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1- Collecting Seventeenth-Century Dutch Painting in England 1689

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1- Collecting Seventeenth-Century Dutch Painting in England 1689 -1- COLLECTING SEVENTEENTH-CENTURY DUTCH PAINTING IN ENGLAND 1689 - 1760 ANNE MEADOWS A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy t University College London, November, 1988. -2- ABSTIACT This thesis examines the collecting of seventeenth century Dutch painting in England from 1689 marking the beginning of auction sales in England to 1760, Just prior to the beginning of the Royal Academy and the rising patronage for British art. An examination of the composition of English collections centred around the period 1694 when William end Mary passed a law permitting paintings to be imported for public sale for the first time in the history of collecting. Before this date paintings were only permitted entry into English ports for private use and enjoyment. The analysis of sales catalogues examined the periods before and after the 1694 change in the law to determine how political circumstances such as Continental wars and changes in fiscal policy affected the composition of collecting paintings with particular reference to the propensity for acquiring seventeenth century Dutch painting in England Chapter Two examines the notion that paintings were Imported for public sale before 1694, and argues that there had been essentially no change In the law. It considered also Charles It's seizure of the City's Charters relaxing laws protecting freemen of the Guilds from outside competition, and the growth of entrepreneur- auctioneers against the declining power of the Outroper, the official auctioneer elected by the Corporation of City of London. An investigation into the Poll Tax concluded that the boom in auction sales was part of the highly speculative activity which attended Parliament's need to borrow public funds to continue the war with France. Chapter Three discusses some of the economic circumstances In the Dutch-English alliance in 1689 which helped to establish the financial infrastructure supporting the importation and acquisition -3- of paintings. A comparative analysis of subject matter in Dutch collections showed en increase in the production of landscape painting in particular which was In turn reflected fri English collections. The experimental procedure in Chapter Four Involved a detailed analysis of auction sales for the period 1689-1694 and drawing on the evidence provided in the previous chapters showed that the propensity to collect seventeenth century Dutch painting dominated collecting, and it was available in large numbers by Dutch artists working in England and by Dutch artists abroad. Chapter Five covers the period after 1695 to 1760 using random sampling of annotated sales catalogues (1711 to 1759) illustrating the effect of increased trade on the composition of collecting, demonstrating that marginally cheaper prices for Dutch landscapes, portraiture and genre painting challenged the growing taste for Italian or French landcapes, genre and religious and classical history painting. Dutch painting as an Investment Is also considered. This thesis contributes to the knowledge of prices paid for paintings for the period 1711-1759 through statistical analysis. Summaries of the average price paid for seventeenth century Dutch and other European paintings provide a scale to analyse prices often quoted In eighteenth century art historical studies. These summaries illustrate more precisely that paintings at auction sales were generally low in price providing a benchmark figure, which manipulated the market to the extent that paintings by living British artists were unable to compete. -4- ACKNOWLEDGEIENTS This research carried out over a period of four years requf red the examination of a vast amount of data and involved collecting 1 coding, and a tremendous amount of counting and calculating, typing, and editing. Some of the work, particularly the statistical material was very detailed and all of it required a great deal of hard work. I em particularly grateful to Professor William Vaughan of Birkbeck College for his great encouragement, keen perception and very generous advice during the process of this work. My thanks also to Dr. Thomas Gretton for his helpful suggestions and guidance. I must mention the knowledgeable contribution of specialists in the Department of Statistical Science, University College London, particularly Mr. Rex Gaibraith, for his advice concerning sampling techniques and statistical analysis of the data. A number of institutions and their staff who facilitated my research must be given special consideration. Brian Allen, and Evelyn Newby of the Paul Mellon Centre for directing me to the inventories collected by the late Dr. Robert Raines ; Robin Meyers, Archivist of the Stationers Company, and Mr. Graham Smith Librarian and Archivist of H H Customs and Excise. I am very grateful to the staff at the University of London computer centre for the SPSSX computer course which I attended and for assisting in the analysis of data; the staff of the Victoria and Albert Library, the British Museum Library and Manuscript Room, the Bodleien Library, the Public Record Office, the Archivists at Guild Hall and the House of Lords Library for their kind assistance. -5- Many individuals provided information, and useful material and among these I must mention, Frank Simpson and Francis Russell of Christies for answering my queries. I am grateful to John and Rosalie Meadows for their advise which enabled me to put customs data onto computer and produce the graphs in the appendices. I must also mention Anne Townley for her help in typing a biographical listing of Dutch artists; and a special mention to Lylle Sweeney for her help in typing. There were numerous friends at William Goodenough House who gave support in many small ways, but I cannot mention all of them, however I must mention Professor Margaret Doxey for her friendship and kind support; and to Yolande Anderson-Abeywira whose kindness and great generosity heiped to make the brief periods spent away from my thesis most enjoyable. I am also grateful to Professor John E.C.T. White of the Department of History of Art, University College, London for his kind support and for giving me the opportunity to supervise students attending the Slade Lectures which helped to refresh my memory of many forgotten aspects of art history and opened up areas previously unexplored. This work is dedicated to my parents for their very generous support, and encouragement, throughout the period of this research without which this thesis would never have been completed. I am particularly grateful to my father for introducing me to statistical analysis and ways of examining problems. To his memory I dedicate this thesis. -6- TABLE OF CONTENTS Abstract 2. Achriowl edgeinen t s 4. List of Tables 9. COLLECTING SEVENTEENTH CENTURY DUTCH PAINTING IN ENGLAND 1689-1760 1. INTRODUCTION 14. II. THE BEGINNING OF AN ART MARKET IN ENGLAND : LEGAL AND ECONOMI C DETERMINANTS. 34. 2.0.1. Early Sales Activity 36. 2.0.2. CompetitIon between the City Outroper and Entrepreneur-Auctioneers 39. 2.0.3. Fees Charged for Auctioning Goods 45. 2.0.4. Auction Sales and Taxation : 1688 to 1695 48. 2.1.0. The Importation of Paintings Prior to the 1694 Statute and the composition of English Collections 52. 2.1.2. Sales in the Period After 1694 56. 2.2.0. Decline of the Palnters-Stainers Company 60. III. CONDITIONS FAVOURING A GROWTH IN COLLECTING PAINTINGS IN ENGLAND : 1689-1760 3.0.1 Introduction 68. 3.1.1 Dutch Investment in England 69. 3.1.2 The Effect of Dutch Investment on the Art Market 70. 3.1.3 Economic Conditions in England 1689-1760 78. 3.2.0 The Art Market 86. 3.3.0 Customs Records 89. 3.3. 1 The Inspector General's Accounts go. 3.4.0 The Composition of Paintings in Dutch Collections 94. 3,4.1 Simillar Trends in Collecting Paintings in England 96. 3.4.2 Factors Affecting the Demand for Paintings 97. IV. A STATISTICAL ANALYSIS OF SALE CATALOGUES Section I : 1689 - 1694 4,0.0 Introduction 106. 4.0.1 The General Trends 107. 4,0.2 The Aim 110, 4.1.0 A Comparative Analysis of Subject Matter in Sales Catalogues: 1689-1694 Some Methodological Considerations 112. 4.1.1 An analysis of Subject Matter by Country of Origin 115, Contf -7- 4.2.0 A Comparison of Paintings of Various Subjects for Artists Working in England and Abroad 118. 4.3.0 A Comparative Analysis of Subject Matter in Paintings by Country of Origin in English Collections 1689-1694 132. 4.3.1 Analysis of' the Results 133. 4.3.2 Landscape Painting : An Overview 134. 4.4.0 Seventeenth Century Dutch Painting in Sales Catalogues 1689-1694 138. 4.4.1 Itallanate- Dutch Landscapes 139. 4.4.2 Naturalistic Dutch Landscapes 144. 4.5.0 Portrait Painting : An Overview 147. 4.5.1 Dutch Portrait Painting 148. 4.5.2 German Portraiture 154. 4.5.3 ItalIan Portraiture 156. 4.5.4 Venetian " 157. 157. 4.5.5 French " 4.5,6 British " 158. 4.6.0 Genre and Low-Life Painting : Contemporary Attitudes 159. 4.6.1 Droll Painting In Sales Catalogues 1689-1694 162. 4.6.2 Dutch Low-Life Painters in England 162. 4.6.3 Dutch Low-Life Painters Abroad 164. 4.6.4 Flemish Low-Life and Genre Painters 166. 4.6.5 Flemish Painters of Genre 168. 4.6.6 Italian and Venetian Genre Painters 170, 4.6.7 British Painters of Genre and Low-Life 170. 4.7.0 Biblical Histories: An Overview 172. 4.7.4 Biblical Figures 175. 4.8.0 Allegorical Painting 178. 4.8.1 Summary of Dutch Allegorical paintings 179. 4.8.2 Flemish Allegorical Subjects 180. 4.9.0 MythologIcal Histories 183. 4.10,0 Mythological Figures 186. 4.11.0 Still Life 187.
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