHIBITION PAGE BARNEY,WILLIAM WHISTON Flourished about 1805 3 BROWNE, ALEXANDER Flourished 1667-1690 3 CLINT, GEORGE 1770 - 1854 4 DAWE, GEORGE 1781 - 1819 5 DEAN,JOHN About 1750 - after 1805 5 DICKINSON, WILLIAM 1746 - 182.3 6 DIXON,JOHN About 1730 - after 1800 7 DUNKARTON, ROBERT 1744 " before 1817 8 DUPONT, GAINSBOROUGH 1767 - 1797 9 FABER, JOHN, THE YOUNGER I About 1695 " 75& 9 FAITHORNE, WILLIAM 1656 - about 1710 10 FISHER, EDWARD 1730 - about 1785 10 GREEN, VALENTINE 1737 - 1813 11 HAID, JOHN GODFRIED 1710 - 1776 12. HOUSTON, RICHARD About 1711 - 1775 12. HUDSON, HENRY Flourished 1781 - 1 793 13 JONES, JOHN About 1745 - 1797 KEATING, GEORGE 13 Flourished 1784 - 1 797 KINGSBURY, HENRY M Flourished 1750 - 1 798 x MCARDELL, JAMES 5 About 172.9 - 1765 J MARCHI, GIUSEPPE FILIPPO 5 LIBERATI About 1735 - 1808 16 MEYER, HENRY 1782 - 1847 16 PARK, THOMAS 1759- 1834 17 QUITER, HERMANN HENDRIK 1626? - 1700 17 REYNOLDS, SAMUEL WILLIAM 1773 - 1835 17 RUPERT, COUNT PALATINE, PRINCE 1619 - 1682 18 SAY, WILLIAM 1768 - 1834 18 SMITH, JOHN About 1652. - 1742. 19 SMITH, JOHN RAPHAEL 1751 - 1812. x9 TURNER, CHARLES 1773 " l857 J-5 WALKER, JAMES 1749 " l8°8 2.6 WARD, JAMES 1769- 1859 26 WARD, WILLIAM 1762. - 1826 2-7 WATSON, JAMES 1739? - 1790 28 WATSON, THOMAS 1743 - 1781 3° CATALOGUE WILLIAM WHISTON BARNEY Pupil of Samuel William Reynolds, flourished about 1805. He entered the Army, and rose to some distinction in the Peninsular War. His works are executed with intelligence and taste. 1 LADY CAROLINE SPENCER Chaloner Smith 14. Open letter proof. After Richard Cosway. Collection: Frederick. Halsey. Chaloner Smith had never seen this print, and lists it from Evans' Catalogue. Daughter of Marquis of Blandford. Born, December n, 1798; married June zi, i8zz, David Pennant, Esq., Junior, of Downing, County Flint, and died at Hyde Park Terrace, January 10, 18Z4. ALEXANDER BROWNE (FLOURISHED 1667-1690) Whether the important and interesting mezzotints inscribed Alex­ ander Browne excudit were engraved, or merely published by, him is not yet fully determined. They have so bold and free a touch that they must have been done by an artist thoroughly acquainted with the qualities and possibilities of the process, and it yet remains to ascertain who en­ graved the plates if Browne did not. Walpole tells us that in 1683, Browne obtained a patent to publish one hundred mezzotint prints from Van Dyck and Lely, for fourteen years. In Ars Victoria by Browne, published in 1669, there is not any mention of mezzotints until the last page, where, appended as a kind of note, and printed in italics, is "The Manner or Way of Mezo Tinto". This announcement must have put an end to the mystery with which, up to that time, the art was surrounded. 2. ISABELLA, LADY ARLINGTON Chaloner Smith 1. First State. Before the face was changed, before the snarling dog in the lady's lap, and before Browne's address. Chaloner Smith cites a similar impression in the Sutherland Collection. The title was afterwards altered to Catherine of Braganza, Queen of Charles II. After Sir Peter Lely. [3] Daughter of Lewis, Lord of Baeverwaert (who was a natural son of Prince Maurice by Madame de Baeverwaert) sister to the Countess of Ossory; married Henry Bennet, Earl of Arlington, member of the Cabal Administration, (1618-1685) by whom she had an only daughter, Isabella, Duchess of Grafton; she died January 18, 1718; aged 87. 3 SIR JOHN LOWTHER Chaloner Smith 2.1. First state. Before name of personage and Sr before painter. After Sir Peter Lely. On the death of his grandfather 1675, Sir John Lowther, as second baronet, succeeded to the great estates in Westmoreland and Cumberland, including the Whitehaven Collieries; was M. P. for the former county from that time to his being created, in 1696, Viscount Lonsdale; married Catherine, daughter of Sir Frederick Thynne, and died July 6, 1700. 4 FRANCES, COUNTESS OF PORTLAND Chaloner Smith 19. One state only described. After Sir Anthony Van Dyck. Youngest daughter of Esme Stuart, third Duke of Lenox, and Earl of March (died July 1614); married at Putney, June 1631, to Jerome Weston, second Earl of Portland. 5 MADAME JANE ROBARTS Chaloner Smith yi.. Second state. One impression only is known in the first state, three impressions in this second state. After Sir Peter Lely. Burnet speaks of her as one of the King's mistresses, managed by Lord Shaftesbury, and the daughter of a clergyman; she was never easy in her course of life, and died a sincere penitent about 1679-80, as evinced by date of Burnet's letter to the King. GEORGE CLINT Born in Brownlow St., Holborn, 1770. Died in Kensington 1854. He was portrait painter as well as engraver, and was an associate of the Royal Academy. 6 ROBERT HALDANE Third state. After Sir Joshua Reynolds. [4] Robert Haldane of Gleneagles, Perthshire, and Captain in the service of the East India Company; youngest son of George Haldane M. P. and Helen, daughter of Sir Charles Erskine, of Alva, ninth son of John, Earl of Mar. He is said to have been the first Scotchman who ever commanded an East India Company's ship. He died in January 1768. GEORGE DA WE Born in London, February 8, 1781. Died October 15, 182.9. His prints are in a broad, manly style and are, therefore, especially successful in the rendering of Raeburn's paintings. 7 JOHN GRAY Chaloner Smith 5. Only state. After Sir Henry Raeburn. "Dedicated by permission to the Royal Company of Golfers." 1806. 8 THE RIGHT HONORABLE ROBERT MACQUEEN Open letter proof. After Sir Henry Raeburn. Lord Justice Clerk of Scotland. JOHN DEAN Born about 1750. Died in London after 1805. He is said to have been a pupil of Valentine Green. He was especially successful in rendering the beautiful paintings of George Romney and John Hoppner. 9 PHOEBE HOPPNER (CAROLINE DE LICHTFIELD) Chaloner Smith 13. Open letter proof. After John Hoppner. Collection: Frederic R. Halsey. Daughter of Mrs. Wright of Pall Mall, who was a modeller of portraits in wax, and a woman of great taste and talent. Hoppner, the painter, was frequently a guest there, and in 1782. married this daughter, of whom he painted several charming portraits; probably his success in painting elegant women was due to these friends. 10 PHOEBE HOPPNER Chaloner Smith 14. First state. Names of painter and engraver and the publication line, in scratched letters. After John Hoppner. C5] ii MARGARET MARTYR Chaloner Smith 18. First state. Before inscription, scratched, artists' names and address. After Mather Brown. Maiden name Thornton; appeared first in public as a singer at Vauxhall, and was afterwards engaged at Covent Garden; married to Captain Martyr, who died when confined in the King's Bench for debt; she was a favourite in Rosetta and other characters in English opera. Died June 7th, 1807. WILLIAM DICKINSON Born in London 1746. Died in Paris 1813. Many of his mezzotints are among the most brilliant specimens of the art: powerful, full of colour, excellent in drawing and in rendering the touch of the painters, amongst whom were Reynolds, Romney and Peters. 12. DIANA, LADY CROSBIE Chaloner Smith 14. Second state. After Sir Joshua Reynolds. Daughter of Lord George Sackville; born 1756; married, 1777, Viscount Crosbie, who succeeded, in 1781, to Earldom of Glan- dore. Died at Ardfert Abbey, Augt. 19th, 1814. Her daughter married Mr. Herbert, of Mucross. 13 ELIZABETH, COUNTESS OF DERBY Chaloner Smith 16. Second state. After Sir Joshua Reynolds. Only daughter of James, 6th Duke of Hamilton, and the beauti­ ful Elizabeth Gunning. Born January 2.6th, 1753; married, June 13rd, 1774, to Edward, i2.th Earl of Derby. She died March 14th, 1797, and was buried at Bromley, Kent. The notices add: "her own family paying her debts, which amounted to £5,000." The Earl married, secondly, May 1,1797, Miss Elizabeth Farren. 14 JANE, DUCHESS OF GORDON Chaloner Smith 2.8. First state. Before inscription; names of painter, engraver and the publication line in scratched letters. After Sir Joshua Reynolds. Eldest daughter of Sir William Maxwell, Bart.; married to the 4th Duke of Gordon, 1767; celebrated for her beauty, sprightly wit, and captivating manners, and was also most careful in the [6] education of her children; three of her daughters became Duch­ esses (Richmond, Manchester, Bedford), one was Marchioness Cornwallis, and the last Lady Sinclair. She died at the Pulteney Hotel, Piccadilly, April n, 1811, in her 64th year. 15 MRS. GWYNNE AND MRS. BUNBURY Chaloner Smith 34. First state. After Daniel Gardner. Collection: W. E. Drugulin. Mrs. Gwynne, nee Mary Horneck, was daughter of Captain and Mrs. Kane Horneck, celebrated by Goldsmith as the "Jessamy Bride"; married General Gwynne, equerry to George III; was bedchamber-woman to Queen Charlotte. Died in Portman Street, January 14, 1840, aged 87. Mrs. Bunbury, nee Catherine Horneck, eldest daughter of Cap­ tain Horneck, celebrated by Goldsmith as "Little Comedy"; married 1771, Henry William Bunbury. She died at General Gwynne's residence; Egham Hill, July 8, 1799. 16 MRS. PELHAM Chaloner Smith 59. First state. After Sir Joshua Reynolds. Sophia, daughter of George Aufrere, of Chelsea, Esq.; married, 1770, Charles Anderson Pelham, Esq. (M. P. for Lincoln, created Baron Yarborough, 1794).
Load more

Recommended publications
  • Shearer West Phd Thesis Vol 1
    THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON (VOL. I) Shearer West A Thesis Submitted for the Degree of PhD at the University of St. Andrews 1986 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/2982 This item is protected by original copyright THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON Ph.D. Thesis St. Andrews University Shearer West VOLUME 1 TEXT In submitting this thesis to the University of St. Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and abstract will be published, and that a copy of the I work may be made and supplied to any bona fide library or research worker. ABSTRACT A theatrical portrait is an image of an actor or actors in character. This genre was widespread in eighteenth century London and was practised by a large number of painters and engravers of all levels of ability. The sources of the genre lay in a number of diverse styles of art, including the court portraits of Lely and Kneller and the fetes galantes of Watteau and Mercier. Three types of media for theatrical portraits were particularly prevalent in London, between ca745 and 1800 : painting, print and book illustration.
    [Show full text]
  • Catalogue of the Earl Marshal's Papers at Arundel
    CONTENTS CONTENTS v FOREWORD by Sir Anthony Wagner, K.C.V.O., Garter King of Arms vii PREFACE ix LIST OF REFERENCES xi NUMERICAL KEY xiii COURT OF CHIVALRY Dated Cases 1 Undated Cases 26 Extracts from, or copies of, records relating to the Court; miscellaneous records concerning the Court or its officers 40 EARL MARSHAL Office and Jurisdiction 41 Precedence 48 Deputies 50 Dispute between Thomas, 8th Duke of Norfolk and Henry, Earl of Berkshire, 1719-1725/6 52 Secretaries and Clerks 54 COLLEGE OF ARMS General Administration 55 Commissions, appointments, promotions, suspensions, and deaths of Officers of Arms; applications for appointments as Officers of Arms; lists of Officers; miscellanea relating to Officers of Arms 62 Office of Garter King of Arms 69 Officers of Arms Extraordinary 74 Behaviour of Officers of Arms 75 Insignia and dress 81 Fees 83 Irregularities contrary to the rules of honour and arms 88 ACCESSIONS AND CORONATIONS Coronation of King James II 90 Coronation of King George III 90 Coronation of King George IV 90 Coronation of Queen Victoria 90 Coronation of King Edward VII and Queen Alexandra 90 Accession and Coronation of King George V and Queen Mary 96 Royal Accession and Coronation Oaths 97 Court of Claims 99 FUNERALS General 102 King George II 102 Augusta, Dowager Princess of Wales 102 King George III 102 King William IV 102 William Ewart Gladstone 103 Queen Victoria 103 King Edward VII 104 CEREMONIAL Precedence 106 Court Ceremonial; regulations; appointments; foreign titles and decorations 107 Opening of Parliament
    [Show full text]
  • 186 the Edinburgh Gazette, February,!5, 1870
    186 THE EDINBURGH GAZETTE, FEBRUARY,!5, 1870. ELECTION OF A TEMPORAL PEEK OF Villiam Thomas, Earl of Claucarty. jaurence, Earl of Rosse. IRELAND. aines, Earl of Nor man ton. Villiam, Earl of Bantry. "eorge Augustus Frederick, Earl of Sheffield. CROWN AND HANAPER OFFICE, Vancis Jack, Earl of Kilmorey. February 11, 18TO. id win Richard, Earl of Duuraven. iVilliam, Earl of Listowel. In pursuance of an Act passed in the fortieth Sector, Earl of Norbury. Edward Anthony John Preston, Viscount Gormanston. year of the reign of His Majesty King George [eury Edmond, Viscount Mountgarrett. the Third, entitled " An Act to regulate the mode Hetor Albert George, Viscount Grandison. 'heobald Dominick Geoffrey, Viscount Dillon. " by which the Lords Spiritual and Temporal, and Vrthur James, Viscount Netterville. " the Commons, to serve in the Parliament of the lie-hard George, Viscount Lumley. Charles Rudolph Joseph Francis Clement, Viscount " United Kingdom, on the part of Ireland, shall be Tnaffe. " summoned and returned to the said Parliament," 'honias Heron, Viscount Rnnelagh. [ichard Pigot, Viscount Moleswurth. I do hereby give Notice that Writs, bearing teste iichard Walter. Viscount Chetwyud. this day, have issued for electing a Temporal llura John, Viscount Miilleton. Hustavus Frederick, Viscount Boyne. Peer of Ireland to succeed to the vacancy made aines, Viscount Griniston. by the demise of Edward, Baron Crofton, in jeorgo-William, Viscount Harrington, jieorge Edward Arundell, Viscount Galway. the House of Lords of the said United Kingdom, lervyn Viscount Poworsuourt. which said Writs are severally directed to the lenry Walker, Viscount Ashbrook. lervoy, Viscount Mount-Morres. following Peers whose right to vote on the ?homas Artluir, Viscount Southwell.
    [Show full text]
  • Scottish Art: Then and Now
    Scottish Art: Then and Now by Clarisse Godard-Desmarest “Ages of Wonder: Scotland’s Art 1540 to Now”, an exhibition presented in Edinburgh by the Royal Scottish Academy of Painting, Sculpture and Architecture tells the story of collecting Scottish art. Mixing historic and contemporary works, it reveals the role played by the Academy in championing the cause of visual arts in Scotland. Reviewed: Tom Normand, ed., Ages of Wonder: Scotland’s Art 1540 to Now Collected by the Royal Scottish Academy of Art and Architecture, Edinburgh, The Royal Scottish Academy, 2017, 248 p. The Royal Scottish Academy (RSA) and the National Galleries of Scotland (NGS) have collaborated to present a survey of collecting by the academy since its formation in 1826 as the Scottish Academy of Painting, Sculpture and Architecture. Ages of Wonder: Scotland’s Art 1540 to Now (4 November 2017-7 January 2018) is curated by RSA President Arthur Watson, RSA Collections Curator Sandy Wood and Honorary Academician Tom Normand. It has spawned a catalogue as well as a volume of fourteen essays, both bearing the same title as the exhibition. The essay collection, edited by Tom Normand, includes chapters on the history of the RSA collections, the buildings on the Mound, artistic discourse in the nineteenth century, teaching at the academy, and Normand’s “James Guthrie and the Invention of the Modern Academy” (pp. 117–34), on the early, complex history of the RSA. Contributors include Duncan Macmillan, John Lowrey, William Brotherston, John Morrison, Helen Smailes, James Holloway, Joanna Soden, Alexander Moffat, Iain Gale, Sandy Wood, and Arthur Watson.
    [Show full text]
  • 9780521819206 Index.Pdf
    Cambridge University Press 978-0-521-81920-6 - Wilhelm II: The Kaiser’s Personal Monarchy, 1888–1900 John C. G. Röhl Index More information Index Abdul Hamid II, Sultan 125, 222, 768, 938, 939, 68, 70, 103, 124, 130, 331, 338, 361, 363, 944, 946, 947, 948, 950, 951, 952, 953, 483, 484, 485, 536, 551, 636, 646, 988 987 advises Empress Frederick in her relations with Achenbach, Heinrich von (Oberprasident¨ of Wilhelm II 57–8 Province of Brandenburg) 526 Jewish friendships 135 Adolf, Grand Duke of Luxemburg 536, 639, 640, discourtesy towards Wilhelm II 771–2 642 furious reaction to Kruger¨ telegram 791–2 Adolf, Prince of Schaumburg-Lippe (husband of on German antagonism towards Britain 937 Viktoria (Moretta)) 197, 401, 630, 633, relations with Wilhelm II 967 636, 640–2, 643, 648, 801 Vienna incident 77–101 Affie, see Alfred, Duke of Edinburgh effects on Anglo-German relations 487, 488, Africa 489, 490; speech at Frankfurt an der Oder German colonial policy 149–52 73–7 following Bismarck’s dismissal 352–5 ameliorates anti-German attitudes 972 as affected by German-African Company’s accused of discourtesy to Senden-Bibran 973 ownership of the colonies 777–8 involvement in succession question to duchies of South Africa, British colonial policy and its Coburg and Gotha 990 effects on Anglo-German relations 780–98 Albert Victor (Eddy), Duke of Clarence (elder son Ahlwardt, Hermann (anti-Semitic agitator) 465 of Prince of Wales) 103, 124, 126–7, 361, Albedyll, Emil von (Chief of Military Cabinet 482, 483, 653–4 under Kaiser Wilhelm I) 110, 154,
    [Show full text]
  • Annual Report 1995
    19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
    [Show full text]
  • The Connoisseur (Sir Gerald Ryan
    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.
    [Show full text]
  • Catalogue of Eighteenth Century Mezzotints : on Exhibition at The
    • > XVIII CENTURY t > Catalogue of Eighteenth Century iWe^otint0 On Exhibition at the Galleries ofMts&xz. J¥l Unoeito & Co, 3SS Fifth Avenue, New York. December igio r HE finest reproductions in black and white ever produced were those made by the XVIII century mezzotint engravers or more properly "Scrapers". Their work translated the tones and values of the orig­ inals so perfectly that one even feels their color. To arrive at this result it required more than the ordinary mechani­ cal skill; they could not make use of a photograph, as they do to-day to assist them, for this process had not then been discovered. The increasing demand and consequent diminished supply of fine impressions has made it almost as difficult to procure certain examples as it is to secure the original paintings. NOTE—First impressions, Artists Proofs, number of­ ten less than 30 perfect copies, owing to the softness of the copper plates. In this epoch they were not steel faced; the discovery not being made until the early part of the XIX century. The exhibition we now have comprises many rare and beautiful impressions, impressions which one seldom sees outside of Museums, among them are duplicates fiom the British Museum Collection which we have been most fortunate in securing. The prices asked are such as they command in England and the continent. Someone very wisely remarked, "It is not the price, it is the being able to get the rare work". CATALOGUE 1 SIR JEFFREY AMHERST, K. C. B. Sir Joshua Reynolds,-James Watson First state 2 MARY, DUCHSSS OF ANCASTER.H.L.oval Sir Joshua Reynolds,-James Watson Engraver's proof, almost unique 3 MARY, DUCHESS OF ANCASTER Sir Joshua Reynolds,-J.
    [Show full text]
  • Kit-Cat Related Poetry
    ‘IN AND OUT’: AN ANALYSIS OF KIT-CAT CLUB MEMBERSHIP (Web Appendix to The Kit-Cat Club by Ophelia Field, 2008) There are four main primary sources with regard to the membership of the Kit-Cat Club – Abel Boyer’s 1722 list,1 John Oldmixon’s 1735 list,2 a Club subscription list dated 1702,3 and finally the portraits painted by Sir Godfrey Kneller between 1697 and 1721 (as well as the 1735 Faber engravings of these paintings). None of the sources agree. Indeed, only the membership of four men (Dr Garth, Lord Cornwallis, Spencer Compton and Abraham Stanyan) is confirmed by all four of these sources. John Macky, a Whig journalist and spy, was the first source for the statement that the Club could have no more than thirty-nine members at any one time,4 and Malone and Spence followed suit.5 It is highly unlikely that there were so many members at the Kit-Cat’s inception, however, and membership probably expanded with changes of venue, especially around 1702–3. By 1712–14, all surviving manuscript lists of toasted ladies total thirty-nine, suggesting that there was one lady toasted by each member and therefore that Macky was correct.6 The rough correlation between the dates of expulsions/deaths and the dates of new admissions (such as the expulsion of Prior followed by the admission of Steele in 1705) also supports the hypothesis that at some stage a cap was set on the size of the Club. Allowing that all members were not concurrent, most sources estimate between forty- six and fifty-five members during the Club’s total period of activity.7 There are forty- four Kit-Cat paintings, but Oldmixon, who got his information primarily from his friend Arthur Maynwaring, lists forty-six members.
    [Show full text]
  • British Taste in the Nineteenth Century ••
    BRITISH TASTE IN THE NINETEENTH CENTURY •• WILLIAM MULREADY The Sailing Match (S l) BRITISH TASTE IN THE NINETEENTH CENTURY AUCKLAND CITY ART GALLERY • MAY 1962 Foreword This exhibition has been arranged for the 1962 Auckland Festival of Arts. We are particularlv grateful to all the owners of pictures who have been so generous with their loans. p. A. TOMORY Director Introduction This exhibition sets out to indicate the general taste of the nineteenth century in Britain. As only New Zealand collections have been used there are certain inevitable gaps, but the main aim, to choose paintings which would reflect both the public and private patronage of the time, has been reasonably accomplished. The period covered is from 1820 to 1880 and although each decade may not be represented it is possible to recognise the effect on the one hand of increasing middle class patronage and on the other the various attempts like the Pre-Raphaelite move­ ment to halt the decline to sentimental triviality. The period is virtually a history of the Royal Academy, which until 1824, when the National Gallery was opened, provided one of the few public exhibitions of paintings. Its influence, therefore, even late in the century, on the public taste was considerable, and artistic success could onlv be assured by the Academy. It was, however, the rise of the middle class which dictated, more and more as the century progressed, the type of art produced by the artists. Middle class connoisseur- ship was directed almost entirely towards contemporary painting from which it de­ manded no more than anecdote, moral, sentimental or humorous, and landscapes or seascapes which proclaimed ' forever England.' Ruskin, somewhat apologetically (On the Present State of Modern Art 1867), detected two major characteristics — Compassionateness — which he observed had the tendency of '.
    [Show full text]
  • On the Exhibition Policies for Raphael's Masterpieces
    Renaissance 3/2015 - 1 /lessandra Galiz6i Kroegel “3a.e space #or the great Raphael9& :n the ;*hibition Policies #or Raphael1s 3asterpieces Fig. 1= >iew of the current installation of the 2istine 3adonna in the +emäldegalerie /lte 3eister ?resden @0erbert -oswan., ?resden, 2taatliche 8unstsammlungen ?resdenA. “Raphael, or Ingres, or Picasso are meant Raphael in German and Italian museums during to be meditated upon. !" In order to med- the nineteenth centur) and up to the #irst hal# o# itate on a painting, it is essential to present the t%entieth century.[2] ,his stud) %as inspired it in a #avorable location and %ithin a calm b) (laudia -rin. and /ndreas 0enning1s care#ul atmosphere.& reconstruction o# the various hangings o# the 'e (orbusier[1] 2istine 3adonna #rom 1455, %hen the altarpiece arrived in 2a*on) a#ter its removal #rom the In this essa) I %ill discuss the e*hibition policies church o# 2an 2isto in Piacenza, to the present that %ere developed #or a #e% altarpieces b) day in its current location in the Gem7ldegalerie /lessandra +ali66i 8roegel 3a.e space #or the great Raphael9 .unstte*te.de 3/2015 - 2 <ig. 2= /dol# von 3en6el, Plat6 #Br den groβen Raf#ael9, Raphael in ?resden 1D55/5E, +ouache and pastel on paper, 5F * F2 cm, +er- manisches Gationalmuseum Gurnberg, 'oan o# the cit) of Gurnberg, @3oni.a Runge, +ermanisches Gationalmuseum “3ake space #or the great Raphael9&= a #amous Gurnberg). gouache b) /dolph 3en6el bearing this title (1D55/1D5EA @#ig. 2A illustrates an anecdote %hich ma) have circulated at the court o# 2a*on) #rom /lte 3eister in ?resden, %here it is e*hibited as the middle o# the eighteenth century, and %hich the clima* o# the %estern %ing1s stunning en#i- became %ell-.no%n not onl) in +erman) but to lade o# Italian galleries @#ig.
    [Show full text]
  • Animal Painters of England from the Year 1650
    JOHN A. SEAVERNS TUFTS UNIVERSITY l-IBRAHIES_^ 3 9090 6'l4 534 073 n i«4 Webster Family Librany of Veterinary/ Medicine Cummings School of Veterinary Medicine at Tuits University 200 Westboro Road ^^ Nortli Grafton, MA 01536 [ t ANIMAL PAINTERS C. Hancock. Piu.xt. r.n^raied on Wood by F. Bablm^e. DEER-STALKING ; ANIMAL PAINTERS OF ENGLAND From the Year 1650. A brief history of their lives and works Illustratid with thirty -one specimens of their paintings^ and portraits chiefly from wood engravings by F. Babbage COMPILED BV SIR WALTER GILBEY, BART. Vol. II. 10116011 VINTOX & CO. 9, NEW BRIDGE STREET, LUDGATE CIRCUS, E.C. I goo Limiiei' CONTENTS. ILLUSTRATIONS. HANCOCK, CHARLES. Deer-Stalking ... ... ... ... ... lo HENDERSON, CHARLES COOPER. Portrait of the Artist ... ... ... i8 HERRING, J. F. Elis ... 26 Portrait of the Artist ... ... ... 32 HOWITT, SAMUEL. The Chase ... ... ... ... ... 38 Taking Wild Horses on the Plains of Moldavia ... ... ... ... ... 42 LANDSEER, SIR EDWIN, R.A. "Toho! " 54 Brutus 70 MARSHALL, BENJAMIN. Portrait of the Artist 94 POLLARD, JAMES. Fly Fishing REINAGLE, PHILIP, R.A. Portrait of Colonel Thornton ... ... ii6 Breaking Cover 120 SARTORIUS, JOHN. Looby at full Stretch 124 SARTORIUS, FRANCIS. Mr. Bishop's Celebrated Trotting Mare ... 128 V i i i. Illustrations PACE SARTORIUS, JOHN F. Coursing at Hatfield Park ... 144 SCOTT, JOHN. Portrait of the Artist ... ... ... 152 Death of the Dove ... ... ... ... 160 SEYMOUR, JAMES. Brushing into Cover ... 168 Sketch for Hunting Picture ... ... 176 STOTHARD, THOMAS, R.A. Portrait of the Artist 190 STUBBS, GEORGE, R.A. Portrait of the Duke of Portland, Welbeck Abbey 200 TILLEMAN, PETER. View of a Horse Match over the Long Course, Newmarket ..
    [Show full text]