Blickling Hall Illustrated Picture List Oliver Cromwell, James I, Sir Henry Hobart, 4th Bt, English School, 18th century, after Samuel Cooper English School, 17th century attributed to William Wissing or Sir

Endowed Grammar Schools’ were @CLC?QF OGEFQ J?LBGLE: The Great Hall chiefly done from his father’s drawings. ELEJGPF SAFMMJ, 16th century, Later works were entirely his own. after HMJ@CGL (1497/8–1543) SMALLER PICTURES Henry VIII (1491–1547) @CLC?QF JCDQ J?LBGLE: [CMS355468] ?@MSC JCDQ-F?LB BMMO: ELEJGPF SAFMMJ, 17th century One of several copies of a lost ELEJGPF SAFMMJ, 18th century, George Villiers, 1st Duke of Buckingham original. From Newbattle Abbey. after S?KRCJ CMMNCO (c.1608–72) (1592–1628) Oliver Cromwell (1599–1658) [CMS355467] ML OGEFQ NGCO: [CMS355469] The favourite of James I and VI. A After FO?LAGP CMQCP (1726–70) The original miniature is in the copy derived from the Mytens full- John, 2nd Earl of Buckinghamshire Buccleuch Collection. length of 1626, at Euston Hall, Suffolk. (1723–93) [CMS355570] ML JCDQ NGCO: ?OMRLB ACLQO?J TGLBMT: Remodelled in Jacobean style ELEJGPF SAFMMJ, 17th century ELEJGPF SAFMMJ, 17th century and built the . The signed James I (1566–1625) Sir James Hobart (1436–1507) original of 1766, is at Melbourne Hall, [CMS355471] [CMS355510] Derbyshire. Francis Cotes first made A small copy of the large state portrait Attorney-General to Henry VII and his mark in 1748 as a pastellist. He was by Daniel Mytens, known only from this Lord Chief Justice. Sir Henry Hobart’s a pupil of George Knapton, but used and other replicas. One of the Lothian most distinguished ancestor. An brighter colour than his master, and pictures from Newbattle Abbey, which imaginary portrait in the dress of a later shows the influence of Carriera and can mostly be identified by the period, so possibly originally of another Liotard. During the 1760s he worked inventory numbers painted on them. sitter altogether. There is a version in more in oils and adopted Reynolds’s the Norwich Civic Portrait Collection. portrait style in contrast to the more JMFL CFCPPCJJ BRAIJCO (1793–1894) conservative patterns of Knapton. He The Great Hall, 1820 ELEJGPF SAFMMJ, 17th or 18th century was a founder member of the RA. Watercolour Sir James Hobart (1436–1507) and his (1768). His house and studio in [CMS355551] third Wife, Margaret Naunton (d.1494) Cavendish Square were taken over by Showing William Ivory’s 1767 [CMS355513] a later rival of Reynolds, George rearrangement of the Jacobean A copy of a window at Loddon church, Romney. staircase, painted white. The artist was which commemorates its rebuilding the eldest son of John Buckler by Sir James. It is shown in the ?@MSC OGEFQ-F?LB BMMO: (1770–1851), whose interest in background, together with St Olave’s ELEJGPF SAFMMJ 18th century, sketching and architectural Bridge, which was built by his wife. after S?KRCJ CMMNCO (c.1608–72) draughtsmanship he shared. He General George Monck, 1st Duke of exhibited at the Royal Academy Attributed to WGJJG?K WGPPGLE Albemarle (1608–70) between 1810–44, mainly views of (1653–87) or Sir GMBDOCV KLCJJCO [CMS355470] churches, ruins and country houses. (1646/9–1723) Masterminded the restoration of His ‘Views of Cathedral Churches in Sir Henry Hobart, 4th Bt (1658–98) Charles II in 1660. The original ’ (1822) were largely copied [CMS355509] miniature is in the Buccleuch from his father’s previously published The victim of the notorious Cawston Collection. prints, whilst his ‘Views of Eaton Hall’ duel, and father of the 1st Earl of in 1826, and in 1827 ‘Sixty Views of Buckinghamshire.

1 The Great Hall, by J.C. Buckler

FULL-LENGTH PICTURES RNNCO JCSCJ (AJMAITGPC): Colonel Harbord Cropley Harbord, MP (?) Sir John Cope (1690–1760) (?1675–1742) Twelve of a series mostly [CMS 355481] [CMS 355555] commissioned from William Aikman Lieutenant-Colonel of the 1st Horse MP for 1728–34, and an (1682–1731) by Lord Hobart, later 1st Grenadier Guards at this period. MP ancestor of Lady Caroline Hobart’s Earl of Buckinghamshire, for the Long for Liskeard in 1727–34 and a political husband, the 2nd Baron Suffield. Gallery, in 1729–32. The identity of the crony of Hobart. He was decisively sitters derives from the 1793 inventory defeated by the Jacobites at Studio of CF?OJCP JCOS?P (c.1675–1739) and is in some cases tentative. Many Prestonpans in 1745. Charles, 2nd Viscount Townshend are in unusually rich ‘Kentian’ frames, (1674–1738) as are other portraits that once hung Sir Robert Walpole, KG (1676–1745) [CMS 355482] in the Long Gallery elsewhere in the [CMS 355487] The noted agricultural pioneer and house: George II on horseback; The Prime Minister and builder of politician. Henrietta, Countess of Suffolk and Sir Houghton Hall; wearing the John Maynard. William Aikman was Chancellor of the Exchequer’s robes. WGJJG?K AGIK?L (1682–1731) born and trained in Scotland, the son William Morden, MP (?1696–1770), 1729 of a laird. After five years in Italy and Sir Thomas Coke, KB, Lord Lovel [CMS 355486] Turkey, he settled in Edinburgh in 1712, (1697–1759) Brother-in-law of Sir John Hobart, 1st but after Kneller’s death in 1723, he [CMS 355552] Earl of Buckinghamshire, he assumed moved to . The builder of Holkham Hall, he was the name and arms of his uncle created the Earl of Leicester in 1744. Harbord in 1742, the year in which he RLBCO JCDQ PQ?GOP: began Gunton Hall, where there is a WGJJG?K AGIK?L (1682–1731) Sir William Leman, 2nd Bt (d.1741 or later portrait of him in a similar frame. (?) Sir Thomas Sebright, 4th Bt 1744), 1729 (1692–1736) or (?) Mr Crawley [CMS 355566] [CMS 355553/355605] Leman held considerable property in Sebright was a Tory, but his reputation Suffolk. He stands before the Piazza at as a book collector brought him into Covent Garden. Hobart’s Whig circle. A portrait of Mr Crawley was mentioned by a visitor General Sir Robert Rich, 4th Bt who saw the pictures in 1741. (1685–1768), 1729 [CMS 355567] RLBCO OGEFQ PQ?GOP: Of Roos Hall, Suffolk, Rich is shown as Edmund Prideaux (1693–1745) Colonel of the 8th Dragoon Guards. [CMS 355554] He sat for Hobart’s pocket borough in A university friend of Hobart and a Devon, Bere Alston, in 1724 to 1727, bibliophile, he drew views of Blickling and from 1727 to 1741 he succeeded c.1727. His home, Prideaux Place, him as MP for St Ives, . , appears in the background.

2 Lady’s Cottage, c.1780, by

HRKNFOV RCNQML (1752–1818) The Lobby Lady’s Cottage, c.1780 The Brown [CMS 353598] Drawing Room JCDQ T?JJ: Built for Caroline Conolly, Countess of (?) AJCU?LBCO N?PKVQF (1758–1840) Buckinghamshire, in 1780/1. On the Newbattle Abbey right is the fountain from Oxnead Hall LMOQF T?JJ, JCDQ QM OGEFQ: Gouache now at the centre of the Parterre. Studio of Sir ALQFMLV V?L DVAI [CMS 355497] Humphrey Repton was born in Bury St (1599–1641) The ancestral home of the Lothians in Edmunds, Suffolk. The successor to Elizabeth Howard (1613–48 or after) Midlothian. Born and trained as a Capability Brown, he completed the [CMS 355485] portrait painter in Edinburgh, when in change from the formal gardens of Granddaughter of the influential Italy in 1782–85 and afterwards, the early 18th century to the Katherine Knyvett, Countess of Nasmyth turned increasingly to picturesque, and coined the phrase Suffolk, and daughter of Sir Charles landscape in both oils and ‘landscape gardening’. He is famous Howard and the much-married Mary watercolour, also setting up a drawing for the ‘red books’, in which he Fitz of Fitzford. She was procured a school. He became a close friend, and presented ‘before’ and ‘after’ views of place as Maid of Honour to Queen painted two portraits, of Robert parks and gardens to potential clients Henrietta Maria by her grandmother. Burns. His six daughters and a son, (eg for Sheringham Hall in Norfolk). The last record of her is carrying Patrick (1787–1831), perpetuated his He also wrote Observations on the letters for her exiled royal mistress, style of landscape; another son, James Theory and Practice of Landscape and a warrant issued by Parliament for (1808–90), became a celebrated Gardening (1803). He is buried in the her arrest. engineer and inventor. churchyard in . After SGO ALQFMLV V?L DVAI ? AJCU?LBCO N?PKVQF (1758–1840) (1599–1641) Highland Scenery Charles I (1600–49) and Prince Charles Gouache (1630–85) [CMS 355496] A contemporary copy of Van Dyck’s ‘Great Piece’ of 1632, without the OGEFQ T?JJ: figures of the Queen and Princess J?KCP CMO@OGBEC Mary. Survey of the Parish of Blickling, 1729 [CMS 355514] [CMS 353584] Queen Henrietta Maria (1609–69) Shows the ‘goose-foot’ pattern of [CMS 355545] woodland rides that radiated from the The consort of Charles I. The original west front of the house. is at Windsor.

ML PMRQF T?JJ: JMFL MGAF?CJ WOGEFQ (1617–94) An Unknown Young Woman, c.1660 [CMS 355526]

3 James Stanley, Lord Strange, Charlotte de la Trémoille, Constance, Marchioness of Lothian, attributed to Michiel Miereveldt attributed to Michiel Miereveldt by Sir John Leslie

Attributed to MGAFGCJ MGCOCSCJBQ Sir JMFL LCPJGC, 1st Bt (1822–1916) DGOCNJ?AC T?JJ: (1567–1641) Lady Constance Talbot, Marchioness Studio of or after, SGO ALQFMLV James Stanley, Lord Strange (1606–51) of Lothian (1836–1901) V?L DVAI (1599–1641) [CMS 355478] [CMS 355493] The Hon. Margaret Wotton, Lady Tufton Charlotte de la Trémoille (1599–1663/4) Exh. RA 1866. The Marchioness [CMS 355484] [CMS355477] created the Parterre and Terrace in the Daughter of the diplomat and court The future 7th Earl of Derby and his East Garden, which is visible from this official, Edward, 1st Baron Wotton, bride, who heroically defended room. Sir John was born in London, and wife of Sir John Tufton. Lathom House against the but was the second son and virtual Parliamentarians in 1644. Painted at heir of Col. Charles Powell Leslie of GMBB?OB DRLLGLE (1614–after 1678) The Hague, 1626. These pictures were Glaslough (also known as Castle Self-portrait with Still-life part of the Lothian collection. James Lesley), Co. Monaghan, a descendant [CMS 355476] Stanley’s sister, Anne, was the second of Bishop John Leslie of Clogher. He Inscribed: œtatis 64 1678. wife of Robert Kerr, 1st Earl of was educated at Christ Church, The most ambitious of the pioneering Ancram. Miereveld, or Mierevelt, was Oxford, and a captain in the Life English still lifes painted by this a prolific portrait painter, who was Guards, but became a portrait painter. amateur artist in the manner of Pieter born and died in Delft but started He exhibited at the Royal Academy van Roestraeten (c.1630–1700), who working for the House of Orange in and also at the British Institute in 1858 had settled in England in the 1670s. The Hague in 1607, and subsequently and 1860. He was created a baronet in also for the exiled Court of the 1876. He lived at Castle Lesley ‘Winter Queen’. He also had a number between 1853 and 1867, and was MP of English sitters. Engravings by his for the County of Monaghan. son-in-law, William Jacobsz Delff, who had a monopoly of his portraits, FOCLAF SAFMMJ, 16th century contributed greatly to his fame, his Petrarch (1304–74) linear style being greatly suited to [CMS 355512] translation in this medium. Italian poet and scholar. This is an imaginary portrait.

FOCLAF SAFMMJ, 16th century Louis XI of France (1423–83) Acquired, with its pendant, by the 3rd Earl of Lothian in 1649, as by ‘Cornille’ (i.e. Corneille de Lyon). [CMS 355511]

4 Summer Flowers in a Terracotta Vase, Tuplips, Honeysuckle, Peonies and Roses in an Urn, Unknown lady, called Mary Queen of Scots, by Anton Weiss by Jan Frans Van Dael by Henry Shaw

ML LMOQF T?JJ: The Lower HCLOV SF?T, DP? (1800–73) Ante-room Unknown Lady, called Mary Queen of Scots [CMS 355479] ML PMRQF T?JJ: Mary Tudor, 1882 ALQML WCGPP (1801–51) [CMS 355480] Summer Flowers in a Terracotta Vase Two 19th-century colour prints from [CMS 355527] Strawberry Hill. The pseudo Mary Queen of Scots is after a painting then J?L FO?LP V?L D?CJ (1764–1840) in the possession of the Scottish Tulips, Honeysuckle, Peonies and Roses historian Patrick Fraser Tytler, but now in an Urn in the National Portrait Gallery. Mary [CMS 355528] Tudor is after an original by Hans Van Dael was a Flemish painter and Eworth, since 1828 in the possession lithographer. He first studied of the Society of Antiquaries. Mary Mary Tudor, architecture at the Antwerp Academy Queen of Scots is now called by Henry Shaw from 1776, despite his early preference Unknown Lady. for painting, and in 1786 he settled in Paris as a decorator. In 1793 he acquired lodgings in the Louvre next to Gerard van Spaendonck; under the influence of Spaendonck he turned to flower painting in which he specialised for the rest of his life.

5 , Antique Sacrifice, by (?) John de Critz by Francis Hayman

ELEJGPF SAFMMJ, 16th century Possibly by D?SGB SAMRE?J (active The Dining Room Elizabeth I (1533–1603) 1654–77) [CMS 355505] Unknown Man ML LMOQF T?JJ: Derived from the ‘Ditchley’ portrait [CMS 355560] J?KCP GRLL, O? (1893–1964) of c.1591. Philip Kerr, 11th Marquess of Lothian ELEJGPF SAFMMJ, c.1680 (1882–1940) Sir Henry Hobart, 4th Bt (1658–98) [CMS 355573] [CMS 355568] A posthumous portrait of the donor The Serving Room The same sitter as in the portrait on of Blickling. the Main Stairs. ?@MSC DGOCNJ?AC: ML C?PQ T?JJ: J.W. W?JQML (1816/17–65 or after) FO?LAGP H?VK?L (1708–76) ALEJM-DRQAF SAFMMJ, William, 8th Marquess of Lothian Four Antique Sacrifices and Mercury early 17th century (1832–70) delivering a message to Jupiter and Juno Unknown Naval Commander [CMS [CMS 355561-355565] [CMS 355483] The inheritor of Blickling from the These grisailles, which formed part of widowed Lady Suffield, and its the 1st Earl’s decoration in the Long ELEJGPF SAFMMJ, Victorianising transformer and Gallery, are derived from engravings early 17th century (?) preserver. of four reliefs on the Arch of Sir Philip Sidney (1554–86) Constantine in Rome, and another in [CMS 355508] the Museo Angelonio, contained in The poet-soldier, who died at the Bellori and Santi Bartoli’s Admiranda siege of Zutphen. After a portrait type The Brown Staircase Romanarum ... Monumenta (c.1693). established by John de Critz, c.1585. Grisaille is a form of painting done GCMOEC VCOQRC (1684–1756) largely or entirely, in shades of grey ML TCPQ T?JJ: Six engravings after various and is sometimes used to imitate the (?) JMFL DC COGQW (1555–1641/2) Tudor pictures. effects of sculpture. Hayman was the Anne of Denmark (1574–1619) [CMS 353599.1-353599.6] most versatile British artist of his [CMS 355475] period, painting portraits, subjects The consort of James VI and I, whom After EBT?OB BMTCO (d.1666/7) from literature and the theatre he married in 1589. John de Critz was a John Pym (1584–1643) (notably Shakespeare), and scenes of painter of Flemish parentage, brought [CMS 355548] rural folklore. His best work has a to England as a child; his sisters Leading Parliamentarian in the years certain Rococo charm but there is married Marcus Gheeraerts the Elder before the Civil War. some justification in Horace Walpole’s and Younger respectively. He and comment that his paintings are, ‘easily Robert Peake the Elder (fl. c.1576–1619) ELEJGPF SAFMMJ, early 18th century distinguishable by the large noses and became Serjeant Painters in 1607, but Rev. John Graile (1674–1732) shambling legs of his figures.’ Critz seems to have been the [CMS 355558] preferred painter of the King and of Blickling. Queen.

6 Theatre at Taormina, Temple at Vesta, by Christoph Heinrich Kniep by Christoph Heinrich Kniep

ML QFC OGEFQ-F?LB PGBC: The Lothian Row The Temple of Vesta at Tivoli [CMS 355500] CFOGPQMNF HCGLOGAF KLGCN (1755–1825) The Molo in the Bay of Naples Nine drawings by Goethe’s travelling- [CMS 355537] companion on a visit to southern Italy and Sicily in 1787. Signed and dated in LC?O NOGLQ-OMMK BMMO: Naples, 1788, they were probably a ELEJGPF SAFMMJ, early 17th century commission from the 3rd Duke of Two paintings of Unknown Men Buccleuch, who was in Italy on his [CMS Grand Tour in 1787, and whose daughter, Harriet, was to marry the D?O CLB: 6th Marquess of Lothian in 1806, as JMFL CFCPPCJJ BRAIJCO (1793–1894) his second wife. Kniep was born into a The East Front of Blickling family of artists, but he received his Watercolour first real artistic training in Hanover [CMS 355557] under a theatrical set-painter. He had The South Front of Blickling 1820 been in Italy for sometime before Watercolour accompanying Goethe, and remained [CMS 355556] there until his death, latterly as Professor at the Academy. MGAFCJ?LECJM M?CPQOG (d.1812) Four hand-coloured engravings of ML QFC JCDQ-F?LB PGBC: Roman wall paintings The Temple of Apollo, beside Lake [CMS 355525.1-355525.4] Avernus [CMS 355502] NC?NMJGQ?L SAFMMJ, c.1800 The Theatre at Taormina Fan decorated with Roman subjects [CMS 355504.1] and ornaments, in watercolour and Mount Etna gouache [CMS 355536] [CMS 355611] A Shepherd by a Ruined Amphitheatre [CMS 355501] The Temples at Paestum [CMS 355503] The Temple of Juno at Agrigentum [CMS 355504.2] The Temple of Minerva Medica, Rome [CMS 355538]

Details from two hand-coloured engravings of Roman wall paintings, by Michelangelo Maestri

7 William 8th Marquess of Lothian, Lisa, by George Richmond by Val Prinsep

Leighton. With Rossetti, Morris and ML LMOQF T?JJ: The ‘O’ Bedroom Burne-Jones, as well as Hungerford MGJCP EBKRLB CMQK?L (1810–58) Pollen, he decorated the debating hall Yarmouth Beach ML C?PQ T?JJ: of the Oxford Union Society with [CMS 355499] GCMOEC RGAFKMLB (1809–96) soon-faded murals illustrating the Blakeney Church William, 8th Marquess of Lothian Morte de’Arthur. He married a [CMS 355498] (1832–70) daughter of F.R. Leyland of Speke Hall Two watercolours by the eldest son, Black and white chalk (NT). pupil and assistant of John Sell [CMS 355523] Cotman (1782–1842), whose manner Commissioned J.H. Pollen to L?BV LMRGP? SQR?OQ, M?OAFGMLCPP MD and practice he continued. redecorate the Long Gallery. A study W?QCODMOB (1818–91) for the portrait exhibited at the Royal The Miraculous Draught of Fishes Academy in 1858. George Richmond [CMS 355531] was the best known member of a Dancing Putti family of English painters. He was a [CMS 355532] pupil of his father, the miniaturist Thomas Richmond Senior (1771–1837), ML TCPQ T?JJ: and also studied at the Royal The Madonna and Child Academy. In 1850 he was [CMS 355534] commissioned to paint a portrait of Three drawings by this gifted amateur, Charlotte Bronte. He was the most daughter of Lord Stuart de Rothesay sought-after portrait-painter of his and wife of the 3rd Marquess of day, working variously in oils, coloured Waterford (1811–59). Despite taking chalks, or watercolour. When young, Michelangelo and Raphael as her he was a disciple of , models, she worked almost exclusively whence the name that he later gave to on paper, even for her major work, the his son, Sir William Blake Richmond decoration of the village school at (1842–1921), who painted not only Ford, Northumberland (1861–82). portraits, but classical and alligorical subjects. ELEJGPF SAFMMJ MD VCOACJJG (?), c.1500 ML PMRQF T?JJ: The Crucifixion V?J POGLPCN (1838–1904) [CMS 355571] Lisa, 1867, a figure from Boccaccio’s This picture is heavily repainted, Decameron. making it hard to assess. It seems [CMS 355533] originally to have been made for, or to Val Prinsep was born in Calcutta, son have belonged to, a confraternity of a civil servant and of one of the connected with the Order of beautiful Pattle sisters. He studied Preaching Friars, the Dominicans (or under G.F. Watts and met Rossetti, Black Friars), to judge by the spotted becoming influenced by the Pre- dog included, together with a Tau- Raphaelites, although his work owes cross and chalice, in the shield at the its greatest debt to his friend bottom of the picture.

8 E1 E3 E5 E2 E4

E6 E9 E7 E8

E10 E11 E12 E13 E14 E15

C?PQ T?JJ: E11. F. VGS?OCP after CJ?RBC (?), The Print Room E1. PGO?LCPG, The Arch of Titus Landscape with two Artists Sketching Ruins The prints here originally came from a E2. ADQCO R?NF?CJ, The Transfiguration The doubtful original is in the Royal decayed room in the same wing, but Collection. when they were transferred in 1974, E3. PGO?LCPG The Colosseum, Rome their previous arrangement was E12. J.B. CFXQCJ?GL and F. VGS?OCP repeated. E4. After D?LGCJC D? VMJQCOO?, after CJ?RBC, Descent from the Cross Landscape with Peasants Dancing

E5. PGO?LCPG Forum of Nerva, Rome After a picture then belonging to the Duke of Kingston, and now in The E6. After PGJJCKCLQ, Peasants on a Hermitage. Bridge E13. F. VGS?OCP after CJ?RBC, E7. RMK?L SAFMMJ, 18th century, Landscape with Peasants crossing a Ford Castle and Lake E14. F. VGS?OCP after B?KNDVJBC, E8. After PFGJGNNP DC KMLGLAI (?), The Lake at Stourhead Dutch Landscape E15. F. VGS?OCP after CJ?RBC, E9. After PGJJCKCLQ, Pastoral Scene Pastoral Scene in a Landscape.

E10. F. VGS?OCP after CJ?RBC, Coastal scene with a Nymph espied by a youth (Liber Veritatis 139)

9 N1 N2 N3 N4

N5 N6 N8 N9 N7

N10 N11 N12

LMOQF T?JJ: N1. PGO?LCPG, Castello dell’Acqua Giulia N5. P.C. C?LMQ after RGAF?OB WGJPML, N9. W. WMMJJCQQ after RGAF?OB Great Bridge over the Taaf WGJPML, Snowdon N2. PGO?LCPG, The Pantheon, Rome N6. W. EJJGMQQ after RGAF?OB WGJPML, N10. W. BVOLC after RGAF?OB WGJPML, N3. PGO?LCPG, The Ponte Salario Cilgerran Castle Caernarvon Castle

N4. P. PGJ?G? after SC@?PQG?LM N7. LVOCRU after GORWC, Le père de N11. (?) after ZRAA?OCJJG, Italian CMLLA?, Publius Clodius discovered famille Pastoral Scene disguised as a woman at the celebrations of the Bona Dea in Julius Caesar’s House N8. J. M?PML after RGAF?OB WGJPML, N12. M.A. RMMICO after RGAF?OB Pembroke Castle WGJPML, Cader Idris

10 S3 S1 S2 S4 S5

S8 S7 S9 S6 S10 S13 S14 S12 S15

S11 S16 S17

PMRQF T?JJ: S1. PGO?LCPG, Pyramid of Cestius, S7. GO?LSGJJC after DREFCQ, S12. ELEJGPF SAFMMJ, c.1790, The 2nd Earl’s mausoleum in the park Classical Scene with Waterfall A Young Poet was inspired by this Roman tomb. After a picture then belonging to Dr Bragge S13. DML?QM after TRDLCJJ, S2. J.B. CFXQCJ?GL after DREFCQ, Cupid trying the Point of his Arrow Figures in a Storm S8. (?) After PGCQCO V?L L?CO (B?K@MAAGM), Farrier shoeing a Horse S14. DML?QM after TMD?LCJJ, S3. PGO?LCPG, Trajan’s Column, Rome Cupid losing his Arrow S9. GO?LSGJJC after DREFCQ, Scene with S4. (?) after DREFCQ, Italian Pastoral Waterfall S15. ELEJGPF SAFMMJ, c.1790, Scene After a picture belonging to William The Poet’s Beloved Lock S5. PGO?LCPG, The Temple of Bacchus S16. J. M?PML after F. L?ROG, Landscape S10. PGO?LCPG, Basilica of San Lorenzo with Fishermen drawing in their Net S6. W. DGAIGLPML after RCVLMJBP, fuori le mure Mrs Sheridan as St Cecilia S17. J. M?PML (?) after L?ROG (?), Italian S11. P.C. C?LMQ after CJ?RBC, The Pastoral Landscape Embarcation of Carlo and Ubaldo

11 W1 W2

W3 W4 W5 W6

W7 W8

TCPQ T?JJ: W1. PGO?LCPG, The Temple of Cybele W5. J. WMMB after DREFCQ, Italian (now called the Temple of Vesta), Piazza Pastoral Scene della Bocca della Verità W6. J.B. CFXQCJ?GL after DREFCQ, W2. PGO?LCPG, The Temple of the Sibyl, Scene on a Road with an Ox-cart Tivoli W7. GO?LSGJJC after DREFCQ, Classical W3. J. M?PML after DREFCQ, Distant Scene with Waterfall View of Tivoli The same print as S9, differently framed. W4. J. M?PML after DREFCQ, The Falls of Tivoli W8. (?) After WGJPML, Cicero and his Friends at his Villa at Arpinum

12 Chelsea from the Thames, Blackfriars Bridge, by Antonio Canaletto in the manner of Samuel Scott

ML LMOQF T?JJ: ML TCPQ T?JJ: The Lothian Row Attributed to X?SGCMO DCJJ? G?QQ? Manner of S?KRCJ SAMQQ (1702–72) Bathroom (active in Naples, before and after Blackfriars Bridge 1800) Painted in the early 1760s, when only La Solfatara, Pozzuoli, near Naples the first five arches had been built. ML PMRQF T?JJ: Gouache [CMS 355472] JMFL DGUML (1740–1801) after [CMS 355535.2] RGAF?OB CMPT?V (1742–1821 and Attributed to X?SGCOM DCJJ? G?QQ? S?TOCV GGJNGL (1733–1807) (active in Naples before and after William, 4th Marquess of Lothian, Kt 1800) (d.1775) The West Turret The Bay of Naples towards Vesuvius [CMS 353592] Bedroom Gouache Treacle print [CMS 355535.1] This is the central part only of an San Martino oblong engraving. The 4th Marquess ML C?PQ T?JJ: Gouache was wounded at the Battle of Manner of G?PN?OB DREFCQ, 18th [CMS 355535.3] Fontenoy in 1745, and commanded the century cavalry on the left wing at the Battle Classical Landscape JMFL ABCV RCNQML (1775–1860) of Culloden in 1746. He rose to [CMS 355516] Muskau Castle, Silesia, c.1821 become general in 1770. [CMS 355494] ALQMLGM C?L?JCQQM (1697–1768) This unexecuted scheme takes details After SGEKRLB FOCRBCL@COECO Chelsea from the Thames, 1751 from Blickling, where Repton rebuilt (1745–1801) [CMS 355474] the clock-tower for Lady Suffield. The Les Chanteuses du Mois de May The painting shows, from left to right, castle belonged to Prince Pückler- [CMS 353593.1] the greenhouse of the Physick Muskau, who later visited England and Garden; part of Paradise Row; Turret published vivid diaries of his CFOGPQG?L VML MCAFCJ (1737–1817) House (with cupola); Gough House; experiences. Jeune paysan de la Forêt Noire Sir Robert Walpole’s greenhouse, art [CMS 353591.2] gallery and casino; and one end of Paysanne des environs de Zurich Chelsea Hospital. The original [CMS 353591.1] painting was cut in two; the right half, with the rest of the Hospital and After SGEKRLB FOCRBCL@COECO Ranelagh Gardens, is in the National (1745–1801) Museum in Havana, Cuba. La Petite Fête Imprévue [CMS 353593.2] Manner of MGAFCJC M?OGCPAFG, 18th century CFOGPQG?L VML MCAFCJ (1737–1817) View of the Rialto Paysanne du Canton de Lucerne [CMS 355473] [CMS 353591.4] Paysan de l’Entlibuch, Bailliage du Canton de Lucerne [CMS 353591.3]

13 Lady Amelia Anne Hobart, Marchioness of Two of The Children of Sir John Hobart, 3rd Bt, English School, c.1670(?) Londonderry, after Sir Thomas Lawrence PRA

ELEJGPF SAFMMJ, c.1670 (?) (and earning a living), and he The Chinese The Children of Sir John Hobart, 3rd Bt succeeded so well that he had 150 Dressing Room [CMS 355492.1-355492.4] sitters a year by 1758, and by 1764 was Small paintings on panel depicting earning the enormous sum of £6,000 four of his six children. a year. Only Ramsay and Cotes were ML TCPQ T?JJ: rivals of any significance. In 1768 when After SGO TFMK?P L?TOCLAC, PRA B?OQMJMKCRP V?L B?PPCL the Royal Academy was founded, it (1769–1830) (1590–1652) was obvious that Reynolds was the Lady Amelia Anne Hobart, Marchioness Imaginary Interior with Figures only possible choice for the President. of Londonderry (1772–1829) [CMS 355491] Unlike Gainsborough he employed [CMS 355546] Van Bassen, who was born in Arnhem many pupils and assistants, and his The youngest daughter of the 2nd or The Hague, worked primarily at the work also differs from Gainsborough’s Earl, Lady Amelia Anne Hobart latter. He specialised in painting actual in being frequently poorly preserved married Viscount Castlereagh, the or – most usually – imaginary on account of his experimental future Foreign Secretary and 2nd interiors. technical procedures. Marquess of Londonderry, in 1794. Sir Thomas Lawrence was born in Bristol ML LMOQF T?JJ: Manner of GCO?OB V?L HMLQFMOPQ but his father soon moved to keep an Four framed fragments of the 18th- (1590–1656) inn at Devizes, where his son drew century Chinese wallpaper Three Men examining an Antique Head travellers on the way to Bath, in which by Candlelight they settled from 1780 to 1787, before SGO JMPFR? RCVLMJBP, PRA (1723–92) [CMS 355569] moving to London. In 1787 he was a Elizabeth Fortescue, Countess of Ancram The head appears to be that known as student at the RA Schools for a short (1745–80), 1769 the Emperor Vitellius, a byword for time and exhibited at the Academy of [CMS 355524] viciousness and gluttony. that year. From 1790, with his Lady Ancram’s eldest son, the 6th portraits of the Queen (which she did Marquess of Lothian, married Harriet BCLH?KGL WCPQ PRA (1738–1820) not herself like) and the actress Hobart, the 2nd Earl of Portrait of the Artist’s Wife and Son, Elizabeth Farren (Metropolitan Buckinghamshire’s eldest daughter, in Raphael, 1770. Museum of Art, New York), he was 1793. By their marriage, Blickling [CMS 355529] enormously successful, being made passed to the Lothian family. Sir Apparently, the 2nd Earl of ARA in 1791, appointed Painter to the Joshua Reynolds is historically the Buckinghamshire commissioned this King on the death of Reynolds in 1792, most important figure in British portrait to send to the Empress and elected RA in 1794. He became painting, as both painter and theorist. Catherine the Great, but did not do President of the Royal Academy in He was born at Plympton St Maurice so. Came from Pennsylvania Quaker 1820. Lawrence was a man of great in Devon, where his father was a stock, and learned to paint in America, taste and made one of the finest clergyman, headmaster of Plympton to which he never returned. In 1760 he collections of Old Master drawings Grammar School, and a former fellow went to Italy, and spent three years in ever assembled. He played a part in of Balliol. After studying in Rome, he Rome, Florence, Bologna and Venice. founding the National Gallery and in set up in London in 1753, met Dr He enjoyed the prestige of novelty – securing the Elgin Marbles for the Johnson, and began rapidly to make a American painters were unknown and nation. name for himself. He sought the near-blind Cardinal Albani sent for consciously to marry the Grand Style him, to see if he were not a Red with the demands of face-painting Indian. He set up as a portrait painter

14 Martha, Lady Drury and her daughter Mary, Emma, Countess Brownlow Sir Henry Hobart, 1st Bt Countess of Buckinghamshire, by Thomas Hudson in London in 1763 and was a founder- described by Sir Ellis Waterhouse as AQQOG@RQCB QM TFMK?P GG@PML member of the RA., of which he later ‘the last of the conscienceless artists – (c.1680–1751) became President, thanks to his long who turned out portraits to standard Henrietta Hobart, The Hon. Mrs Howard, and highly profitable association with patterns and executed comparatively later Countess of Suffolk, in a George III. little of the work themselves.’ masquerade dress (c.1688–1767), c.1720 (illustration front cover) DRQAF SAFMMJ, c.1640/50 ML PMRQF T?JJ: [CMS 355490] An Unknown Young Woman JMFL B?NQGPQ G?PN?OP (active Henrietta was the daughter of the 4th [CMS 355547] c.1645–92) Baronet (killed in a duel in 1698). Her Portrait of an Unknown Peeress, 1690 brother was the 1st Earl of C?PN?O SAFKGQW/G?PN?O SKGQF [CMS 355543] Buckinghamshire and she was the (active c.1662–d.1707) Gaspars was a ‘drapery painter’, most beloved aunt of John, 2nd Earl of A Lady as a Shepherdess of whose work was done for other Buckinghamshire. Between about [CMS 355544] artists, such as Lely, Riley and Kneller. 1720 and 1734, she was the English Schmitz first operated in London, and mistress of George, Prince of Wales later in Dublin, specialising in small- ELEJGPF SAFMMJ, c.1815/20 (from 1727, George II). Centre of a scale depictions such as this, Emma, Countess Brownlow (d.1872) wide circle of noble and literary particularly of St Mary Magdalene, so Pastel friends including Pope, Gay and Swift. that he became known as ‘Magdalen [CMS 355520] Marble Hill, was built, Smith’. The elder daughter of the 2nd Earl of partly to her designs, by Roger Morris, Mount Edgcumbe, and granddaughter under the supervision of Lord ML C?PQ T?JJ: of the 2nd Earl of Buckinghamshire. Herbert, later 9th Earl of Pembroke, TFMK?P HRBPML (1701–79) between 1724 and 1729, and she Martha, Lady Drury and her daughter formed a fine collection of paintings Mary, Countess of Buckinghamshire there. Gibson was a leading portrait (d.1769), 1754 The South painter in London from at least 1711 to [CMS 355608] Drawing Room 1720 when he fell ill. He was an active Mary married the 2nd Earl in 1761. member of the Academy founded by Hudson’s companion portrait of Kneller in 1711 and painted much in Martha’s husband, Sir Thomas Drury, ML TCPQ T?JJ: Kneller’s style, but with rather tamer Bt, dated 1754, is at Belton House, ELEJGPF SAFMMJ after D?LGCJ MVQCLP, execution. He was known for his because Mary’s younger sister, Jocosa, 17th century modest prices which caused offence was first wife of the 1st Baron Sir Henry Hobart, 1st Bt (d.1626) to his fellow artists. This picture used Brownlow. Thomas Hudson was a [CMS 355515] to be ascribed to Michael Dahl, but pupil of Jonathan Richardson, whose See the State Bedroom for the was reattributed to Gibson on the daughter he married. From the mid- original. basis of a similar signed and dated to the mid-1750s he was the portrait of the Hon. Mrs William leading portraitist in London, rivalled Townsend of 1719. latterly only by Ramsay. He was one of a number of artists to leave the execution of much of their portraits to the drapery-painter Joseph Van Aken (c.1699–1749). He therefore was

15 Dorothy Bell, Lady Hobart, King George III, Queen Charlotte, by the Master VM by David Martin after Allan Ramsey by David Martin after Allan Ramsey

AQQOG@RQCB QM HCLOV TGJPML BCLH?KGL WCPQ, PRA (1738–1820) (c.1659–95) Jocosa Drury, Lady Cust, with her niece Sir John Maynard (1602–90) Lady Caroline Hobart, c.1770 [CMS 355488] [CMS 355489] Protector’s/King’s Serjeant to Another version of the picture is at Cromwell/ Charles II, before being the elder sitter’s home Belton House appointed Lord Commissioner of the (NT). (For the artist please see p.14) Great Seal in 1689. His granddaughter, Elizabeth, married the 4th Bt and was ELEJGPF SAFMMJ, 17QF ACLQROV (?) mother of the 1st Earl. This and the An Unknown Young Woman portrait of Lady Suffolk are in the [CMS frames that they were put in to hang in the Long Gallery. Henry Tilson was ML C?PQ T?JJ: born in London or Yorkshire, the son D?SGB M?OQGL (1737–97) of Nathaniel Tilson and grandson of after AJJ?L R?KP?V (1713–84) the Bishop of Elphin. He was a pupil to King George III Sir Peter Lely until 1680. After [CMS 355506] travelling to Paris, Venice and Rome Queen Charlotte, 1763 with Michael Dahl, he returned to [CMS 355507] London in March 1689, where he Allan Ramsay was a Scottish portrait established a successful practice. He painter, active mainly in London committed suicide after a love affair where he was the outstanding ended. Robin Simon describes him as portraitist from about 1740 to the rise ‘a painter of great charm’. of Reynolds in the mid-1750s,but it Sir John Maynard, attributed to Henry Tilson was he, not Reynolds who was Manner of SGO PCQCO LCJV (1618–80) appointed Painter-in-Ordinary to An Unknown Young Man George III in 1760. Martin was [CMS 355519] Ramsay’s assistant from 1757 until the late 1760s. ML LMOQF T?JJ: TFC M?PQCO VM, 1634 Dorothy Bell, Lady Hobart (d.1641) [CMS 355517] Widow of the builder of Blickling, Dorothy was the mother of sixteen children, eleven of whom survived. It is not known which painter operating in England in the 1630s the letters ‘VM’ are the initials of. He was evidently influenced by Cornelis Jonson.

16 Detail from Triumph of Three (unidentified) Kings, pictured on cassone

The Staircase The Long The Peter Gallery Gallery the Great Room

FJMOCLQGLC SAFMMJ, DJ?LIGLE AFGKLCVNGCAC: ML C?PQ T?JJ: KGB-15QF ACLQROV ELEJGPF SAFMMJ, c.1800 JMFL WMMQQML (1682–1764) and Panels in the cassone (linen chest) Four small imaginary portraits on CF?OJCP JCOS?P (c.1675–1739) Hercules Killing the Nemean Lion copper, inscribed as: King George II (1683–1760) The Rape of Dejanira Edward VI on horseback Triumph of Three (unidentified) Kings [CMS 355521.1] [CMS 355539] [CMS 354249] Mary Tudor Painted shortly before 1732, when it It seems likely that this cassone was [CMS 355521.2] was described by George Vertue: acquired by the 8th Marquess of Richard III Lothian (1832–70) from the restorer [CMS 355521.3] The Queen attended with Several and almost exclusive supplier to the Elizabeth I Noblemen came ... to Mr Wottons in British of such items, William Blundell [CMS 355521.4] Cavendish Square to see ... Spence (1814–1900), sometime a great picture of his Majesty painted between his return to England in 1856 on horseback a grey horse, for Lord and his death. Hubbard the face of the King by Mr Jarvis & all the other parts by Mr WGJJG?K AGIK?L (1682–1731) Wooton – the Horse, &c. was much (?) Sir Thomas Sebright, 4th Bt approv’d off, but the Kings not (1692–1736) or (?) Mr Crawley thought to be like, was much [CMS 355553/355605] spoke against. See the entry on the alternative portrait of one of these two sitters This painting was originally the central under the Main Stairs. focus in the Long Gallery of the whole-lengths now on the Main Stairs Henry Kelsall, MP (1692–1762), 1729 and elsewhere. John Wootton was an [CMS 355606] English landscape and sporting Senior Clerk at the Treasury when this painter. He specialised very was painted, and subsequently a successfully in horse portraits but was Commissioner of the Land Tax. also one of the earliest English exponents of landscape in the style of Claude and Gaspar Poussin. Charles Jervas was born in Ireland, but, after studying with Kneller and then spending ten years on the Continent, five of them in Rome, settled in 1709 in London, where his literary friendships quickly assured him success as a portrait-painter and

17 King George II on horseback, John Hobart, 2nd Earl of Buckinghamshire, Caroline Conolly, Countess of Buckinghamshire, by John Wootton and Charles Jervas by Thomas Gainsborough by Thomas Gainsborough copyist of Old Masters. He succeeded Contrary to normal 18th-century Kneller as Prinicipal Portrait Painter to practice, Gainsborough painted all his The Document Room King George II in 1723. His conceit was pictures himself and never employed a enormous: once, having copied a draperyman. ML TCPQ T?JJ: painting by , he looked from one W1. Photograph of JMFL SCJJ CMQK?L to the other and said complacently (1782–1842) Sir Nicholas Dagworth ‘Poor little Tit! How he would stare.’ [CMS 353619] The State Bedroom A reproduction of Cotman’s etching of ML PMRQF T?JJ: a brass in Blickling church, 1814. Sir TFMK?P G?GLP@MOMREF, RA (1727–88) ML C?PQ T?JJ: Nicholas built the first house on this John Hobart, 2nd Earl of D?LGCJ MVQCLP (c.1590–1647) site in 1378. Buckinghamshire (1723–93), 1784 Sir Henry Hobart, 1st Bt (d.1626), 1624 [CMS 355541] [CMS 355515] W2. ELEJGPF SAFMMJ, Photograph of: Painted in court dress with his peer’s The builder of Blickling in his robes as Sir Thomas Erpingham (1357–1428) cloak, evidently for this room, so as to Lord Chief Justice of the Common [CMS 353620] consort with the depictions of the Pleas. One of Mytens’s most sensitive ‘After a curious drawing in the sovereign to whom he owed his title, portraits. Mytens was probably born collection of Thos. Allen Esqr. From an and of the Tsar to whom he had been in Delft and trained there and in The ancient glass window, formerly in accredited as ambassador. Hague with, or in the manner of Norwich Cathedral.’ Erpingham Miereveldt (see p.4) and van Ravestyn, owned Blickling in the early 15th Caroline Conolly, Countess of but almost all his career was spent in century. Buckinghamshire, 1784 England, where he is first recorded in [CMS 355540] 1618 working for the Earl of Arundel. ML LMOQF T?JJ: The 2nd Earl’s second wife likewise By 1620 he was working for James I, N1. WGJJG?K W?QQP (1752–1851) painted in court dress, with her cloak who appointed him Court Painters in View of Blickling from the North End of and coronet behind her. succession to Paul van Somer in 1622, the Lake, c.1796 Gainsborough was born in Sudbury, and in 1625 he was appointed ‘one of [CMS 355549] Suffolk, but studied in London from our Picture Drawers’ by Charles I. He 1740 to 1748 under Hubert Gravelot was a dominant painter at Court until N2. Follower of RCS. J?KCP BRJTCO and Francis Hayman (see p.6), from Van Dyck settled here in 1632. Van (1794–1879) whom he learned to paint small-figure Dyck completely outclassed him, Trees in Blickling Park, c.1860 portraits and conversation-pieces. He however, and he returned to The [CMS 355601] did so from about 1748 to 1759 in Hague in around 1634, painting little Ipswich, where he also painted small thereafter. N3. SGO EBKRLB F?GOD?U-LRAV landscapes in the manner of Jakob (b. 1945) Ruisdael. From 1759 to 1774 he greatly Hanging Silk in the Peter the Great expanded the range and scale of his Room, 1986 portraits, painting the fashionable [CMS 355600] visitors to, and inhabitants of Bath. His last years were spent in London, in N4. The Secret Garden, c.1900 Schomberg House in Pall Mall, where Photograph rows with the Royal Academy caused [CMS 353634] him to exhibit his own pictures.

18 Philip Kerr, 11th Marquess of Lothian, by Frances Amicia de Biden Footner

ML C?PQ T?JJ: ML PMRQF T?JJ: S8. L?BV AJGAC G?GPDMOB (d.1892) E1. RCS. J?KCP BRJTCO (1794–1879) S1. J?AM@ HMR@O?ICL (1698–1780) Constance, Marchioness of Lothian A Cedar in Blickling Park, c.1860 after H?LP HMJ@CGL (1497/98–1543) (1836–1901), c.1870 [CMS 355595] , 1738 Photograph [Taken by Lady Alice (?) If Engraving, done for Thomas Birch’s not, then of what (?)] E2. Follower of RCS. J?KCP BRJTCO Heads of Illustrious Persons of Great Lady Alice was the younger of the two (1794–1879) Britain (not published until 1747–52). sisters of Constance’s father-in-law, The Mausoleum, Blickling Park, c.1860 [CMS 353640] the 7th Marquess. [CMS 355610] [CMS 353627] S2. SGKML DC P?PPC (c.1595–1647) E3. TFMK?P GGOQGL (1775–1802) Sir Henry Hobart, 1st Bt (d.1626) S9. The parterre at Blickling, early 20th Watercolour [?] [CMS 353623] century Jedburgh Abbey, in the Scottish The builder of the Jacobean house. Photograph Borders, was founded by King David I [CMS 353628] for Augustinian Canons c.1138. Girtin S3. John Hobart, 1st Earl of visited the site in 1796 and 1800, and Buckinghamshire (1693–1756) made a number of watercolours of it. [CMS 353624] Jedburgh Abbey A reproduction of Faber’s mezzotint © 2010 The [CMS 355495] after Hudson’s portrait. Registered charity no. 205846

E4. FO?LACP AKGAG? DC BGBCL FMMQLCO S4. D. GRCOAGPPGKMDD Text extensively revised (CUF. 1902–20 and 1961) Philip Kerr, John Hobart, 2nd Earl of by Alastair Laing 11th Marquess of Lothian (1882–1940) Buckinghamshire (1723–93) [CMS 353587] Engraved in St Petersburg, 1766. Illustrations Philip Kerr left Blickling Hall to the [CMS 353594] All illustrations © Andrew Hawkins National Trust. Miss Footner was a S5. William Assheton Harbord, 2nd except image No.3 © National Trust watercolour portrait painter. She was Baron Suffield (1766–1821) and Lady Photo Library. the daughter of Harry Footner, MICE, Caroline Hobart, Lady Suffield (d.1850) Civil Engineer, and was educated at [CMS 353625] Designed by LEVEL Partnership Cheltenham College. She studied art Photographs of two portraits painted in Liverpool, London and abroad. She by Karl Anton Hickel (1745–98), and Front cover picture: obtained a free studentship at RA now in a private collection. Henrietta Hobart, Countess of Suffolk Schools and exhibited at the RA, [CMS 353626] attributed to Thomas Gibson Liverpool, Manchester, Oldham, Bath and Düsseldorf. She died on 19 S7. William, 8th Marquess of Lothian October 1961. (1832–70) Photograph of a painting by George Frederic Watts (1817–1904). [CMS 353630]

19