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THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

PRESENTED  BY 

PROF. CHARLES  A.  KOFOID  AND 

MRS.  PRUDENCE  W.  KOFOID 


(M 


ypt'}.Y-^t 


/^-^ 


CATALOGUE  OF  PICTURES  AT  WELBECK  ABBEY, 

AND  IN  LONDON. 


No.  361.    Kneller. 

WILLIAM   BENTINCK,    1ST   EARL   OF   PORTLAND. 


CATALOGUE  OF  THE  PICTURES 
BELONGING  TO  HIS  GRACE 
THE  DUKE  OF  PORTLAND,  AT 
WELBECK  ABBEY,  AND  IN  LONDON 
M.D.CCC.LXXXXIIII. 


<»_ 


LONDON:  PRINTED  AT   THE   CHISWICK  PRESS 

M.D.CCC.LXXXXIIII. 


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TO 
THE    BELOVED    MEMORY   OF 

LADY   BOLSOVER 

THIS    BOOK    IS    DEDICATED 

BY 

HER   AFFECTIONATE   STEPSON 

PORTLAND. 


^  /y  o;xT'i 


TO  THE   READER. 


'HE  minute  descriptions  I  have  appended  to  the  pictures  are  given  in  the 
hope  that  they  may  facilitate  the  identification  of  rephcas  and  copies  that 
may  exist  elsewhere,  or  engravings  from  the  pictures. 

The  terms  "right"  and  "left,"  used  in  this  catalogue,  generally 
denote  the  spectator's  right  and  left,  but,  in  speaking  of  the  movement  of 
the  figure,  or  position  of  the  hands,  the  right  and  left  of  the  personage  represented  is  to 
be  understood. 

To  Bryan's  "Dictionary  of  Painters  and  Engravers,"  edn.  1889,  Redgrave's  "Artists 
of  the  English  School,"  Chavignerie  and  Auvray's  "  Dictionnaire  des  Artistes  de  I'Ecole 
Frangaise,"  to  Bredius'  "  Catalogue  des  Peintures  du  Musde  de  I'Etat  a  Amsterdam,"  and 
such  older  authorities  as  Vasari,  Ridolfi,  and  Baldinucci,  I  have  been  mainly  indebted 
for  the  notices  appended  of  the  painters  ;  and  to  the  invaluable  work  by  Challoner-Smith 
on  "  British  Mezzotinto  Portraits,"  Didot's  "  Graveurs  de  Portraits  en  France,"  Burke's 
"Peerage,"  and  the  Catalogues  of  the  National  Gallery,  the  National  Portrait  Exhibitions 
of  1866-67  and  1868,  and  of  the  Stuart  and  Tudor  Exhibitions  of  1888-90  for  much 
valuable  information,  as  to  dates,  etc. 

September,  1894. 


C.   FAIRFAX   MURRAY. 


iw317607 


INTRODUCTION. 


CATALOGUE  of  the  Pictures  at  Welbeck  was  made  as  early  as  1747  ; 

the  name  of  the  Author  is  not  mentioned,  but  it  is  possibly  by  George 

Vertue,  who  is  known  to  have  catalogued  the  Collection  of  Miniatures. 

The  Catalogue  is  apparently  a  complete  one ;  it  includes,  besides  pictures, 

a  number  of  drawings,  both  in  pen  and  pencil,  also  guache  drawings,  399 

in  all,  of  which  220  were  portraits. 

The  original  MS.  was  probably  destroyed  in   1831,  if  not  earlier,  the  copy  of  it  in 

existence  being  in  the  same  handwriting  as  the  original  catalogue  of  that  year.     The  old 

Catalogues  of  1 747,  1820  and  1831,  being  much  thumbed,  the  late  Duke  caused  fresh  copies 

of  all  three  to  be  made,  for  use  in  the  house,  about  1861. 

A  Catalogue  in  MS.  exists  in  the  British  Museum  from  the  Collection  of  Sir  William 
Musgrave  (Additional  MSS.  6391,  f.  149) ;  it  is  marked  as  a  copy  from  one  furnished  by 
Mr.  Levers  in  1762,  but  supposed  to  have  been  made  in  1755  o*"  ^75^ >  '^^  this  the 
painters'  names  are  omitted  altogether. 

Two  other  Catalogues  exist,  made  in  1820  and  1831  respectively,  that  are  of  little  use, 
as  many  pictures  are  omitted  that  were  "  named  ; "  this  may  mean  that  they  had  their  names 
written  either  on  the  pictures  or  the  frames.  The  notable  feature  of  the  two  later 
Catalogues,  which  are  nearly  identical,  is  the  number  of  Dutch  and  Italian  pictures  not 
mentioned  in  the  previous  ones ;  they  may  have  been  either  purchased  in  the  interval,  or 
inherited,  or  it  is  possible  that  they  came  from  Bulstrode. 

I  have  not  been  fortunate  enough  to  meet  with  a  catalogue  of  the  Bulstrode  pictures, 
but  a  list  of  49  Historical  Portraits  there  in  the  last  century  is  in  the  British  Museum, 
marked  as  communicated  by  Thomas  Pennant,  Esq.,  from  his  MS.  notes  of  different  tours 
(Additional  MSS.  5726).     In  the  same  note-book  is  a  list  of  51  Portraits  at  Welbeck. 

When  Henry,  ist  Duke  of  Portland,  was  leaving  for  Jamaica,  where  he  died  in  1726, 
he  seems  to  have  parted  with  some  of  the  pictures ;  two  are  mentioned  by  Horace  Walpole 
in  the  Houghton  Catalogue  of  1 743  as  having  been  purchased  then ;  these  were  the 
Jordaens  "  Family  piece  "  and  the  "  Old  Woman  reading"  by  Bol,  both  masterpieces  of  their 
respective  artists  ;  they  are  now  in  the  Hermitage  Gallery  at  St.  Petersburg. 

The  second  Duchess  of  Portland,  who  fully  shared  her  father's  taste  for  collecting, 

d 


INTRODUCTION. 


made  the  Collection  of  Miniatures  one  of  the  finest  in  the  kingdom ;  she  was  an  artist  herself, 
as  we  learn  from  Vertue's  Dedication  to  her  of  his  "  Descriptive  Catalogue  of  Hollar's  Prints" 
of  which  she  possessed  a  nearly  complete  collection.  Vertue  says  of  her :  "  Your  early 
Inclination  to  the  love  of  such  arts  guided  your  pencil  to  the  producing  several  surprizing 
works."  It  is  curious  that  not  a  single  production  of  hers  is  registered  in  any  of  the  Welbeck 
catalogues. 

Shortly  after  the  succession  of  the  5th  Duke  of  Portland,  in  1854,  he  caused  a  careful 
Inventory  to  be  made  of  all  the  pictures  at  Welbeck;  this  catalogue  is  dated  1861,  but 
it  was  commenced  in  1857,  or  earlier.  In  1857,  no  less  than  196  pictures  and  drawings 
were  found  stowed  away  in  the  Loft  and  Wardrobe,  a  large  store-room  over  the  coach- 
houses, and  in  a  room  by  the  (Steward's)  office.  In  this  year  also  a  few  pictures  were 
removed  from  London  to  Welbeck,  of  which  a  list  has  been  preserved.  The  1861  Catalogue 
is-a  valuable  record  of  the  condition  of  the  pictures,  many  of  which  had  suffered  from  long 
neglect.  The  Duke  had  a  considerable  number  of  the  pictures  relined  and  framed.  It  is 
noticeable,  however,  that  nearly  all  the  frames  in  the  collection  are  old  ones,  mostly  carved 
in  the  seventeenth  and  eighteenth  centuries.  No  cleaning  appears  to  have  been  done 
beyond  the  removal  of  dust  and  dirt  from  the  surface.  653  pictures,  drawings,  and  framed 
engravings  are  enumerated  in  the  1861  Inventory  ;  they  were  catalogued  as  found,  without 
attempt  at  order ;  it  appears  to  have  been  made  by  a  house  painter  on  the  estate  named 
Taylor,  though  there  is  some  uncertainty  on  this  point.  Its  usefulness  is  much  lessened  by 
the  difficulty  of  recognizing  many  pictures  mentioned,  as  the  name  is  not  given  of  any 
personage  represented  unless  it  was  inscribed  on  the  canvas. 

In  1857,  the  Duke  lent  over  sixty  Pictures,  besides  Miniatures,  to  the  Manchester  Art 
Treasures  Exhibition.  From  a  careful  list  prepared  of  the  pictures  sent,  and  of  the  order 
in  which  they  were  returned  from  the  Exhibition,  it  is  evident  that  a  portrait  of  James 
Butler,  Duke  of  Ormond,  Cat.  No.  188,  entered  as  belonging  to  the  Duke  of  Portland,  was 
not  his  property,  and  was  a  simple  error  in  the  preparation  of  the  catalogue. 

This  Collection  owes  its  importance,  mainly,  at  the  present  time,  to  the  numerous 
Historical  Portraits  it  contains,  the  earliest  in  date  being  that  of  Margaret  Wootton,  grand- 
mother of  the  ill-fated  Lady  Jane  Grey,  apparently  a  contemporary  copy  after  Holbein  ; 
this  is  followed  by  an  admirably  preserV^ed  small  full-length  portrait  of  Edward  VI.;  an 
excellent  example  of  the  School  of  Holbein,  it  has  been  ascribed,  conjecturally,  to  Gwillim 
Streetes.  The  small  portrait  of  Queen  Elizabeth  is  of  importance,  being  signed  with  the 
initials  of  M.  Gheeraedts ;  it  is  also  in  excellent  preservation.  There  is  a  picture  of 
Robert  Cecil,  ist  Earl  of  Salisbury,  and  of  Edward  Vere,  17th  Earl  of  Oxford,  the 
poet ;  of  Henry  Wriothesley,  Earl  of  Southampton,  the  friend  of  Shakespeare ;  of 
Lucy  Harrington,  Countess  of  Bedford  ;  and  Mary  Queen  of  Scots,  a  full-length  posthumous 
portrait,  similar  to  those  belonging  to  the  Queen  and  Lord  Darnley.  From  Bulstrode 
there  are  portraits  of  James  I.,  Prince  Henry,  Arabella  Stuart,  and  the  great  Duke 
of  Buckingham  as  a  youth,  the  Countess  of  Essex  and  Somerset,  remarkable  for  the 


INTRODUCTION.  xi 


beauty  of  the  costume,  and  the  6th  Earl  of  Rutland,  one  of  a  series  of  full-length  portraits, 
a  few, of  which  still  await  identification. 

The  next  important  group  of  portraits  are  those  of  the  Cavendishes,  beginning  with 
Elizabeth  ("  Bess  of  Hardwick"),  the  ist  and  2nd  Earls  of  Devonshire,  and  Sir  Charles 
Cavendish,  the  last  by  Mytens.  ■  These  are  followed  by  Sir  Charles  Cavendish,  the  second 
of  that  name,  and  his  brother  William,  afterwards  Duke  of  Newcastle,  a  fine  full  length  by 
Vandyke;  Elizabeth  Bassett,  ist  wife  of  the  Duke,  is  by  Daniel  Mytens.  The  Earl  of 
Strafford,  in  armour,  and  Charles  II.  as  a  boy,  are  both  fine  pictures  by  Vandyke  :  there  is 
also  a  remarkable  portrait  of  Sir  Hugh  Myddelton,  the  founder  of  the  New  River  Company, 
attributed  to  Mierevelt.  Lely  is  represented  by  two  double  portraits  ;  one  of  the  3rd  Earl 
of  Clarendon  and  his  wife,  the  other  of  the  4th  Earl  of  Southampton  and  his  3rd  wife  ; 
also  a  fine  half  length  of  the  proud  Duchess  of  Albemarle  and  Montagu.  There  are  two 
portraits  of  Henrietta  Cavendish  Holies,  Countess  of  Oxford,  by  Kneller ;  one,  a  full  length 
in  a  green  and  silver  riding  habit,  being  one  of  his  most  pleasing  pictures.  Amongst  the 
earlier  Harley  portraits,  the  most  remarkable  is  a  quaint  picture  of  Sir  Robert  Harley  as  a 
child  ;  another  as  a  young  man,  attributed  to  Lely,  is  also  a  good  picture,  as  are  the  portraits 
of  the  1st  Earl  of  Oxford  by  Riley,  and  the  half  length  of  the  2nd  Earl  by  Dahl.  There 
are  four  portraits  of  Margaret  Cavendish  Harley  as  a  child,  two  of  which  are  by  Jervas  and 
Dahl,  the  last,  one  of  the  best  pictures  of  the  time,  and  a  very  favourable  example  of  this 
unequal  artist. 

Of  the  four  portraits  of  the  ist  Earl  of  Portland,  perhaps  the  best  is  by  Kneller, 
who  lived  long  enough  to  paint  the  2nd  Earl  as  the  ist  Duke  of  Portland.  The  portraits 
of  the  ist  Earl  and  his  son  Henry,  when  young,  by  Rigaud,  are  both  fine  pictures; 
Rigaud  is  also  represented  by  portraits  of  Prior  the  poet,  Louis  XIV.,  and  the  Dauphin. 
The  2nd  Duke  of  Portland  and  the  Duchess  are  by  Hudson  ;  the  Duchess  is  one  of  his  best 
pictures.  The  3rd  Duke  when  young,  with  his  brother.  Lord  Edward  Bentinck,  is  by 
West ;  later,  the  Duke  was  painted  by  Reynolds,  who  also  painted  the  4th  Duke  as  a  boy, 
and  Lord  Richard  Cavendish  the  Eastern  traveller.  Lawrence  is  represented  by  three 
portraits,  all  of  his  best. 

It  will  be  seen  by  this  brief  summary  that  the  collection  covers  the  entire  range 
of  portrait-painting  in  England,  from  the  time  of  Holbein  to  the  beginning  of  the  present 
century;  Jansen,  Mierevelt,  Mytens,  Vandyke,  Dobson,  Lely,  Soest,  Kneller,  Riley, 
Jervas,  Dahl,  Richardson,  Hudson,  Reynolds,  Cotes,  Gainsborough,  Ramsay,  West,  and 
Lawrence  are  all  represented. 

If  the  Collection  at  Bulstrode  contained  anything  of  special  interest  except  Historical 
Portraits,  it  is  difficult  to  say,  in  the  absence  of  any  positive  evidence.  In  1 747  there  were 
only  a  few  Dutch  pictures  at  Welbeck,  and  with  the  exception  of  three  Vanderveldes,  none 
of  importance;  but  before  1820,  we  note  that  the  fine  early  Vandyck  called  a  "Senator 
of  Antwerp,"  the  "  Portrait  of  a  Boy,"  by  Rembrandt,  a  sketch  by  Rubens,  and  the  "  Sta. 
Cecilia,"  by  Carlo  Dolci,  had  been  added  to  the  Collection. 


^if^ 


xii  INTRODUCTION. 


Some  time  before  1859,  the  last  Duke  appears  to  have  purchased  a  number  of  valuable 
French  portraits  ;  there  is  every  probability  that  the  collection  was  purchased  entire  ;  many 
of  them  are  marked  at  the  back  "  for  Harcourt  House,"  and  as  they  do  not  appear  in  the 
Welbeck  Catalogue  of  1861  they  were  probably  removed  there  later. 

The  sale  of  Lord  North  wick's  Collection,  in  1859,  tempted  the  Duke  to  make  some 
further  purchases,  and  he  then  added  the  interesting  portrait  of  Charles  I.  as  a  boy;  the 
two  excellent  pictures  by  Jansen,  of  Ireton  and  Fletcher;  the  Duke  of  Cumberland,  by 
Reynolds ;  Sir  Wm.  Farmer  of  Easton  Neston,  and  a  few  miniatures.  The  fine  Gains- 
borough, Mrs.  Elliott,  was  no  doubt  also  purchased  by  the  last  Duke,  possibly  in  France, 
as  the  lady  died  at  Ville  d'Avray  and  the  picture  may  have  belonged  to  her  at  her  death. 
It  is  likely  that  the  fine  Lely  of  Lord  Cornbury  (afterwards  Earl  of  Clarendon),  and  his 
wife,  was  also  bought  by  him,  as  there  is  no  record  of  it  before  1857,  when  it  was  exhibited 
at  Manchester. 

With  the  exception  of  the  Lely  above-mentioned,  and  a  few  other  portraits,  that  have 
been  exhibited  of  late  years,  all  the  later  additions  to  the  Collection  are  here  described  for 
the  first  time. 


CONTENTS. 


PICTURES   AT  WELBECK   ABBEY. 

NTRANCE    HALL  

Vestibule   ........ 

DiNiNG-RooM  Passage 

Dining- Room i        • 

Music  Room 

Red  Drawing-Room 


Swan  Drawing-Room 
Blue  Library 
Library        .         .         .         , 
Ante- Room  ... 
Horsemanship  Bedchamber  , 
Lobby 


Staircase  to  West  Gallery 

North  Bedroom  . 

West  Gallery  Bedrooms    . 


PAGE 

I 

3 
5 
9 
13 
24 
31 
37 
39 
41 
46 
48 
50 
53 
54 


Oxford  Wing. 


Boudoir 

Bedroom 

Dressing-Room     . 
Staircase  Landing 
Dining- Room  Lobby     . 
Lobby  .         .         .         . 
State  Boudoir     . 
State  Bedroom    . 
State  Dressing-Room 
Bedroom 


61 
68 
69 
69 
71 
73 
74 
76 

76 

n 


xiv  CONTENTS. 


PAGE 

Staircase "]•] 

Landing 78 

Nursery  Passage         ............  79 

Nursery       .      ' 80 

Yellow  Bedroom          ............  80 

Duke's  Study 82 

Billiard  Room 82 

Lobby 83 

Passage  to  Underground  Gallery 83 

Underground  Gallery,  No.  2 90 

Underground  Gallery,  No.  3 98 

Lobby  to  Underground  Gallery   .    .    , 104 

Library    .    .....  106 

Underground  Gallery: 

South  Wall         ............  106 

West  Wall 108 

East  Wall .       ^ 109 

South  Wall         •••.........  no 

West  Wall 113 

North  Wall 115 

East  Wall n^ 

West  Wall  .         .         . "116 

North  Wall !  128 

East  Wall J  - . 

North  Wall ."         .'  150 

Grosvenor  Place jcq 

PICTURES   AT   GROSVENOR  SQUARE. 

"^^^ 153 

Morning  Room j-. 

Study ^^6 

Red  Dra wing-Room j  -g 

Boudoir 

Biographical  List  of  Painters j6i 

Index  to  the  Collection  of  Portraits 211 


LIST  OF  PLATES. 

CAT.  NO.  NAME  OF    PAINTER. 

361.  Wm.  BenTINCK,  1ST  Earl  of  Portland.     Frontispiece         .         .         .  Knei/er. 

qffi  Mary,  Wife  of  Lord  Wm.  Henry  Bentinck Lawrence. 

^.  Wm.  Henry,  3RD  Duke  of  Portland Reynolds. 

2?.  Margaret  Lucas,  2nd  Wife  of  Wm.,  ist  Duke  of  Newcastle. 

^.  Margaret  Cavendish  Harley,  2Nd  Duchess  of  Portland    .       .  Hudson. 

^.  William,  2Nd  Duke  of  Portland Hudson. 

^.  Wm.  Henry,  4TH  Duke  of  Portland Grant. 

63f.  Henrietta  Cavendish  Holles,  Countess  of  Oxford     .       .       .  Kneller. 

92.  "Senator  of  Antwerp" Vandyck. 

^.  Thomas  Wentworth,  ist  Earl  of  Strafford         ....  Vandyck. 

^  William  Cavendish,  ist  Duke  of  Newcastle Vandyck. 

^.  Charles  H.  as  a  Boy Vandyck. 

^.  Sir  Hugh  Myddelton Mierevelt. 

122.  Queen  Elizabeth Gheerhaedts. 

C3-  Elizabeth  Cavendish,  Duchess  of  Albemarle  and  Montagu      .  Lely. 

j^.  Lord  Richard  Cavendish •        .  Reynolds. 

149.  Henry,  ist  Duke  of  Portland    .        .        .        ...        .        .        .  Rigaud. 

fSf).  William  HI.  as  Prince  of  Orange Vollevens. 

^.  Sir  Edward  Harley,  as  a  Child. 

CSl.  Catherine  Cavendish,  Countess  of  Thanet Huysman. 

i5&.  William  Cavendish,  ist  Earl  of  Devonshire. 

216.  Portrait  of  a  Boy Rembrandt. 

XSl-  Matthew  Prior Rigaud. 

<J^.  MOLlfeRE. 

tff^.  William,    ist  Earl  of  Portland,   and   his   first  Wife,  Anne 

ViLLIERS. 

John  Fletcher Jansen. 

Marie  JosfePHE  de  Saxe  and  her  Son Tocqui. 

a^  DUCHESSE  DE  Chateauroux Nattier. 

&p.  Sylvia,  Actrice De  Troy,  Fils. 

afiJ.  Madame  du  Barry. 

262.  Mdlle.  de  Blois,  Princesse  de  Cond£ Drouais. 

327.  Lady  Arabella  Stuart. 


XVI 


LIST   OF   PLATES. 


CAT.    NO.  NAME  OK   PAINTER. 

328.  Henry  Wriothesley,  3RD  Earl  of  Southampton. 

330.  Frances  Howard,  Countess  of  Essex  and  Somerset    .       .       .        Vansomer. 

25J.  George  Villiers,  Duke  of  Buckingham Vansomer. 

334.  Lucy  Harrington,  Countess  of  Bedford. 

y^.  Edward  Hyde,  3RD  Earl  of  Clarendon,  and  his  wife,  Catherine 

O'Brien,  Baroness  Clifton Lely. 

346.  Rachel  Ruvigny,  Countess  of  Southampton Vandyck. 

347.  Wm.  Henry,  3RD  Duke  of  Portland,  and  his  Brother,  Lord 

Edward  Bentinck West. 

358.    Sir  Charles  Cavendish Mytens. 

363.  Thomas,  4TH  Earl  of  Southampton,  and  his  3RD  Wife,  Frances 

Seymour Lely. 

364.  Elizabeth  Bassett,  ist  Wife  of  Wm.,  Duke  of  Newcastle  .       .        Mytens. 
397.    Charles  I.  as  a  Boy. 

399.  Elizabeth  Vernon  of  Hodnet,  Wife  of  Henry  Wriothesley, 
3RD  Earl  of  Southampton. 

430.  John  Egerton,  2nd  Earl  of  Bridgewater,  and  his  Wife,  Eliza- 
beth Cavendish Dobson. 

447.    Edward  Harley,  2nd  Earl  of  Oxford  and  Mortimer  .       .       .       Dahl. 

450.    Matthew  Prior Richardson. 

452.    Margaret  Cavendish  Harley,  Duchess  of  Portland    .       .        .       Dahl. 

470.    Sir  Francis  Vere. 

522.    Edward  Vere,  17TH  Earl  of  Oxford. 

536.  Elizabeth  Hard  wick.  Wife  of  Sir  Wm.  Cavendish. 

537.  Mary,  Queen  of  Scots. 

540.    Wm.  Henry,  Marquess  of  Titchfield,  4TH  Duke  of  Portland, 

I  AS  A  Boy Reynolds. 

544.    Grace  Dalrymple  (Mrs.  Elliott) Gainsborough. 

547.    Louise  Henriette  de  Bourbon-Conti,  Duchess  of  Orleans,  as 

"Hebe" Nattier. 

551.    Princesse  Marie  AdSlaide  Clotilde Drouais. 


CATALOGUE    OF    PICTURES    AT 
WELBECK  ABBEY. 


ENTRANCE  HALL. 


HARLES  CHENEY,  ist  Viscount  Newhaven.  School  of  Lely. 
Bust,  life  size,  to  left,  looking  over  shoulder ;  black  dress,  white 
sleeves,  long  dark  brown  hair,  curled  at  the  ends ;  brown  back- 
ground. Inscribed  in  yellow  letters,  in  the  left-hand  upper  corner, 
"Charles  Cheney  Es"^",/  married  Jane,  Eldest/  Daughter  to 
W"./  Duke  of  Newcastle." 
Canvas,  29!-  in.  H.  x  25  in.  W. 
Cat.  1747.     East  Dressing-Room,  No.  7. 

2.  Jane  Cavendish,  Wife  of  Charles  Cheney,  Viscount  Newhaven. 

Half  length,  life  size,  to  left ;  white  dress,  broad  sleeves  with  scalloped  edges, 
ornamented  with  four  large  jewels,  one  on  each  shoulder,  one  in  the  centre  of  the 
corset  with  a  large  pear-shaped  pearl  pendant,  the  other  at  the  fastening  of  the 
sleeve.  In  her  right  she  holds  a  blue  scarf,  which  is  thrown  across  the  left  shoulder ; 
pearl  necklace  and  drop  ear-ring;  brown  hair  curled  at  the  ends,  in  which  is  set  a 
white  flower;  grey  background.  Inscribed  across  the  top,  in  yellow  letters,  "Jane 
Cavendishe  Eldest  Daughter  to  W".  Duke/  of  Newcastle  Married  to  Cha\ 
Cheney  of  Chesham/  Boys,  Esq".  This  Lady  kept  Garrison  for  her  Father/ 
AT  Welbeck  against/  y"  Parliament  Army." 

Canvas,  30^^  in.  H.  x   25  in.  W. 

Cat.  1747.     East  Dressing-Room,  No.  9."* 

Exhibited  at  Manchester,  1857.     Cat.  No.  150. 

B 


2  CATALOGUE  OF   PICTURES  [entrance  hall. 

3.  Ben  Jonson.     1573— 1637.  Ascribed  to  Honthorst. 

Bust,  life  size,  to  right ;  black  doublet  and  cloak,  white  band,  brown  hair,  dark 
moustache,  beard  turning  grey,  a  slight  squint  is  marked ;  grey  background.  "  Ben 
Johnson,"  inscribed  in  orange  letters,  in  the  left  upper  corner. 

Canvas,  28  in.  H.   x   2  2|^  in.  W. 

The  Harley  picture,  engraved  by  Vertue. 

Cat.  1747.     Alcove  Dressing- Room,  No.  11. 

Exhibited  at  Manchester,  1857.     Cat.  No.  86. 

4.  Gervase  Holles.     1606 — 1665? 

Bust,  life  size,  to  right ;  black  doublet,  full  ruff,  hair  falling  away  from  the  temples 
and  long  at  the  sides,  stubbly  moustache  and  pointed  grey  beard,  right  hand  placed 
on  breast.  Inscribed,  in  the  upper  right  corner,  "  Gervase  Holles.  Esq"./  Son  & 
Heir  or/  Frescheville  Holles/  married  Dorothy  Daughter/  of  Jn".  Kirkton 
Gen^" 

Canvas,  30  in.  H.  x  25  in.  W. 

M.P.  for  Great  Grimsby.  Fought  at  Edgehill,  1642.  In  exile  in  Holland  till 
the  Restoration.  Antiquary  and  author  of  the  Holies  MSS.  relating  to  his  family. 
Died  before  1665. 

Cat.  1747.     Dressing-Room,  No.  5. 

5.  Sir  Godfrey  Kneller.     1646 — 1723.  After  Kneller. 

Half  length,  life  size,  to  left ;  holding  a  palette,  mahl-stick,  and  brushes  in  his 
left;  with  his  right  he  is  about  to  take  a  brush  from  the  bundle  he  holds  in  his 
left  hand ;  blue-green  coat,  brown  hair,  open  collar.  The  palette  is  set  with  black, 
vermilion,  and  white. 

Canvas,  3C>|^  in.  H.   x   25  In,  W. 

6.  Rembrandt  Harmensz  van  Rijn.     1606 — 1669.  Ascribed  to  Rembrandt. 

Bust,  life  size,  to  right;  brown  coat,  red  vest,  yellow  cap  with  white  lining. 
Above  the  head  is  inscribed,  "  Rembrandt  by  Himself,"  in  white  letters.  To  the 
right  is  a  signature,  "  Rembrandt  f.  1665." 

The  last  numeral  has  been  read  as  "  o,"  but  it  has  a  long  tail  like  a  freely  written  "  5." 
Beneath  this  signature,  as  the  author  of  the  1861  Catalogue  observed,  are  traces  of 
another  signature,  in  an  entirely  different  manner. 

Canvas,  30^^  in.  H.  x   24  in.  W.  ^ 

From  Bulstrode,  No.  16,  MS,  List  in  British  Museum. 

7.  Portrait  of  a  Gentleman,  unknown. 

Bust,  life  size,  to  right,  in  an  oval,  with  dark  corners.     Olive-red  doublet,  richly 


ENTRANCE  HALL.T  AT    WELBECK    ABBEY. 

VESTIRFTIIf  J 


VESTIBULE. 


braided,   gold   buttons   down   the   front.      RufF  edged  with   point  lace,  grey  hair, 
moustache,  and  beard  ;  fair,  fresh  complexion  ;  dark  background. 

Canvas,  29;^-  in.  H.  x  26|^  in.  W. 

Cat.  1747.     South  Dining-Room,  No.  3? 

Sir  Francis  Drake?     1541  ? — 1595- 

Bust,  life  size,  to  right,  in  an  oval.  White  doublet  ornamented  with  gold  braid, 
gorget  damascened  with  gold  in  a  reticulated  pattern  and  lined  with  red,  the 
scalloped  edge  braided  with  gold ;  dark  hair,  pointed  beard  and  moustache,  turned 
up  at  the  ends,  ruff  edged  with  point  lace  ;  grey  background.  Inscribed  "  sr.  fran. 
DRAKE  "  in  yellow  letters,  in  the  left-hand  lower  corner. 

Canvas,  26  in.  H.   x   2of  in.  W. 

On  the  stretcher  is  pasted  a  note,  to  the  effect  that  it  came  from  the  Northwick 
Collection,  and  on  the  stretcher  itself  is  written,  "  This  portrait  of  Sir  F.  Drake  is  from 
the  Collection  of  the  Speaker  Lenthall  at  Burford  Priory,  &  purchased  by  C.  Wilson 
on  13  July  1833,  of  W.  J.  Lenthall  Esqre." 

There  is  no  trace  of  this  picture  in  the  Northwick  Sale  Catalogue. 


VESTIBULE. 

9.  Portrait  of  a  Gentleman,  unknown. 

Bust,  life  size,  to  right.  Black  doublet,  plain  ruff;  brown  hair,  beardless ;  dark 
background. 

Panel,  ig^^  in.  H.   x    i6|  in.  W. 

Cat.  1747.  Alcove  Dressing-Room,  No.  16.  "Young  Man  w"'  a  large  high 
ruff,  black  doublet,  his  own  hair.  Head  upon  board.  ?  if  Henry,  eldest  Son  of  S'. 
W.  Cavendishe,  who  died  12  Oct^  1616." 

10.  Portrait  of  a  Gentleman,  called  "Sir  Philip  Sidney." 

Bust,  less  than  life  size,  to  right.  Dove-coloured  slashed  doublet  with  a  hio-h 
collar,  a  black  ribbon  round  neck,  to  which  is  attached  a  black  and  gold  enamelled 
locket,  small  ruff,  brown  hair  cut  short,  small  beard,  and  moustache  ;  dark  background. 
Inscribed  above,  "  aetatis  suae  29.  an.  dnI   1575." 

Panel,  i9|-  in.  H.   x    16  in.  W. 

Sir  Philip  Sidney  was  born  in  1554,  and  would  therefore  have  only  been 
twenty-one  years  of  age  in  1575,  the  date  on  this  picture. 

Cat.  1747.  Alcove  Dressing-Room,  No.  13.  "A  Man  w'\  a  little  high  ruff  & 
black  ribbon  round  the  neck,  upon  board.     Adm.  Cavendishe  ?" 


4  CATALOGUE   OF    PICTURES  [vestibule. 

11.  Orpheus  and  the  Beasts.  R.  Savery,  1604. 

Orpheus  is  seated  on  a  mound  at  some  distance,  in  the  centre  of  the  picture,  with 
a  group  of  animals  about  him  ;  a  grey  elephant,  a  white  horse,  a  white  ass,  an  ostrich, 
a  white  dog,  and  other  animals  ;  those  in  the  rear  appear  to  resent  the  intrusion  of  the 
furious  women  that  are  climbing  the  hill,  brandishing  sticks.  From  an  archway, 
between  some  buildings  on  a  lower  hill  beyond,  other  figures  are  seen  running.  In 
the  near  foreground  to  the  right,  at  the  foot  of  the  trees,  are  grouped  a  number  of 
animals  and  birds,  a  greyhound,  a  recumbent  cow,  a  white  horse,  a  bull,  a  mastiff 
lying  down,  turkeys,  hen  and  chickens,  and  a  peacock  are  conspicuous,  amongst  others 
too  numerous  to  mention.  On  the  water  in  the  centre  are  swans,  ducks,  and  other 
water-fowl,  and  to  the  left,  deer,  a  dog,  and  a  goat.  Tall  trees,  with  forest  landscape 
beyond,  seen  through  an  opening,  with  a  pool  of  water  to  the  left.  In  the  distance, 
a  plain  with  a  river  winding  through  it,  and  houses  on  the  banks,  the  sea  and 
mountains  in  the  far  distance.  Signed  on  a  cartellino,  to  the  left,  immediately  beneath 
two  ducks  pluming  themselves,  "  Roelandt  Savery  fe.  1604." 

Panel,  26  in.  H.  x  45  in.  W. 

Cat.  1 83 1.     Ante-room  to  Little  Drawing- Room. 

12.  Portrait  of  an  Old  Lady. 

Bust,  life  size,  to  left,  seated,  her  hands  joined  before  her.  Black  dress,  wide 
frilled  ruff  tied  with  black  ribbon,  and  black  cap. 

Panel,  26  in.  H.  x   20  in.  W. 

Cat.  1747.  East  Dressing- Room,  No.  6.  "Old  Dutch  Woman  with  a  Ruff, 
upon  Board." 

13.  Anne,  Baroness  Holles.     1640 — 1681. 

Bust,  life  size,  to  right ;  white  dress,  the  sleeves  tied  with  jewels,  pearl  necklace 
and  drop  pendants,  hair  parted  in  centre,  a  long  curl  falls  over  each  shoulder  in  front 
of  the  bust ;  background  dark  crimson  drapery ;  in  the  left  upper  corner  a  crown 
with  pearls.  Inscribed  "  The  Honourable/  The  Baronettesse/  Anne  Holles/  Wife 
OF  S".  Francis/  Holles  Baronet  the/  onely  Sonne  and  heyre/  apparent  of 
Denzell/  Baron  Holles  of  Ifeild/  1672." 

Canvas,  29!-  in.  H.  x  25!-  in.  W. 

On  the  back  of  the  canvas  is  a  long  note,  "  The  Baronettesse  Anne  Holies  aged 
two  &  thirty  yeares  five  Kalender  monthes  and  one  &  twenty  days  October  6.  1672. 
the  wife  of  the  Honourable  Sr.  Francis  Holies  of  Wynterbourne  St.  Martyn  in  the 
County  of  Dorset  Baronet  and  Knight  the  onely  Sonne  survivant  and  heyre 
apparent  of  Denzell  Baron  Holles  of  Ifeild  second  sonne  onely  Brother  Survivant 
and  Unkle  of  John  the  first  of  that  name.  John  the  Second  and  Gilbert,  Earles  of 
Clare  successively  which  Baronettesse  was  the  eldest  daughter  and  Coeheyresse  of 
Sr.  Francis  Pile  the  second  of  that  name  of  Compton-Beauchampe  in  the  County  of 


VESTIBULE.  ^  AT  WELBECK   ABBEY. 

DINING-ROOM    PASSAGE.J 


Berks  Baronet :  which  Barronettesse  was  by  measure  in  cleare  higth  four  foote  and 
ten  inches  or  thereabout  who  was  afterwards  Baronesse  Holies  of  Ifeild  and 
deceased  at  her  house  in  Lyncolne  Square  in  Lyncolne's  Inne  Feilds  in  Midlesex 
on  Wednesday  March  8.  1681  aged  one  and  forty  yeares  ten  moneths  and  one  and 
twenty  days  and  was  In(terred  in)  the  North  Isle  adjoyning  unto  the  Church  at 
Ifeild  aforesaid  on  Thursday  May  4.  following,  1682."  Beneath  is  written,  "coppy 
1683." 

This  is  a  copy  of  the  picture  in  the  Gallery. 

14.  Portrait  of  a  Young  Beardless  Man.  V.  C.  ?    Dutch  School. 

Bust,  life  size,  profile,  to  right ;  wearing  a  gorget,  green  velvet  mantle  thrown 
over  the  right  shoulder,  slashed  purple  velvet  cap,  worn  on  the  side  of  the  head,  long 
dark  hair,  no  beard  or  moustache  ;  dark  background.  Signed  with  monogram,  to  left, 
the  letters  "  V.  C,"  or  "V.  G."  interlaced,  "  16  .  ." 

The  last  numerals  are  now  illegible,  but  the  date  is  given  as  1639  in  the  1747 
Catalogue. 

Panel,  21^  in.  H.  x    16^  in.  W. 

Cat.  1747.     Upper  East  Apartment,  No.  5. 


DINING-ROOM  PASSAGE. 

15.  Portrait  of  a  Monk,  in  a  Brown  Habit.  De  Cany. 

Bust,  life  size,  three-quarter  face,  to  left,  inscribed  to  left  on  background  "  De 
Cany  f." 

Pastel  on  paper.     Oval.     22  in.  H.  x  17^ in.  W. 

16.  Lady  Hawkins  Whitshed,  NfiE  Bentinck,  with  her  Eldest  Son  James. 

James  Northcote,  R.A. 

Full  length  figures,  life  size,  in  a  landscape.  Lady  Whitshed  in  a  white  dress, 
embroidered  with  gold  sprigs,  white  turban,  pink  and  blue  shot  silk  scarf.  She  kneels 
on  her  right  knee,  holding  the  child  with  both  arms,  who  is  standing  at  her  left,  in  a 
white  shirt ;  round  his  neck  a  coral  necklace,  short  flaxen  hair  parted  in  the  centre. 
The  child  holds  his  mother's  elbow  with  his  right,  and  extends  the  left  towards  a 
butterfly  hovering  near ;  dark  trees  to  the  left.     Landscape  to  right,  and  blue  sky. 

Canvas. 

Bequeathed  to  the  Duke  of  Portland,  with  seven  other  portraits,  by  Lady  Bentinck, 
Widow  of  General  Sir  Henry  John  William  Bentinck,  K.C.B.  General  Sir  Henry 
Bentinck  (i  796-1878)  served  with  distinction  in  the  Crimea,  where  he  commanded  a 
brigade  of  Guards. 


6  CATALOGUE   OF   PICTURES  [dining-room  passage. 

17.  Unknown  Subject.  Bolognese  School. 

A  young  woman  kneeling  with  upturned  head  to  right,  receives  from  a  female 
attendant  a  dish  with  two  decapitated  male  heads.  A  viol,  bow,  and  a  scroll  on  the 
ground  to  right. 

Canvas,  603^  in.  H.  x  44^^  in.  W. 

18.  pRANgoiSE  Ath£naYs  de  Rochechouart,  Marquise  de  Montespan.     1641 — 1707. 

Henri  Gascard. 

Three-quarter  length,  life  size,  reclining  on  a  red  cushion,  head  towards  the  right ; 
loose  russet-coloured  dress,  open  to  waist,  showing  richly  laced  chemisette,  her  chin 
rests  on  her  left  hand,  and  in  her  right  she  holds  a  garland  of  flowers,  one  end  of  which 
trailsacross  herarm.  Long  blue,  loose  sleeves,  bordered  with  gold  and  silver  lace ;  white 
sleeves  to  chemisette,  edged  with  lace,  a  string  of  pearls,  rubies,  and  other  gems, 
where  the  lace  is  joined  to  sleeve ;  a  pearl  and  ruby  ornament  loops  up  the  blue 
sleeve  on  the  shoulder ;  hair  parted  in  the  centre,  disposed  in  curls  on  either  side  of 
the  head,  two  long  curls  hang  over  the  right  shoulder ;  gold  and  silver  brocaded 
curtain  to  right.  To  the  left  an  opening,  through  which  is  seen  the  sky  and  trees ; 
a  curly  brown-haired  Cupid  is  leaning  forward  out  of  the  foliage,  about  to  discharge 
an  arrow. 

Canvas,  oval. 

On  the  frame  is  inscribed  "Madame  de  Montespan  by  H.  Gascar./  Born 
1641.     Died  May  28,  1707." 


19.  Charlotte  Bentinck,  Lady  Milnes. 

Three-quarter  length,  life  size,  to  left,  leaning  on  a  marble  capital.  Empire 
costume ;  greenish-white  and  gold  dress,  right  hand  holding  drapery,  she  is  resting 
on  her  left  elbow,  the  hand  lightly  touching  cheek  ;  pale  blonde  hair,  disposed  in  small 
curls,  plain  gold  tiara ;  fig  tree  to  right,  sea  to  left. 

Canvas. 

Bequeathed  to  the  Duke  of  Portland  by  Lady  Bentinck. 

20.  Count  John  Albert  Bentinck,  Captn.  R.N.,  Grandfather  of  Lady  Bentinck,  as 
A  Boy.     1737—1775- 

Half  length,  life  size,  to  right,  holding  a  grey  squirrel  with  a  red  ribbon  round  its 
neck,  on  his  extended  right  arm.  Light  grey  fur-lined  coat.  Brown  hair,  brushed  off 
the  forehead. 

Canvas. 

Bequeathed  by  Lady  Bentinck. 


DINING-ROOM  PASSAGE.]  AT    WELBECK    ABBEY. 


2  1.  Countess  Bentinck,  n£e  Renira,  Baroness  Van  Tuyll  van  Serooskerken. 

John  Hoppner,  R.A. 
Bust,  life  size,  to  left,  a  light  muslin  scarf  tied  over  the  head  and  fastened  under 
the  chin  in  a  bow  ;  black  mantilla,  edged  with  lace  ;  tree  trunk  to  right,  background  of 
foliage  ;  landscape  with  blue  hill,  to  left. 
Canvas. 

Renira,  Baroness  de  Tuyll,  married  John  Albert  Bentinck,  1763. 
Bequeathed  to  the  Duke  of  Portland  by  Lady  Bentinck. 


22.  Lady  Charlotte  Greville,  n£e  Bentinck.     1775 — 1862.      J,  D.  Mercier,  1849. 

Half  length,  life  size,  seated  to  left ;  white  widow's  cap  tied  under  her  chin  and 
a  green  shade  over  the  right  eye  ;  the  left  hand,  gloved,  rests  on  arm  of  chair  holding 
muslin  scarf  round  neck,  a  pale  yellow  Indian  shawl  thrown  round  the  shoulders. 

Canvas,  oval. 

Inscribed  at  back  of  frame,  "  The  Rt.  Honble.  Lady  Charlotte  Greville 
BY  J.  D.  Mercier.     1849." 

23.  William  Bentinck,  Esq.,  Vice-Admiral,  R.N.     1764 — 1813. 

Mason  Chamberlin,  R.A.,  1783. 

Half  length,  life  size,  seated  to  left,  in  blue  naval  uniform.  His  arms  are  crossed 
before  him  on  a  table ;  beneath  the  left  arm  is  a  vellum  document,  on  which  the 
preamble,  beginning  "  By  virtue,"  is  to  be  read.  White  open  waistcoat,  frilled  shirt, 
and  locket.  He  wears  his  own  light  brown  hair,  brushed  off  the  forehead.  White 
and  red  striped  cushion  to  chair ;  dark  grey  background.  Inscribed  "  Chamberlin 
1 783  "  in  lower  left  corner. 

Canvas. 

On  the  back  of  the  canvas  is  written  "William  Bentinck  Esqr.  Count  of  the 
Holy  Roman  Empire,  Vice  Adml.  R.N.,  Son  of  Count  John  Albert  Bentinck,  Capt. 
R.N.,  and  Renira  nee  Bness  de  Tuyll,  born  1764,  died  Feb.  21  1813,  Married  Sepff. 
20,  1802,  Lady  Frances  Pierrepoint,  daughter  of  the  Earl  Manvers." 

Bequeathed  by  Lady  Bentinck. 

24.  The  Rev.  John  Bentinck,  2nd  Son  of  John  Albert,  as  a  Boy.     D.  1804. 

Mason  Chamberlin,  R.A.,  1783. 

Three-quarter  length,  life  size,  to  right.     Seated  on  a  bank,  holding  a  brown  and 

white  spaniel  with  both  hands,  the  left  leg  is  drawn  up  beneath  him ;  light  blue  coat, 

buff  waistcoat  and  knee  breeches,   white  stockings,  black  shoes  and  paste  buckles. 

Frilled  shirt,  and  turn-down  collar,  long  light  hair,  curling  on  to  the  shoulders.    Land- 


8  CATALOGUE  OF   PICTURES  [dining-room  passage. 

scape  background,  sky  and  dark  tree  to  left.     In  the  lower  right  corner  is  inscribed 
"  Chamberlin  1 783." 

Canvas. 

Bequeathed  by  Lady  Bentlnck. 

25.  William  John  Arthur,  Duke  of  Portland.  John  Pettie,  R.A.,  1889. 

Full  length,  life  size,  seated  to  left,  nearly  full  face,  in  scarlet  uniform  as  Master  of 
the  Horse.     Signed  in  lower  corner  "J.  Pettie  1889." 

Canvas. 

Presented  to  the  Duchess  of  Portland  on  her  marriage,  by  his  Grace's  Ayrshire 
tenants  and  other  friends,  nth  January,  1889. 

26.  View  of  Antwerp. 

A  view  of  the  city  and  river,  spanned  on  the  left  by  a  bridge  of  boats,  houses  on 
the  foreshore  and  numerous  figures  in  the  foreground.  Near  the  left  centre  is  a 
Chapel,  more  to  the  right  a  waggon,  drawn  by  two  white  horses,  with  a  red-coated 
waggoner ;  on  the  near  side  a  woman,  with  a  brass  vase  on  her  head,  is  passing  in  the 
opposite  direction  ;  beyond  is  a  street,  continued  to  the  foreground  ;  a  barren  tree  near 
the  right,  and  a  straw  fence ;  on  the  far  side  are  some  figures,  one  in  a  red  jacket, 
cutting  cabbages.  Linen  is  spread  to  dry  on  the  ground.  Numerous  boats  and 
vessels  of  various  description  on  the  water,  firing  salutes. 

Canvas,  54  in.  H.  x  103 1-  in.  W. 

Cat.  1820.     Little  Drawing-Room. 

27.  The  Honble.  Charles  Ferdinand  Bentinck. 

Half  length,  life  size,  seated  to  right,  nearly  in  profile ;  coffee-coloured  coat  and 
grey  wig,  the  hands  not  shown  ;  dark  background. 
Canvas. 

28.  Sir  James   Hawkins  Whitshed,   Baronet,  G.C.B.,  Admiral  of  the  Fleet,   3RD 

Son  of  James  Hawkins,  Bishop  of  Naphoe.     Born  1762. 

Bust,  life  size,  nearly  full  face,  to  left;  in  Admiral's  uniform,  bareheaded;  wearing 
red  ribbon  of  the  Bath,  a  medal  attached  to  a  blue  and  white  ribbon  on  the  left  side, 
and  a  brilliant  star,  in  the  centre  of  which  is  a  Maltese  Cross. 

Canvas. 

Bequeathed  by  Lady  Bentinck. 


DINING-ROOM.]  AT   WELBECK   ABBEY. 


DINING-ROOM. 

29.  John  Holles,  Duke  of  Newcastle.     1662 — 171 1. 

Full  length,  life  size,  to  right,  in  Garter  Robes  and  long  wig ;  right  thumb  in 
sword  belt ;  left  by  side,  holding  plumed  hat ;  dark  architectural  background,  sky  to 
right.     Inscribed  below,  to  right,  "John  Holles/  Duke  of  Newcastle." 

Canvas,  88|-  in.  H.   x   50 J  in.  W. 

John  Holies,  4th  Earl  of  Clare,  created  1694,  Duke  of  Newcastle  upon  Tyne,  in 
right  of  his  wife,  Lady  Margaret  Cavendish,  3rd  daughter  and  co-heir  of  Henry 
Cavendish,  2nd  Duke  of  Newcastle  K.G. ;  entertained  King  William  HI.  at  Welbeck 
1695,  killed  while  hunting,  1711,  aged  49. 

Cat.  1747.     Grand  Saloon,  No.  18. 

30.  Margaret  Cavendish,  Wife  of  John  Holles,  4th  Earl  of  Clare,  afterwards 
Duke  of  Newcastle.     1661 — 1716? 

Full  length,  life  size,  seated,  to  left;  loose  blue  dress,  fastened  with  jewelled 
clasps  and  embroidered  with  gold  flowers  ;  brown  cloak,  white  undersleeves ;  right  arm 
folded  across  breast,  left  resting  on  drapery ;  she  holds  in  both  hands  some  white 
flowers  ;  brown,  crimson-lined  curtain  to  right,  orange  tree  in  vase  to  left,  another  plant 
at  her  feet ;  background  of  foliage  and  wall  to  right ;  brown  hair,  with  a  string  of  pearls 
wound  in  it.  Inscribed  "  Margaret  Cavendishe,/  3°  Daughter  of  Henry  Duke 
OF  Newcastle,/  Married  John  Holles,  Earl  of  Clare,/  Afterwards  Created, 
Duke  of  Newcastle." 

Canvas,  86|- in.  H.   x  53  in.  W. 

Cat.  1747.     Great  Drawing-Room,  No.  8. 

31.  Lt.-Genl.  Lord  William   Henry  Cavendish  Bentinck,  G.C.B.,  2nd  Son  of  3RD 
Duke  of  Portland.     1774 — 1839.  Sir  Thomas  Lawrence,  P.R.A. 

Three-quarter  length,  life  size,  standing  to  left,  the  head  turned  to  right ;  brown 
coat,  buttoned  up  ;  white  waistcoat  and  tie,  brown  breeches,  below  waistcoat  hangs  a  red 
ribbon  ;  grey  hair,  face  clean  shaved ;  the  right  arm  rests  on  a  stone  pedestal,  the  left 
by  his  side  ;  column  to  left,  low  parapet  and  sky  to  right. 

Canvas. 

Unfinished.     The  coat  and  hands  have  been  painted  in  later. 

Lord  William  Henry,  Governor  General  of  India  1 828-1 835  ;■  married  1803, 
Mary,  2nd  daughter  of  ist  Earl  of  Gosford. 

One  of  several  pictures  brought  to  Welbeck  from  London,  Feb.,  1861. 

c 


lo  CATALOGUE   OF   PICTURES  [dining-room. 

32.  Mary,  2nd  Daughter  of  the  ist  Earl  of  Gosford,  Wife  of  Lt.-Genl.   Lord 
William  Henry  Cavendish  Bentinck,  G.C.B.     D.  1843. 

Sir  Thomas  Lawrence,  P.R.A. 

Half  length,  life  size,  seated  to  left ;  brown  curly  hair,  ruby  ear-ring  set  in  gold. 
There  is  a  patch  of  blue  round  the  head  ;  the  remainder  of  the  sky  and  landscape  were 
added  later,  apparently  by  the  same  hand  that  completed  the  portrait  of  Lord  William 
Henry ;  in  this  case  the  dress  was  left  unpainted. 

Canvas. 

Married  1803,  died  childless  1843. 

33.  William  Henry  Cavendish  Bentinck,  3RD  Duke  of  Portland,  K.G.     1738 — 1809. 

Sir  Joshua  Reynolds,  P.R.A. 

Three-quarter  length,  life  size,  seated  to  left ;  crimson  velvet  coat,  lace  ruffles, 
knee-breeches  and  white  stockings,  small  powdered  wig,  black  tie ;  holding  paper  in 
right  hand,  resting  on  table ;  his  left  raised  to  chin ;  he  has  the  air  of  listening ; 
architectural  background,  with  hemicycle  ;  trees  seen  through  opening  to  left ;  on  the 
table  are  books,  and  two  bronze  statuettes,  one  representing  Hercules. 

Canvas,  56|- in.  H.  x  45f  in.  W. 

William  Henry  Cavendish  Bentinck,  3rd  Duke  of  Portland,  K.G.,  born  1738, 
succeeded  to  Dukedom  1762.  Viceroy  of  Ireland  in  1782,  Prime  Minister  under 
George  3rd,  1 783-1807.  Married  1766,  Dorothy,  only  Daughter  of  William,  4th 
Duke  of  Devonshire,  who  died  in  1794.     He  died  30  October,  1809. 

Engraved  in  mezzotint  by  John  Murphy,  published  1785. 

Exhibited  at  Manchester,  1857.     Cat.  No.  51.     Modern  Masters. 

34.  Mary,  youngest  Daughter  of  William  Henry,  3RD  Duke  of  Portland.     D.  1843. 

Sir  Thomas  Lawrence,  P.R.A. 

Half  length,  life  size,  seated  to  right ;  white  dress,  grey  drapery  on  right  shoulder, 
dark  brown  hair.  She  is  seated  sideways  in  the  chair,  the  right  arm  resting  along  the 
back,  her  left  by  her  side,  bare  to  elbow.  Background,  grey  parapet,  sky  to  right,  wall 
to  left. 

Canvas. 

Unfinished. 

This  lady  died  unmarried  1843. 

A  copy  of  this  picture  (reduced  to  a  bust)  is  in  the  possession  of  the  Duke  of 
Devonshire  at  Chatsworth. 

35.  Henrietta  Cavendish  Holles,  Countess  of  Oxford.  Sir  G.  Kneller. 

Three-quarter  length,  life  size,  standing  to  right,  holding  a  basket  of  flowers ; 


DINING-ROOM.]  AT   WELBECK  ABBEY.  ii 


white  satin  dress  and  red  cloak;  architectural  background,  sky  to  right.     Inscribed 
"  The  R'^  Hon'"/  the  Lady  Heneritta/  Cavendish  Holles,/  Countess  of  Oxford," 

Canvas,  50  in.  H.  x  4010.  W. 

A  duplicate  is  in  the  Gallery,  No.  454. 

36.  William  Cavendish,  ist  Duke  of  Newcastle.     1592 — 1676. 

Full  length,  life  size,  to  right,  in  Garter  Robes ;  curtain  to  left,  column,  and  grey 
sky   to   right.     Inscribed   below   "William    Cavendish,  ist  Duke  of   Newcastle 

married  2  WIFES/  1ST,  ElIZABETH/  DAUGHTER  &  SOLE  HEIR  TO  W"  BaSSETT  OF  BlORE 

2°  Margaret  Lucas  Daughter  to  Tho'.  Lucas  of  Colchester  Esq"." 

Canvas,  88|^in.  H.  x  54  in.  W. 

The  head  and  hands  are  copied  from  the  same  original  by  Vandyck,  as  the  half 
length  in  the  Horsemanship  Bedchamber. 

Cat.  1747.     Grand  Saloon,  No.  12.  • 

37.  Margaret  Lucas,  2nd  Wife  of  William,  ist  Duke  of  Newcastle.     D.  1673. 

Full  length,  life  size,  standing  to  left,  in  Court  dress ;  white  satin  petticoat,  blue 
velvet  bodice  and  train,  crimson  velvet  mantle  lined  with  ermine,  the  sleeves,  bodice, 
and  train,  trimmed  with  silver ;  lace  under-sleeves,  jewel  in  centre  of  bodice ;  black 
head-dress  with  ostrich  plumes  ;  right  hand  lightly  touching  table  cloth  to  left,  the  left 
holding  mantle.  On  the  table,  which  is  covered  with  a  yellow  cloth  of  gold  brocade, 
is  a  vase  containing  orange  flowers ;  curtain  above,  fluted  column  to  right,  dark 
background,  red  and  black  carpet.  Inscribed  "Margaret,  Daughter/  to  THO^ 
Lucas  Es'^^  of/  Essex  2°  wife  to  W"./  Duke  of  Newcastle." 

Canvas,  87!-  in.  H.   x   53  in.  W. 

Margaret  Lucas,  was  sister  to  Sir  Charles  Lucas  who  held  Colchester  for  Charles 
I.,  and  was  executed  1648.  She  wrote  many  plays.  Margaret  Lucas  died  without 
issue  1673.     V.  Walpole's  Royal  and  Noble  Authors. 

Cat.  1747.    Great  Drawing- Room,  No.  3. 

Exhibited  at  Manchester,  1857.     Cat.  No.  183. 

38.  Lord  George  Frederick  Cavendish  Bentinck,  M.P.,  3RD  Son  of  the  4TH  Duke 
OF  Portland.     1802— 1848.  After  Lane,  by  Belli. 

Three-quarter  length,  life  size,  standing  to  left,  the  head  turned  to  right ;  black 
morning  coat,  open  velvet  waistcoat,  black  stock,  and  orange  silk  scarf;  thin  gold 
chain  with  seals  ;  his  right  hand  is  placed  on  some  papers  that  lie  on  the  table  to  left, 
his  left,  gloved,  hangs  by  his  side ;  dark  brown  hair  and  whiskers,  chin  and  upper 
lip  shaved  ;  red  curtain,  grey  background. 

Canvas. 


12  .  CATALOGUE   OF    PICTURES  [: 


DINIKG-ROOM. 


39.  Lt.-Genl.  Arthur  Cavendish  Bentinck,  2nd  Son  of  Lord  Charles  Bentinck. 

George  Richmond,  R.A. 
Bust,  life  size,  nearly  In  profile,  to  right ;  black  coat  with  fur  collar,  short  grey 
hair,  beard,  and  moustache ;  red  curtain  background,  sky  to  right. 
Canvas. 

40.  Augusta  Mary  Elizabeth,  2nd  Wife  of  Lt.-Genl.  Arthur  Cavendish  Bentinck, 

Bness.  Bolsover.     D.  1893.  James  Sant,  R.A. 

Bust,  life  size,  nearly  full  face,  to  left ;  in  evening  dress ;  black  bodice  trimmed 
with  lace,  muslin  sleeves,  pearl  ornament  with  three  pear-shaped  pendants,  necklace  a 
triple  row  of  pearls,  flower  in  black  hair  ;  warm  grey  background. 

Canvas. 

41.  Margaret  Cavendish  Harley,  Wife  of  William,  2nd  Duke  of  Portland.    D.  1785. 

Thomas  Hudson. 

Full  length,  life  size,  standing  to  right ;  crimson  velvet  and  ermine  bodice,  skirt, 
and  train ;  white  satin  petticoat  with  deep  gold  border ;  right  hand  by  her  side,  left 
holding  coronet,  girdle  and  tassel  of  gold  ;  a  marble  table  with  gilt  top  to  right,  carved 
gilt  chair  to  left,  with  train  thrown  over  it ;  grey  background.  Inscribed  "  Margaret 
Cavendishe  Harley,  daughter  of  Edward  Harley,/  Earl  of  Oxford  and  Earl 
Mortimer,  and  Henrietta  Cavendishe/  Holles,  married  to  William  Bentinck, 
Duke  of  Portland." 

Canvas,  88  in.  H.   k  58  in.  W. 

Married  the  2nd  Duke  of  Portland,  1734,  d.  1785, 

Cat.  1747,     Great  Alcove  Bedchamber,  No.  2. 

42.  William  Bentinck,  2nd  Duke  of  Portland.     D.  1762.  Thomas  Hudson. 

Full  length,  life  size,  standing  to  left,  in  Garter  Robes ;  the  right  hand  extended, 
the  left  by  his  side  ;  plumed  hat  on  table  to  right ;  grey  background,  stone  step  in  the 
foreground.  Signed"  Hudson  Pinxit."  Inscribed  on  the  step,  "  William  Bentinck, 
Duke  of  Portland,  married  to  Margaret  Cavendishe  Harley,  daughter  of 
Edward,  Earl/  of  Oxford,  &  Earl  Mortimer,  and  Henrietta  Cavendish  Holles, 
Countess  of  Oxford  and  Mortimer." 

Canvas,  87 J  in.  H.  x  57^  in.  W. 

Cat.  1747,     Grand  Saloon,  No.  19. 

43.  William    Henry   Cavendish   Scott  Bentinck,  4TH  Duke   of  Portland,   F.R.S., 

F.S.A.     1768— 1854.  Sir  Francis  Grant,  P.R.A. 

Full  length,  life  size,  seated,  to  left ;  black  riding  coat  with  brass  buttons,  knee 

breeches  and  top  boots,  white  necktie;  holding  a  walking  stick  in  his  right  hand, 


DisiNG-RooM.-i  AT  WELBECK   ABBEY.  13 

MUSIC  ROOM.  -■  "^ 

gloved ;  left  bare,  holding  glove ;  both  elbows  rest  on  the  arms  of  the  green  leather 
chair  in  which  he  is  seated,  his  hat  lies  on  the  ground  at  his  feet ;  crimson  curtain  to 
right,  a  wall  and  landscape  to  left.     Signed,  "  F.  Grant  Pinx\" 

Canvas,  77  in.  H.   x   56^  in.  W. 

William  Henry,  4th  Duke  of  Portland,  married  Henrietta,  Eldest  Daughter  and 
co-heir  of  Lieut-General  John  Scott  of  Balcomie,  County  Fife,  who  died  1844. 

This  picture  was  presented  to  the  Duke  by  his  tenants,  December  1852,  in  the 
84*  year  of  his  age. 

Engraved  by  James  Faed. 

44.  Robert  Harley,  ist  Earl  of  Oxford.     1661 — 1724.  Sir  G.  Kneller. 

Three-quarter  length,  life  size,  to  right,  in  Speaker's  Robes  (black  trimmed  with 
gold  lace),  holding  "  Succession  "  Bill  in  his  right  hand,  his  left  on  his  hip,  long  grey  wig 
and  plain  cravat,  table  with  dark  cloth  to  right.  Inscribed  "  Robert  Harley  Esq' 
in  right  lower  corner,  and  on  the  paper,  "  Succession  Bill." 

Canvas,  50^  in.  H.  x  40^  in.  W. 

Cat.  1747.     South  Drawing- Room,  No.  9. 

Exhibited  at  Manchester,  1857.     Cat.  No.  260. 

Guelph  Exhibition,  New  Gallery,  1891.     Cat.  No.  7. 


RE   " 


MUSIC  ROOM. 

45.  A  Roebuck  pursued  by  Two  Lion  Cubs.  Snyders  ? 

The  buck  on  its  hind  legs  in  the  act  of  springing,  turns  towards  its  pursuers,  who 
are  also  looking  backwards  with  uplifted  paws. 
Canvas,  63  in.  H.  x  92^^  in.  W. 
Cat.  1 83 1.     Little  Drawing- Room. 

46.  Mrs.  Scott  and  her  Daughter  Henrietta,  afterwards  4TH  Duchess  of  Portland. 

D.  1844.  After  CoswAY.     By  Louisa  Starr  Canziani,  1 880. 

Full  length  figures,  life  size.  Mrs.  Scott  seated  to  left,  in  white  dress,  open  ruff 
of  point  lace,  blue  mantle,  and  white  satin  shoes,  one  foot  on  a  foot-stool.  Her  right 
hand  is  placed  on  her  daughter's  shoulder,  in  her  left  she  holds  an  oval  miniature 
which  she  is  showing  her.  Her  daughter  is  standing,  full  face,  with  her  hands 
clasped  in  front  of  her,  looking  out  of  the  picture.  Pale  yellow  dress,  light  grey-blue 
sash,  one  end  of  which  trails  on  the  chair  behind  her,  broad  leghorn  hat  with  pink 
strings,  pink  satin  shoes  with  blue  ties.     Dark  brown  hair,  arranged  in  long  curls,  a 


14 


CATALOGUE   OF   PICTURES  [music  room. 


47- 


brown  and  white  spaniel  playing  at  her  feet,  blue  foot-stool  with  gilt  claw  feet; 
architectural  background  with  columns,  and  dark  curtain  to  left. 

Canvas. 

Henrietta,  eldest  daughter  and  co-heir  of  General  John  Scott,  of  Balcomie,  Fife, 
married  William  Henry,  4th  Duke  of  Portland,  4  Aug.,  1795,  died  28  April,  1844. 

Bequeathed  to  the  Duke  of  Portland  by  Lady  Ossington. 

The  original  picture  is  in  the  possession  of  the  Earl  of  Clanricarde. 

Mater  Dolorosa.  Sassoferrato. 

Bust,  to  right,  with  her  blue  mantle  thrown  over  her  head,  the  hands  clasped. 
Canvas,  20  in.  H.  x  i8|^  in.  W. 


48.  St.  Mary  Magdalene.  '  After  Titian. 

Bust,  life  size,  to  right,  looking  up.     Unfinished. 

Paper  stretched  on  canvas  and  panel,  i8f  in.  H.  x  14  in.  W. 

This  picture  resembles  the  Barbarigo  canvas  at  St.  Petersburg. 

On  the  back  of  the  panel  is  a  long  inscription  in  Italian,  to  the  effect  that  it  is  a 
study  from  life  by  Titian,  that  served  for  thirteen  pictures  of  the  Magdalene,  all 
different,  but  all  famous  ;  that  it  was  purchased  by  the  Secretary  to  the  Spanish 
Ambassador  in  Venice,  by  order  of  the  Ambassador  at  the  Papal  Court  and  taken  to 
Rome,  1680. 

Beneath  the  inscription  is  a  coronet  above  the  letters  "  D.G.H."  (interlaced)  burnt 
in ;  the  same  monogram  is  on  the  picture  of  Christ  bearing  the  Cross,  formerly  attributed 
to  Raphael.     No.  84. 

Cat.  1 83 1.     Drawing- Room. 

49.  A  Landscape,  Afternoon.  Ascribed  to  Claude  Lorraine. 

On  the  bank  of  a  stream,  to  left,  a  group  of  trees  with  thin  foliage ;  in  the 
foreground,  a  youthful  shepherd  and  shepherdess  are  driving  a  herd  of  goats  down  a 
slope,  on  the  edge  of  the  water,  a  little  towards  the  right.  In  the  foreground,  to 
right,  are  tall  trees. 

Canvas,  15!^  in.  H.  x  2i|-  in.  W. 

Cat.  1 83 1.     Drawing- Room. 

50.  A  Landscape,  Early  Morning.  Elsheimer. 

On  a  low  hill  to  right,  almost  covered  with  foliage,  is  an  archway,  with  a  pillar  at  the 
entrance ;  from  the  side  of  which  issues  a  herd  of  cows,  who  are  being  driven  to  pasture ; 
the  hill  they  are  descending  and  the  trees,  hide  the  foremost  of  the  herd  ;  lower  down 
to  right,  near  the  centre  of  the  picture,  in  the  middle  distance,  a  herdsman  is  driving 


MUSIC  ROOM.]  AT  WELBECK   ABBEY.  15 


51- 


his  herd  by  the  side  of  some  water.  In  the  distance  is  the  slope  of  a  hill  covered  with 
trees ;  to  right  a  group  of  three  trees,  and  in  the  foreground  a  man  in  red  is  getting 
off  a  donkey.  The  distance  is  partially  obscured  by  a  rise  in  the  foreground,  which  is 
thrown  into  strong  relief  by  the  distant  plain  beyond.  Bright  morning  light,  a  gleam 
through  the  trees  lighting  up  the  ruins  on  the  hill  to  right. 

Panel,  16^  in.  H.  x  23  in.  W. 

Cat.  1 83 1.     Drawing- Room. 


The  Building  of  the  Ark.  School  of  Bassano. 

The  Ark  is  to  right,  approached  by  a  sloping  plane  of  wood ;  Noah  is  seen  near 
the  door,  a  man  behind  is  stooping  to  receive  some  planks  from  a  woman,  another 
female  is  carrying  wood  into  the  Ark,  followed  by  a  laden  white  horse.  In  the 
foreground,  to  left,  a  loaded  donkey,  and  near  by,  a  young  girl.  In  the  centre  is  a 
man  in  crimson  and  blue,  working  at  a  bench  sawing  wood ;  to  the  extreme  left, 
a  man  using  the  plane.  In  the  middle  distance,  to  right,  a  pair  of  brown  oxen,  and  a 
girl  stooping  over  a  tub  ;  in  the  foreground  to  left  is  a  brown  and  white  spaniel,  a  hen 
coop,  poultry,  and  a  peacock  ;  to  left,  carpenters'  tools,  and  various  utensils  ;  wooded 
landscape  background,  with  blue  hills  in  the  distance. 

Canvas,  26  in.  H.  x  34!  in.  W. 

Cat.  1 83 1.     Dining- Room. 


52.  The  Flood.  School  of  Bassano. 

The  porch  of  a  house,  crowded  with  figures ;  to  left  is  a  woman  seated  in  front  of 
the  steps,  watching  the  rising  of  the  water,  a  man  standing  beside  her  talking  to  her ;  at 
the  corner  of  the  steps  a  man  is  wading  in  the  water.  On  the  roof  of  a  house  in  the 
distance  a  number  of  people  have  taken  refuge,  a  woman  with  outstretched  arms  is 
appealing  to  heaven.  To  the  extreme  right,  in  the  foreground,  a  woman  is  seated 
with  her  back  turned  ;  at  her  feet  is  an  old  man  endeavouring  to  save  a  bundle  of  linen 
from  the  water,  the  surface  of  which  is  strewn  with  floating  pans,  tubs,  chests,  stools, 
and  clothing ;  to  left  a  woman  is  seated  weeping,  with  a  child  at  her  knees ;  behind  is 
a  young  man  in  a  red  cap  and  a  girl  with  her  hands  clasped,  near  her  three  dogs,  one 
of  which  is  in  the  water.  In  the  centre  a  woman  in  red  and  saffron  drapery  is  helping  a 
child  out ;  near  by  is  a  man  floating  on  his  back,  apparently  dead,  a  man  on  horseback, 
a  pair  of  oxen  swimming,  and  more  to  the  right,  a  woman  wading  in  haste.  The  Ark 
is  to  the  right,  dark  sky  and  landscape. 

Canvas,  27  in.  H.  x  35  in.  W. 

Cat.  1747.     North  Room,  No.  25. 

Cat.  1 83 1.     Dining- Room. 


i6  CATALOGUE   OF   PICTURES  [music-room. 

53.  Christ's  Charge  to  Peter.  After  Raphael. 

54.  The  Death  of  Ananias. 

55.  Paul  preaching  at  Athens. 

56.  Paul  and  Barnabas  at  Lystra. 

57.  Elymas  the  Sorcerer  struck  with  Blindness, 

58.  Peter  and  John  healing  the  Lame  Man  at  the  Beautiful  Gate. 

59.  The  Miraculous  Draught  of  Fishes. 

The  two  last-mentioned  pictures  are  hung  in  the  Red  Drawing-Room. 
Small  copies  in  oil,  from  the  Tapestry  Cartoons,  formerly   in   the    Gallery  at 
Hampton  Court,  now  at  South  Kensington  Museum. 

60.  The  Virgin  and  Child  in  a  Landscape,  with  Donor.  Venetian  School. 

The  Virgin  is  seated  under  a  canopy  in  the  centre,  with  the  child  extended  on 
her  lap  ;  to  the  left,  the  donor  kneeling  ;  behind  him  his  wife  in  a  white  dress.  Open 
landscape  to  right.     Figures  under  life  size. 

Canvas,  35  in.  H.   x  46^  in.  W. 

A  canvas  in  the  style  of  the  followers  of  Campagnola  and  Polidoro  Veneziano 
formerly  ascribed  to  Titian. 

Cat.  1 83 1.     Dining-Room  ? 

61.  Peter  in  Prison,  delivered  by  an  Angel.  Steenwyck. 

The  prison  is  a  large  vaulted  chamber,  Peter  is  seated  at  the  top  of  a  flight  of 
steps,  the  Angel  is  approaching  from  the  left;  a  man  is  asleep  on  a  bench  in  deep 
shadow  to  left,  other  figures  are  in  the  background,  lying  on  the  floor ;  a  lamp  is 
burning  against  a  column  to  right. 

Canvas,  50J  in.  H.  x  68|^  in.  W. 

Cat.  1 83 1.     Little  Drawing-Room. 

62.  Henrietta  Cavendish  Holles,  Countess  of  Oxford,  in  a  Riding  Habit. 

Sir  Godfrey  Kneller,  17 14. 
Full  length,  life  size,  standing,  in  a  landscape.  Olive  green  and  white  riding 
habit,  braided  with  silver  and  ornamented  with  silver  buttons,  black  hat  with  silver 
braid  to  match,  blonde  wig,  lace  cravat,  white  gloves  and  boots,  she  holds  in  her  right 
a  silver  mounted  whip,  the  left  rests  on  her  hip ;  a  little  distance  behind,  to  right,  a 
groom  holds  her  favourite  dun  mare,  in  red  trappings,  wooded  landscape  with  tall 


MUSIC  ROOM 


]  AT  WELBECK   ABBEY.  17 


trees  to  the  left,  signed  in  lower  corner,  on  a  stone,  "  G.  Kneller  (the  G.  and  K. 
interlaced)  Eques  17 14." 

Canvas,  84  in.  H.   x  61  in.  W. 

Cat.  1 83 1.     Red  Damask  Dressing- Room  ? 

Exhibited  at  Manchester,  1857.     Cat.  No.  232. 

The  Seven  Works  of  Mercy. 

63.  I.  Visiting  the  Sick.  Sebastian  Vrancks. 

In  the  principal  apartment  of  a  nearly  roofless  house,  a  crippled  woman  is  seated 
by  the  fireplace  to  the  left,  one  foot  supported  on  a  low  stool,  her  crutch  and  a 
porringer  beside  her ;  a  boy  with  unkempt  hair  is  blowing  the  fire  with  a  pair  of 
bellows ;  a  young  girl  in  a  blue  jacket  and  petticoat  and  a  white  apron  is  running 
towards  a  man  in  a  red  cloak  who  is  carrying  a  basket  of  provisions  and  a  cup,  he  is 
followed  by  a  boy  with  a  pitcher.  A  dog  is  walking  in  at  the  door,  through  which  is 
seen  a  landscape  with  houses  and  figures  in  the  distance.  Above  the  doorway  is  a 
gallery  leading  to  a  room  approached  by  a  wooden  staircase,  a  woman  is  descending 
the  stairs  with  some  clothes  on  her  arm.  In  the  far  corner  of  the  room  is  an  old  man 
in  bed,  sheltered  from  the  draught  by  a  black  cloth  stretched  over  the  window  above. 
By  the  bedside  on  a  three-legged  stool  are  some  provisions.  Beside  the  bed  stands  a 
priest,  and  a  monk  is  seated  at  the  foot.  To  the  extreme  left,  beyond  the  fireplace, 
in  the  corner  at  the  foot  of  the  bed,  a  Sister  of  Mercy  is  seated  at  table.  In  the  fore- 
ground to  the  right  stands  a  wooden  tub  with  some  clothes  in  it,  a  spade  and  some 
earthen  pots ;  the  wall  beyond  the  bed  is  partly  broken  down  near  the  roof,  and 
through  the  opening  the  walls  are  visible  of  the  room  beyond ;  a  rat  is  walking  along 
the  beam.     Paved  floor. 

Panel,  26  in.  H.  x   2o|^  in.  W. 

Cat.  1 83 1.     Ante-room  to  Little  Drawing- Room. 

64.  II.  Feeding  the  Hungry.  S.  Vrancks. 

A  Lady  and  Gentleman  are  distributing  bread  at  the  porch  of  a  house  to  the 
right.  A  boy  in  a  long  blue  shirt  has  cast  away  his  hat  and  stick  and  is  stretching 
out  his  hands  eagerly  for  the  loaf,  which  is  handed  to  him  by  the  gentleman,  who 
wears  a  red  gown  and  black  cap ;  a  woman  behind  kneels  to  receive  her  loaf,  holding 
a  little  girl  with  her  right ;  another  woman,  in  red  and  black,  who  has  a  child  slung  at 
her  back,  approaches  with  clasped  hands.  To  the  left,  a  blind  man,  led  by  a  black 
and  white  dog,  is  walking  away  with  his  loaf  under  his  arm,  holding  the  hand  of  a 
young  girl  carrying  a  basket :  she  is  dressed  in  a  patched  red  petticoat,  dark  blue 
apron,  and  blue  jacket.  The  two  houses  in  the  foreground,  facing  one  another,  are 
connected  by  a  vine  trellis  ;  to  left  is  a  porch  with  a  youthful  beggar  in  rags,  hastening 
to  a  door,  at  which  stands  a  lady  in  black ;  the  houses  are  at  the  corner  of  a  piazza. 

D 


i8  CATALOGUE   OF   PICTURES  [music  room. 

On  the  opposite  side  is  a  house  surrounded  by  a  colonnade.     In  the  distance  a  street, 
seen  in  perspective,  with  a  church. 

Panel,  26  in.  H.   x  2o|^  in.  W. 

Cat.  1 83 1.     Ante-room  to  Little  Drawing- Room. 

65.  III.  Visiting  Prisoners.  S.  Vrancks. 

The  prison  is  a  heavy  stone  building  surrounded  by  an  open  loggia  with  a  paved 
court  in  front,  railed  off  from  the  street  by  an  iron  railing.  In  the  foreground  is  an 
archway,  against  the  wall  of  which,  to  the  left,  is  fastened  a  long  iron  chain  ;  a  stick  lies 
in  the  corner,  and  against  a  pillar  is  seated  a  man  with  a  table  before  him,  covered 
with  a  dark  cloth ;  on  the  table  is  a  brass  dish  with  an  iron  collar  in  it,  of  the  kind 
used  for  securing  prisoners,  and  some  money  ;  some  coins  are  also  scattered  on  the 
table  cloth  ;  the  man  seated  is  doubtless  the  jailer,  he  has  a  bunch  of  keys  at  his  girdle, 
and  is  collecting  alms  for  the  poor  prisoners.  Surrounding  the  court  are  a  series  of 
grated  windows  at  which  the  prisoners  receive  their  friends,  at  each  of  the  three 
windows  shown  in  the  picture  stands  a  man  conversing  with  some  one  inside ;  one  is 
reading  a  paper ;  a  soldier  in  red  with  a  halberd  is  partially  hidden  by  a  column,  to  the 
right  is  a  woman  in  blue,  with  a  basket  on  her  arm.  In  the  middle  of  the  court  stands 
a  woman  looking  up  at  one  of  the  upper  windows,  from  which  a  basket  is  suspended  by 
a  cord.  In  the  centre  of  the  foreground  a  gentleman  is  fondling  a  dog,  behind  him  is 
a  page,  with  a  basket  of  clothes  ;  to  the  left  is  a  street  with  a  beggar  before  a  house 
door,  some  chickens  are  feeding  in  the  road ;  the  angle  of  the  building  opposite,  with  a 
pulley  fastened  outside,  appears  to  be  part  of  the  prison,  all  the  windows  being  heavily 
barred.     On  the  pilaster  in  the  foreground  to  right,  is  wafered  a  notice  paper. 

Panel,  26  in.  H.   x  2o|^  in.  W. 

66.  IV.  Giving  Drink  to  the  Thirsty.  S.  Vrancks. 

In  the  centre  of  the  foreground  is  an  archway  opening  from  a  loggia,  supported 
by  dark  marble  columns;  the  spandrils  between  the  arches  are  coloured  red  and 
ornamented  with  tablets.  Beyond  is  an  open  square.  A  gentleman,  standing  between 
the  columns  to  the  right,  is  giving  directions  to  his  servants  ;  near  the  master  of  the 
house  to  the  right,  a  man  is  drawing  beer  from  a  cask  in  a  large  wooden  jack ;  a 
couple  of  casks  are  supported  on  trestles  ;  a  servant  maid  is  seen  at  the  back.  In  the 
centre  to  the  left,  a  man  (with  a  hatchet  stuck  in  his  belt)  is  drinking  from  an  earthen 
pitcher ;  behind  him,  a  woman  is  seated  on  the  ground,  with  a  baby  in  swaddling 
clothes  lying  across  her  knees ;  near  her,  an  attendant  is  serving  an  old  woman,  who 
holds  out  a  bowl.  In  the  foreground  is  a  cripple  on  his  knees,  crawling,  supported  by 
hand  crutches.  To  the  left,  behind  the  man  with  the  pitcher,  is  a  woman  giving  drink 
to  a  boy  in  red  ;  a  beggar  is  approaching  behind  with  a  bowl.     In  the  distance,  at  the 


MUSIC  ROOM.]  AT  WELBECK   ABBEY.       ^  19 

door  of'  a  large  house  on  the  left,  a  woman  and  child  are  receiving  alms,  beyond  is  a 
house  with  a  projecting  tower  and  belfry. 

Panel,  25!-  in.  H.  x  2o|-  in.  W.  , 

Cat.  183 1.     Ante-room. 

67.  V.  Receiving  Pilgrims.  S.  Vrancks. 

The  House,  or  Hospital,  has  a  paved  portico  with  a  wooden  entrance  porch 
supported  by  fluted  columns,  projecting  from  the  main  building,  similar  to  those  used 
in  churches  abroad ;  it  is  decorated  in  a  florid  Flemish  style  with  carved  panels  and 
festoons  and  has  two  doors  ;  above  the  cornice  is  seated  a  black  and  white  cat.  In  the 
centre  of  the  picture  is  a  man  in  a  long  habit  lined  with  fur,  bareheaded,  holding  his 
cap  in  his  left ;  with  his  right  he  grasps  the  hand  of  a  pilgrim,  inviting  him  to  enter  ; 
the  traveller  wears  a  short  cape  ornamented  with  cockle  shells  and  crossed  staves  ;  in 
his  left  he  holds  his  staff,  to  which  a  black  handkerchief  is  attached,  over  his  shoulder  ; 
at  his  girdle  is  a  gourd  ;  a  dog  in  the  doorway  appears  less  disposed  to  hospitality  than 
his  master.  A  woman  in  black  is  receiving  a  female  pilgrim  at  the  opposite  door  of 
the  porch.  Beyond  the  open  door  is  a  large  paved  apartment  where  a  man  is  washing 
the  feet  of  a  pilgrim  ;  in  the  background  is  a  bed.  To  the  left  under  the  archway 
is  a  female  pilgrim,  in  a  red  petticoat  and  black  cloak,  wearing  a  tall  hat  surrounded 
with  cockle  shells  and  staves,  like  the  man  by  her  side ;  she  holds  her  staff  in  her 
right.     In  the  distance  is  a  street  leading  to  a  bridge  ;  other  pilgrims  are  on  the  road. 

Panel,  26  in.  H.  x  20;^  in.  W. 

68.  VI.  Clothing  the  Naked.  S.  Vrancks. 

In  the  foreground  is  a  colonnade  with  Corinthian  columns  and  carved  frieze.  To 
the  left  is  a  young  woman  seated  on  the  step  dressing,  a  red  garment  across  her  knees, 
beside  her  is  a  bundle  of  linen  and  her  corset ;  an  old  woman  approaches  from  behind, 
supporting  herself  with  a  stick,  some  linen  and  clothes  under  her  left  arm.  To  the 
right,  between  the  columns,  is  an  old  man,  seated,  distributing  clothes  to  a  child  and 
an  old  woman  from  a  wicker  basket  beside  him,  some  shoes  are  on  the  ground.  An 
old  lady  near  is  holding  out  a  pair  of  stockings.  In  the  foreground  is  a  man  wearing 
a  battered  helmet  and  cuirass,  the  point  of  his  sword  sticks  out  of  the  worn  sheath  ;  he 
has  a  blanket  wrapped  round  his  loins,  and  a  horn  slung  at  his  side ;  behind  him  is  a 
boy,  in  a  tattered  pair  of  trousers,  with  bare  shoulders.  Beyond  the  colonnade  to  the 
left,  in  the  distance,  is  a  handsome  house  with  terraces,  the  porch  is  approached  by  a 
flight  of  steps;  a  woman  is  seated  below,  clothing  a  child,  and  a  man  is  walking  up 
the  steps.  A  trellised  archway  is  in  the  distance  and  a  palm  growing  in  a  court,  a 
house  with  a  loggia  in  perspective  to  right.  Signed  with  monogram  "  S.V."  (interlaced) 
on  pedestal  to  right. 

Panel,  25!  in.  H.  x   20J  in.  W. 

Cat.  1 83 1.     Ante-room. 


20  CATALOGUE    OF    PICTURES  [music  room. 

69.  VII.  The  Burial  of  the  Dead.  S,  Vrancks. 

The  burial  is  taking  place  in  the  aisle  of  a  large  church.  A  priest  to  left  of 
the  grave  is  sprinkling  the  coffin,  which  has  a  gabled  lid,  as  the  three  diggers  shovel 
in  the  earth  ;  behind  the  priest  is  an  acolyte,  in  red  gown  and  white  surplice,  holding 
a  cross  with  a  long  red  staff;  the  mourners  stand  to  right,  the  women  in  front,  and  the 
men  behind.  The  grave-digger,  in  the  foreground,  is  in  a  brown  habit,  grey  breeches 
and  stockings  ;  a  bunch  of  keys  at  his  girdle,  a  knife  in  a  sheath  and  a  leather  bag ;  by 
his  side  lies  the  cord  used  to  lower  the  coffin.  Through  the  open  door  to  left, 
a  peasant  woman  is  entering  with  a  dog,  the  holy  water  basin  is  fixed  to  the  wall  at 
the  side  of  the  door,  and  beneath  lies  the  pall  used  to  cover  the  coffin ;  above  the  door 
is  a  pierced  stone  canopy,  and  a  stained  glass  window  with  figures  of  St.  Lawrence 
and  St.  Catherine.  A  funeral  hatchment  is  fixed  to  the  column  to  right,  and  memorial 
tablets  are  attached  to  most  of  the  columns.  The  nave  is  spanned  by  a  choir  screen 
of  the  Flemish  type,  in  black  and  white  marble,  with  a  large  central  arch,  surmounted 
by  a  statue  of  the  Virgin  and  Child,  and  two  smaller  openings  at  the  sides  ;  on  the 
right  is  an  organ  fixed  to  one  of  the  columns.  Through  the  door  is  seen  a  wide 
piazza  with  a  large  building  on  the  far  side,  nearer  are  some  trees,  and  a  balustrade, 
close  to  which  is  a  man  digging.  In  the  nave,  in  front  of  the  choir,  the  end  of  the 
catafalque  is  seen,  with  two  tall  candles.  The  pavement  is  laid  in  a  chequer  pattern. 
One  of  the  hatchments  is  dated  1618. 

Panel,  25!  in.  H.  x  2o|^  in.  W. 

Cat.  1 83 1.     Ante-room  to  Little  Dining- Room. 

70.  Ruins  with  Figures.  Marco  Ricci. 

A  Corinthian  portico  with  figures  ;  at  the  entrance  on  semi-circular  pedestals  are 
two  marble  statues,  Hercules  to  left,  and  a  female  figure  to  right ;  in  the  foreground 
to  left,  is  an  equestrian  statue,  in  front  of  which  a  beggar  is  seated  on  the  ground,  a 
woman  talking  to  him ;  seen  through  the  archway  in  the  distance  is  a  statue  of  the 
"  Fighting  Gladiator "  and  a  high  terrace,  with  vases  of  flowers  on  the  balustrade. 
To  right  is  a  woman  with  two  children,  one  in  her  arms,  the  other  following  her ; 
on  the  steps  behind  her  lies  a  figure  asleep,  a  monk  is  conversing  with  a  soldier  under 
the  archway,  other  figures  in  the  background. 

Canvas,  54  in.  H,  x  70  in.  W. 

Cat.  1 83 1.     Dining- Room. 


71.  Ruins  with  Figures.  Marco  Ricci. 

A  ruined  archway  in  the  centre  of  the  composition  ;  to  left  is  a  seated  statue  with 

a  fountain  below,  the  water  fiows  into  a  broken  basin  in  the  form  of  a  Roman  bath,  the 

platform  at  the  base  is  semi-circular  in  front,  and  approached  by  a  flight  of  low  steps. 


MUSIC  ROOM.]  AT   WELBECK    ABBEY.  21 

which  a  woman  is  ascending  with  a  vase  on  her  head ;  a  man  is  kneeling  by  the  side 
of  the  basin  of  the  fountain ;  in  the  background  are  dark  trees  and  a  sculptured 
vase  on  a  pedestal ;  more  to  the  right  is  a  headless  statue  seen  against  the  sky  ; 
beyond  the  archway  is  an  amphitheatre,  above  the  arch  a  ladder  is  planted,  and  some 
workmen  are  engaged  on  it.  To  the  right  are  broken  columns,  supporting  an 
architrave  in  shadow,  and  a  bas-relief;  a  man  has  climbed  the  pedestal  of  one  of  the 
columns,  and  a  woman  below  holds  out  her  apron  to  him.  The  foreground  is 
encumbered  with  fragments  of  stone,  amongst  which  is  a  fragment  of  a  huge  cornice  ; 
near  this  are  several  figures,  one  bearing  a  ladder. 
Canvas,  54  in.  H.  x  702-  in.  W, 

72.  St.  Cecilia  playing  the  Organ.  Carlo  Dolci. 

The  Saint  is  seated  to  right,  in  a  white  and  yellow  dress  with  wide,  short  sleeves 
ai)d  purple  bows,  a  blue  rosette  on  the  breast ;  a  grey  scarf  wrapped  round  the 
shoulders ;  her  hair  falling  to  the  shoulders  is  golden  brown,  neatly  brushed  back 
from  the  forehead,  plaited  and  wound  into  a  knot  at  the  back  of  the  head.  A  pearl 
and  ruby  ornament  is  attached  to  the  rosette,  in  front  of  the  bodice,  which  has  a  gold 
hem,  and  is  edged  with  lace.  The  organ  is  placed  on  a  green  covered  table,  on  the 
edge  of  which,  to  right,  is  a  vellum-covered  music  book.  St.  Cecilia's  hands  are 
placed  on  the  keys  in  front,  her  head  turned  towards  the  spectator ;  she  is  seated  in  a 
red  leather  chair,  studded  with  brass  nails ;  red  curtain  to  right,  above  the  organ, 
..which  has  silver  pipes.  A  halo  floats  above  the  head  of  the  Saint.  Brown  back- 
ground.    The  figure  is  the  size  of  life. 

Canvas,  47^^  in.  H.   x  40  in.  W. 

Engraved  by  Baron. 

Cat.  1 83 1.     Little  Drawing- Room. 

73.  Virgin  and  Child.  ,  After  Vandyck. 

The  Virgin  is  seated  to  right,  three-quarter  length,  holding  the  Child  on  her  lap  ; 
she  is  bending  over  it,  her  right  hand  placed  on  her  breast ;  the  left  lightly  touching 
the  shoulder  of  the  Child,  who  is  extended  on  her  lap,  with  his  right  hand  held  out 
towards  her.  The  Virgin  is  in  a  red  dress,  a  warm  blue  cloak,  and  saffron  scarf ;  dark 
background,  brown  curtain  to  left,  wall  to  right.     The  figures  are  the  size  of  life. 

Canvas,  57^^  in.  H.  x  41^  in.  W. 

The  original  picture  is  at  Buckingham  Palace. 

A  "  Virgin  and  Child,"  attributed  to  Vandyck,  hung  in  the  Dining- Room  in  1831, 
V.  Catalogue. 

74.  View  of  the  Thames  near  Westminster.  Ascribed  to  Scott. 

The  river  is  gay  with  craft,  some  pleasure  barges  are  conspicuous  ;  Whitehall  is 


22  CATALOGUE   OF  PICTURES  [music  room. 


75- 


seen  to  the  right,  beyond  are  the  Abbey,  Westminster  Hall,  and  the  adjoining  buildings. 
Afternoon  sky. 
Canvas. 

"  EccE  Homo."  Carlo  Dolci. 

Small  bust,  to  right. 
Panel,  loiin.  H.  x  8  in.  W. 


76.  Mater  Dolorosa. 

Bust,  in  profile,  to  left. 
Panel,  io|  in.  H.  x  8  in.  W. 

On  the  back  of  the  panel  is  a  note  in  Italian  that  they  cost  seventy-five  pieces 
("  settantacinque  pezzi")  each. 

Cat.  1831.     Ante-room  to  Little  Drawing- Room. 

IT.  Portrait  of  a  Young  Man.  After  Calcar  ? 

Small  three-quarter  length,  to  left,  in  black  doublet,  with  purple  slashed  sleeves ; 
wearing  sword ;  red  hair  cut  short,  forked  beard  and  moustache ;  holding  paper  in  his 
right,  leaning  on  a  pedestal  of  column,  left  on  hip. 

Panel,  7^  in.  H.  x  5^^  in.  W. 

This  small  copy  is  of  some  interest,  in  that  the  inscription  on  the  back,  as  far  as 
it  relates  to  the  individual  represented,  may  be  authentic.  On  the  back  of  the  oak  panel 
is  inscribed  "  Antoine  de  Leve/  Capitaine  des/  gardes  de/  l'Empereur/  Charles  5°/ 
TiTiEN  F."     The  original  picture  is  in  the  Louvre. 

Cat.  1 83 1.     Little  Drawing- Room. 

78.  Landscape  with  Figures.  Ferg. 

A  shepherd  with  a  staff  stands  to  left,  talking  to  a  shepherdess,  who  is  leaning 
on  a  block  of  stone.  A  bank  of  earth  to  left,  and  open  country  on  the  right ;  cattle 
and  figures  in  the  distance. 

Copper,  51^  in.  H,  x  7  in.  W. 

79.  Landscape  with  Figures.  Ferg. 

In  the  centre  of  the  composition  is  a  tower,  with  outbuildings  below,  enclosed  by 
a  partly  ruined  stone  wall.  Near  the  base  of  the  tower  is  a  gateway,  closed  by  a 
rough  fence.  A  shed  with  a  thatched  roof  is  built  against  the  wall  to  the  right ;  some 
blocks  of  stone  are  lying  on  the  ground  near  the  shed.  In  the  foreground  are  two 
figures  of  a  man  and  a  boy,  walking  together,  preceded  by  a  dog.  Landscape 
to  left. 

Copper,  5|-  in.  H.  x  6f  in.  W. 


MUSIC  ROOM.]  AT  WELBECK   ABBEY.  23 


80.  Landscape  with  Figures.  Brueghel, 

A  rustic  ale  house,  and  country  road ;  a  green  covered  waggon  in  the  foreground 
to  right ;  in  the  rear,  a  group  of  women  and  children  ;  a  man  in  red,  on  horseback,  is 
waterino-  his  horse  in  a  pond  to  the  left ;  a  crowd  of  carts,  and  unharnessed  horses,  in 
the  centre.  On  the  high  ground  to  the  left,  are  other  vehicles  ;  and  on  the  left,  shaded 
by  trees,  is  a  large  house,  or  inn ;  a  woman  is  about  to  enter  a  shed,  which  is  built 
against  the  wall.  There  is  a  rustic  seat  beneath  the  tree  in  front  of  the  inn,  near 
which  are  some  figures  in  conversation ;  beyond  the  road  to  right,  is  a  group  of 
houses.  Near  the  green  waggon,  in  the  foreground,  is  a  waggoner  and  another  man 
in  conversation,  a  white  dog  lying  beside  them  ;  to  the  left  is  a  boy,  holding  a  couple 
of  horses,  and  a  man  in  a  red  jerkin,  and  leather  apron,  followed  by  a  dog. 

Copper,  io|  in.  H.  X   14^^  in.  W. 

81.  Hunting  Scene.  Brueghel. 

The  scene  is  laid  in  a  forest  glade ;  to  the  left  a  stag  is  pulled  down  by  the  dogs. 
In  the  centre  of  the  foreground  is  a  group  of  tall  trees  near  which  some  spectators  have 
taken  refuge  ;  a  party  are  standing  in  the  open  to  right. 

Copper.  '     - 

82.  Flight  into  Egypt.  Brueghel. 

Landscape  with  a  sheet  of  water  to  left,  blue  wooded  hills  beyond ;  the  Holy 
Family  have  just  crossed  a  small  bridge  ;  in  the  middle  distance  is  a  group  of  trees. 
On  either  side  in  the  foreground  are  dark  trees  with  an  opening  to  right,  and  blue 
distance.  The  centre  of  the  composition  is  occupied  with  a  grove  of  dark  trees,  with 
glades  opening  to  the  right  and  left. 

Copper,  7  in.  H.   x  9  in.  W. 

83.  Village  on  the   Banks  of  a  River.  Brueghel. 

A  landing  place  near  the  centre  of  the  composition.  To  the  left  is  a  man  on 
horseback  watering  his  horse,  A  number  of  people  are  congregated  by  the  water's 
edge,  and  a  party  in  a  boat  are  about  to  land  ;  a  number  of  boats  are  moored  off  the 
shore,  in  the  shadow  of  a  group  of  houses  on  the  bank,  in  the  middle  distance.  On  a 
wooded  hill  to  left,  houses,  and  a  church.  Warm  light  in  the  sky,  with  deep  blue 
clouds  ;  foreground,  water ;  tall  trees  to  left. 

Copper,  8  in.  H.  X   II  in.  W. 

84.  Christ  bearing  His  Cross.  Ferrarese  School. 

Christ,  directed  to  right,  in  blue  and  crimson  drapery,  bearing  his  cross  ;  left  hand 
outstretched,  head  turned  over  shoulder.  In  the  background  to  left  is  the  doorway 
of  a  house,  built  on  a  hill.  In  the  distance  on  the  spur  of  the  hill,  a  tower  and  trees, 
and  a  winding  path  to  the  valley  below ;  blue  hills  to  right. 


24  CATALOGUE   OF   PICTURES  [keTdraTn, 


RED   DRAWING-ROOM. 


Panel,  14I  in.  H.  x   12;^  in.  W. 

On  the  back  are  the  letters  "  D.G.H."  (interlaced)  surmounted  by  a  coronet,  burnt 
in,  and  various  catalogue  numbers.  Below  is  written  "  Portland."  This  picture  was 
formerly  ascribed  to  Raphael. 


RED   DRAWING-ROOM. 

85.  A  Comedian  of  Antwerp. 

Three-quarter  length,  to  left,  life  size ;  black  cloak,  white  frilled  ruff;  the  right 
hand  rests  against  the  stone  slab  in  front  of  him,  on  which  the  left  elbow  rests,  his  left 
hand  gloved,  holding  the  right  glove,  plain  wristbands ;  fair  hair,  slight  beard  and 
moustache  ;  sculptured  stone  tablet  to  left. 

Canvas,  49^  in.  H.  x  38^  in.  W. 

Cat.  1 83 1.     Dining- Room. 

86.  Moses  in  the  Bulrushes.  School  of  Vandyck. 

The  child  Moses  to  right,  life  size. 
Canvas,  34^^  in.  H.  x  35  in.  W. 

This  is  a  copy  from  an  engraved  picture,  of  the  portion  only  representing  the 
child.     The  mezzotint  by  Valentine  Green  is  from  a  picture  attributed  to  Vandyck.      , 
Cat.  1 83 1.     Drawing- Room. 

87.  Portrait  of  a  Lady.  Sir  Godfrey  Kneller. 

Three-quarter  length,  life  size,  seated  to  right ;  yellow  dress ;  right  arm  extended 
by  her  side,  holding  a  sprig  of  jessamine ;  her  left  is  placed  on  her  breast,  the  elbow 
resting  on  a  stone  slab  to  right ;  a  landscape  to  right,  and  grey  wall  to  left. 

Canvas. 

88.  A  Woman  reading  by  Candlelight.  Dixon. 

Small  half  length  figure,  seated  at  a  table,  the  cloth  of  which  is  pushed  back, 
reading  by  the  light  of  a  small  lamp,  she  is  in  a  red  dress,  wide  collar  and  cap ;  on  the 
table  is  a  string  of  onions,  and  a  brass-bound  basket ;  a  lantern  hangs  on  the  wall, 
above  the  table,  to  right. 

Water-colour  on  vellum,  stretched  upon  panel,  and  varnished,  io|-  in.  H.  x  8^ 
in.  W. 


RED  DRAWING-ROOM.]  AT  WELBECK   ABBEY.  25 

89.  A  Woman  sealing  a  Letter.  Dixon. 

Small  half  length  figure ;  she  is  dressed  in  a  red  fur-lined  jacket,  holding  the 
wax  to  a  candle  with  her  right,  her  left  is  on  the  letter  ;  a  hood  covers  her  head ;  the 
table-cover  lies  in  a  heap  to  left,  and  a  desk  in  the  background.  To  right  is  a  woman 
with  a  candle  ;  a  boy  is  waiting  for  the  letter. 

Water-colour  on  vellum,  stretched  upon  panel,  and  varnished,  10^  in.  H.  x  8|- 
in.  W. 

Copies  after  a  Dutch  Master. 

Cat.  1747.     North  Room,  Nos.  19  and  22. 

Cat.  1831.     Drawing-Room. 

90.  An  Old  Woman  Reading.  Greffier  ? 

Small  half  length  figure,  seated  to  left,  by  a  table  covered  by  a  striped  table- 
cover,  reading  a  paper ;  she  holds  her  spectacles  to  her  nose  with  her  right,  and  the 
paper  in  her  left ;  red  jacket  and  petticoat,  black  bodice  with  blue  edging,  white  cap, 
and  frilled  ruff.  On  the  table  to  left,  is  a  white  handkerchief  lying  on  an  open  box 
under  the  window ;  the  chair  in  which  the  old  woman  is  seated  has  a  semicircular 
back.     In  the  background  an  open  window. 

Panel,  arched  top,  13I  in.  H.  x  11  in.  W. 

Probably  a  copy  after  a  Dutch  Master. 

Cat.  1 83 1.     Drawing- Room. 

91.  A  Franciscan  Monk  Reading.  Greffier? 

Small  half  length  figure  of  an  old,  bearded  man,  seated  to  right,  in  a  Franciscan 
habit,  wearing  spectacles,  reading  from  a  book  held  in  both  hands ;  dark  background. 
Panel,  arched  top,  I2f  in.  H.   x   io|^  in.  W. 
Companion  to  the  preceding. 

92.  Portrait  of  a  Gentleman,  called  a  "  Senator  of  Antwerp."  Vandyck.  .,        '  J    ^ 

Three-quarter  length,  life  size,  standing  to  left ;  black  doublet  and  cloak  ;  plain         v.^^j2^^    -*  i? 
linen  collar ;  his  right  hand  hangs  by  his  side,  the  left  elbow,  wrapped  in  his  cloak, 
rests  on  the  stone  slab  to  right.  » 

Canvas,  49  in.  H.  x  38^  in.  W. 

An  early  picture  by  Vandyck,  in  what  is  usually  called  his  Italian  or  Genoese 
manner. 

Cat.  1 83 1.     Drawing-Room. 

93.  Thomas  Wentworth,  Earl  of  Strafford.     1593 — 1641.  Vandyck. 

Full  length,  life  size,  standing  to  right,  in  black  armour  ;  his  right  hand  extended, 
holding  baton  in  his  left ;  on  a  bank  of  earth  in  front  of  him  is  his  helmet ;  grey  riding 

£ 


26  CATALOGUE   OF   PICTURES  [ 


RED  DRAWING-ROOM. 


boots  to  the  knees,  and  spurs,  plain  linen  collar ;  short  black  hair,  brown  moustache 
and  beard.  The  head  is  turned  to  the  spectator.  Background,  an  overhanging  cliff 
to  left,  with  foliage,  sky  to  right  and  hilly  landscape.  Inscribed  to  right,  in  the  lower 
corner,  "An  Original  drawn  by  Vandike  of  Thomas/  Wentworth  the  i^'".  Earl 
OF  Strafford  born  the/  iq'^"  of  April  1593.  Married  first  the  Lady  Margaret 
Clifford,  Daughter  of  FRA^  Earl  of/  Cumberland  by  whom  he  had  no  Issue 
and  2°'-7  THE  Lady  Arabella  Daughter  to  John  Holles  i"./  Earl  of  Clare. 
This  Earl  of  Strafford  Sufferd/  Death  on  Tower  Hill  the  12™  of  May  1641,/ 
King  Charles  in  those  times  of  Confusion/  being  Forct  to  Submit  to  Sign  the 
Bill  for  his/  Attainder.  His  only  Son  William  Earl  of/  Strafford  was 
Restored  to  his  Fathers/  Honours  on  the  Restoration  of  King  Charles/  the 
2°  &  died  y*  16™  of  OcT^^  1695." 

Canvas,  87  in.  H.  x  53  in.  W. 

Engraved  in  Mezzotint  by  A.  Browne  ?  as  a  half-length. 

Engraved  by  Hollar  as  a  half-length. 

Cat.  1747.     Grand  Saloon,  No.  i. 

Cat.  1 83 1.     Dining- Room. 

Exhibited  at  Manchester,  1857.     Cat.  No.  no. 

94.  William  Cavendish,  ist  Duke  of  Newcastle.     1592 — 1676.  Vandyck. 

Full  length,  life  size,  standing  to  left ;  black  doublet  and  short  cloak,  black 
stockings,  shoes,  and  rosettes,  wearing  Garter  and  ribbon,  a  diamond  star  on  his 
cloak,  wide  lace  collar  and  cuffs ;  he  holds  his  hat  in  his  right,  hanging  by  his  side  ; 
his  left,  gloved,  rests  on  his  hip.  Pale  auburn  curly  hair,  beard  and  moustache.  Sky 
and  column  to  right,  curtain  to  left.  Inscribed  to  right,  in  lower  corner,  "  The  first  " 
(painted  out),  and  "William  Cavendish/  ist  Duke  of  Newcastle." 

Canvas,  87|-  in.  H.  x  503^  in.  W. 

The  Cavendish  picture,  engraved  by  Houbraken.  The  insignia  of  the  Garter 
have  been  added  later,  by  a  poor  painter  who  has  not  scrupled  to  alter  the  outline  of 
the  left  elbow  by  adding  to  the  cloak  the  better  to  display  the  star.  A  replica  belongs 
to  Earl  Spencer,  which  was  exhibited  in  1887  at  the  Grosvenor  Gallery,  Cat.  No.  130  ; 
that  picture  measures  83  in.  x  49  in.,  if  the  measurement  given  in  the  Catalogue  is 
correct.  Other  examples  are  at  Burleigh  and  The  Grove,  and  several  miniatures  exist 
taken  from  it. 

Cat.  1747.     Grand  Saloon,  No.  12. 

Cat.  1 83 1.     Dining- Room. 

Exhibited  at  Manchester,  1857.     Cat.  No.  121. 

95.  Frederick  Henry,  Prince  of  Orange,  3RD  Son  of  William  the  Silent. 

After  Vandyck. 
Three-quarter  length,  life  size,  to  right,  in  armour ;  wide  collar  edged  with  lace ; 


RED  DRAWING-ROOM 


.]  AT   WELBECK  ABBEY.  27 


holding  a  baton  in  his  right,  the  left  on  his  hip ;  his  helmet,  with  dark  red  plumes,  is 
on  the  table  to  right ;  dark  background. 

Canvas,  46  in.  H.  x  39I  in.  W. 

A  similar  picture  is  in  the  Amsterdam  Gallery.  This  is  not  a  copy  of  the 
picture  engraved  by  Pontius,  in  which  the  right  forearm,  holding  baton,  is  fore- 
shortened, and  has  a  richly  embroidered  curtain,  with  a  coat  of  arms,  in  the  back- 
ground to  left. 

From  Bulstrode,  No.  21,  MS.  List,  British  Museum. 

Cat.  1 83 1.     Dining- Room. 

96.  Portrait  of  a  Young  Lady.  After  Vandyck. 

Three-quarter  length,  life  size,  to  left ;  in  a  black  dress,  the  arms  folded  in  front 
of  the  bust,  the  left  hand  above.  The  sleeves  are  open  from  the  shoulder,  showing 
the  white  sleeves  beneath,  a  black  rosette  in  the  centre  of  bodice ;  hair  cut  short  over 
forehead,  pearl  necklace. 

Canvas,  35!^  in.  H.  x  29^  in.  W. 

97.  Charles  I.  on  Horseback.     1600 — 1625 — 1649.  After  Vandyck. 

Small  whole  length,  to  left,  on  a  brown  horse,  in  a  landscape. 

Canvas,  37^^  in.  H.  x  33^^  in.  W. 

This  is  a  copy  from  the  picture  formerly  at  Blenheim,  now  in  the  National 
Gallery. 

A  portrait  of  Charles  I.  on  horseback  with  his  equerry,  was  at  Bulstrode,  No.  38, 
MS.  List,  British  Museum. 

Cat.  1747.     North  Room,  No,  33.   - 

98.  Charles  IL  as  a  Boy,  in  Armour.     1630 — 1660 — 1685.  Vandyck. 

Full  length,  life  size,  standing,  full  face ;  in  his  right  he  holds  a  pistol,  across  his 
thigh  ;  his  left  on  helmet  with  red  and  white  plumes,  placed  on  a  block  of  stone,  to 
right ;  hair  cut  straight  over  forehead,  and  hanging  to  shoulders ;  lace  collar,  grey 
leather  riding  boots.  Near  the  block  of  stone  in  the  foreground  is  a  plant  with  large 
leaves ;  blue  curtain  to  left,  dark  grey  background. 

Canvas,  49^^  in.  H.  x  40^^  in.  W. 

The  replica  of  this  portrait  at  Windsor,  on  a  wider  canvas,  is  apparently  a  school 
copy.  "k 

Cat.  1747.     South  Bedchamber,  No.  5. 

99.  Sir  Hugh  Myddelton.     1555 — 1631.  M.  Mierevelt  .^ 

Three-quarter  length,  life  size,  standing  to  right ;  in  a  black  and  yellow  doublet 
and  black  surcoat ;  falling  ruff,  edged  with  lace,  and  cuffs  to  match  ;  a  gold  enamelled 


28  CATALOGUE   OF   PICTURES^  [red  drawing-room. 


chain  round  hi?  neck,  with  jewel  set  with  diamonds  attached,  representing  a  crowned 
female  figure  with  long  hair,  in  red  enamelled  drapery,  holding  a  shield  in  both 
hands,  with  a  red  cross  on  a  white  ground,  inscribed  "  urb./  lond  : "  Above  the 
jewel  is  the  monogram  "H.L.M."  in  diamonds.  Diamond  buttons  to  coat,  belt 
fastened  with  a  gold  clasp ;  his  right  hand  hangs  by  his  side,  his  left  rests  on  a  shell, 
from  which  water  drips ;  there  is  a  mound  of  earth  to  right,  on  which  the  shell  rests. 
On  the  grey  background  is  inscribed  "  Fontes  Fodin^."  To  right  in  the  upper 
corner,  "  S"  Hugh  Middleton,"  below  is  a  coat  of  arms  and  the  motto  "virtus 

PALMA." 

Canvas,  48^^  in.  H.  x  39  in.  W. 

Engraved  by  Vertue.    A  duplicate  is  at  Goldsmiths'  Hall,  presented  by  Lady 
Myddelton  in  1633. 

Cat.  1747.     Dressing- Room,  No.  4. 

Cat.  1 83 1.     Little  Drawing- Room. 

Exhibited  at  Manchester,  1857.     Cat.  No.  104. 


100.  The  Prince  of  Orange,  as  a  Boy,  with  a  Dog. 

Full  length,  life  size,  to  right ;  amber  silk  slashed  dress,  lined  with  white  ;  a  black 
cap,  set  on  the  left  side  of  the  head,  with  rose-coloured  feathers ;  fair  hair,  rather 
spare,  the  right  arm  is  folded  across  the  breast,  with  the  hand  open ;  the  left  hanging 
down;  to  left  a  black  and  white  greyhound  with  a  collar;  red  and  yellow  brocade 
curtain  to  right,  sky  to  left,  and  a  column. 

Canvas,  5o|-  in.  H.  x  36  in.  W. 

Cat.  1 83 1.     Little  Drawing- Room. 


loi.  Philip  Herbert,  Earl  of  Pembroke  and  Montgomery. 

Three-quarter  length,  life  size,  seated  to  right  in  black  dress ;  hair  brushed  off 
forehead,  pointed  beard  and  moustache ;  gold  embroidered  belt  with  tags  and  bows  ; 
his  right  hand  rests  on  the  arm  of  the  chair  in  which  he  is  seated,  he  holds  the  string 
of  his  collar  in  his  left ;  ruff  and  cuffs  of  point  lace  ;  his  black  hat  with  a  gold  band,  rests 
on  his  left  knee ;  a  jewel  depends  from  a  ribbon  round  his  neck.  Red  chair  with  gilt 
nails,  window  to  right,  with  green  curtain  across  ;  dark  background,  flat  grey  land- 
scape seen  through  the  window.     Inscribed  "  Philip  Herbert  Earl  of  Pembroke 

AND  MoNTGOMERIE." 

Canvas,  ^o^  in.  H.  x  40^  in.  W. 

From  Bulstrode,  No.  34. 

Cat.  1 83 1.     Drawing- Room. 

Exhibited  at  Manchester,  1857.     Cat.  No.  99.     It  was  ascribed  to  Vandyck, 


RED  DRAWING-ROOM.]  AT   WELBECK   ABBEY.  29 

102.  The  Virgin  and  Child  in  a  Landscape.  After  Vandyck. 

The  Virgin,  a  half-length  figure,  is  seated  to  right,  the  Infant  is  naked,  on  her  lap, 
the  head  resting  on  her  left  shoulder,  covered  with  the  Virgin's  grey  gauze  scarf. 
The  Virgin's  dress  is  rose  colour,  the  mantle  pale  blue.  Sky  to  right,  background  of 
trees.     Figures  under  life  size. 

Canvas,  33  in.  H.  x  37^-  in.  W. 

Cat.  1 83 1.     Dining- Room. 

103.  Portrait  of  an  Officer.  Dutch  School. 

Three-quarter  length,  life  size,  standing  to  left ;  black  and  gold  habit,  with  gold- 
embroidered  waistcoat,  and  gold  buttons ;  a  broad  gold-embroidered  belt  crosses  his 
breast ;  white  shirt  sleeves,  with  frilled  wristbands ;  a  heavy  chain  is  wound  several 
times  round  his  neck,  to  which  a  large  medal  is  attached ;  black  shoulder  knot ;  long 
brown  hair,  parted  on  forehead,  and  falling  to  shoulders  ;  wide  lace  collar ;  in  his  right 
he  holds  a  long  pistol,  resting  the  stock  against  his  thigh,  the  left  on  his  hip  ;  a  crimson 
curtain  drawn  back,  showing  grey  sky,  and  balustrade  to  left. 

Canvas. 

104.  A  Man  and  Woman  Singing.  Dixon. 

Small  figures.  A  young  girl  seated  in  a  chair  to  the  left,  is  singing  from  a  paper 
she  holds  in  both  hands,  turning  to  her  companion,  a  young  man,  wearing  a  flat  cap, 
whose  right  arm  is  round  her  neck  ;  he  holds  the  lamp  in  his  left  by  the  light  of  which 
they  are  reading.  On  the  table  is  an  open  book,  a  glass,  and  a  pewter  tankard.  To 
the  left,  in  the  background,  is  a  woman  entering  with  a  lantern.  A  curtain  to  right 
and  a  birdcage. 

Water-colour  on  vellum,  stretched  upon  panel,  and  varnished,  io|  in.  H.  x  S-J 
in.  W. 

Cat.  1747.     North  Room,  No.  17. 

105.  A  Woman  cleaning  a  Brass  Vessel. 

Small  figure  of  a  woman,  half  length,  to  right,  at  a  window,  scouring  the  inside 
of  a  brass  pot ;  a  close  black  cap  on  her  head,  black  jacket  with  green  sleeves ;  she 
wears  spectacles.  The  ledge  of  the  window  is  partly  covered  with  a  white  cloth 
which  has  a  striped  border ;  on  the  ledge  is  a  brass  chamber  candlestick  with  a  long 
handle,  a  spoon,  a  broken  potsherd,  a  lamp,  and  an  iron  cooking  pot  with  a  spoon.  .  A 
butterfly  on  the  wall  to  right ;  dark  background. 

Canvas,  lo^^in.  H.  x  9  in.  W. 

There  is  no  mention  of  the  picture  in  the  1820  Catalogue,  where  many  pictures 

,  were  omitted  that  had  their  names  attached,  thus,  after  naming  five  pictures  on  the 

•     staircase,  is  a  note  "The  other  pictures  named."     The  name  of  an  unknown  painter. 


30  CATALOGUE   OF   PICTURES  [red  drawing-room. 

"  Tritton,"  is  given  only  in  the  1 83 1  Catalogue,  which  is  full  of  inaccuracies.     Like  the 
preceding  picture,  it  is  probably  a  copy  from  a  Dutch  master. 

Cat.  1747.     In  the  North  Room,  No.  23. 

Cat.  1 83 1.     Drawing- Room. 

106.  Portrait  of  a  Child. 

Full  length,  life  size,  to  left,  holding  a  switch  in  the  right  hand,  left  on  hip,  long 
black  dress  braided  with  gold  down  the  front,  and  red  petticoat ;  a  gold  chain  depends 
from  a  red  shoulder  knot  on  the  left  shoulder ;  a  jewel  is  suspended  to  it  on  the  right 
side,  white  shirt  open  at  the  neck,  and  the  wristbands  turned  back ;  brown  hair  cut 
straight  over  forehead  and  long  at  the  sides.  Curtain  to  right,  and  landscape  back- 
ground ;  the  foreground  paved. 

Canvas. 

Said  to  be  a  portrait  of  Charles  II. ;  it  was  formerly  attributed  to  Vandyck. 


107.  Archbishop  Laud.     1573 — 1645.  After  Vandyck. 

Three-quarter  length,  life  size,  standing  to  left ;  the  right  arm  resting  on  a 
stone  pedestal,  his  left  hangs  by  his  side  ;  cassock  and  surplice,  a  flat  cap  on  his  head  ; 
a  black  and  gold  brocade  curtain,  to  left ;  grey  background. 

Canvas,  48^  in.  H.  x  37  in.  W. 

The  above  is  a  good  contemporary  copy  of  a  picture  that  has  been  often  engraved  ; 
another  in  the  possession  of  the  Archbishop  of  Canterbury  is  dated  1633.  Horace 
Walpole  in  his  catalogue  of  the  Houghton  Gallery,  claimed  the  picture  there  as  the 
original,  and  noted  that  the  Uriiversity  of  Oxford  offered  the  sum  of  ;if400  for  it 
when  it  was  in  the  Wharton  Collection.  It  is  certainly  a  copy.  It  is  now  in  the 
Gallery  of  the  Hermitage. 

Cat.  1747.     South  Bedchamber,  No.  6. 

Cat.  1 83 1.     Little  Drawing- Room. 

Exhibited  at  Manchester,  1857.     Cat.  No.  94. 

108.  Portrait  of  a  Lady, 

Small  three-quarter  length,  to  left,  holding  a  carnation  in  her  right  hand ;  in  her 
left  a  string  of  beads,  to  which  is  attached  a  gold  tassel,  covered  with  net  work  and 
small  pearls ;  black  bodice  with  high  open  collar,  brown  and  black  sleeves,  white 
linen  cap  with  long  lappets  hanging  over  shoulders,  gold  embroidered  hem  to 
chemise,  and  gold  chain  round  the  neck;  red  leather  girdle  with  gold  ornaments, 
embroidered  edges  to  cuffs ;  green  background.  Left  and  right  are  coats  of  arms ; 
that  to  left  bears  a  black  lion  rampant,  on  a  gold  ground,  and  a  white  cross  on  a  black 


RED  DRAWING-ROOM,    l  ^J     WELBECK      ABBEY.  M 


SWAN  DRAWING-ROOM 


ground  ;  that  to  the  right,  a  plain  white  cross  on  a  black  ground,  and  two  cockle  shells 
on  a  red  field. 

Panel,  shaped  at  top,  i8^  in.  H.  x  14  in.  W. 

Formerly  ascribed  to  Holbein. 

109.  Henrietta  Maria,  Queen  of  Charles  I.  School  of  Vandyck. 

Three-quarter  length,  life  size,  standing  to  left ;  in  white  dress ;  her  right  hand 
rests  lightly  on  the  table,  on  some  roses  in  front  of  her ;  left  at  her  side  holding  dress  ; 
pink  knots  and  rosettes  at  waist,  red  rosette  in  dark  hair ;  the  bodice  is  laced  with  a 
red  silk  lace ;  black  bracelet  with  ring  attached,  pebble  bracelet  on  the  left  arm,  pearls 
wound  in  the  knot  at  back  of  head ;  a  jewelled  crown  on  table  to  left,  green  curtain  to 
right ;  brown  background. 

Canvas. 

The  original  picture  is  at  Windsor;  there  are  numerous  repetitions,  both  as 
three-quarter  and  full  length  figures. 


SWAN   DRAWING-ROOM. 

no.  The  Infant  Christ,  and  St.  John  the  Baptist.  Guido  Reni  ? 

Two  half  length  figures,  under  life  size ;  Christ  is  on  the  left,  in  profile,  fondling 
the  lamb  held  by  St.  John. 

Canvas,  oval,  oblong,  16  in.  H.  x  20  in.  WT 
Cat.  1 83 1.     Little  Drawing- Room. 

111.  Study  of  a  Head.  School  of  Correggio. 

Head  of  a  boy  with  bare  shoulders,  nearly  life  size,  to  right,  looking  up.  Dark 
background. 

Canvas,  13  in.  x  lof  in.  W. 

112.  A  Forest  Road.  Manner  of  Brueghel. 

To  right,  on  the  road  through  a  forest,  is  a  waggoner  in  red  and  blue,  with  a 
team  of  six  oxen,  and  a  waggon  with  a  barrel ;  to  left,  by  the  side  of  the  wood,  is  a 
village.  On  rising  ground  to  the  left  a  group  of  houses  and  trees  ;  before  the  door  of 
the  nearer  house  is  a  cart,  with  some  figures  unloading  it ;  blue  distance  seen  above  the 
forest  trees. 

Copper,  16  in.  H,  x  20J  in.  W. 


CATALOGUE   OF   PICTURES  [swan  drawing-room.         ' 


113.  Head  of  a   Boy  laughing.  Dutch  School. 

Full  face,  nearly  life  size ;  grey  cloak,  shock  of  light  brown  hair.  Warm  grey 
background. 

Panel,  15^  in.  H.  x  10 J  in.  W. 

Cat.  1 83 1.     Drawing- Room.     It  was  formerly  attributed  to  Murillo. 

114.  Landscape  with  Figures.  J-  Miel. 

A  Herdsman  is  seated  to  right,  playing  a  pipe,  beneath  a  forked  tree,  nearly  bare 
of  leaves ;  his  dog  is  lying  beside  him,  his  nose  to  the  ground ;  to  the  right  is  a  grey 
ox,  seen  nearly  in  front,  a  little  beyond  is  another  with  its  head  turned  away,  and  a 
donkey  turned  towards  the  left ;  the  herdsman  wears  a  tall  cap  like  a  brewer's 
drayman.     Distant  hills  and  low  grey  river  landscape  to  left. 

Panel,  oval,  oblong,  io|  in.  H.  x  13^^  in.  W. 

115.  William  Augustus,  Duke  of  Cumberland,  2nd  son  of  George  II.     1721 — 1765. 

Sir  Joshua  Reynolds. 

Three-quarter  length,  life  size,  standing ;  the  figure  is  seen  full  front,  the  head 
turned  to  left ;  in  Garter  Robes,  wearing  the  George  and  collar  of  the  S.S.,  the  left  leg 
crossed  over  right ;  the  right  hand  rests  on  his  hip,  the  left  on  table,  on  which  lies  a 
crown.     Dark  background,  sky  to  left,  heavy  crimson  damask  curtain  to  right. 

Canvas. 

Defeated  at  Fontenoy  by  Marshal  Saxe.     The  victor  of  Culloden,  1746. 

From  the  Northwick  Collection,  1859.     Sale  Cat.  No.  407. 

116.  Marshal  Biron  ?  Ascribed  to  Mignard. 

Three-quarter  length,  life  size,  to  left,  in  half  armour ;  the  armour  plates  ter- 
minate at  the  elbow,  the  wide  shirt  sleeves,  tied  with  red  ribbon,  are  visible  beneath ; 
lace  cravat,  and  red  tie ;  long  dark  wig,  reaching  below  the  shoulders ;  he  holds  a 
baton  in  his  right,  pointing  with  left ;  his  helmet  is  in  front  of  him,  to  left,  on  a  stone 
pedestal.     Dark  crimson  curtain,  looped  up,  to  left. 

Canvas. 

117.  Landscape,  Misty  Evening.  Ascribed  to  Both. 

A  tall  thin  tree  in  the  foreground;  a  little  to  the  right  where  the  river  forks, 
spreading  right  and  left,  near  the  opposite  bank  in  the  shadow  of  the  trees, 
are  three  figures  in  the  water,  two  on  horseback.  In  the  foreground  to  left  is  a 
shepherd  seated,  talking  to  a  shepherdess,  who  is  standing  below  the  bank.  More  to 
the  centre  is  a  bull,  and  a  black  and  white  dog.     The  bank  beyond  is  well  wooded, 


I 


SWAN  DRAWING-ROOM.]  AT    WELBECK    ABBEY. 


o,> 


and  throws  a  deep  shadow  on  the  water ;  a  hill  above,  and  distant  hills  in  the  centre  of 
the  composition. 

Canvas,  49J  in.  H.  x  69^^  in.  W. 

Cat.  183 1.     Little  Drawing- Room. 

118.  River  Landscape,  Sunset,  with  Christ  healing  the  Bund  Man.     Paul  Brill. 

To  the  left,  a  river  with  houses  on  the  bank  in  the  middle  distance  and  trees ;  on 
the  nearer  bank  to  left  is  a  group  of  figures ;  the  Blind  Man  is  seated  by  the  wayside, 
with  his  back  to  the  river ;  Christ  in  red,  bends  forward  and  touches  him  ;  four  of  the 
apostles,  one  in  blue  and  white,  are  near,  and  the  others  are  following  in  twos  ;  the 
road  is  bordered  on  the  left  by  a  bank,  with  trees  growing  above  it ;  in  the  distance 
is  a  farmhouse.  A  group  of  tall  trees  divides  the  picture  nearly  in  the  centre ;  the 
near  bank  is  the  higher ;  the  distance  beyond  the  river  is  extremely  blue,  also  the 
reflections  in  the  water.     Signed  to  the  right,  on  a  stone,  "  P.B. " 

Panel,  14!  in.  H.  x  22  in.  W. 

119.  A  Church  Interior,  by  Night.  Steenwyck. 

A  musical  service  is  being  held  in  a  Chapel  to  the  left ;  the  gates  of  the  chapel 
are  open,  and  a  group  of  people  are  standing  before  the  altar,  singing  ;  others,  seated 
on  benches  to  left,  or  walking  about  in  the  nave.  Against  the  central  pillar  a  lamp  is 
burning,  and  candles  are  placed  above  the  railing  at  the  entrance  to  the  Chapel. 
Signed  on  a  pillar  "  H.V.S."  with  the  date  "  1607"  ?  beneath. 

Copper,  13^^  in.  H.  x  21  in.  W. 

120.  Landscape  with  Ruins.  Padre  Pozzi. 

A  statue  is  seen  between  the  columns  to  right ;  two  female  figures  are  standing 
behind  some  fragments  of  a  cornice  ;  on  the  left  are  two  figures  on  horseback  in  classical 
costume,  and  two  soldiers  on  foot ;  a  pool  of  water  in  the  foreground. 

Canvas,  17  in.  H.  x  25  in.  W, 

121.  Edward  VL     1537 — 1547— 1553.  School  of  Holbein. 

Small  full  length,  standing  to  left;  purple  silk  doublet,  surcoat,  and  trunks, 
embroidered  with  gold ;  white  hose,  purple  shoes,  hat  and  feather ;  wearing  Garter ; 
he  holds  his  gloves  in  his  right,  the  left  thrust  in  his  belt.  Blue  background,  inscribed  in 
gold  letters,  "  edwardus  sextus  dey  gratia  anglie  rex  catholice  fidei  defensor." 

Panel,  i6|^  in.  H.  x  10  in.  W. 

Cat.  1747.     North  Room,  No.  50. 

Exhibited  at  Manchester,  1857.     Cat.  No.  56. 

Tudor  Exhibition,  New  Gallery,  1890.     Cat.  No.  180. 

F 


34 


CATALOGUE   OF    PICTURES  [swan  drawing-room. 


122.  Queen  Elizabeth.     1533 — 1558— 1603.  M.  Gheeraedts. 

Small  full  length,  standing  to  left,  nearly  full  face  ;  in  a  white  dress  embroidered 
with  flowers,  olive  green  mantle,  embroidered  like  the  dress ;  round  her  neck  is  a  gold 
collar,  set  with  jewels  and  pearls,  a  pendant  jewel  attached  ;  she  wears  a  gold  tiara  with 
pearls,  and  jewelled  points ;  the  girdle  is  of  pearls  and  coral-coloured  stones,  probably 
rubies ;  a  double  row  of  pearls  hangs  round  her  neck,  and  is  tucked  aside  beneath  the 
girdle  ;  the  front  of  the  dress  is  ornamented  with  gold  cord,  in  horizontal  bands  termi- 
nating in  a  frayed  end ;  the  centre  of  the  cross  is  set  with  a  coral  coloured  jewel  like 
the  girdle  stones,  a  jewel  also  depends  from  the  front  of  the  corset ;  the  edge  of  the 
cloak  is  turned  up  at  the  neck,  showing  the  white  lining,  the  ruff  and  cuffs  cU"e  edged 
with  point  lace.  Her  right  hand  rests  on  the  arm  of  the  scarlet  chair  against  which 
she  is  standing,  holding  a  branch  of  olive  ;  in  her  left  she  holds  a  rose-coloured  feather 
fan  and  her  gloves.  The  chair  is  ornamented  with  gold  knobs  and  fringe,  and  the 
cushions  are  braided  with  gold ;  the  royal  arms  are  embroidered  on  the  back,  and  on 
the  front  of  the  cross-piece  of  the  frame  is  the  letter  "  E  "  surmounted  by  a  crown.  To 
the  right  is  an  opening,  with  a  garden,  and  a  cloister  adjoining  the  wall,  through  a 
door  in  which  an  attendant  is  introducing  two  ladies.  On  the  near  side  of  the  enclosure, 
which  is  laid  out  in  square  flower  beds,  a  gentleman  is  conversing  with  a  couple  of 
ladies.  On  the  carpet  in  front  of  the  queen  lies  the  sword  of  state  in  a  red  sheath,  and 
a  small,  long  haired,  white  terrier  with  brown  ears,  is  to  the  right,  looking  up  at  its 
mistress;  the  carpet  is  green,  red,  and  white,  with  yellow  and  black  border  lines. 
Signed  beneath  the  chair,  "  M.G.F." 

Panel,  18  in.  H.  x  15  in.  W. 

The  house  and  garden  are  said  by  Walpole  to  be  Wansted  Place,  where  the 
Queen  was  entertained  by  Robert,  Earl  of  Leicester  in  1578. 

Cat.  1747.     North  Room,  No.  44. 

Exhibited  at  Manchester,  1857.     No.  62. 

Tudor  Exhibition,  New  Gallery,  1890.     Cat.  No.  465, 

123.  Elizabeth  Cavendish,  Wife  of  Christopher  Monk,  2nd  Duke  of  Albemarle, 

AFTERWARDS    DuCHESS    OF    MoNTAGU.       1638 1734.  LeLY. 

Three-quarter  length,  life  size,  seated  to  left ;  violet  satin  dress  with  wide  sleeves ; 
blonde  hair,  falling  in  curls  to  her  shoulders ;  a  string  of  pearls  wound  in  the  hair  at 
the  back  of  the  head ;  pearl  necklace  and  pendant  ear-rings ;  with  her  right  she 
touches  the  grey  scarf  wound  round  her  shoulders,  her  left  rests  on  her  lap,  holding 
a  blue  scarf,  that  trails  behind  her  from  her  shoulder  to  the  left  side,  where  it  lies 
beside  her  on  the  seat.  To  the  left  is  a  large  grey  vase,  brown  curtain  to  right ;  dark 
background.  Inscribed  to  left,  "  Eliz™  Cavendishe,  i"/  Daughter  to  Henry,  Duke/ 
OF  Newcastle,  Married  to/  Christopher  Monk,  2°  Duke  of  Albemarle." 

Canvas,  49^^  in.  H.  x  40  in.  W. 


swkN  DRAWING-ROOM.]  AT  WELBECK   ABBEY.  35 

On  the  death  of  the  Duke  of  Albemarle  she  married  the  Duke  of  Montagu, 
who  courted  and  married  her  as  Emperor  of  China.  She  died  at  the  age  of  96  in  1 734. 
Cat.  1747.     Great  Dining-Room,  No.  20. 

124.  Fowls  and  Peacock.  Melchior  D'Hondekoeter. 

In  the  centre,  a  Spanish  cock  turns  threateningly  towards  a  peacock,  who  is 
screaming  to  the  right ;  a  white  hen,  beside  the  cock,  takes  no  notice  of  the  intruder ; 
above  is  a  female  pheasant,  roosting,  and  a  crested  fowl,  with  a  brood  of  chickens. 
Architectural  fragments  in  the  background,  and  a  pigeon  in  flight,  above  ;  landscape  to 
left. 

Canvas,  47|-  in.  H.  x  59  in.  W. 

125.  River  Landscape,  with  Figures.  Greffier. 

On  the  hillside,  to  the  right,  is  a  cottage  with  a  wooden  staircase,  which  a  man  is 
mounting  ;  on  a  small  plateau,  in  front  of  the  house,  is  a  smoking  party ;  the  ground 
below  is  broken  and  covered  with  herbage  ;  on  an  elevated  knoll  are  a  couple  of  trees. 
Near  the  shore  are  a  number  of  covered  boats  ;  the  river  is  crossed  by  a  bridge  in  the 
distance,  and  to  the  left  is  an  extensive  view  over  hill  and  plain,  with  a  number  of 
considerable  buildings,  and  numerous  figures,  landing  merchandise,  and  talking  in 
groups.     Signed  "  Griffier." 

Canvas,  19!^  in.  H.  x  24^^  in.  W. 

Cat.  1 83 1.     Dining-Room. 

126.  River  Landscape  with  a  Hill.  Greffier. 

In  the  middle  distance  is  a  Cathedral,  with  a  tall  tower  and  central  transept ;  the 
river  shore  at  the  back  of  the  church  extends  to  the  right,  forming  an  abrupt  bend  in 
the  river  ;  on  the  high  ground  is  a  palace  with  a  tall  tower.  On  the  opposite  shore 
to  the  right  is  a  quay,  with  a  landing  crane  at  the  corner,  and  a  gateway  with  a  couple 
of  round  towers.  On  the  foreshore  to  left  is  a  pathway,  and  a  bent  tree  growing 
beside  it ;  a  boat  full  of  people  is  about  to  put  off  from  the  shore,  near  by  is  a  waggon, 
with  the  horses  unharnessed ;  high  bank  to  left,  with  overhanging  tree,  a  hill  in  the 
distance.  Beyond  the  stream  to  the  right  is  another  reach  of  the  river,  with  a  distant 
hill,  and  landscape. 

Canvas,  19!^  in.  H.  x  24!^  in.  W. 

Cat.  1 83 1.     Dining-Room. 

127.  The  Rest  in  Egypt.  Conca. 

The  Virgin,  seated  in  the  centre,  holds  the  Child,  asleep  on  her  lap ;  above  are  a 
crowd  of  angels,  illuminated  by  a  ray  of  light  from  above ;  an  angel  is  kneeling,  with 


36  CATALOGUE  OF  PICTURES  [swan  drawing-room. 

joined  hands,  to  the  right,  and  another  is  seen  behind ;  Joseph  is  asleep  in  the  shadow 
to  left ;  in  the  distance  a  pyramid. 

Copper,  14^  in.  H.  x  ii|-  in.  W. 

128.  The  Infant  Christ  with  St.  John,  in  a  Landscape.  Simone  da  Pesaro. 

Christ  extends  his  right  hand  to  St.  John,  and  places  his  left  on  his  shoulder  ;  St. 
John  advances,  with  his  hands  crossed  on  his  breast ;  Christ  wears  a  pink  scarf;  a 
lamb  is  beside  St.  John  ;  grey  landscape  background. 

Copper,  14  in.  H.  x  io|-  in.  W. 

Cat.  1 83 1.     Drawing- Room. 


129 


Landscape.  Orizonti  ? 

A  rocky  hillside,  with  a  cascade ;  the  side  of  the  hill  on  the  right  is  scarped  in 
the  form  of  steps  ;  below  in  the  foreground,  is  a  broken  tree ;  the  bank  to  left  is  in 
shadow,  and  covered  with  foliage. 

Canvas,  32|- in.  H.  x  21  in.  W. 

1 30.  Mountain  Landscape.  Orizonti  ? 

To  the  right  in  the  foreground,  a  shepherd,  in  red  and  white,  seated,  with  a 
shepherdess  reclining  at  his  feet ;  on  the  hill  above  is  a  town,  a  waterfall  to  right, 
and  distant  hill  to  left,  a  tree  grows  on  a  little  mound,  to  the  left,  near  some  broken 
stumps. 

Canvas,  32  in.  H.  x  2of  in.  W. 

131.  Winifred,  Duchess  of  Portland.  J.  J.  Shannon. 

Whole  length,  life  size,  seated,  full-face,  holding  an  ostrich-feather  fan  ;  white  satin 
and  muslin  dress,  with  pink  ribbons ;  wearing  the  pearl  necklace  that  formerly  belonged 
to  Queen  Mary,  Wife  of  William  of  Orange ;  pearl  ornaments  with  pendants  in  the 
centre  of  the  bodice ;  sable  cloak  thrown  over  chair  to  left ;   tapestry  background. 

Canvas. 

Inscribed  on  the  frame,  "  Winifred/  Duchess  of  Portland/  presented  to 
the  6'^"  Duke  of  Portland/  on  his  Marriage/  by  his  Grace's  English/ 
Tenants/  June  ii'^"  1889." 

0 

132.  Napoleon  I.     1769 — 1821.  Paul  Delaroche. 

Half  length,  rather  larger  than  life,  seated  to  left ;  his  right  hand  thrust  in  the 
bosom  of  his  waistcoat ;  grey  overcoat ;  crimson  and  gilt  chair ;  red  background. 

Canvas,  oval,  47  in.  H.  x  41  in.  W. 

Said  to  be  the  original  painted  immediately  after  Delaroche  saw  the  Emperor,  from 
which  all  the  numerous  replicas  were  made. 

Removed  from  London  to  Welbeck,  Feb.  1857. 

Exhibited  at  Manchester,  1857.     Cat.  No.  602. 


SWAN  DRAWING-ROOM.-]  j^j  WELBECK  ABBEY.  17 

BLUE    LIBRARY.  -■  *" 


133.  Lord  Richard  Cavendish,  2Nd  Son  of  William,  4TH  Duke  of  Devonshire. 
1752 — 1 781.  Sir  Joshua  Reynolds. 

Three-quarter  length,  life  size,  standing  to  left ;  dark  red  velvet  coat,  waistcoat, 
and  knee  breeches,  white  cravat  and  ruffles.  His  right  hand  clenched,  rests  on  a  rock, 
the  left  on  his  hip  ;  background,  a  stormy  sea. 

Canvas,  55^  in.  H.  x  44^  in.  W. 

This  picture  appears  to  be  entirely  by  Sir  Joshua's  own  hand.  There  is  a  mezzo- 
tint by  J.  R.  Smith,  published  1781,  probably  taken  from  the  duplicate  belonging  to 
the  Duke  of  Devonshire.  The  background  altered  to  the  Egyptian  desert  with  the 
Sphinx. 

Lord  Richard  Cavendish,  born  19  Jan.,  1752;  M.P.  for  Lancaster  and  Co. 
Derby;  travelled  in  the  East.     Died  of  dysentery  at  Naples,  12  Sept.,  1781. 

Cat.  1 83 1.     Drawing- Room. 


BLUE   LIBRARY. 

134.  Lady  Frances  Spencer,  Wife  of  Henry  Howard,  4TH  Earl  of  Carlisle. 

Degarde. 

Three-quarter  length,  life  size,  standing  to  right,  as  a  shepherdess ;  in  a  blue 
dress,  low  bodice  and  short  sleeves,  a  jewelled  girdle  encircles  the  waist.  She  holds  a 
crook  in  her  right,  and  some  daisies  and  other  flowers  in  her  left,  that  rests  on  a  rock ; 
below  is  a  lamb  bleating,  landscape  background,  with  grey  sky,  a  tree  to  right. 
Inscribed  "  Lady  Frances/  Spencer,  Daughter/  to  Charles  Earl  of  Sunderland 
&/  Grandaughter  to  Henry  Cavendishe,/  Duke  of  Newcastle.  Married  Henry/ 
Howard  Visct./  Morpeth  afterwards/  Earl/  of  Carlisle."  Also  "  Lady  Morpeth." 

Canvas,  49^  in.  H.  x  40  in.  W. 

Cat.  1747.     Great  Dining-Room,  No.  8. 

135.  River  Landscape,  with  a  Round  Tower.  Paul  Brill. 

A  round  tower,  with  battlements,  in  shadow  to  left,  some  out-buildings  below, 
wall  and  gate  adjoining ;  on  the  rock  below  is  a  cottage,  with  a  vine  trellised 
enclosure ;  on  the  extreme  left  in  the  foreground,  a  group  of  figures ;  a  little  behind 
the  bank,  on  which  the  tower  is  built,  are  some  boats  lying  near  the  shore,  the 
nearest  a  large  barge  with  two  planks  for  unloading.  On  the  rocky  shore  to  right,  on 
the  opposite  side  of  the  river,  is  a  building  with  a  tall  tower,  and  a  chapel  adjoining. 


38  CATALOGUE   OF   PICTURES  [blue  library. 


I 


Beyond  the  bank,  trees,  blue  distance,  and  a  glow  of  warm  light  in  the  centre.     Dark 
foreground ;  blue  sky,  with  heavy  grey  clouds  to  right. 

Canvas,  2  2|^  in.  H.  x   29!  in.  W. 

Cat.  1 83 1.     Drawing- Room. 

_6.  Landscape  with  Figures.  Ruysdael? 

To  the  right  are  a  couple  of  horsemen,  and  a  pack-horse  fording  the  stream, 
followed  by  a  dog ;  the  foremost  horseman,  on  the  left,  has  a  grey  slouched  hat,  and 
a  red  coat ;  he  is  leading  the  packhorse  by  the  bridle ;  on  the  bank  to  the  left  is  a 
large  oak  tree  with  brown  leaves ;  on  the  bank  behind  the  men  is  a  sapling  with  dark 
foliage  that  nearly  touches  the  water;  both  banks  are  thickly  wooded.  In  the  centre 
of  the  picture,  a  hill  is  seen  above  the  low  bushes  that  surround  its  base  ;  a  gleam  of 
light  is  reflected  from  the  sky,  in  the  water  at  the  foot  of  the  oak  tree ;  blue  sky,  with 
heavy  grey  clouds. 

Canvas,  23!  in.  H.  x   30  in.  W. 

Cat.  1 83 1.     Drawing- Room, 

137.  Arabella  Cavendish,  Wife  of  Charles,  Lord  Spencer.      Ascribed  to  Kneller. 

Three-quarter  length,  life  size,  seated  to  right;  in  a  loose  fawn-coloured  dress 
and  blue  mantle ;  pointing  with  her  right,  and  leaning  on  left  arm  ;  the  mantle  falls 
from  the  left  shoulder  across  her  lap,  the  right  knee  being  raised.  Dark  landscape 
background.  Inscribed  "Arabella  Cavendishe/  5"""  Daughter  of  Henry,/  Duke 
OF  Newcastle/  married  Charles,/  Lord  Spencer." 

Canvas,  50^^  in.  H.  x  40^  in.  W. 

Cat.  1747.     Great  Dining-Room,  No.  7. 

i.-,8.  Peacocks  and  Fowls.  M.  D'Hondekoeter. 

To  left,  a  peacock,  walking  towards  the  right,  followed  by  the  hen,  heedlessly 
treads  on  a  chicken,  imprisoning  it  by  the  leg  ;  near  by  is  a  yellow  chicken,  running  in 
fright  to  the  mother,  who  is  to  right,  in  an  agitated  and  angry  attitude ;  two  other 
chickens  are  prepared  to  show  fight,  undeterred  by  the  weight  and  size  of  their 
adversary.  On  a  low  wall  behind  the  peacock,  are  a  couple  of  fantail  pigeons ;  a 
branch  of  vine  trails  above,  and  some  roses,  relieved  against  the  dark  foliage ;  a  blue 
pigeon  is  in  flight  above.  Towards  the  left  some  low  steps  lead  to  a  terrace  garden, 
and  fountain  and  a  mansion,  with  a  pediment  in  classical  taste.  In  the  middle  distance 
to  the  right  is  a  cassowary,  and  a  group  of  fowls ;  warm  sky  to  right.  Signed,  on 
the  wall,  nearly  in  the  centre  of  the  picture,  "M.  D'  Hondecoeter  f." 

Canvas,  6o|^  in.  H.  x  73  in.  W. 

Cat.  183 1.     Dining-Room. 


'J 


BLUE  LIBRARY.]  AT   WELBECK   ABBEY.  39 

139.  A  Peacock  and  Fowls.  Melchoir  D'Hondekoeter. 

A  peacock  is  seated  beside  a  peahen,  on  a  low  wall ;  the  male  with  its  back  turned 
to  the  hen,  who  is  screaming ;  a  white  hen  with  extended  wings  to  left,  and  several 
chickens.  Near  the  wall,  below  which  are  mushrooms  growing,  is  a  black  chicken, 
running  with  outstretched  wings.  In  the  foreground  to  left,  a  bird  with  a  ruff, 
beyond  are  some  cocks  and  hens ;  a  lake  in  the  distance  to  the  left,  with  ducks  on 
the  shore,  and  low  hills  beyond ;  above  is  a  pigeon  in  flight.  In  the  centre  some 
masonry  divides  the  picture,  trees  growing  beyond,  and  to  right  in  front  of  the  wall. 

Canvas,  58!^  in.  H.  x  74!^  in.  W. 

Cat.  1 83 1.     Dining- Room. 

140.  Lady  Down.  Zeeman,  the  Younger,  after  Dahl. 

Three-quarter  length,  life  size,  seated  to  left ;  grey  satin  dress,  blue  mantle,  that 
falls  from  left  shoulder  and  covers  the  left  knee ;  white  under-sleeves,  turned  back  ;  her 
right  hand  lies  across  her  lap,  the  left  arm  resting  on  a  bank  to  the  right ;  she  holds  in 
her  hand  a  garland  of  orange  flowers.  Background  a  cave,  with  landscape  opening  to 
left.     Inscribed  "  Lady  Down/  Younger  Zeeman." 

Canvas,  50  in.  H.  x  41  in.  W. 

Cat.  1747.     Bedchamber,  No.  3. 

141.  Catherine,  Empress  of  Russia. 

Bust,  life  size,  to  left,  in  an  oval ;  brown  satin  dress,  embroidered  with  gold ; 
wearing  blue  ribbon,  and  two  diamond  stars  ;  the  hair  powdered,  and  surmounted  by 
a  crown.     Inscribed  "The  Empress  Catherine  of  Russia." 

Canvas. 

142.  Marie  de'  Medici.     1573 — 1642.  After  Vandyck. 

Half  length,  life  size,  seated  to  left,  in  a  black  dress.  Inscribed  above  "  Mary  of 
Medicis/  Queen  of  France." 

Panel,  29  in.  H.   x   22f  in.  W. 

Marie  de'  Medici,  second  wife  of  Henry  IV.  of  France  and  Navarre. 

From  Bulstrode,  No.  17,  MS.  List. 

143.  Dead  Game.  Jacob  Van  der  Bilt. 

A  grey  hare  and  a  bird,  suspended  above  a  stone  slab,  on  which  are  some  small 
birds  and  a  duck  ;  a  powder  horn  is  seen  to  left ;  column  and  curtain  to  right.  Signed 
"BiLTius  fect.  1655"  to  left. 

Canvas,  14  in.  H.  x   iifin.  W. 

Cat.  1 83 1.     Dining- Room. 


40  CATALOGUE   OF   PICTURES  [i 


BLUE  LIBRARY. 


144.  Dead  Game.  Jacob  Van  der  Bilt. 

A  pheasant  and  a  snipe  suspended  above  a  slab ;  partridges  and  other  smaller 
birds  are  lying  near  the  window  to  left;  dark  grey  background.  Signed  to  right, 
"BiLTius  FECIT.  1670"? 

Canvas,  14  in.  H.  x   iif  in.  W. 

Cat.  1 83 1.     Dining-Room. 

145.  Landscape  with  Figures.  Ascribed  to  Poussin. 

A  pool  of  water  in  the  foreground  ;  a  man  seated  to  right,  fishing ;  a  little  to  the 
left  are  two  other  figures,  one  in  red  standing,  the  other  reclining  on  the  bank ; 
overhanging  foliage  to  the  extreme  left ;  a  church  with  a  tiled  roof,  in  the  middle 
distance  beyond  some  broken  ground  fringed  with  trees ;  a  flock  of  sheep  and 
shepherd  ;  through  a  little  opening  by  the  side  of  the  church,  distant  hills  are  seen. 

Canvas,  15!^  in.  H.   x   i8f  in.  W. 

Cat.  1 83 1.     Little  Drawing- Room. 

146.  Landscape  with  Figures.  Ascribed  to  Poussin. 

A  waggon  drawn  by  oxen  on  a  mountain  road ;  to  the  left  on  a  stone  by  the  road 
side,  where  the  road  is  sheltered  by  a  low  bank,  is  a  man  leaning  back  asleep ;  he  is 
scantily  clothed,  and  has  placed  some  drapery  beneath  his  head,  the  right  knee  is 
crossed  over  the  left ;  high  bank  to  right,  with  small  trees ;  a  ravine  to  left,  and  a 
building  beyond  on  the  left  of  the  road ;  at  the  turn  of  the  path  is  a  high  bank,  covered 
with  foliag;e. 

Canvas,  i5:|^in.  H.   x   19!^  in.  W. 

Cat.  183 1.     Little  Drawing- Room. 

147.  Elizabeth  Cumberland,  Wife  of  Lord  Edward  Cavendish  Bentinck.     1782 — 
1837.  After  Romney,  by  George  Richmond,  R.A.,  1856. 

Half  length,  to  right,  three-quarter  face  ;  white  cloak  with  frilled  edge,  large  white 
hat  trimmed  with  blue  ribbon,  tied  under  the  chin  ;  hands  in  a  muff;  grey  background. 
Signed  "  G.R."  in  left  lower  corner. 

Canvas,  29  in.  H.  x  24  in.  W. 

Elizabeth,  eldest  daughter  of  Richard  Cumberland  the  celebrated  writer ;  married, 
1782,  Edward  Charles,  2nd  Son  of  the  2nd  Duke  of  Portland. 

Purchased  by  the  Duke  of  Portland  from  the  Artist,  1893. 

The  original  picture  is  in  the  possession  of  Lord  Hillingdon. 

Exhibited  at  the  Grafton  Gallery,  1894.     Cat.  No.  190. 


ante-room]  at  WELBECK   abbey.  41 


ANTE-ROOM. 

148.  William  Bentinck,  ist  Earl  of  Portland.     1649 — 1709.         Hyacinthe  Rigaud. 

Three-quarter  length,  life  size,  to  right,  standing  in  black  armour  ;  holding  a  baton 
in  his  right,  the  left  rests  on  his  helmet ;  long  light  brown  wig,  wide  red  silk  scarf 
round  the  loins,  and  blue  ribbon  over  the  left  shoulder,  to  which  is  appended  an  order 
on  the  right  side  ;  dark  sky,  and  landscape  background. 

Canvas,  54  in.  H.  x  41  in.  W. 

A  copy  of  this  picture  was  in  the  Fountaine  Collection,  sold  at  Christie's,  July  7, 
1894.     It  was  exhibited  at  the  National  Portrait  Exhibition,  1867.     Cat.  No.  5. 

149.  Henry  Bentinck,  ist  Duke  of  Portland.    D.  1726.  Hyacinthe  Rigaud. 

Three-quarter  length,  life  size,  to  left,  in  armour,  full  face ;  dark  curly  hair  parted 
in  the  centre ;  his  right  hand  rests  on  a  truncheon,  the  left  on  a  helmet  surmounted  by 
a  crest  of  blue  ostrich  feathers ;  the  black  and  gold  armour  is  lined  with  blue  velvet,  the 
edges  trimmed  with  gold  lace  ;  orange-red  scarf,  with  gold  fringe  round  the  waist,  tied  in 
a  wide  bow  on  the  left  side,  beneath  which  appears  the  hilt  of  his  sword,  suspended  from 
a  blue  velvet  belt ;  lace  cravat.  Grey  architectural  background,  a  fluted  column  to  right, 
round  which  is  wound  a  brown  curtain ;  in  front  is  a  stone  ledge  on  which  the  helmet 
is  placed,  to  left  beneath  is  inscribed  in  white  letters,  "  Henry  Bentinck,  Duke  of 
Portland." 

Canvas,  55  in.  H.   x  42  in.  W. 

From  Bulstrode,  No.  5. 

Cat.  1820 — 31.  Gothic  Hall  ?  The  portrait  that  hung  there  may  have  been  the 
picture  by  Kneller  now  in  Morning  Room,  Grosvenor  Square. 

150.  Margaret  Cavendish  Harley,  afterwards  Duchess  of  Portland,  as  a  Child. 

Charles  Jervas. 
Half  length,  life  size,  nearly  full-face,  to  right.  Blue  riding  habit,  trimmed  with 
silver  lace,  open  to  the  waist ;  her  right  hand  is  thrust  in  the  breast  of  her  habit,  the  left 
held  in  front  of  her ;  a  black  hat,  laced  with  silver,  with  a  white  feather,  is  placed  on 
the  left  side  of  the  head ;  white  frill,  lace  cravat  and  cuffs.  Dark  grey  eyes  and 
light  hair;  red  background.  In  the  left  lower  corner  is  inscribed  "The  Originall/ 
Pr.  jARVACE"and  in  the  right  upper  corner,  in  yellow  letters,  "The  Honb"/  Miss 
Margaret/  Cavendishe  Harley." 

G 


42  CATALOGUE   OF   PICTURES  [ante-room. 

Canvas,  30^  in.  H.  x  25J  in.  W. 

Cat   1747,  in  the    East  Dressing- Room,  No.  2.     Half  length.     "Duchess   of 
Portland  when  abt.  1 3  yrs.  old  in  a  blue  habit,  Jarvis." 

Exhibited  at  Manchester,  1857.     Cat,  No.  4,  Modern  Masters. 


151.  William  Bentinck,  ist  Earl  of  Portland.     1649 — 1709. 

CONSTANTINE    NeTSCHER  ? 

Small  three-quarter  length,  in  armour,  standing  to  right ;  his  right  hand  rests  on 
his  hip,  the  left  is  placed  on  a  helmet  with  white  plumes,  resting  on  a  stone  in  front ; 
long  curled  wig,  lace  cravat ;  background  a  dark  overhanging  cliff,  open  country  to  right, 
and  warm  sky.  Inscribed  on  background  to  left,  in  white  letters,  "  William  Bentinck, 
Earl  of  Portland." 

Canvas,  14  in.  H.  x   i2|^  in.  W. 

From  Bulstrode,  No.  10. 


152.  Anne  Villiers,  ist  Wife  of  William  Bentinck,  ist  Earl  of  Portland. 

Constantine  Netscher  ? 

Small  three-quarter  length,  standing  to  left ;  red  dress,  low  at  the  neck  ;  her  right 
hand  placed  on  her  breast,  retains  a  blue  scarf  wrapped  round  the  right  arm,  and 
hanging  over  the  left  shoulder,  she  gathers  up  her  dress  with  her  left  hand ;  a  grey 
gauze  scarf  crosses  the  bosom,  and  a  string  of  pearls  falls  over  the  left  shoulder ;  the 
chemisette  is  edged  with  lace  at  the  neck,  and  has  full  sleeves  turned  back  and  looped 
up  with  pearls  at  the  elbow ;  dark  curly  hair  parted  in  the  centre.  Purple-grey  curtain 
to  right,  fluted  column  and  balustrade,  leading  to  garden  on  the  left ;  open  landscape 
beyond.  Inscribed  to  left,  in  white  letters  on  the  pedestal  of  the  column,  "Anne 
Villiers,  Madame  Bentinck." 

Canvas,  14^^  in.  H.  x   I2|^  in.  W. 

From  Bulstrode,  No.  13. 


153.  Lady  Mary  Bentinck,  afterwards  Countess  of  Essex,  as  a  Child. 

C.  Netscher. 
Small  whole  length,  seated,  with  bare  feet,  on  a  velvet  cushion  covered  with 
crimson  drapery ;  lace  cap  with  flower,  flowers  in  her  lap  and  right  hand ;  the  steps 
are  covered  with  a  carpet,  heavy  curtain  to  right,  column  and  sculptured  pedestal  in 
background ;  sky  and  landscape  to  left.  Signed  on  base  of  column,  "  C.  Netscher 
16  ."  Inscribed  "Lady  Mary  Bentinck,  Countess  of  Essex." 
Canvas. 


ANTE.RooM.]  AT  WELBECK   ABBEY.  43 

Lady  Mary  Bentinck,  Eldest  daughter  of  William  ist  Earl  of  Portland,  by  his  first 
wife,  married  Algernon,  2nd  Earl  of  Essex,  secondly  Sir  Conyers  D'Arcy,  brother  of 
Robert,  3rd  Earl  of  Holderness. 

From  Bulstrode,  No.  27. 


154.  Lady  Rachel  Noel,  Duchess  of  Beaufort. 

Bust,  life  size,  in  an  oval ;  blue  gown,  fastened  on  the  right  shoulder  by  a  string  of 
pearls,  white  frilled  chemisette,  grey  powdered  hair,  raised  from  the  forehead,  a  long 
curl  falls  over  the  left  shoulder;  brown  background.  Inscribed  in  left  upper  corner 
"  Lady  Rachel  Noel/  Dss.  of  Beaufort." 

Canvas,  3o|^  in.  H.   x   2$^  in.  W. 

From  Bulstrode,  No.  12.  ^ 


155.  Catherine  Greville,  Duchess  of  Buckingham.  After  Kneller. 

Half  length,  life  size,  in  an  oval,  loose  green  gown  with  white  edge  of  chemisette 
showing  at  the  neck,  the  sleeves  rolled  back  at  the  elbow ;  in  her  left  hand  a  garland  of 
flowers,  the  right  is  not  seen ;  dark  brown  hair,  and  dark  warm  grey  background. 
Inscribed  in  the  left  upper  corner,  "  Catherine  Grevile,/  Countess  of/ 
Gainsborough,/  Afterwards/  Dss.  of  Buckingham." 

Canvas,  30  in.  H.  x   25  in.  W. 

This  is  a  good  contemporary  copy  of  the  original  picture  in  the  Gallery,  No.  474. 

From  Bulstrode,  No.  8. 


156.  William  III.,  as  Prince  of  Orange.     1650— 1689 — 1702. 

After  Vollevens  the  Elder. 

Three-quarter  length,  life  size,  to  right,  in  black  armour,  holding  a  truncheon  in 
his  right  hand,  the  left  resting  on  his  helmet;  long  dark  hair,  lace  cravat.  The 
head  of  a  brown  and  white  dog  is  seen  to  left.  Background,  a  high  bank  of  earth  with 
herbage  ;  to  the  right,  a  landscape  with  a  Church  on  the  summit  of  a  hill ;  at  the  foot, 
and  on  the  slope  of  which,  a  battle  is  raging.  Inscribed  below  to  left,  "King 
William  "  in  white  letters. 

Canvas,  51  in.  H.  x  41  in.  W. 

Given  to  the  ist  Earl  of  Portland  by  William  III. 

The  original  picture  in  the  Amsterdam  Gallery,  No.  1582,  was  formerly  in  the 
Mauritshuis  at  the  Hague. 

From  Bulstrode,  No.  4,  MS.  List. 

Exhibited  at  Manchester,  1857.     Cat.  No.  214. 


44 


CATALOGUE  OF   PICTURES  [ 


ANTE-ROOM. 


157.  William  Bentinck,  2ND  Duke  of  Portland,  as  a  Boy.     D.  1762. 

Bust,  life  size,  to  left,  in  an  oval.  Red  velvet  coat  trimmed  with  gold  lace,  black 
ribbon  to  cravat,  the  coat  open  to  waist ;  warm  grey  background.  Inscribed  "  William 
Bentinck,  2nd  Duke  of  Portland." 

Canvas,  30  in.  H.   x   25  in.  W. 

From  Bulstrode,  No.  7. 

Cat.  1 83 1.     Green  Room. 

158.  Lord  George  Bentinck,  as  a  Boy.     17 15 — 1759- 

Bust,  life  size,  to  right,  in  an  oval.  Blue  velvet  coat  trimmed  with  silver 
lace,  open  to  waist,  black  ribbon  to  cravat,  brown  hair;  warm  grey  background.  In- 
scribed in  lower  left  corner,  "  Lord  George  Bentinck." 

Canvas,  30  in.  H.   x  25  in.  W. 

From  Bulstrode,  No.  11. 

159.  St.  Jerome  in  his  Study.  Henri  van  Steenwyck,  1624. 

In  a  stone  apartment  (wainscoted  in  the  corner  near  the  window),  St.  Jerome  sits 
writing  at  a  table,  covered  with  a  green  cloth ;  green  cushions  lie  on  the  bench, 
some  green  edged  books  are  on  a  shelf  above,  and  an  altar-piece  with  a  green 
background  hangs  in  the  Chapel  beyond,  seen  through  a  door  in  the  wall  at  the  back 
of  the  Saint.  On  the  right  is  a  fireplace,  with  a  projecting  roof  to  the  chimney,  on  the 
left  is  a  door  leading  to  a  flight  of  stone  steps,  beside  which  stands  an  armoire  ;  the 
floor  is  paved  in  chequers,  and  the  lion  is  to  the  right,  in  the  foreground.  Signed  to 
the  left  on  the  wall  of  the  staircase,  "  Henri  van  Steinwic,  1624." 

Panel,  S^  in.  H.  x   12  in.  W. 

Cat.  1 83 1.     Little  Drawing- Room. 

160.  Robert  Harley,  ist  Earl  of  Oxford  and  Mortimer.     1661 — 1724. 

John  Riley. 

Bust,  life  size,  in  an  oval,  to  right.  Loose  purple  silk  dressing  gown,  lace  cravat, 
long  light  brown  curly  hair ;  dark  background;  inscribed  above  in  the  corners,  "  Robert 
Harley  Esq''^     Afterwards  Created  E.  of  Oxford." 

Canvas,  30  in.  H.   x  25^^  in.  W. 

Cat.  1747.     In  the  Bedchamber,  No.  2. 

161.  Mary  Queen  of  Scots.     1542 — 1587. 

Small  bust,  to  left,  hair  in  a  gold  net,  ornamented  with  triple  pearl  drop-pendant 
at  the  parting  of  the  hair,  high  collar,  black  dress  with  gold  braiding  (coloured  orange- 
red  as  is  commonly  done  in  portraits  of  the  end  of  the  sixteenth  century),  and  pearls, 
small  frilled  ruff. 

Panel,  7f  in.  H.   x  6|  in.  W. 


ANTE-ROOM 


.]  AT   WELBECK   ABBEY.  45 


A  similar  picture,  attributed  to  the  School  of  Clouet,  is  in  the  Czartoryski 
Collection,  the  above  appears  to  be  a  copy  of  it. 

162.  Attack  on  a  Baggage  Waggon.  Ascribed  to  J.  Miel. 

The  road,  on  which  the  encounter  takes  place,  is  at  the  side  of  a  hill ;  to  the  left, 
a  man  in  red  on  a  white  horse,  without  his  hat,  whose  back  is  turned  to  the  spectator, 
is  firing  at  a  man  on  his  right,  galloping  past  him.  In  the  distance,  several  figures 
are  firing  from  the  midst  of  some  standing  corn,  near  a  wooden  cross.  A  soldier  lies 
dead  on  the  road,  with  his  sword  beneath  him ;  there  is  a  steep  descent  where  the 
horses  are  seen  struggling  with  their  conductors,  and  on  the  lower  ground  in  the 
middle  distance  a  skirmish  is  raging  round  another  waggon  that  has  been  attacked  in 
front ;  below  the  road  to  the  right  is  a  willow  growing  on  the  bank  of  a  stream,  into 
which  plunges  a  man  who  is  running  away.  In  the  distance,  an  undulating  plain  with 
low  hills,  and  to  the  extreme  right,  a  wooded  bank  on  the  opposite  side  of  the  stream  ; 
warm  sky,  obscured  by  smoke. 

Canvas,  26f  in.  H.  x  5i|^in.  W. 

163.  Charles  Cavendish,  Lord  Mansfield.  After  Lely? 

Bust,  life  size,  to  left,  in  an  oval ;  in  armour ;  profusion  of  dark  curly  hair,  band 
with  strings ;  grey  background.  Inscribed  above  in  corners  "  Charles  Cavendishe, 
Ld.  Mansfield,  married  Eliz™.  Daughter  to  Richard  Rogers  of  Brianstow  in 
the  county  of  Dorset  Esq"." 

Canvas,  25!-  in.  H.  x  21  in.  W. 

Cat.  1747.     Grand  Saloon,  No.  6. 

164.  Elizabeth  Rogers,  Wife  of  Charles  Cavendish,  Lord  Mansfield. 

Small  bust,  to  left ;  pink  dress,  with  a  single  jewel  in  front  fastened  to  ribbon,  hair 
turned  back  and  tied  with  a  string  of  pearls  in  a  knot  at  the  back  of  the  head,  pearl 
necklace ;  grey  background.  Inscribed  to  left  "  Eliz™  Rogers  Daughter  to  R°. 
Rogers,  of  Brianstow  in  y'  County  of  Dorset,  EsQ^  Married  Charles  Cavendishe, 
Lord  Mansfield." 

Canvas,  8f  in.  H.   x   7f  in.  W. 

Cat.  1747.     Alcove  Dressing- Room,  No.  17. 


46  CATALOGUE   OF   PICTURES    [horsemanship  bedchamber. 


HORSEMANSHIP  BEDCHAMBER. 

165.  Catherine,  Baroness  Ogle,  Wife  of  Sir  Charles  Cavendish. 

Bust,  life  size,  to  left ;  black  dress,  fastened  in  front  with  four  gold  and  jewelled 
brooches,  short  sleeves  showing  white  under-sleeves,  pearl  necklace ;  dark  grey  back- 
ground. Inscribed  in  gold  "Catherine  Baroness  Ogle,  of  Ogle,  2°  Daughter  &/ 
Heir  to  Cuthbert,  L°.  Ogle,  wife  to  S^  Cha'.  Cavendishe,/  &  mother  to  Wm. 
DUKE  of  Newcastle." 

Canvas,  29J  in.  H.  x  24!  in.  W. 

Cat.  1747.     Bedchamber,  No.  8. 

166.  Charles  I.     1600— 1625— 1649.  After  Vandyck. 

Bust,  life  size,  to  right,  in  black  armour ;  wearing  chain  and  medal ;  warm  grey 
background. 
Canvas. 

A  copy  of  the  picture  in  the  possession  of  the  Duke  of  Norfolk. 
Cat.  1747.     South  Bedchamber,  No.  i. 

167.  Portrait  of  a  Young  Man. 

Bust,  life  size,  to  left,  in  black ;  plain  linen  band,  long  fair  hair,  beardless ;  land- 
scape background.     Inscribed,  "Cavendishe." 
Canvas,  30  in.  H.  x  24f  in.  W. 
Cat.  1747.     East  Dressing- Room,  No.  11. 
Cat.  1 83 1.     Chapel  Staircase  ? 

168.  William  Cavendish,  ist  Duke  of  Newcastle.     1592— 1676. 

School  of  Vandyck. 

Three-quarter  length,  life  size,  standing  to  right ;  black  doublet  and  cloak ; 
wearing  sword,  wide  lace  collar  and  cuffs ;  his  right  hand  placed  on  his  breast, 
touching  the  Garter  ribbon  ;  his  left  hand  is  outstretched  as  if  speaking.  Wall  to  left, 
and  parapet  with  sky  above,  to  right.  Inscribed  to  right  in  yellow  letters,  "Will". 
Cavendishe,  i^''  Duke/  of  Newcastle,  married  2  wifes,/  ist,  Eliz™.  Daughter  & 
heir  to/  Will".  Bassett  of  Blore,/  2"°,  Margaret  Lucas,/  Daughter  to  THo^ 
Lucas  of/  Colchester  Es""." 

Canvas. 

From  the  red  ribbon  being  altered  to  the  blue  Garter  ribbon,  this  would  seem  to 


HORSEMANSHIP  BEDCHAMBER.]  AT    WELBECK    ABBEY.  47 

be  a  contemporary  copy,  and  either  this,  or  the  original  picture,  served  as  the  model 
for  the  full-length,  in  Garter  Robes ;  attributed  to  Lely,  which  hangs  in  the  Dining- 
Room. 

Cat.  1747.     Great  Dining- Room,  No.  12. 

169.  Henry  Cavendish,  2nd  Duke  of  Newcastle. 

Full  length,  life  size,  to  left,  in  Garter  Robes ;  he  holds  his  plumed  hat  in  his 
right  hand,  the  elbow  resting  on  a  pedestal,  covered  with  a  brown  cloth  ;  his  left  rests 
on  the  arm  of  the  chair,  in  front  of  which  he  is  standing  ;  light  blonde  wig  ;  column  to 
left,  and  sky;  curtain  to  right.  Inscribed  "Henry  Cavendishe,  2d/  Duke  of 
Newcastle." 

Canvas. 

Cat.  1747.     Grand  Saloon,  No.  14. 

170.  Frances  Pierrepoint,  Wife  of  Henry,  2nd  Duke  of  Newcastle. 

Ascribed  to  Huysman. 

Full  length,  life  size,  seated  to  left ;  red  dress,  wide  sleeves  with  scalloped  edges, 
dark  blue  cloak  lined  with  ermine ;  she  is  seated  in  a  carved  chair,  similar  to  that  in 
the  picture  of  the  Duke ;  the  right  arm  rests  on  a  ledge  beside  her,  covered  with  the 
curtain  drapery,  her  coronet  is  beside  her  hand,  her  left  resting  on  her  lap ;  saffron 
curtain  to  right,  sky  and  landscape  to  left ;  steps  in  the  foreground.  Inscribed  to 
left,  "  Frances,  Eldest  Daughter/  to  Wm.  Pierrepoint,  Esqre./  Married  to 
Henry  Earle  of  Ogle,/  afterwards  Duke  of  Newcastle." 

Canvas,  87  in.  H.  x  52  in.  W. 

Cat.  1747.     Great  Drawing- Room,  No.  4. 

171.  Henry  Cavendish,  Lord  Ogle.     D.  1680.  After  Lely. 

Three-quarter  length,  life  size,  to  left,  in  semi-classic  costume ;  the  body  is 
covered  with  a  leather  cuirass,  white  shirt  sleeves  seen  below  the  shoulder;  a  red 
scarf  fastened  on  the  right  shoulder  with  a  circular  boss ;  right  hand  held  out,  as  if 
speaking ;  left  on  hip ;  lace  cravat ;  dark  olive  curtain,  trees  and  sky  to  left ;  column 
to  right.     Inscribed  "  Lord  Ogle"  on  pedestal,  to  right. 

Canvas,  50  in.  H.  x  40  in.  W. 

172.  Lady  Elizabeth  Percy,  Wife  of  Henry  Cavendish,  Lord  Ogle.      After  Lely. 

Three-quarter  length,  life  size,  seated  to  right,  the  head  turned  to  left;  loose 
blue  dress,  fastened  by  three  pearl  buttons  on  right  shoulder;  red  scarf  over  left 
shoulder,  on  which  her  right  hand  rests ;  left  pointing  to  orange  tree  in  a  sculptured 
vase  to  left,  on  which  is  perched  a  scarlet  breasted  parrot ;  auburn  hair,  twisted  into 
a  knot,  loose  over  left  shoulder,  with  a  string  of  pearls  twined  in  it ;  fluted  column  to 


48  CATALOGUE    OF   PICTURES     [ 


HORSEMANSHIP  BEDCHAMBER. 
LOBBY. 


right,  sky  to  left.  Inscribed  "  Lady  Elizabeth  Percy,  Sole/  Daughter  &  Heir  to 
Joceline/  Percy,  the  iith  &  last  Earl  of/  Northumberland,  Married/  2 
Husbands,  ist,  Henry/  Cavendishe,  Lord  Ogle/  2nd,  Charles  Seymour,  Duke/ 
OF  Somerset." 

Canvas,  50  in.  H.  x  40  in.  W. 

The  portrait  of  this  Lady,  exhibited  at  Manchester,  Cat.  No.  212,  attributed  by 
mistake  to  Kneller,  was  the  duplicate  now  in  Grosvenor  Square. 


LOBBY. 

173.  Elizabeth,  Queen  of  Bohemia.     1596 — 1662.  Honthorst  ? 

Bust,  life  size,  to  left ;  black  dress,  the  front  of  the  bodice  and  the  puffs  of  the 
sleeves  richly  embroidered  in  a  striped  pattern  with  spangles  and  gold  and  silver 
thread,  the  sleeves  are  tied  with  red  ribbon,  a  red  ribbon  encircles  the  waist,  and  a 
rosette  of  the  same  colour  is  fixed  in  the  centre  of  the  breast  to  the  wide  lace  border 
of  the  dress  ;  a  triple  row  of  pearls  hangs  from  shoulder  to  shoulder,  a  single  row 
round  the  neck  and  at  the  crown  of  the  head  ;  an  aigrette  composed  of  ten  large  pearls 
is  placed  at  the  left  side  of  the  head,  greyish-brown  hair,  cut  short  and  straight  over 
the  forehead,  but  bushy  and  slighdy  frizzed  at  the  sides  ;  open  ruff  of  the  same  pattern 
as  the  lace  to  the  border  of  the  dress.     Dark  background. 

Panel,  26^  in.  H.  x  23  in.  W. 

Stuart  Exhibition,  New  Gallery,  1889.     Cat.  No.  84. 

174.  Portrait  of  a  Gentleman  in  Armour,  temp.  William  III. 

Three-quarter  length,  life  size,  standing  to  right,  in  black  armour  ;  holding  a  baton 
in  his  right  hand,  which  is  bare  ;  the  left,  gloved,  rests  on  his  hip ;  crimson  velvet 
sword-belt  fringed  with  gold  ;  lace  cravat,  long  hair  parted  in  centre,  and  small 
moustache ;  dark  red  curtain,  with  pendant  tassel  to  right.  The  right  hand  rests 
against  a  table,  covered  with  red  drapery ;  near  the  hand  is  a  large  gold  medal  with  a 
coat  of  arms.  In  the  distance  to  right,  a  naval  engagement,  the  sky  obscured  by 
smoke. 

Canvas,  44^^  in.  H.  x  37  in.  W. 

175.  Elizabeth,  Queen  of  Bohemia.     1596 — 1662. 

Bust,  life  size,  to  left,  in  mourning  habit ;  black  and  white  dress  with  particoloured 
rosette  ;  white  muslin  sleeves  with  black  bands  ;  double  ruff,  edged  with  lace ;  muslin 
neckerchief,  collar  with  four  rows  of  pearls,  two  strings  of  pearls  meet  the  rosette  from 


LOBBY.]  AT   WELBECK   ABBEY.  49 

below  the  ruff;  a  string  of  pearls  wound  in  the  hair  at  the  crown  of  the  head,  and  an 
aigrette  with  six  pendant  pearls  is  placed  on  the  left  side. 
Panel,  25 J  in.  H.  x  21  in.  W. 

176.  Portrait  of  a  Gentleman. 

Bust,  life  size,  standing  to  left,  in  an  oval ;  blue  velvet  coat,  ornamented  with 
gold  lace ;  lace  cravat  and  black  wig. 

Canvas. 

A  portrait  of  the  same  personage  in  a  fawn-coloured  coat  hangs  in  the  Great 
Gallery,  No.  453  in  this  Catalogue. 

177.  Henry  Bentinck,  Lord  Woodstock,  afterwards  ist  Duke  of  Portland,  as  a 
Boy,  with  a  Dog. 

Full  length,  life  size,  standing  to  right,  in  semi-classic  costume ;  his  right  hand  is 
placed  on  his  hip,  holding  the  end  of  a  red  scarf  thrown  across  the  left  shoulder,  the 
left  resting  on  a  bank.  Violet-grey  coat  with  jewelled  buttons,  open  at  the  waist, 
the  sleeves  turned  up  at  the  wrist,  and  fastened  with  a  jewel,  showing  the  full  shirt 
sleeve  beneath ;  the  skirt  is  edged  with  gold  braid  and  fringe,  white  stockings,  brown 
jewelled  buskins,  white  cravat,  edged  with  gold  embroidery ;  on  the  right  shoulder  is 
a  large  knot,  the  same  colour  as  the  scarf,  fastened  with  a  gold  button  ;  a  white  hound 
at  his  feet,  looking  up  in  his  master's  face.  On  the  brass  collar  is  inscribed  "  (L)ord 
Woodstock."  The  barrel  of  a  gun  seen  to  right ;  wooded  landscape  background, 
evening  sky,  hills  and  water  to  left. 

Canvas,  59  in.  H.  x  46  in.  W. 

Cat.  1820-1831.     Gothic  Hall. 

178.  Sir  Edward  Harley,  K.B.,  as  a  Child.  Kennyman? 

Full  length,  life  size,  to  left,  standing,  holding  a  lemon  in  his  right  hand,  the  left 
hangs  by  his  side.  Red  dress,  with  gold  stripes  on  the  sleeve  and  round  the  hem, 
green  and  gold  scarf,  white  apron,  lace  cap,  collar  and  cuffs,  a  wisp  of  hair  is  turned 
back  over  the  cap  ;  olive  green  curtain  to  the  left ;  warm  grey  background.  Inscribed 
"  Sr.  Edwd.  Harley,"  in  the  right  upper  corner. 

Panel,  35!^  in.  H.  x  2y^  in.  W. 

Cat.  1747.  Bedchamber,  No.  i,  where  it  is  ascribed  to  "Kennyman,"  an 
unknown  painter. 

Exhibited  at  Manchester,  1857.     Cat.  No.  159. 

179.  William,  Prince  of  Orange,  afterwards  William  HI.     1650 — 1689 — 1702. 

Constantine  Netscher,  1674. 

Small  full  length,  standing  to  right,  in  black  armour ;  dark  hair  parted  in  the 

centre,  lace  cravat ;  in  his  right  a  baton,  pointing  with  left  to  opening  beyond ;  helmet 

H 


50  CATALOGUE  OF  PICTURES  [f-^^^^ 


STAIRCASE  TO  WEST  GALLERY. 


to  left,  on  a  table  covered  with  a  purple  cloth ;  brown  curtain  and  wall  behind ;  land- 
scape opening  to  right.     Signed  "  C.  Netscher  1674." 

Canvas,  32  in.  H.  x  25^  in.  W. 

Stuart  Exhibition,  New  Gallery,  1889.     Cat.  No.  150. 

180.  William  Augustus,  Duke  of  Cumberland.     1721 — 1765. 

Small  full  length,  standing  to  left,  in  uniform  ;  scarlet  coat  with  black  facings 
and  cuffs  trimmed  with  broad  gold  lace ;  a  dark  blue  (or  black)  ribbon  crosses  the 
breast ;  breastplate,  crimson  sash,  star  on  left  breast,  plain  cravat  and  lace  ruffles,  and 
top  boots.  Holding  a  marshal's  baton  in  his  right,  resting  on  a  table  by  his  side,  left 
on  hip,  holding  sash ;  door  to  right,  a  drill  ground  with  soldiers  exercising  seen 
beyond. 

Canvas,  30  in.  H.  x  25^  in.  W. 

This  picture  is  very  similar  to  one  engraved  in  mezzotint  by  T.  Burford,  1 747^ 
from  a  picture  by  Murray,  then  in  the  possession  of  General  Onslow. 


STAIRCASE  TO   WEST   GALLERY. 

181.  Portrait  of  an  Old  Lady. 

Bust,  life  size,  to  left ;  black  dress  with  white  bands  at  the  edge  of  the  dress, 
white  sleeves  embroidered  with  black  flowers,  a  gold  and  enamel  mourning  ring 
suspended  on  the  breast  by  a  black  scarf,  looped  up  in  the  centre  and  passing  round 
the  neck ;  close  white  cap,  plain  frilled  ruff  with  strings  and  tassels  ;  dark  grey 
background.     Inscribed  above,  "^tatis  58,  anno  1575." 

Canvas,  23  in.  H.   x   19  in.  W. 

A  similar  picture  is  at  Hardwick,  conjectured  to  be  either  Bess  of  Hardwick  or 
her  sister.  Lady  Carnaby,  but  the  author  of  the  Welbeck  Catalogue,  1747,  rejects 
this  supposition;  it  hung  in  the  Bedchamber,  No.  i.  "Head.  An  old  woman  in  a 
black  &  white  habit  w"'  a  little  ruff." 

182.  Portrait  of  a  Young  Lady, 

Bust,  life  size,  standing  to  right,  in  oval  frame  ;  red  silk  dress,  richly  braided 
with  silver  cord,  the  upper  sleeves  lined  with  green  silk,  these  sleeves  are  open, 
but  have  a  row  of  buttons  and  loops  of  silver  cord  to  fasten  if  desired,  a  narrow  band 
of  green  silk  at  the  base  of  the  corset ;  the  dress  is  cut  high  on  the  shoulders,  but 
open  at  the  neck  to  the  bosom  in  a  V  shape,  where  it  is  met  by  a  double  string 
of  small  pearls  and  green  stones,  fastened  with  a  bow  of  green  ribbon  ;  a  high  collar 
of  broad  open  lace  comes   close   up   to   the  ears,   and   a  lace  edging  covers   the 


STAIRCASE  TO  WEST  GALLERY.]  AT     WELBECK      ABBEY.  5I 

opening  of  the  dress ;    dark,  straight  hair,  brushed  back  and  ornamented  with  an 
aigrette  of  gold  and  enamelled  flowers,  a  large  pearl  is  set  upright  on  the  top  of  the 
head  in  a  jewelled  setting,  pearl  drop  ear-rings ;  grey  background. 
Panel,  31  in.  H.   x  25  in.  W. 

183.  Portrait  of  a  Young  Man. 

Half  length,  life  size,  to  right,  in  red  uniform ;  waistcoat  and  coat  edged  with 
gold  braid,  black  cocked  hat  with  white  fringe  in  his  left  hand,  the  right  not  shown, 
black  handkerchief  knotted  loosely  round  the  neck  ;  fair  hair,  brushed  off  the  forehead 
and  tied  with  a  black  ribbon,  a  lock  of  hair  trails  over  the  right  shoulder ;  lace  ruffles 
and  frill  to  shirt,  plain  turned  down  collar ;  dark  grey  background. 

Canvas,  29 J  in.  H.   x  2^^  in.  W. 

184.  Thomas  Wentworth,  Earl  of  Strafford.     1593 — 1641.  After  Vandyck. 

Bust,  life  size,  to  left,  in  armour,  plain  band,  medal  with  George  and  Dragon 
suspended  to  a  chain;  brown  background.  Inscribed  "  Tho'  Wentworth,  Earl 
of  Strafford,  Married  to  his  2"°  Wife,  Arabella  2"°  Daughter  to  John,  Earl 
OF  Clare."  An  earlier  inscription,  nearly  effaced,  "  Earl  of  Strafford,"  is  beneath 
the  present  one. 

Canvas,  30  in.  H.  x  25  in.  W. 

Cat.  1747.     South  Dressing- Room,  No.  5. 

185.  A  Group  of  Flowers  in  a  Glass. 

Roses,  larkspur,  convolvulus,  purple  flag,  daffodils,  tiger  lily,  white  clove, 
narcissus,  nasturtium,  and  ox-eyed  daisies,  are  grouped  together  in  a  glass  vase, 
standing  on  a  stone  ledge,  the  clove  falls  over  the  edge  of  the  slab  to  left.  In  the 
centre,  on  the  edge  of  the  marble,  is  a  wasp.     Dark  background. 

Canvas,  2^^  in.  H.   x   2o|  in.  W. 

186.  Fruit  and  Flowers. 

To  the  left,  a  vine  branch  with  a  bunch  of  purple  grapes  against  the  sky.  On  a 
marble  slab,  peaches  and  plums,  a  blue  convolvulus  and  other  flowers,  and  a  vase 
with  a  cactus  in  flower;  a  red  and  black  butterfly  has  alighted  on  a  spray  of  jessamine 
in  the  centre.  Background,  a  garden  landscape  with  close-trimmed  hedges,  trees 
above  a  statue  in  the  centre  of  the  court,  and  distant  hills  beyond. 

Canvas,  2^^  in.  H.   x   2o|^  in.  W. 

Cat.  1747.     In  the  Lady's  Dressing- Room,  Nos.  4  and  5. 

187.  A  Young  Lady  at  her  Toilette, 

Half  length,  life  size,  standing  to  left;  white  dress,  open  to  the  waist,  richly 


52  CATALOGUE   OF   PICTURES    [staircase  to  west  gallery. 

embroidered  ;  the  pattern  is  spaced  out  with  lines  of  gold  thread,  and  the  ground 
powdered  over  with  flowers,  leaves  and  insects,  embroidered  in  coloured  silks ;  the 
sleeves  are  turned  back  below  the  elbow  showing  the  white  lining  with  insertion 
embroidery,  turn  down  collar,  the  neck  and  shoulder  pieces  edged  with  embroidery  of 
gold  thread,  the  cuffs  are  finished  with  point  lace ;  a  collar  of  the  same  and  edging 
to  the  front  of  the  dress,  tied  at  the  neck  with  a  narrow  black  cord ;  white  apron 
without  ornament,  pearl  pendants  attached  to  gold  rings  in  the  ears,  a  bracelet  on  the 
right  arm,  set  four-square,  alternately,  with  pearls  and  jewels ;  a  ring  on  the  third 
finger  of  the  right  hand  ;  on  the  little  finger  of  the  left  is  a  plain  red  hoop  ring.  On 
the  table  to  right,  lies  a  mirror  in  a  black  frame,  the  open  shutter  decorated  with  a 
gold  and  black  chequer  pattern  on  the  inside,  a  brush  with  a  velvet  and  ^  gold 
embroidered  centre,  and  an  ivory  double  comb.  She  is  occupied  in  plaiting  her 
brown  hair,  which  is  brushed  off  the  forehead  and  not  parted,  but  is  divided  into  two 
masses,  one  half  (slightly  waved)  hangs  over  in  front  of  the  left  shoulder.  Green 
background  ;  a  silver  watch  with  a  curious  key  is  hung  on  the  wall  attached  to  a  pin. 
Canvas. 


1 88.  Catherine  Cavendish,  Wife  of  Thomas  Tufton,  Earl  of  Thanet,  as  a  Child. 

Jacob  Huysman. 

Full  length,  life  size,  standing  to  right,  in  white  silk  dress  faced  with  ermine, 
open  in  front,  showing  petticoat  of  white  silk  that  reaches  to  the  feet ;  the  sleeves  arc 
turned  back  below  the  elbow  and  fastened  with  three  jewels,  another  jewel  fastening 
the  facings  of  the  skirt ;  a  large  jewel  on  the  right  shoulder  fastens  a  red  silk  ribbon, 
and  a  blue  scarf  passes  over  the  left  shoulder.  In  her  right  she  holds  a  leafy  bough 
that  one  of  the  lambs  following  her  is  nibbling  at ;  the  left  raised,  pointing  to 
the  landscape ;  head-dress  of  white  ostrich  plumes,  the  hair  parted  in  the  centre, 
with  strings  of  pearls  twined  in  it,  pearl  necklace  and  pendent  ear-rings.  Before  her 
to  the  right,  is  a  red-haired  Cupid,  shouldering  her  crook  and  looking  back  towards 
her,  he  has  red  wings,  and  an  amber  scarf  across  the  loins.  Behind  the  child's  head  is 
a  pink  light  coming  from  above ;  hilly  landscape  to  right,  morning  sky ;  in  the 
distance  a  shepherd  with  a  flock  of  sheep.  Inscribed  in  yellow  letters,  in  the 
left  upper  corner,  "Cath"".  Cavendishe,/  4th  Daugh""".  of  Henry,/  Duke  of  New- 
castle./    married  to  Tho\/  Tufton,  Earle  of/  Thanet." 

Canvas,  47|-  in.  H.  x  38  in.  W. 

Cat.  1747.     Great  Drawing-Room,  No.  7. 

Exhibited  at  Manchester,  1857.     Cat.  No.  348. 

189.  Portrait  of  a  Lady. 

Bust,  life  size,  to  left,  in  an  oval ;  grey  dress,  trimmed  with  gold  fringe,  saffron 


STAIRCASE  TO  WEST  GALLERY.-I  ^T      WELBECK     ABBEY.  S 1 

NORTH  BEDROOM.  ■'  •^•^ 

scarf  over  right  shoulder,  fastened  to  left  by  a  band  ;  black  hair,  jewelled  pendant  in 
front  of  dress. 
Canvas. 

190.  William  Cavendish,  ist  Earl  of  Devonshire.     D.  1625. 

Three-quarter  length,  life  size,  standing  to  left ;  red  doublet  and  trunks,  laced 
with  silver ;  grey  felt  hat  and  white  feather,  spotted  with  red ;  lace-edged  collar  and 
cuffs ;  walking  stick  in  his  right,  left  on  sword  hilt ;  grizzled  hair,  light  beard, 
and  moustache,  turning  grey ;  brown  background.  Inscribed  "Will"  Cavendishe,/ 
Earl  of  Devonshire." 

Canvas,  49!-  in.  H.   x  37  in.  W. 

Cat.  1747.     Great  Dining- Room,  No.  5.     It  was  ascribed  to  J ansen. 

191.  Alice    Smith,    or   Parker,    Wife  of    Thomas    Cavendish,  with   Sir   William 
Cavendish,  as  a  Baby. 

Life  size  figures,  the  baby  in  the  arms  of  the  mother  who  is  seated  in  a 
red  leather  chair,  facing  to  left ;  the  mother  is  in  black,  and  wears  a  close  white  cap, 
edged  with  lace,  turned  down  in  front  over  the  forehead,  and  back  at  the  ears ;  ruff 
and  white  apron  bordered  with  lace.  The  baby  wears  a  long  pale  yellow  dress,  a  cloak 
and  wide  lace-edged  apron,  red  waistband  with  red  spots,  and  close  cap  with 
border  of  stiff  lace.  Inscribed  in  yellow  letters,  in  left  corner  at  the  top,  "  Alice, 
Daughter  of  John  Parker  of  Cavendishe,  married  to  Thos.  Cavendishe  ; 
Mother  of  Sr.  Wm.  Cavendishe  of  Chatsworth." 

Panel,  30  in.  H.   x   25  in.  W. 

In  the  1747  Cat.  this  picture  is  described  as  "  Alice,  daughter  of  John  Smith,  of 
Podbrook  Hall,  &  wife  to  Thomas  Cavendishe  of  the  Kings  Exchequer.  She 
died  1515.  He  dyed  1524.  She  has  in  her  arms  her  child  S'.  W.  Cavendishe."  It 
hung  in  the  Great  Alcove  Bedchamber,  No.  3. 


NORTH   BEDROOM. 

192.  Madonna  and  Child,  with  Saints,  in  a  Landscape.  Benedetto  Diana. 

The  Virgin  in  a  rose-coloured  tunic,  is  seated  near  the  centre  of  the  picture, 
almost  entirely  enveloped  in  her  blue  mantle ;  she  holds  the  Child  Christ  at  her  left 
side,  looking  towards  the  Donor  in  black,  whose  head  and  shoulders  are  visible  to  the 
right,  his  hands  joined  in  prayer.  A  Saint  to  right,  with  an  open  book  in  his  left,  in 
a  red  mantle  and  grey  dress,  with  a  yellow,  black,  and  red  pattern  ;  behind  is  a  female 


54  CATALOGUE   OF   PICTURES        [north  bedroom. 

•J^  '-..n.x.iiv^.^w  v^x  LWEST  GALLERY  BEDROOMS. 

Saint,  wearing  a  dark  dress  and  yellow  hood  ;  the  Virgin's  head  is  covered  with  a  grey 
cloth.  Landscape  and  town  to  left,  with  dark  hills ;  two  figures  are  seen  on  the  road, 
in  the  distance. 

Panel,  24 J  in.  H.  x  33  J  in.  W. 

193.  The  Nativity.  S.  De  Vos. 

The  Virgin  is  seated,  holding  the  Child,  the  Shepherds  kneel  to  the  left,  a  small 
boy  being  in  front  on  the  right,  with  his  back  turned  ;  a  man  in  shepherd's  dress, 
kneels  holding  a  cloth  to  the  fire,  a  boy  in  blue  holds  another  cloth,  and  an  Angel  in 
amber  drapery,  whose  head  is  turned  towards  the  Virgin,  is  stirring  some  milk  on  the 
fire  with  a  pair  of  long  scissors  ;  a  porringer  and  spoon  lie  by  the  side  of  the  fire ;  a 
ladder  is  placed  against  the  pier  of  the  dark  arch  in  the  background.  Signed,  near 
an  earthen  pitcher,  "S.  D.  Vos." 

Panel,  19  in.  H.  x  27  in.  W. 

Cat.  1747.     In  the  Lady's  Dressing- Room,  No.  3. 

194.  St.  Anthony  Hermit. 

Half  length,  life  size,  to  left,  in  a  brown  habit,  the  hood  drawn  over  his  head, 
reading  a  book  held  with  both  hands,  a  rosary  hangs  from  the  left  wrist.  Landscape 
seen  through  opening  of  cave  to  right,  a  rustic  cross  upright,  to  left. 

Canvas,  39  in.  H.  x  31  in.  W. 

Cat.  1747.     In  the  Lady's  Dressing- Room,  No.  2. 

195.  Landscape  with  Figures.  Manner  of  Berghem. 

In  the  centre  a  peasant  girl  spinning,  another  with  her  back  turned  is  on  her 
knees  milking  a  goat ;  a  cow,  a  donkey,  and  sheep  in  the  centre  of  the  foreground. 
To  the  right,  a  cow  and  a  grey  horse,  beneath  a  wooded  bank  with  ruins.  Towards  the 
centre  in  the  middle  distance  the  ruins  of  an  aqueduct ;  open  landscape  to  left. 

Panel,  i8f  in.  H.  x  27J  in.  W. 

196.  Portrait  of  a  Monk. 

Bust,  life  size,  three-quarter  face,  to  left,  in  a  brown  habit.  Oval,  with  dark 
corners. 

Pastel  on  paper. 


WEST  GALLERY  BEDROOMS. 

197.  View  of  a  Mansion  with  a  Deer  Park. 

The  house  is  an  extensive  structure  with  wings,  and  has  a  dome  in  the  centre.    On 


i 


WEST  GALLERY  BEDROOMS.]  AT    WELBECK    ABBEY.  55 

the  first  story  is  an  open  colonnade  built  on  seventeen  arches,  the  whole  surmounted 
by  a  terrace,  ornamented  with  statues.  A  group  of  tall  trees  to  the  right,  and  a  herd 
of  deer  reposing  in  the  centre  of  the  foreground. 

Canvas,  3o|^  in.  H.  x  52  in.  W. 

Above  the  cornice,  at  either  end  of  the  building,  are  the  Portland  arms ;  the 
building  resembles  Worksop  Manor  House. 

198.  Landscape  with  Figures.  J.  Mytens. 

To  the  left,  a  group  of  eight  figures  on  a  hillock,  close  to  a  clump  of  trees,  a  lady 
in  a  red  dress  is  offering  a  glass  of  wine  to  a  gentleman  with  a  musical  instrument,  a 
lady  in  a  yellow  dress  seated,  is  turning  over  the  pages  of  a  music  book,  and  another 
in  a  dark  dress  is  looking  over  her  shoulder,  two  others  are  seated  on  a  slope,  open 
wooded  landscape  to  right.     Signed,  in  left  lower  corner,  "  Joh.   M." 

Panel,  i6|-  in.  H.  x  24  in.  W. 

Cat.  1747.     In  the  Lady's  Dressing- Room,  No.  9. 

199.  Abraham  dismissing  Hagar  and  Ishmael.  J.  Mytens. 

Hagar  nearly  in  the  centre,  in  a  pale  red  dress,  is  weeping,  she  has  a  gourd- 
shaped  bottle  slung  at  her  left  side.  Ishmael  in  a  dark  brown  dress,  holds  her  right 
in  his,  and  clings  to  her  skirts.  Abraham  is  to  the  right,  in  a  blue  dress  with  pink 
sleeves,  and  yellow  mantle ;  two  other  figures  are  seen  at  his  back  a  little  distance 
behind  ;  some  houses,  and  a  tree  on  a  bank,  to  the  extreme  right.  To  the  left,  a  river 
with  wooded  banks.     Signed  to  the  right,  on  the  earth-bank,  "  Joh.  Mytens." 

Panel,  i7|-  in.  H.  x  24!  in.  W. 

There  is  little  doubt  that  this  is  the  "  Hagar  and  Ishmael  turn'd  out  by  Abraham," 
No.  7  in  the  Lady's  Dressing- Room,  Cat.  1747,  although  the  painter's  name  is  not 
mentioned.  A  picture  catalogued  as  a  "  Landskip  with  a  Conversation  in  the  Stile  of 
Pasterro,"  No.  9,  refers  to  the  companion  picture. 

200.  Margaret  Cavendish  Harley,  afterwards  Duchess  of  Portland,  as  a  Child. 
D.  1785.  Degarde  ? 

Full  length,  life  size,  standing  to  right ;  blue  flowered-damask  dress  with  silver 
lace  round  the  skirt,  embroidered  white  muslin  apron,  blue  cap  with  white  frilling,  red 
and  white  shoes  ;  black  and  white  dog  before  her  to  right ;  architectural  background, 
with  a  large  flower  vase  in  shadow  to  the  left,  and  a  smaller  one  to  right,  archway 
with  court  beyond,  chequer  pavement,  high  terrace,  trees  and  sky. 

Canvas,  42|^in.  H.  x  30^^  in.  W. 

There  are  four  portraits  of  this  lady  as  a  child  entered  in  the  1 747  Cat.  ;  this  is 
the  one  mentioned  as  hanging  in  the  third  bedchamber  :  "  No.  i.  Whole  Length,  Dss. 


56  CATALOGUE    OF    PICTURES         [west  gallery  bedrooms. 


of  Portland  when  a  child,  ab'  3  y''  old,  in  a  blue  coat  by  a  French  painter."  Degarde 
is  probably  the  artist ;  there  is  a  strong  resemblance  between  this  and  the  picture  done 
about  two  years  later  that  hangs  in  the  State  Dressing-Room. 

201.  Lady  Elizabeth  Noel,  Wife  of  Henry,  ist  Duke  of  Portland,  Lely? 

Bust,  life  size,  three-quarter  face,  to  left,  in  an  oval.  Amber  dress,  with  wide 
sleeves  and  white  chemisette,  grey  gauze  scarf  with  yellow  silk  stripes  across  the 
breast,  fastened  with  a  large  unset  jewel  to  the  left  shoulder.  A  string  of  pearls  form  a 
knot  in  the  centre  of  the  bosom,  pearl  necklace,  and  large  pearl  drop  pendants  in  the 
ears,  dark  hair  curled  on  forehead,  and  gathered  in  clusters  at  the  side  of  the  head. 

Canvas. 

Lady  Eliz.  Noel  was  the  eldest  dau.  of  Wriothesley,  2nd  E.  of  Gainsborough. 

From  Bulstrode.    Two  portraits  of  this  lady  hung  there,  Nos.  6  and  9,  MS.  List. 

202.  Portrait  of  a  Gentleman  in  Armour. 

Bust,  life  size,  to  left,  in  an  oval ;  armour  damascened  with  gold,  full  wig,  and 
cravat,  collar  with  the  Order  of  the  Golden  Fleece. 
Canvas,  30  in,  H.  x  25^^  in,  W. 

203.  Landscape  overlooking  an  extensive  Plain, 

In  the  centre  is  an  old  tree,  nearly  leafless,  beneath  which  is  seated  a  gentleman 
with  a  dog.  A  man  in  a  red  coat  is  pointing  with  his  whip  to  the  landscape,  and  a 
black  and  white  dog  is  behind  him ;  more  to  the  left,  a  servant  in  blue  livery  is  holding 
a  brown  horse  by  the  bridle  ;  to  the  extreme  left,  a  mounted  groom  with  a  led  horse. 
On  the  slope  of  the  hill  behind,  two  men  are  seen  leading  their  horses  down  hill.  A 
baggage  train  is  descending  by  the  road,  clumps  of  trees  are  on  the  summit  and 
slopes,  and  a  flock  of  sheep ;  to  the  right  is  an  extensive  view  over  the  low  country 
with  villages  dotted  about ;  warm  afternoon  sky. 

Canvas,  24J  in.  H.  x  42  in.  W. 

The  above  landscape  was  probably  painted  for  an  over-door,  and  may  be  by 
Wootton. 


204. 


Scotch  Landscape.  A.  W.  ? 

In  the  low  ground  to  the  left  is  an  ornamental  garden  and  deer  enclosure.  A 
group  of  deer  is  seen  on  the  hill  to  the  left  of  the  foreground  ;  nearer  the  centre,  a  man 
is  seated  on  a  rocky  ledge,  drawing  ;  behind  him  is  a  man  with  a  black  and  white  dog. 
Numerous  figures  in  the  low  ground  to  right  with  plaids,  and  to  the  right  a  group  of 
pack  horses.     In  the  middle  distance  is  a  considerable  hill,  with  fortified  buildings  on 


-I 

WEST  GALLERY  BEDROOMS.]  AT    WELBECK    ABBEY.  57 

the  highest  crest  to  left ;  a  town  is  built  on  the  slope  overlooking  the  valley  and  river 
to  right ;  beyond  the  further  bank,  blue  hills. 

Canvas,  24  in.  H.  x  43  in.  W. 

The  initials  "  A.W."  joined  together  are  on  one  of  the  packs. 

205.  View  from  Praja  Los  Santos,  looking  up  the  River. 

Canvas,  26  in.  H.  x  35^  in.  W. 

206.  View  of  Belem  Quay. 

Canvas,  26  in.  H.  x  35J  in.  W. 

207.  View  from  the  Capuchin  Convent  of  St.  Antonio. 

Canvas,  26  in.  H.  x  35^^  in.  W. 

208.  View  of  the  Corn  Market. 

Canvas,  26  in.  H.  x  35|-  in.  W. 

209.  View  of  the  Jeronimo  Convent,  Belem. 

Canvas,  26  in.  H.  x  35!^  in.  W. 

210.  View  of  the  Quay  Sudr£. 

Canvas,  25  in.  H.  x  33  in.  W. 

211.  Porto  Brandao  from  the  South  Side  of  the  River. 

Canvas,  25^^  in.  H.  x  35!^  in.  W. 
,  The  four  last-mentioned  pictures  hang  in  Lord  Henry  Bentinck's  Rooms. 


\ 


OXFORD  WING. 


BOUDOIR. 


212. 

IR  Peter  Paul  Rubens.     1577 — 1640.  After  Rubens. 

Bust,  life  size,  to  right,  in  a  black  cloak,  wide  black  hat,  point 
lace  collar,  and  gold  chain. 

Canvas,  29^  in.  H,  x   25:^^  in.  W. 


213.  Wooded  Landscape,  with  Foxes  and  Hare.  J.  Schalch. 

A  fox  with  a  dead  hare  in  his  clutches,  in  the  centre  foreground  ;  another  fox  is 
breaking  through  the  fence  to  the  right ;  open  landscape  with  hedge,  and  willows  to  the 
right;  on  the  left  thickly  wooded.     Signed  "  Schalch  fecit." 

Canvas,  19  in.  H.   x  24  in.  W. 

Cat.  1 83 1,     Dining-Room. 


214.  Landscape  with  Figures. 

A  man  in  a  slouched  hat,  on  horseback,  is  riding  away  to  the  left,  holding  a  dog 
in  a  leash,  he  is  looking  back  towards  a  group  of  several  dogs,  one  of  which  is  held 
by  a  kneeling  peasant,  who  is  turning  towards  the  open  door  of  the  cottage  on  the 
right,  from  which  a  boy  is  running.  A  pole  from  which  hangs  a  cloth,  extends  from 
the  house  to  a  bare  tree  in  the  centre  of  the  picture.  Flat  landscape  background, 
and  warm  sky. 

Copper,  i2f  in.  H.  x  17  In.  W. 

The  shadows  are  darkened  by  varnish,  and  the  whole  is  much  blistered  and  scaled. 

Cat  1 83 1.     Drawing- Room. 

115.  Lady  Southampton.     1565. 

Small  half  length,  three-quarter  face,  to  left,  with  her  hands  joined.  Dull  pink, 
silk  and  velvet  puffed  and  slashed  dress,  cut  square  at  the  neck,  she  holds  her  fur 
gloves,  decorated  with  gold  buttons,  in  her  left ;  a  chain  round  her  neck  is  caught  up 
in  front  of  the  bodice  by  a  jewel.     Below  the  edge  of  the  corset  on  the  left  breast  is  a 


62  CATALOGUE   OF    PICTURES  [boudoir. 

metal  scroll,  inscribed  "  The  Earle  of  Southeampton."  Black  coif  and  a  band  of 
the  same  colour  as  the  dress  in  front,  ornamented  with  pearls.  Rufif  and  frilled  cuffs, 
with  gold  and  white  edging ;  rings  on  two  fingers  of  the  right  hand,  and  one  on  the 
left.     Pale  green  background,  inscribed,  in  upper  right  corner,  "  Aetatis  13.  1565." 

Panel,  17  in.  H.  x  13  in.  W. 

Cat.  1 83 1.     Red  Damask  Dressing-Room. 

216.  Portrait  of  a  Boy.  Rembrandt,  1634. 

Bust,  life  size,  in  an  oval,  three-quarter  face,  looking  to  the  left,  smiling,  long 
reddish  curly  hair,  black  dress,  and  white  shirt,  grey  background.  Inscribed  to  the 
left,  "  Rembrandt  f.  1634." 

Panel,  18  in.  H.  x  i3|-  in.  W. 

Cat.  1 83 1.     Drawing-Room. 

217.  Portrait  of  a  Man  in  Black.  Italian  School. 

Bust,  life  size,  leaning  his  head  on  his  left  hand,  and  looking  towards  the  left. 

The  canvas  was  once  smaller  and  has  been  added  to  all  round.  It  now  measures 
3o|^  in.  H.  X  25|-  in.  W.     It  originally  measured  about  22  in.  H.   x   16  in.  W. 

Cat,  1820.  Dining-Room.  "  Old  man  leaning  on  his  elbow,  Titian."  In  1831 
it  was  still  in  the  same  room.  In  1747  the  rooms  were  differently  named,  but  it  does 
not  appear  to  have  belonged  to  the  collection  of  the  Countess  of  Oxford. 

218.  Maurice,  Prince  of  Nassau.     1557 — 1625.  Miereveldt? 

Bust,  life  size,  to  right,  in  armour,  bare  headed,  wearing  a  falling  ruff,  a  silk 
scarf  crosses  the  shoulder,  dark  blue  ribbon  round  the  neck,  the  scarf  is  a  purple-red 
with  yellow  lights.  Inscribed  above  the  head  on  the  dark  background,  "  Maurice 
Prince  of  Orange." 

Panel,  24!  in.  H.  x  20  in.  W. 

Cat.  1747.  South  Dining-Room,  No.  6.  "  Head  upon  board,  Prince  Maurice  of 
Nassau  in  armour  with  an  orange  coloured  sash  and  a  blue  ribbon  round  his  neck." 

A  picture  of  this  Prince  was  at  Bulstrode,  No.  18,  probably  the  one  now  hang- 
ing in  Grosvenor  Place. 

219.  Marie  Fran^oise  Perdrigeon,  Madame  Boucher,  as  a  Vestal.     171 7 — 1734. 

After  J.  Raoux. 

Small  whole  length,  facing  to  the  left,  in  a  white  satin  dress,  standing  on  the  step 

of  a  circular  altar  on  which  a  fire  is  burning,  the  altar  is  inscribed  "vesta,   p.   R. 

QUiRiTiv."      With  her  right  she  is  about  to  place  a  stick  on  the  fire,  and  with  the 

left  lightly  raised,  touches  the  edge  of  her  veil ;  a  flying  love  holds  a  flambeau  to  the 


BOUDOIR.]  AT   WELBECK   ABBEY.  6 


o 


altar  flame,  his  left  raised  as  if  speaking.  On  the  altar  step  is  a  rose-water  dish  and 
ewer,  twined  with  a  garland  of  flowers  ;  loose  flowers  are  also  scattered  over  the  step. 
Through  an  opening  to  the  right  is  seen  a  garden  with  a  statue  and  fountain. 
Curtain  to  right 

Canvas. 

Engraved  by  C.  Dupuis,  1736.  The  original  picture,  life  size,  is  at  Versailles. 
Etienne  Paul  Boucher  was  Secretaire  du  Roy,  the  picture  was  designed  to  perpetuate 
the  memory  of  his  wife,  who  died  at  the  early  age  of  1 7. 

Exhibited  at  the  Grafton  Gallery,  1894.     Cat.  No.  173. 

220.  Portrait  of  a  Man.  Flemish  School. 

Bust,  small  life  size,  facing  to  the  left,  in  profile,  brown  hair  cut  close,  moustache, 
and  pointed  beard,  grey  cloak. 

Canvas,  19  in.  H.  x  15!^  in.  W. 
Formerly  attributed  to  Rubens, 
Cat.  1 83 1.     Drawing- Room. 

221.  Misty  Afternoon  Landscape.  J.  Sciialch, 

A  winding  stream  occupies  the  centre  of  the  picture,  a  peasant  girl  is  crossino-  a 
rustic  bridge  on  the  left,  at  the  foot  of  a  waterfall.  A  group  of  ruined  buildings  on 
the  raised  ground  to  left,  in  the  middle  distance.  A  large  tree  grows  on  the  top  of  a 
bank  to  the  extreme  left,  a  group  of  goats  and  a  sheep  in  the  centre  of  the  foreground  ; 
the  stream  is  spanned  by  a  stone  bridge  in  the  distance,  low  hills  on  the  horizon. 
Signed  in  the  centre  foreground  "  J.  Schalch  Fecit," 

Canvas,  30^^  in.  H.  x  41!^  in.  W. 

222.  Battle  Piece,  Borgognone. 

A  party  of  horsemen  riding  into  action,  with  drawn  swords,  whose  backs  are 
turned  to  the  spectator,  occupy  the  left  of  the  composition  ;  a  partially  destroyed  tree  is 
conspicuous  in  the  foreground  growing  on  a  bank  to  the  right,  close  to  the  margin  of 
a  stream,  which  is  crossed  in  the  middle  distance  by  a  rustic  stone  bridge  ;  low  hills 
and  a  town  in  the  distance,  seen  above  the  heads  of  the  figures. 

Canvas,  29  in.  H.   x  38^^  in.  W. 

Cat.  1 83 1.     Dining-Room. 

223.  Battle  Piece.  Borgognone. 

A  fight  on  the  bank  of  a  stream  with  swords  and  pistols,  to  the  left.  In  the  fore- 
ground is  a  riderless  horse  galloping  away ;  in  the  middle  distance  to  the  left,  a 
cavalier  is  plunging  into  the  river ;  in  the  centre  a  soldier  on  horseback  is  attacked 


64  CATALOGUE   OF   PICTURES  [boudoir. 

by  another  on  foot,  to  the  right  a  stream  with  wooded  banks,  grey  hills,  and  some 
buildings  in  the  distance.     The  air  is  obscured  by  smoke. 

Canvas,  29  in.  H.  x   39|-  in.  W. 

Cat.  1 83 1.     Dining- Room. 

224.  Sea  Piece.  '  William  Van  de  Velde,  the  Younger. 

In  the  foreground,  five  men  are  pushing  a  boat  off,  a  sixth  figure  with  a  long 
staff,  whose  back  is  turned,  dressed  in  a  brown  jacket  and  trousers,  is  wading  out  to 
the  help  of  the  others.  To  the  left  a  stranded  fishing  boat  with  the  anchor  up ;  a 
little  further  off  to  the  right  is  another  boat  conspicuous  by  a  white  sail  with  a  darker 
piece  of  canvas  added  below,  flying  blue  and  white,  and  blue,  red,  and  white  pennants ; 
two  men  are  engaged  with  a  sail.  A  third  boat  is  lying  off  a  strip  of  land  to  the 
extreme  left,  and  a  man,  basket  on  back,  is  walking  towards  it.  To  the  right,  in  the 
offing,  is  a  war  vessel,  flying  a  red  and  white  flag,  firing  a  salute,  in  the  centre  distance, 
a  rowing  boat  and  other  vessels.  The  sky,  with  a  great  bank  of  rolling  clouds, 
occupies  about  three-fourths  of  the  entire  canvas. 

Canvas,  14  in.  H.  x   i6|^  in.  W. 

Cat.  1747.     In  My  Lady's  Apartment.     In  the  Lobby,  No.  9. 

Cat.  1 83 1.     Drawing- Room. 

225.  Sloop  in  a  Gale.  William  Van  de  Velde,  the  Younger. 

The  storm  cloud  dividing  the  sky,  darkest  to  the  left,  overhangs  almost  in  the 
form  of  an  arch,  the  vessels  driven  before  the  wind ;  the  sloop  is  seen  near ;  beyond 
to  the  left,  a  vessel  of  war  with  sails  close  furled  appears  undisturbed  by  the  gale,  in 
the  distance  eight  boats  alternate,  black,  or  white  and  ghostly,  against  the  stormy  sky. 

Canvas,  12^^  in.  H.  x  16  in.  W. 

Cat.  1747.     In  My  Lady's  Apartment.     In  the  Lobby,  No.  11. 

Cat.  1 83 1.     Drawing- Room. 

226.  Sea  Piece,  a  Calm.  William  Van  de  Velde,  the  Younger. 

The  composition  is  formed  by  a  group  of  six  boats,  almost  in  a  semicircle ; 
nearest  in  the  centre  is  a  small  boat  being  pushed  off  by  two  men,  one,  standing  up  in 
the  boat,  is  engaged  with  an  oar  punting  it  off,  and  the  other  standing  in  the  water, 
is  helping.  To  the  left,  two  men  in  another  small  boat  are  engaged  with  the  crew  of 
a  fishing  boat ;  another  is  seen  beyond  with  its  sails  spread.  To  the  right  of  the 
composition  is  a  boat  lying  idle,  two  others  are  beached  by  a  strip  of  sand  in  the 
middle  distance.  Clear  blue  morning  sky.  Signed,  in  the  foreground,  towards  the 
right.     "W.V.V."  1662? 

Canvas,  13  in.  H.  x  i6|^  in.  W. 

Cat.  1747.     In  My  Lady's  Apartment.     In  the  Lobby,  No.  10. 

Cat.  1 83 1.     Drawing- Room. 


BOUDOIR.]  AT   WELBECK  ABBEY.  65 


227.  Portrait  of  a  Man.  German  School, 

Half  length,  half  the  size  of  life,  standing  to  left ;  in  a  brown  habit  and  black  cap  ; 
holding  a  breviary  in  a  bag  in  his  right,  and  a  palm  in  his  left.  Square  grizzled 
beard.  A  red  cross  (said  to  be  that  of  a  Prior  of  Jerusalem)  on  the  breast.  Grey- 
blue  background. 

Panel,  22|^  in.  H.  x  17  in.  W. 

There  is  also  a  copy  of  this  picture  on  canvas,  not  hung  up,  but  described  under 
No.  4  in  the  1861  Catalogue. 

228.  William  III.,  Prince  of  Orange,  on  Horseback.     1650 — 1689 — 1702. 

Small  whole  length,  facing  to  the  right,  in  black  armour,  holding  a  baton  in  his 
right ;  dun  coloured  horse  with  a  white  tail ;  a  brown  and  white  dog  runs  by  his  side. 
Landscape  background,  divided  by  a  curtain.  In  the  low  ground  a  battle  is  being 
fought ;  to  the  left  the  figure  of  a  man  with  a  halbert  followed  by  two  others,  whose 
heads  are  seen  behind,  one  carries  an  orange-red  flag. 

Canvas,  28  in.  H.  x  22|-  in.  W. 

229.  Charles  I.  on  Horseback.     1600— 1625 — 1649,  After  Vandyck. 

Small  whole  length,  in  black  armour,  on  a  white  horse,  resting  his  long  marshal's 
baton  on  the  saddle,  he  is  bare-headed,  his  helmet  is  placed  on  a  pedestal  to  the  right, 
against  which  rests  a  shield  with  the  Royal  Arms  of  England,  dark  green  curtain  with 
gold  fringe  in  the  upper  right  hand  corner.  An  archway  through  which  the  sky  is 
seen  occupies  the  background. 

Canvas,  25  in.  H.  x  15!^  in.  W. "  .    ' 

Cat.  1747.     North  Room,  No.  33  ? 

230.  Sacrifice  to  Saturn.  Filippo  Lauri. 

A  statue  of  the  God  is  seen  in  the  centre  of  the  composition.  To  the  right  the 
high  priest  dressed  in  white,  with  a  veil  covering  his  head,  is  about  to  plunge  his  knife 
into  the  struggling  heifer,  held  by  a  man  with  bare  shoulders,  in  pale  blue  ;  the  heads 
of  three  spectators  are  seen  behind  to  the  left,  a  priest  and  two  other  figures,  one  of 
whom  rests  his  hand  on  the  back  of  a  ram ;  the  nearest  figure  in  the  foreground  in 
shadow,  holds  a  vase  ;  a  tree  to  the  extreme  left,  dark  grey  sky. 

Canvas,  ii:|^  in.  H,  x  g^  in.  W. 

231.  Sacrifice  to  Flora,  Filippo  Lauri. 

The  statue  of  the  Goddess,  crowned  with  a  garland  and  holding  two  others  in  her 
hands,  stands  to  the  left ;  two  figures  in  shadow  kneel  in  the  foreground ;  one,  a  young 
girl  with  her  right  shoulder  bare,  offers  a  nest  of  young  birds ;  behind  is  a  girl  with  a 
tambourine  ;  nearer  the  base  of  the  statue  two  other  figures  are  seated,  one  of  whom 

K 


66  CATALOGUE    OF   PICTURES  [boudoir 

is  arranging  flowers.     To  the  right  the  High  Priest  in  white,  with  a  garland  on  his 
head,  offers  a  dove  before  a  circular  altar  on  which  a  fire  is  burning,  six  other  figures 
kneel  to  the  centre  and  right,  with  offerings  of  a  bird's-nest  and  flowers ;  bushes  to 
left,  and  tall  trees  to  the  right,  form  the  background  ;  blue  sky. 
Canvas,  1 1  in.  H.  x  9  in.  W. 

232.  Reaping,  called  "  Ruth  and  Boaz."  Filippo  Lauri. 

Open  landscape  with  cornfield,  the  principal  group  occupies  the   right   of  the 
composition,  two  reapers  are  cutting  the  corn  with  sickles,  attended  by  two  women,      | 
gathering  and  carrying  it,  the  youngest  wears  a  broad  straw  hat.     In  shadow  to  the 
right  a  man  is  resting,  drinking  from  a  bottle  ;  at  the  edge  of  the  field  in  the  distance 
other  figures  are  seen.     A  tree  in  shadow  to  the  extreme  left,  cloudy  sky. 

Canvas,  1 1  in.  H.  x  9  in.  W. 

233.  SiLENUS    WITH    ATTENDANT    FaUNS    IN   A    LANDSCAPE.  FiLIPPO    LaURI  ? 

To  the  left,  half  in  the  shadow  of  the  trees,  Silenus  is  seated  in  the  lap  of  a 
faun,  with  his  left  on  his  shoulder,  holding  a  large  wine  vase ;  behind  to  the  left  is 
another  figure  holding  a  wine  cup,  to  the  right  two  young  satyrs  are  gambolling  on 
the  ground  near  a  heap  of  fruit.  In  the  middle  distance  a  faun  who  has  climbed  a 
tree  is  gathering  fruit,  two  others,  a  male  and  female,  are  reclining  at  the  foot ;  through 
an  opening  in  the  trees,  blue  hills  are  seen. 

Canvas,  11  in.  H.  x  8f  in.  W. 

234.  Portrait  of  an  Artist.  Godfrey  Schalken  ? 

A  young  beardless  man,  with  slight  moustache  and  long  hair,  working  at  a 
window ;  brown  velvet  cap,  dark  robe  with  loose  sleeves,  tight  at  the  wrist,  red  vest, 
white  handkerchief  knotted  round  the  neck  ;  he  holds  a  book  in  his  left,  on  which  his 
paper  rests,  he  is  drawing  the  head  of  a  lady  in  red  chalk,  the  hand  rests  upon  the 
paper  as  he  looks  up  at  his  sitter.  The  balcony,  from  which  hangs  a  bird  cage,  is 
decorated  with  a  bas-relief  of  children  struggling,  and  is  more  than  half  covered  by  an 
orange-brown  velvet  cloak,  with  a  triple  row  of  velvet  buttons  and  deep  fringe ;  a 
tapestry  curtain  with  a  blue  and  red  border,  and  dark  leaves  on  a  buff  ground,  is 
looped  up  to  the  right.  Dark  background,  an  easel  and  picture  to  right,  an  octagonal 
stone  column  and  capital  to  the  left. 

Against  the  wall  hangs  some  object,  distinguished  by  red  stripes ;  there  would 
appear  to  have  been  a  curtained  window  here,  obliterated  by  the  artist,  and  now 
visible  from  over  cleaning.  A  signature  on  the  stone  to  the  left  has  been  erased  and 
another  substituted.  This  in  turn  has  been  partially  cleaned  away,  but  the  letters 
"  KEN  "  appear  to  belong  to  the  original  signature. 

Panel,  1 1^  in.  H.  x  9  in.  W. 

Cat.  1831.     Drawing-Room.     "  Portrait  of  Greffier  by  Himself," 


BOUDOIR.]  AT   WELBECK   ABBEY.    "  67 

235.  The  Farrier,  or,  "  La  Famille  du  Mar^chal."  Philip  Wouyermans. 

In  the  centre,  a  white  horse,  facing  to  left,  whose  head  is  held  by  a  boy;  the 
farrier,  in  a  red  cap,  holds  the  near  horse's  fore-leg  doubled  across  his  knee.  The 
head  of  the  dismounted  Cavalier  is  seen  on  the  off-side  ;  more  to  the  right,  a 
countryman  in  a  slouched  hat,  mounted  on  a  brown  horse,  with  a  sack  across  his 
saddle,  watches  the  scene  ;  a  peasant  woman  with  a  bundle  on  her  head  is  seen 
behind ;  to  the  left,  the  farrier's  assistant  in  leather  apron,  holding  the  red-hot  shoe 
with  a  pair  of  pinchers,  emerges  from  a  cellar  in  which  the  forge  is  situated,  beneath 
a  vine-covered  cottage.  A  woman  nursing  a  child,  with  another  at  her  side,  is  seated 
on  the  wall  of  the  steps  leading  up  to  the  door  of  the  cottage.  To  the  left,  a  boy  and 
girl  with  their  backs  turned,  stand  in  the  near  foreground,  looking  on,  and  in 
the  centre,  is  a  group  of  cocks  and  hens,  one  of  the  latter  white.  To  the  right 
a  girl  and  boy,  the  boy  is  holding  a  goat  by  a  string,  who  is  rearing  and  butting  at 
a  brown  dog ;  distance  of  low  grey  hills  to  the  extreme  right,  cloudy  sky. 

Canvas,  13  in.   x   i6|^  in.  W. 

This  is  probably  the  picture  engraved  by  Moyreau  in  1741,  then  in  the 
collection  of  Mons.  Porlier,  Maitre  des  Comptes  ;  the  engraving  (reversed  as  usual) 
said  to  be  the  size  of  the  picture,  measures  i2f  in.  H.  x  ijl  in.  W.  Smith  in  his 
"Catalogue  Raisonne"  described  it  from  the  print,  not  knowing  where  the  picture  was. 

236.  The  Departure  for  the  Chase.  Philip  Wouvermans. 

A  lady,  facing  to  the  right,  mounted  on  a  brown  and  grey  horse,  extends  her  right 
hand  to  a  child  in  red,  with  cap  and  feather,  who  is  seated  on  the  low  stone  wall  of 
the  steps  leading  to  the  house  ;  the  child  is  held  by  a  nurse.  In  the  background,  his 
back  turned  to  the  spectator,  is  a  man  in  a  slouched  hat,  holding  a  long  staff;  a 
fawn-coloured  dog  reposes  in  the  foreground,  which  is  entirely  in  shadow ;  a  little  to 
the  right,  in  the  centre  of  the  group,  a  man  on  horseback  winds  a  horn  ;  more  to 
the  right,  a  white  horse  is  conspicuous,  held  by  an  attendant,  whose  legs  only  are 
seen ;  a  cavalier  is  about  to  mount,  he  has  his  back  turned  to  the  spectator,  and  is 
dressed  in  a  buff  coat,  with  a  game  bag  slung  over  his  shoulder ;  other  figures  on  foot 
and  horseback  are  seen  riding  away,  in  the  low  ground  to  the  right,  attended  by  a  dog. 
To  the  left  is  a  vase  of  flowers  on  the  wall  of  a  garden,  above  which  trees  are  seen, 
low  dark  hills  to  the  right,  cloudy  sky.    Signed  with  monogram  in  the  lower  left  corner. 

Panel,  13  in.  H.  x   16  in.  W. 

Cat.  1 83 1.     Drawing-Room. 

237.  Matthew  Prior.     1664 — 1721.  Hyacinthe  Rigaud,  1699. 

Half  length,  life  size,  turned  to  the  right,  nearly  in  profile,  he  holds  an  upright 
book  in  his  left,  resting  on  a  table  ;  the  hand,  forearm,  and  book  being  in  deep  shadow. 
The  effect  is  that  of  candle-light,  but  no  light  is  seen  in  the  picture ;  greyish-purple 
velvet  coat   open  at  the   neck   showing  the   shirt,  a  russet-coloured   cloak   across 


68  CATALOGUE  OF   PICTURES  pboudoir. 

Lbedroom 


the  right  shoulder,  dark  grey  velvet  bonnet  with  blue  riband.  Inscribed  below  in  the 
left  corner,  "  Prior." 

Canvas,  36  in.  H.  x  28|  in.  W. 

On  the  back  of  the  canvas  should  be  inscribed  "  Peint  par  Hyacinthe  Rigaud 
1699  A  Paris,"  but  it  has  been  newly  lined  and  the  inscription  covered.  Engraved 
in  the  1766  edition  of  Prior's  "  Poems  on  Several  Occasions." 

Cat.  1747.     Alcove  Dressing- Room,  No.  7. 

Exhibited  at  Manchester,  1857.    Cat.  No.  279. 


BEDROOM. 

238.  Judgment  of  Paris.  Italian  School,  17th  century. 

Small  whole  length  figures.  Paris  is  seated  to  the  left,  leaning  on  his  shepherd's 
staff,  Venus  is  in  the  centre  of  the  composition,  attended  by  Cupid,  Minerva  to  the 
right.  Juno  has  already  mounted  her  chariot  and  is  about  to  depart,  preceded  by  an 
amorino  with  a  lighted  torch,  presaging  the  burning  of  Troy,  above  sits  Jupiter  on 
the  clouds,  Minerva  holds  a  spear  in  her  right,  and  the  strap  of  her  sandal  with  her  left, 
an  open  book  with  an  olive  bough  lies  on  the  ground  in  front.  Paris  is  in  red,  Venus 
in  blue  and  white  drapery,  and  Minerva  in  blue  and  violet. 

Canvas. 

239.  Jean  Baptiste  Poquelin  de  MoLifeRE.     1622 — 1673.  Charles  Lebrun  .^ 

Three-quarter  length,  life  size,  facing  to  right,  in  a  long  black  wig,  holding  a 
tablet  ornamented  with  a  wreath  of  flowers.  Dark  brown  and  gold  brocade 
dressing-gown  with  blue  lining ;  lace  cravat  and  rufiles  ;  he  holds  the  tablet  with  his 
left  hand  and  points  to  it  with  his  right,  which  is  resting  on  the  table.  The  tablet  is 
inscribed  "  Letourdi"  "  Les  depit  amoreux"  "  Les  precieuses  ridicules"  "L'ecole 
DES  Maris."     Red  table-cloth  and  fawn-coloured  curtain. 

Canvas,  oval. 

From  the  tablet  not  being  inscribed  wifh  the  title  of  Moliere's  masterpiece, 
"  Tartuffe,"  it  may  be  supposed  that  this  picture  was  painted  before  1667.  The 
comedy  "  L'ecole  des  Maris"  was  first  played  in  Paris  in  1661. 

240.  William  Henry,  Marquess  of  Titchfield,  afterwards  4th  Duke  of  Portland, 
AS  a  Boy.     1768 — 1854.  After  Sir  Joshua  Reynolds. 

Small  full  length,  in  a  landscape,  standing  to  left,  in  red. 

Canvas,  12  in.  H.  x  10  in.  W. 

Small  copy  from  the  original  picture,  which  is  in  Grosverior  Square. 


DRESSING-ROOM.      i  js^j  WELBECK   ABBEY.  60 

STAIRCASE  LANDING.-"  "^ 


DRESSING-ROOM. 

241.  Head  of  an  Old  Man. 

Bust,  life  size,  to  right,  three-quarter  face,  brown  habit. 
Canvas. 

242.  St.  Christopher  carrying  the  Child  Christ.         David  Teniers  the  younger. 

Moonlight,  a  pasticcio  in  the. Venetian  manner. 
Canvas  stretched  on  panel,  ii|-  in.  x  y-Jf  in. 
Marked  on  the  back  "C.R."  and  "  Portland." 

243.  Christ  sleeping  on  the  Cross.  Bolognese  School,  17th  century. 

Small  whole  length  figure,  the  head  to  the  left.     Landscape  background. 
Canvas,  21  in.  H.  x  28  in.  W. 
Cat.  1 83 1.     Little  Drawing- Room. 

244.  After  the  Battle. 

The  General  on  horseback  with  his  sword  drawn,  preceded  by  a  foot  soldier  with 
a  pike,  appears  to  be  viewing  the  field.  In  the  middle  distance,  several  officers  are 
giving  directions  to  subordinates.  Bodies  of  horses  and  men  encumber  the  fore- 
ground ;  a  hill  to  the  left  with  a  bonfire  at  the  foot ;  a  low  undulating  plain  in  the 
distance  with  numerous  figures. 

Canvas. 


STAIRCASE   LANDING. 

245.  General  Ireton.     1610 — 165 1.  Cornelius  Jansen  van  Keulen. 

Bust,  life  size,  to  left,  bare-headed,  dark  brown  hair,  parted  in  the  centre, 
moustache,  brushed  up  and  turned  back  at  the  ends,  and  imperial,  rather  heavy 
eyebrows,  the  hair  not  curly,  but  turned  a  little  at  the  ends ;  black  silk  slashed  doublet, 
showing  white  beneath,  over  which  falls  a  wide  collar  edged  with  broad  point  lace ;  an 
embroidered  buff  belt  crosses  the  breast  from  the  right  shoulder;  warm  grey 
background. 

Panel,  agf  in.  H.  x  24  in.  W. 

From  the  Northwick  Collection,  1859.  Sale  Cat.  No.  442.  Purchased  at  the 
sale  by  Mr.  Mathison  for  the  5th  Duke  of  Portland. 


70       '  CATALOGUE   OF   PICTURES  [staircase  landing. 

246.  William,  i  st  Earl  or  Portland  and  his  Wife,  with  two  Attendants,    i  649 — 1 709. 

Full  lengths,  half  life  size,  walking  on  a  terrace,  overlooking  a  garden,  with  two 
female  attendants.  The  Earl  is  in  a  semi-classic  dark  blue  military  costume,  em- 
broidered with  silver  in  the  Venetian  style  of  the  end  of  the  sixteenth  century.  Grey 
leggings,  reaching  below  the  knee  and  brown  buskins  ;  an  orange-coloured  mantle  is 
fastened  to  the  left  shoulder,  gathered  across  the  loins  and  covers  the  right  arm,  which 
is  extended,  with  the  palm  of  the  hand  open ;  his  long  dark  hair  is  curled,  and  parted 
in  the  centre,  falling  a  little  over  the  forehead  and  below  the  shoulders  ;  he  takes  the 
Countess  by  the  right,  with  his  left  hand,  leading  her  towards  the  steps  on  the  extreme 
right.  The  Countess  wears  a  rich  robe  of  dark  purple-brown,  silver,  and  yellow 
brocade,  open  down  the  front  showing  an  orange-red  petticoat,  the  short  sleeves  open 
to  the  shoulder  show  the  white  ones  of  lawn  underneath,  edged  with  lace,  the  upper 
edge  turned  back  and  fastened  with  a  brooch,  and  ornamented  with  a  jewelled  band 
between  the  lace  edges.  A  grey  scarf  is  folded  across  the  bosom,  pearl  necklace  and 
bracelets  ;  dark  hair  parted  in  the  centre,  and  curled  full  at  the  ears,  a  long  curl  hangs 
over  the  left  shoulder.  With  her  left  she  gathers  up  her  skirt,  showing  the  toe  of  a 
jewelled  slipper.  The  nearest  attendant  is  in  a  dark  dress,  the  other  has  a  light  veil 
head-covering.  Two  pedestals  with  stone  vases  to  right,  a  recumbent  sphinx  at  the 
top  of  the  steps  leading  to  the  garden.  A  colonnade  and  a  terrace  with  statues 
surrounds  the  garden  court,  in  the  centre  is  a  fountain,  flanked  by  two  rows  of  Cyprus 
trees ;  a  group  of  buildings  with  a  round  tower,  and  blue  hills  seen  beyond ;  warm 
evening  sky.  On  the  terrace  in  the  foreground,  a  white  and  tan  spaniel  to  left. 
Chequered  pavement. 

Canvas,  57^^  in.  x  74!  in.  W. 

247.  John  Fletcher  the  Dramatist.     1576 — 1625.     Cornelius  Jansen  van  Keulen. 

Bust,  life  size,  to  right,  in  oval  frame.  Dark  grey  doublet  with  black  spots, 
falling  ruff  edged  with  point  lace.  Long  curling  brown  hair,  parted  on  the  right  side 
of  the  head  and  raised  above  the  forehead,  pointed  beard  and  fair  moustache. 
Grey  background.  Signed,  outside  the  oval,  in  the  right  lower  corner,  "  Cornelius 
Johnson,  fecit.  1625." 

Panel,  27  in.  H.  x  20  in.  W. 

From  the  Northwick  Collection,  1859.     Sale  Cat.  No.  431. 

Exhibited  at  the  Shakespeare  Centenary  Exhibition,  1864.     Cat.  No.  47. 


DINING-ROOM  LOBBY.]  AT   WELBECK   ABBEY.  71 


DINING-ROOM   LOBBY. 

248.  Marie  THfiRfesE  d'Autriche,  Wife  of  Louis  XIV.     1638 — 1683. 

Three-quarter  length,  life  size,  seated  to  left,  blue  velvet  dress  and  mantle, 
powdered  with  gold  fleur-de-lis,  the  mantle  lined  with  ermine,  the  bodice  open  in 
front  and  fastened  with  jewelled  clasps,  has  an  under  vest  of  ermine,  terminating  in  a 
trefoil-shaped  point  below  the  waist ;  the  half  sleeves,  slashed  with  ermine  and  looped 
with  a  jewelled  clasp,  in  the  same  fashion  as  the  bodice ;  the  white  under-sleeves  are 
ornamented  with  a  string  of  pearls,  and  edged  with  lace ;  the  right  arm  rests  on  her 
lap,  the  left  raised  to  a  jewelled  brooch,  set  in  the  centre  of  the  broad  lace  which  edges 
the  low  bodice,  pearl  necklace,  pearl  and  diamond  pendants  ;  a  small  gold  and  jewelled 
crown  is  set  on  the  back  of  the  head  ;  pale  blonde  hair,  drawn  back  from  the  forehead, 
leaving  a  thin  fringe  with  a  single  small  curl  in  the  centre.  Chair  covered  with 
yellow  watered  silk  ;  a  glimpse  of  dark  sky  and  hills,  seen  above  a  balcony  to  right ; 
table  in  front,  with  cover  of  crimson  and  gold  brocade. 

Canvas. 

249.  Marie  Adelaide  de  Savoie,  Duchesse  de  Bourgogne,   Mother  of  Louis  XV., 
WITH  a  Black  Attendant.     1685 — 171 2. 

Three-quarter  length,  life  size,  facing  to  right,  standing,  her  left  thrown  over  the 
back  of  a  white,  long-haired  spaniel,  which  is  held  in  the  arms  of  a  young  negress, 
with  her  right  she  holds  a  blue  scarf,  which  is  fastened  to  the  left  shoulder ;  the  upper 
skirt  of  her  dress  is  pale  crimson,  and  a  scarf  of  the  same  colour  is  thrown  across  the 
bodice  which  is  of  cloth  of  gold ;  a  scarf  and  bow  of  the  same  at  the  waist,  ornamented 
with  two  jewelled  buttons  ;  the  upper  part  of  the  bodice  is  white  lawn,  the  same  as  the 
sleeves,  which  are  looped  up  with  a  gold  band,  and  edged  with  a  narrow  gold  border, 
a  garland  of  flowers  encircles  the  neck  of  the  dress.  The  junction  of  the  upper  and 
lower  part  of  the  bodice  is  concealed  by  a  pink  scarf  thrown  across  ;  the  under  skirt  is 
a  warm  purple  colour ;  grey  powdered  hair,  raised  from  the  head  with  curls  on  the 
temples,  roses  and  daisies  with  a  few  leaves,  are  set  at  the  top  and  side  of  the 
head.  The  negress  is  dressed  in  red,  with  a  purple  and  gold  striped  cloth,  fastened 
in  front  with  a  gold  button,  red  turban  lined  with  gold  cloth,  red  aigrette,  and  pearl 
necklace.  She  is  looking  up  in  the  face  of  her  mistress,  holding  the  fore-paws  of  the 
dog  with  both  hands.  A  wooded  bank  in  the  background  to  the  left,  sky  and  hills 
beyond ;  to  the  right  above  the  head  of  the  attendant  is  seen  a  close  cut  hedge  like 
a  wall. 

Canvas. 


72  CATALOGUE  OF  PICTURES  [dining-room  lobby. 


250.  Anne  Marie  Louise  d'Orl£ans,  Duchessede  Montpensier,  Daughter  of  Gaston 
Duke  of  Orleans,  Brother  of  Louis  XI I L     1627 — 1693. 

Three-quarter  length,  life  size,  standing  to  left,  in  white  satin  dress,  the  left  hand 
raised.  A  red  ribbon,  terminating  in  a  bow  with  a  jewel,  encircles  the  arm  ;  the  front 
of  the  dress  is  decorated  with  pearls  and  jewels  set  alternately,  descending  to  the  point 
of  the  bodice,  and  branching  towards  the  insertion  of  the  sleeves,  which  are  decorated 
in  the  same  fashion.  A  band  of  pearls  also  divides  the  broad  lace  ruffles  of  the  sleeve, 
pearl  ear-pendants  of  four  pear-shaped  drops,  and  pearl  necklace,  the  blonde  hair  is 
drawn  back  from  the  forehead,  leaving  a  row  of  short  curls  in  front,  and  fastened  in  a 
small  closely-plaited  chignon  with  bunches  of  side  curls,  above  which  is  set  a  thin  red 
silk  cord ;  a  similar  knot  in  the  form  of  a  bow,  decorates  the  front  of  the  light  grey 
kerchief  with  gold  stripes  that  drapes  the  shoulders,  fastened  with  a  jewelled  octagonal 
brooch.  On  the  table  in  front  is  a  large  basket  of  flowers,  hiding  the  right  hand  and 
fore-arm  ;  gold  brocade  table  cloth.  Garden  background,  with  distant  blue  hills.  A 
laurel  tree  to  the  right,  and  yellow  curtain. 

Canvas. 

251.  Fran?oise  Ath£nais,  Marquise  de  Montespan,  and  Madlle.  de  Blois? 

Three-quarter  length  figures,  life  size,  Madame  is  seated  to  right,  nearly  full  face ; 
her  right  hand  placed  on  the  shoulder  of  the  child,  who  is  standing  by  her  side  ;  her  left 
rests  on  a  ledge  of  earth ;  the  child,  seemingly  a  boy,  holds  a  shield  in  the  right  hand, 
the  left  is  extended  towards  a  plumed  helmet  and  short  sword  placed  on  the  bank  to 
left.  The  lady  is  in  a  loose  blue  robe  fastened  with  a  gold  girdle ;  grey  powdered 
hair.  The  child's  dress  is  dark  grey-green,  the  sleeve  looped  up  showing  the  yellow 
lining;  pink  floating  scarf;  dark  landscape  background,  a  ruined  tower  to  right,  on  a 
hill  washed  by  the  sea ;  ruddy  light  on  the  horizon. 

Canvas. 

If  this  picture  represents  the  Marq.  de  Montespan,  the  child  is  likely  to  be  one  of 
her  sons ;  Louis  Auguste,  Due  du  Maine,  or  Louis  Alexandre,  Comte  de  Toulouse. 

252.  Madame  de  la  VALLifeRE? 

Three-quarter  length,  life  size,  standing  to  right ;  nearly  full  face  ;  white  silk 
brocade  dress,  red  velvet  cloak,  looped  on  the  shoulder  and  lined  with  ermine,  white 
sleeves  to  chemisette  looped  up  at  the  elbow  ;  the  bodice  is  looped  with  emeralds  and 
rubies  set  in  gold,  emerald  shoulder  clasp,  pearl  pendent  ear-rings,  a  sprig  of  jessamine 
in  the  hair,  pale  powdered  hair;  she  holds  a  sprig  of  jessamine  in  her  right  hand,  the 
left  rests  on  a  crown  surmounted  with  orb  and  cross  on  a  gold  cushion  ;  green  table 
cloth,  dark  curtain  with  gold  border  to  left,  garden  to  right  with  a  terraced  court  above 
which  trees  are  seen. 

Canvas. 


DINING-ROOM  LOBEY.-|  ^f  WELBECK  ABBEY.  nx 


LOBBY. 


253.  Marie  Anne  de  Mailly-Nesles,  Duchesse  de  ChAteauroux  ?  as  Diana,  with 
Cupid,  in  a  Landscape.     171 7 — 1744. 

Full  length,  life  size,  reclining,  her  right  arm  resting  on  a  bank,  a  bow  and  sheaf 
of  arrows  by  her  side ;  Cupid  flying  brings  her  his  own  quiver.  She  turns  to  the 
right  to  Cupid,  who  is  flying  towards  her,  her  right  on  her  bosom,  and  her  left  pointing 
to  the  sheaf  of  arrows  by  her  side,  to  which  a  red  ribbon  is  attached,  that  held  by 
Cupid  has  a  blue  one.  The  Duchess  is  dressed  in  a  loose  saffron-coloured  robe,  lined 
with  white  silk,  cut  square  at  the  neck  and  edged  with  lace  ;  the  loose  hanging  sleeves 
of  blue  silk  are  looped  up  below  the  shoulder  with  gold  brooches  set  with  rubies, 
showing  the  lace-edged  sleeves  of  the  chemisette ;  the  gown  sleeves  have  a  broad 
border  of  open  gold  lace,  the  end  of  the  left  sleeve  is  drawn  across  the  knees,  and  a 
bow  with  a  crimson  velvet  handle  is  lying  on  the  edge  of  the  drapery,  the  white  silk 
lining  of  the  dress  only  shows  at  the  hem ;  the  feet  are  encased  in  gold  sandals  set 
with  carbuncles  and  pearls,  the  right  knee  is  slightly  drawn  up,  and  the  left  leg  rests 
upon  the  right  foot.  Her  pale  brownish  hair  is  divided  in  the  centre,  and  arranged 
in  masses  of  short  curls  on  either  side  of  the  head,  one  long  lock  falls  over  the  right 
shoulder ;  pearl  pendant  ear-rings  and  necklace.  Cupid  has  dark  hair,  white  wings, 
and  a  purple-crimson  scarf  passing  over  his  right  shoulder.  Through  an  opening  in 
the  wood  to  the  right  are  seen  the  banks  of  a  river,  a  distant  city,  blue  hills  and  sky,  a 
warm  light  on  the  horizon,  the  foreground  is  studded  with  daisies. 

Canvas. 

254.  Jeanne  Antoinette  Poisson,  Marquise  de  Pompadour.     1721 — 1764. 

Three-quarter  length,  life  size,  seated  to  left,  pale  purple  flowered-silk  dress,  cut 
square  at  the  neck  and  edged  with  lace,  the  front  of  the  bodice  is  covered  with  blue- 
green  bows,  set  close  together,  similar  bows  fasten  the  lace  ruffles.  She  holds  a  silk- 
winder  in  her  left,  and  is  winding  the  silk  on  a  star-shaped  card  from  an  ivory  winder 
covered  with  orange  silk,  fastened  to  the  inlaid  work-table  in  front  of  her.  A  lace 
handkerchief  tied  under  the  chin  with  dove-coloured  ribbon  covers  the  grey  powdered 
hair,  a  miniature  set  in  brilliants  is  attached  to  a  dark  ribbon  on  the  left  wrist.  Chair 
with  gilt  frame ;  warm  grey  background. 

Canvas. 


LOBBY. 

255.  Charles  I.  and  his  Queen,  Henrietta  Maria.  After  Vandyck. 

Half-lengths,  life  size,  standing ;  the  King  on  the  left,  facing  to  right,  nearly  in 

profile,  in  a  grey  doublet  embroidered  with  gold  ;  he  takes  a  wreath  from  the  Queen, 


74.  CATALOGUE   OF   PICTURES  [^"f^J- 


STATE  BOUDOIR. 


who  holds  in  her  left  a  branch  of  olive,  she  is  dressed  in  white  with  red  bows  and 
ribbons.  Grey  background  and  red  curtain,  looped  up.  The  King  wears  a  long  lock 
of  hair  on  the  left  side,  falling  over  ruff  to  the  shoulder ;  he  wears  the  Garter  ribbon  ; 
the  left  hand  is  not  seen. 

Canvas,  36  in.  H.  x  6i|^  in.  W. 

A  copy  of  a  picture  that  has  been  engraved  ;  another  example  on  a  smaller  scale 
belongs  to  the  Duke  of  Sutherland. 


STATE   BOUDOIR. 

256.  Marie  JosfePHE  de  Saxe,  2nd  Wife  of  the   Dauphin  (1731 — 1767),  with  her 
Son,  Louis  Joseph  Xavier.      1751 — 1761.  TocQufi. 

Three-quarter  length,  life  size,  seated  to  right ;  red  and  gold  brocade  dress,  blue 
velvet  mantle,  embroidered  with  fleur-de-lis  at  the  hem,  and  lined  with  ermine ;  collar 
of  pearls  with  brilliant  pendant,  a  girdle  of  pearls  at  the  waist ;  red,  yellow,  and  white 
flowers  set  in  her  dark  hair,  with  her  right  she  holds  the  hem  of  her  mantle,  on  which 
is  seated  a  white  smooth -haired  terrier ;  with  her  left  she  caresses  a  brown  and  white 
spaniel  held  by  her  son,  who  is  dressed  in  a  brown  velvet,  fur-lined  coat,  and  is  looking 
up  at  his  mother,  holding  the  dog's  fore-paw  with  his  right.  Gold  brocade  curtain 
background. 

Canvas. 

Marked  on  frame  "  Cabinet  de  Louis  XV.  par  Louis  TocQUfi  en  1734."  This 
date  must  be  wrong,  or  the  personage  represented  is  wrongly  named, 

257.  Marie  Anne  de  Mailly-Nesles,  Duchesse  de  Chateauroux.    1717 — 1744. 

Nattier  ? 

Half  length,  small  life  size,  to  left,  pale  greenish-grey  satin  dress,  embroidered 
with  gold  sprays,  cut  low  in  front  and  edged  with  fine  lace,  a  garland  of  flowers  passes 
round  the  back  of  the  neck  and  falls  over  the  right  shoulder  to  the  front  of  the  dress, 
the  left  sleeve  is  looped  up  with  a  diamond  band,  showing  the  lace-edged  lawn  sleeve 
beneath,  a  tea-rose  coloured  scarf  is  thrown  over  the  right  shoulder  and  gathered  in  a 
knot  at  the  left,  where  it  is  fastened  by  a  jewel  ;  powdered  hair,  with  yellow  flowers  on 
the  left  side  of  the  head,  background  a  warm-grey  wall,  with  a  pilaster  to  left. 

Canvas. 

258.  Sylvia,  Actrice  CfeLfeBRE.  De  Troy  Fils. 

Three-quarter  length,  life  size,  standing  to  left ;  pink  and  grey  shot-silk  dress, 
greenish-yellow  floating  scarf;  blue  kepi,  embroidered  with  silver  and  pearls,  in  which 


STATE  BOUDOIR.]  AT  WELBECK   ABBEY.  75 

is  struck  a  sprig  of  jessamine ;  a  garland  of  jessamine  and  other  flowers  encircles  the 
waist ;  the  bodice  is  fastened  with  jewelled  clasps,  and  similar  buttons  loop  back  the 
sleeves ;  bodice  and  sleeves  are  trimmed  with  silver  embroidery,  and  edged  with 
silver  fringe.  She  is  gathering  flowers  with  her  right  from  a  plant  in  a  wooden  tub, 
and  holds  the  gathered  flowers  and  leaves  in  the  folds  of  her  scarf  with  the  left,  dark 
purple  curtain,  and  dark  grey  background,  powdered  hair  and  dark  eyebrows. 

Canvas. 

Exhibited  at  the  Grafton  Gallery,  1894.     Cat.  No.  52. 

259.  Louis  the  Dauphin,  Eldest  Son  of  Louis  XIV.     1661 — 1711.     After  Rigaud. 

Bust,  life  size,  to  right,  three-quarter  face  in  armour,  within  an  oval,  powdered 
wig,  lace  cravat  and  blue  ribbon ;  sky  background. 

Canvas. 

Portraits  of  Louis  the  Dauphin,  and  Louis  XIV.,  entered  in  the  Catalogue  of  1820, 
were  in  the  Horsemanship  Bedchamber  and  attributed  to  Rigaud.  They  were  still  there 
in  1 83 1,  but  whether  these,  or  the  two  pictures  now  in  the  Nursery,  it  is  difficult  to  say. 

260.  Louis  XIV.     1638 — 1715.  After  Rigaud. 

Bust,  life  size,  standing  to  left,  within  an  oval,  buff-coloured  coat,  laced  with 
silver,  breast  plate  ;  dark  wig,  white  lace  cravat,  red  shoulder  straps  embroidered  with 
gold  and  red  belt ;  a  blue  scarf  crosses  the  breast,  the  right  arm  is  extended,  and  the 
left  hand,  which  is  gloved,  rests  on  the  hip :  sky  background. 

Canvas. 

261.  Madame  la  Comtesse  Du  Barry.     1746 — 1793. 

Three-quarter  length,  life  size,  facing  to  left,  standing.  White  dress  of  silver 
brocade,  the  lace -edged  sleeves  looped  up  at  the  elbow  with  a  jewel,  and 
ornamented  with  roses  ;  the  front  of  the  bodice  and  the  skirt,  are  decorated  with 
flowers  and  green  leaves  ;  a  blue  floating  scarf,  the  end  of  which  is  seen  at  her  back, 
passes  beneath  the  right  arm,  and  encircles  the  figure ;  in  the  folds  lie  the  flowers 
which  she  is  gathering  with  her  right,  from  an  orange  tree  set  in  a  brass  vase,  to  the 
left  of  the  picture.  She  holds  a  scarf  with  her  left.  Dark  eyes  and  eye-brows,  grey 
powdered  hair,  set  with  a  few  flowers,  dark  grey  background. 

Canvas. 

262.  Fran^oise    Marie    de    Bourbon    (Madlle.    de    Blois),    Princesse    de    Cond£. 
1677 — 1749.  F.  H.  Drouais. 

Three-quarter  length,  life  size,  seated  to  left,  in  a  gold  chariot,  nearly  full  face  ; 
white  brocaded  silk  dress,  lined  with  blue,  low  on  the  left  shoulder  showing  the 
chemise ;  the  blue  lining  of  the  bodice  crosses  the  bosom  like  a  ribbon,  a  rose- 
coloured   scarf  nearly  covers   the   left   arm   and  passes  under  the  right,  which   is 


76  CATALOGUE   OF   PICTURES    [state  boudoir  -  bedroom  - 

'  Land  DRF.ssiNr.-HnnM 


extended,  holding  a  glass  bottle,  from  which  the  water  descends  to  earth  ;  her  left 
hand  is  placed  on  the  shoulder  of  Cupid,  or  Hymen,  who  holds  a  lighted  torch,  his 
lower  limbs  are  enveloped  in  blue-green  drapery.  Sky  background,  with  dun- 
coloured  clouds.  The  hair  of  Madlle.  de  Blois  is  dark,  two  violets  are  placed  on 
the  left  side  near  the  top  of  the  head. 
Canvas. 


STATE   BEDROOM. 

263.  Princess  of  Wales.  Desanges. 

Three-quarter  length,  life  size,  the  hands  clasped  in  front ;  white  dress  and  white 
lace  shawl,  plain  gold  bracelets  and  locket;  background,  a  wall,  sky  to  left,  gauze 
curtains,  lily  to  left. 

Canvas. 

Purchased  from  the  artist  by  the  5th  Duke  of  Portland. 

264.  Portrait  of  a  Lady.  Manner  of  Wissing. 

Three-quarter  length,  life  size,  seated,  nearly  full  face,  the  head  slightly  inclined 
to  the  left ;  dress,  dull  fawn-colour,  open  to  the  waist  fastened  with  a  brooch  ;  laced 
chemisette,  ornamented  with  a  string  of  pearls  and  gems,  two  clasps  fasten  the  sleeve 
on  the  shoulder ;  blue  mantle  with  heavy  gold  fringe.  She  is  seated  on  a  stone 
bench  holding  a  bunch  of  flowers  in  her  right,  the  left  elbow  rests  on  a  ledge.  Garden 
background  with  a  terrace,  and  row  of  plants  in  pots  on  the  broad  step  beneath. 
Dark  curtain  and  fluted  column  to  left. 

Canvas. 


STATE   DRESSING-ROOM. 

265.    Margaret   Cavendish   Harley,   afterwards  2nd  Duchess  of    Portland,  as  a 
Child.  Degarde,  17 17. 

Full  length,  nearly  life  size,  seen  in  front,  the  head  slightly  turned  to  the  left ; 
white  and  gold  flowered-silk  dress,  lace  bodice,  cuffs  and  apron,  lace  cap,  ornamented  with 
purple  and  white  bows  of  silk  ribbon  ;  she  holds  with  both  hands  a  blue  ribbon  to  which 
is  attached  in  the  centre  a  garland  of  flowers,  from  which  a  few  petals  have  fallen  at  her 
feet;    to  the  right  is  a  brown  and  white  spaniel.     Architectural  background  with 


STATE    DRESSING-ROOM-,  Af     WELBECK     ABBEY,  77 

-BEDROOM-STAIRCASE.J  '  ' 


column  to  left ;  beyond  the  archway,  to  right,  is  a  low  terrace  wall  and  trees.  Inscribed 
at  the  foot  of  the  canvas,  "  Miss  Margaret  Cavendishe  Harley  17 17." 

Canvas,  49^  in.  H.  x  40  in.  W. 

Margaret  Cavendish  Harley,  only  daughter  and  heir  of  Edward,  2nd  Earl  of 
Oxford,  married  William,  2nd  Duke  of  Portland  in  1 734. 

Cat.  1747.     In  the  4th  Bedchamber,  No.  2. 


BEDROOM. 

266.  Portrait  of  a  Child.  English  School. 

Small  whole  length,  seated  on  the  ground,  on  dove-coloured  drapery ;  white  low- 
necked  frock  ;  bare  legs  and  feet,  and  light  hair  ;  she  extends  her  left  hand  to  a  white 
dove,  perched  high  up  on  a  blue  cloth  to  the  right.  On  the  ground  to  left  is  another 
dove  ;  curtain  background  ;  garden  seen  through  opening  to  left. 

Canvas,  14  in.  H.   x   12  in.  W. 

A  portrait  of  the  early  part  of  this  century,  probably  by  the  same  hand  as  No. 
283  in  this  Catalogue. 

267.  Venus  and  Cupid  in  a  Landscape.  ■  Bolognese  School. 

Venus  is  seated  on  a  bank,  to  the  left,  on  some  crimson  drapery,  wiping  her  feet 
with  a  cloth ;  Cupid  is  at  her  feet  looking  up  and  extracting  an  arrow  from  his  quiver. 
A  pool  of  water  in  the  foreground,  a  high  wooded  bank  to  the  left,  and  open  landscape 
with  blue  hills  to  the  right. 

Canvas,  28  in.  H.  x  2  2|-  in.  W. 

The  figure  of  Venus  is  imitated  from  a  print  after  Raphael  by  Marc  Antonio. 


STAIRCASE. 

268.  Birds  in  a  Landscape.  James  Bogdani. 

A  red  macaw,  and  a  green  parrot,  are  perched  on  the  branches  of  a  tall  tree  to 
left,  a  pair  of  crested  ducks  are  on  the  bank  of  a  pond  at  the  foot ;  to  the  right  in  the 
foreground  three  ducklings  are  wading  and  swimming,  a  long-tailed  duck  on  the  bank 
to  the  right  appears  to  be  walking  away  from  the  parrot,  who  is  objecting  to  his 
presence ;  open  landscape  to  right.     Signed  in  the  left  lower  corner  "  Bogdani." 

Canvas,  49!-  in.  H.  x  4of  in.  W. 

Cat.  1747.  Dressing- Room,  Upper  East  Apartment,  No.  4.  "Ducks  and 
Macaws."     Bogdani. 


78  CATALOGUE   OF   PICTURES  tstatrcase 

'  i-T.ANnTvr. 


LANDING. 


269.  Birds  in  a  Garden.  Melchior  D'Hondekoeter. 

The  principal  group  consists  of  a  pair  of  ducks  and  seven  ducklings,  in  a  tank  to 
the  left  in  the  foreground ;  five  of  the  ducklings  are  in  the  water,  and  two  are  on  the 
near  bank  to  right,  at  the  foot  of  a  large  tree  near  which  sits  a  toad.  On  an  upper 
branch  are  a  pair  of  blue  and  purple  doves  near  a  bird  in  flight,  another  is  perched  on 
some  broken  timber  below ;  towards  the  centre  of  the  composition  is  a  stone  pier, 
surmounted  by  a  terra-cotta  vase  with  figures  in  relief.  Beyond  the  wall  grow  holly- 
hocks and  roses,  against  a  background  of  foliage.  To  the  left  is  a  garden  court, 
with  a  high  wall  pierced  by  a  door,  above  which  is  a  duck  in  flight.  In  the  centre 
of  the  court  is  a  marble  fountain  composed  of  figures ;  various  species  of  ducks,  a 
turkey,  and  other  birds  are  walking  about ;  through  an  open  door  is  seen  the  garden 
of  the  house  that  towers  above  the  wall,  a  swallow  in  the  sky.  The  signature,  nearly 
erased,  is  on  the  wall  of  the  tank,  near  the  centre. 

Canvas,  67  in.  H.  x  53^^  in.  W. 

There  are  two  other  Hondekoeters  in  the  Library  of  "  Peacocks,"  but  this  is 
probably  the  one  entered  in  the  1747  Catalogue.  "  Upper  East  Apartment.  In  the 
Dressing-Room,  No.  7.     Fowls." 

Cat.  183 1.     Ante-Room  to  Little  Dining- Room. 


LANDING. 

270.  Landscape  with  View  of  a  Plain.  J.  Wootton. 

In  the  middle  distance,  three  horsemen  are  watering  their  horses  at  a  stream,  two 
on  the  near  bank,  the  third  on  the  opposite  side ;  above  a  mound  to  the  left  are  two 
peasants  with  dogs  ;  in  the  foreground  a  pack-mule  covered  with  a  red  cloth,  followed 
by  a  white  horse  with  a  blue  covering,  a  man  and  a  dog ;  another  dog  is  trotting  in 
front  on  the  off"  side  of  the  mule  ;  in  the  centre  of  the  composition  rises  a  hillock  over- 
looking the  plain,  which  extends  in  horseshoe  form  to  the  right,  bordered  with  low 
hills  ;  tall  trees  to  left.     Signed  on  a  rock  to  right  "  J.  Wootton." 

Canvas. 

In  the  1747  Cat.  several  landscapes  by  Wootton  are  mentioned,  two  hung  in  the 
vestibule,  Nos.  10  and  11,  they  are  merely  noted  as  "  Landskips,"  and  were  probably 
pendants.  There  were  three  "  Newmarket "  Landscapes,  all  hanging  in  the  same 
vestibule,  and  a  fourth  in  the  Dressing-Room.  A  "  Landscape  "  also  hung  in  the  South 
Dining- Room,  No.  2.  There  were  five  in  the  South  Drawing- Room,  one  over  the 
glass,  two  over  the  west  doors,  and  two  over  the  other  doors.  Views  of  "  Richmond  " 
and  "  Boxhill "  in  the  second  Bedchamber,  a  "  Landskip  "  in  the  Dressing-Room,  a 
"View  of  the  seat  of  Lord  Clinton  in  Cornwall,"  and  the  "  Course  at  Newmarket  with 
the  crowd." 


LANDING.  ]  AT  WELBECK   ABBEY.  70 

NURSERY  PASSAGE.-*  .  /y 


NURSERY  PASSAGE. 


271.  Mountainous  Landscape.  Rosa  da  Tivoli. 

A  waterfall  to  the  left;  above  the  plateau  in  the  middle  distance  rise  blue  mountains ; 
in  the  foreground  a  herd  of  goats  with  a  bull  and  a  brown  calf,  attended  by  a  dog,  lying 
on  the  ground  to  left. 

Canvas,  67  in.  H.  x  4i|-  in.  W. 

Cat.  1 83 1.     Dining- Room. 

272.  Landscape  with  Sheep  and  Cattle.  Rosa  da  Tivoli. 

A  town  on  a  high  hill  to  the  left,  and  beyond  a  break  in  the  hills  to  the  right, 
distant  blue  hills. 

Canvas,  67^  in.  H.  x  41^  in.  W. 
Cat.  1 83 1.     Dining- Room. 


NURSERY   PASSAGE. 

273.  Landscape  with  Figures. 

In  the  foreground  a  man  is  seated  on  a  stone  altar,  or  pedestal,  drawing;  near 
him  are  grouped  five  other  figures,  one  seated  at  a  bench  ;  nearer  to  the  right  are  two 
other  figures,  one  standing,  and  the  other  in  a  red  cloak,  reclining  near  a  fragment  of 
an  architectural  cornice.  Right  and  left,  at  a  little  distance,  are  two  figures  in  a  boat, 
and  two  others  on  the  bank  of  a  stream,  that  flows  through  the  wood  on  the  right  beneath 
a  hill  in  the  centre  of  the  picture ;  on  the  hill  stands  a  town,  above  this  rises  a  bare 
rocky  mountain.  To  the  left,  beyond  a  group  of  tall  trees,  is  an  open,  undulating, 
richly-wooded  country,  closed  in  the  distance  by  blue  mountains. 

Canvas,  44  in.  H.  x  55 J  in.  W. 

274.  Brown  and  White  Hunting  Dog.  Sawrey  Gilpin. 

Running  to  left,  tall  trees  and  open  landscape,  a  wood  to  the  right.  Signed  to 
the  left  "S.  Gilpin."     1773. 

Canvas,  61  in.  H.  x  71 J  in.  W. 

275.  A  Brown  Wolf.  J.  Wootton. 

Life  size,  seated  to  left,  the  head  turned,  looking  over  its  shoulder,  landscape 
background  with  hill  to  right. 

Canvas,  50  in.  H.  x  40^  in.  W. 
Cat.  1747.     Vestibule,  No.  2. 


8o  CATALOGUE   OF    PICTURES    [^^IIow\Idkoom7''''''^^''''~ 

276.  A  Brown  and  White  Antelope,  in  a  Landscape.  J.  Wootton. 

Life  size,  to  right,  black  twisted  horns.     Fir  trees  in  background. 
Canvas,  49^  in.  H.  x  40  in.  W. 
Cat.  1747.    Vestibule,  No.  5. 


NURSERY. 

277.  Jean  Baptiste  Colbert,  Marquis  de  Seignelay.     1619 — 1683.       Champaigne? 

Three-quarter  length,  life  size,  seated  to  the  left,  with  his  right  hand  lying  open 
on  a  table  covered  with  a  red  cloth  in  front  of  him,  on  which  are  some  folded  papers 
and  a  brass  bell.  His  left  hand  rests  on  the  arm  of  the  chair,  which  has  a  red  leather 
back,  ornamented  with  cup-shaped  knobs  and  brass  nails  ;  he  wears  a  loose  black  robe 
trimmed  with  black  lace,  falling  collar  edged  with  deep  lace,  lace  ruffles,  full  blonde 
wig,  and  small  moustache.     Dark  background,  curtain  with  bullion  fringe. 

Canvas. 

278.  Louis  the  Dauphin.     1661— 1711.  Hyacinthe  Rigaud. 

Bust,  life  size,  to  right,  in  armour,  powdered  wig,  lace  cravat  and  blue  ribbon. 
Inscribed  on  background  to  right  "  Louis  Dauphin." 
Canvas,  oval,  29  in.  H.  x  23!^  in.  W. 
From  Bulstrode,  No.  3  ? 

279.  Louis  XIV.  in  Armour.     1638 — 1715.  Hyacinthe  Rigaud. 

Bust,  life  size,  to  left,  in  armour,  dark  full  wig,  white  lace  cravat,  red  velvet  lining 
to  breast-plate,  blue  ribbon  over  right  shoulder.  "  Louis  XIV."  is  inscribed  on  the 
background  to  the  left. 

Canvas,  oval,  32  in.  H.  x  2^^  in.  W. 

This  appears  to  be  an  original  picture,  a  "  pentimento "  is  visible  beneath  the 
shoulder  pieces  where  the  scalloped  edge  of  a  buff  coat  has  been  painted. 

From  Bulstrode,  No.  2  ? 


YELLOW  BEDROOM. 

280.  Lady  Henrietta  Cavendish  Holles,  Countess  of  Oxford,  on  Horseback. 

J.  Wootton. 

Small  whole  length.     The  Countess  in  a  scarlet  and  silver  habit  with  white  silk 

facings,  and  black  hat,  is  seated  on  her  favourite  dun  mare,  riding  to  left ;  the  horse- 


YELLOW  BEDROOM.]  AT  WELBECK   ABBEY.  8i 

trappings  are  red  ;  in  her  right  she  holds  a  silver-mounted  whip,  the  reins  with  her  left. 
By  her  side  is  a  running  footman  bearing  a  cane,  in  blue  and  white  livery,  white  hose  and 
knee  breeches,  and  a  black  jockey  cap  laced  with  silver  cord ;  the  groom  behind  is 
in  blue  livery  and  mounted  on  a  dark  brown  horse. 

Canvas,  30  in.  H.  x  25  in.  W. 

Cat.  1747.  In  the  Lady's  Dressing- Room.  No.  8.  "  L'^''.  Oxford  on  the  Dun 
mare,  w'**  the  running  footman  &  groom,  sm"  fig^     Wootton." 

281.  The  Dauphin,  Louis  XVIL  ?  in  a  Landscape.  Duvivier  ? 

Small  full  length  standing,  to  right,  an  open  book  in  his  right  hand ;  red  Hussar 
uniform  embroidered  with  gold  lace,  blue  and  gold  sash,  short  cloak  with  blue  lining 
edged  with  fur,  a  scarlet  cloth  depends  from  fur  cap,  black  hessian  boots ;  left  arm 
resting  on  stone  pedestal,  that  serves  as  a  base  for  two  busts ;  on  the  nearer  one  is 
inscribed  "  L  L  Rousseau,"  and  on  the  other  can  be  read  "  C.  Danta  .  .  .  ?  "  Near  the 
busts  lies  a  pile  of  open  music  books,  and  on  the  pedestal  is  engraved  "  Vixerunt  Mira 
Concordia."  Tall  trees  and  rose-bush  to  right,  open  landscape  with  river  to  left,  and 
a  monument  under  some  poplar  trees  on  the  further  bank  of  the  stream.  The  signature 
"  Duvivier  ? "  to  the  right  in  the  lower  corner. 

Canvas. 

282.  A  Man  Singing. 

Half  length,  to  left,  life  size,  seated,  beating  time  with  his  right  hand  raised,  the  left 
closed  and  resting  on  the  table  before  him,  on  which  lies  an  open  music  book  supported 
by  another,  his  lute  lies  across  his  knees,  with  the  handle  resting  on  a  red  cloak,  which 
is  thrown  across  his  left  arm ;  grey  slashed  doublet,  red  cap,  and  white  ruffles ; 
dark  background. 

Canvas. 

This  picture  Is  mentioned  amongst  the  principal  pictures  at  Welbeck  in  a  county 
history  of  the  early  part  of  this  century  as  a  "  Spanish  Gypsey  singing  to  the  Guitar." 

283.  Children  at  Play.  English  School. 

Small  whole  length  figures  of  five  children  at  play ;  one  boy  is  mounted  on  the 
back  of  the  other,  who  is  on  all  fours  to  the  right ;  the  three  girls  form  a  separate  group 
to  the  left ;  in  the  centre,  one  is  standing  holding  a  doll,  another  is  seated  with  a  basket 
of  grapes  on  her  lap,  holding  out  a  bunch  to  the  youngest,  who  is  running  towards  her  ; 
all  three  are  in  white  frocks.  Couch  and  flower-stand  with  geraniums  to  the  right, 
landscape  seen  through  window  to  left,  grape  vine  above. 

Canvas. 

Apparently  by  the  same  painter  as  No.  266  in  this  Catalogue. 

M 


82  CATALOGUE    OF    PICTURES  tdukes  study. 

"•^  V-         A  l-BILLIARD   ROOM. 


DUKE'S   STUDY. 

284.  Madame  la  Comtesse  du  Barry.     1746 — 1793. 

Half  length,  life  size,  to  left;  white  dress;  a  garland  of  artificial  flowers  in  the 
hair,  which  is  raised  and  powdered ;  frilling  round  neck,  and  bows  to  sleeves  are  all 
white ;  pearl  bracelets  and  necklace ;  she  holds  a  garland  of  roses  in  both  hands,  the 
right  elbow  raised.  Sky  and  landscape  background.  Inscribed  "Comtesse  du  Barry 
A  16  ans." 

Canvas,  oval. 


BILLIARD  ROOM. 

285.  Portrait  of  a  Gentleman,  on  a  White  Horse.  George  Stubbs,  R.A. 

Small  whole  length,  to  right,  coffee-coloured  coat,  leather  knee  breeches,  and  top 
boots,  black  cap  ;  standing,  to  right,  is  a  groom  in  a  green  hunting  coat,  yellow  waist- 
coat, top  boots  and  black  jockey  cap,  a  whip  under  left  arm ;  a  stable  boy  is  leading  a 
brown  horse  to  the  left ;  a  couple  of  dogs  in  the  foreground  ;  background  a  view  of  the 
Welbeck  Riding  School  to  left,  trees  to  right.  Signed  "  Geo  :  Stubbs  pinxit." 
Canvas,  40;|^  in.  H.  x  49^^  in.  W. 


286.  William    Henry,    3D    D.    of    Portland    and    Lord    Edward    Bentinck,    in   a 
Landscape.  George  Stubbs,  R.A. 

Small  whole  length  figures ;  in  green  coats,  grey  waistcoats,  knee  breeches,  and 
top  boots ;  a  groom  in  a  blue  and  white  striped  waistcoat,  knee  breeches,  white 
stockings,  and  black  jockey  cap,  is  leading  by  the  bridle  a  chestnut  horse  towards  a 
leaping  bar ;  one  gentleman  is  resting  on  the  rail  of  the  bar,  holding  a  stick  in  his 
right,  he  turns  to  the  gentleman  behind,  pointing  to  the  horse  while  speaking ;  the 
second,  who  is  the  elder  of  the  two,  has  a  plain  black  hat ;  the  other's  is  laced  with 
silver ;  the  elder  whose  right  hand  rests  on  his  stick  places  his  left  on  the  shoulder  of 
the  young  man  in  front ;  round  his  arm  are  the  reins ;  both  wear  spurs.  To  left 
stands  a  black  horse,  saddled,  a  black  and  tan  spaniel  in  foreground,  near  a  saddle. 
Signed  "  George  Stubbs"  to  right. 
Canvas,  40^^  in.  H.  x  5o|-  in.  W. 


BILLIARD  ROOM-LOBBY-PASSAGEJ  J^J     WELBECK      ABBEY.  8^ 

TO  UNDERGROUND  GALLERY.  '' 

Charles  II.  as  Prince  of  Wales.     1640.  Francesco  Fanelll 

Bronze  bust,  in  armour ;    to   right,  the  head  slightly  raised,  long  hair,  plain 

collar;  the  breast-plate  and  shoulder-pieces  are  richly  engraved.     Inscribed  on  the 

pedestal,  "carolus  princeps/  walliae/    1640/   francus/   fanellius  florent  /inus, 

SCVLPTOR    MAGNE    BRi/   REGIS." 

There  is  a  bronze  bust  of  Charles  I.  by  Fanelli  in  the  National  Portrait  Gallery. 
Cat.  1747.     Chapel  Lobby. 


LOBBY. 

287.  The  Starting  Post,  Newmarket.  J.  Wootton. 

Canvas,  37  in.  H.  x  58  in.  W. 

288.  The  Warren  Hill. 

Canvas,  60  in.  H.  x  84^  in.  W. 

289.  The  Watering  Place. 

Canvas,  38  in.  H.  x  61  in.  W. 

Cat.  1747.     Vestibule  Nos.  3,  4,  and  12. 


PASSAGE  TO  UNDERGROUND  GALLERY. 

290.  A  Bay  Horse  to  left,  light  mane  and  long  tail ;  a  white  dog  hunting  a  grey 
hare  in  the  foreground  ;  to  right,  an  attendant  in  black  jerkin,  trunks,  and  stockings ; 
grey  square  beard  and  short  hair  ;  right  hand  gloved,  holding  a  red  cord,  left  in 
pocket,  holding  glove.     In  the  background  a  gabled  house  (Welbeck)  and  park. 

Canvas,  74  in.  H.   x  91  in.  W. 

291.  A  Bay  Horse  to  left,  view  of  Welbeck  Abbey  in  background,  with  numerous 
figures,  landscape,  and  hills. 

Canvas. 

Exhibited  at  Manchester,  1857.    Cat.  No.  56,  p.  209.     It  is  catalogued,  curiously 
enough,  amongst  the  miniatures,  but  was  hung  in  another  gallery. 


84  CATALOGUE    OF   PICTURES     [passage  to  underground  gallery. 

292.  The  Countess  of  Oxford's  Dun  Mare,  with  Thornton  the  Groom. 

j.  wootton. 
The  Dun  Mare  to  right,  held  by  Thomas  Thornton,  the  groom,  in  blue  livery  ; 
a  whip  in  his  left.     Landscape  background,  hill  to  left  and  tall  tree. 
Canvas,  106  in.  H.   x    132  in.  W. 
Cat.  1747.     Great  Hall,  No.  i. 

293.  Arab  Horse,  with  Attendant  in  a  Landscape.  J.  Wootton,  1724. 

White  Arab  horse,  with  Eastern  attendant  in  red,  wearing  a  turban,  leaning  on 
a  low  wall  to  right ;  a  greyhound  seated  in  the  foreground,  landscape  background 
with  architecture.     Signed  on  wall  to  right,  "J.  Wootton  fecit  1724." 

Canvas,  4of  in.  H.  x   50J  in.  W. 

Cat.  1 747.  Vestibule  No.  8.  "  The  Bloody  Shoulder'd  Arabian  Horse,  sent 
over  f"  Aleppo,  by  Mr.  Nathaniel  Harley,  w""  the  Turk  &  his  Dog." 

Exhibited  at  Manchester.     Cat  No.  9.     Modern  Masters. 

294.  Dun  Mare,  with  Attendant  in  a  Landscape.  J.  Wootton. 

A  Dun  Arab  to  left,  held  by  an  Eastern  attendant  in  blue,  with  red  cap.  In  the 
foreground  are  lying  a  crimson  saddle  and  stirrups,  a  blue  bow,  a  quiver  of  arrows, 
and  a  scymitar.  A  Pyramid  is  to  right,  palm  tree  to  left,  and  a  view  of  the  desert 
and  pyramids  in  the  background. 

Canvas,  84  in.  H.   x  68  in.  W. 

Cat.  1747-     Steward's  Parlour,  No.  2. 

295.  Landscape   with    the  Countess   of   Oxford    Hunting  the   Hare   on   Orwell 
Hill.  J.  Wootton. 

The  Countess  in  a  green  and  silver  habit  on  a  dun  mare,  and  a  gentleman  in 
scarlet  on  a  brown  horse ;  on  the  left  hand  of  the  Countess  is  a  trumpeter  and 
two  huntsmen,  two  other  figures  riding  behind.  In  the  foreground  is  a  boy  in  blue 
with  a  hare  slung  over  his  shoulders  ;  a  shepherd  to  right,  taking  off  his  cap  as 
the  Countess  passes.  The  hare  is  to  the  right.  In  the  distance  is  a  huntsman,  who 
has  lost  control  of  his  horse,  and  two  running  footmen ;  the  brow  of  a  hill  to  left,  the 
hounds  in  full  cry  ;  view  of  a  distant  country. 

Canvas,  83  in.  H.  x   116  in.  W. 

Cat.  1747.     Great  Hall,  No.  3. 

296.  Landscape  with  the  Countess  of  Oxford  Hawking  in  Wimpole  Park. 

J.  Wootton. 

The  Countess  in  a  scarlet  and  gold  habit,  attended  by  running  footmen  in  blue 

and  white  livery.     The  central   group  consists  of  a  falconer,  a  clergyman,  and  a 


PASSAGE  TO  UNDERGROUND  GALLERY.]       AT     WELBECK     ABBEY.  85 

gentleman,  all  on  horseback ;  two  other  figures  in  blue  to  right,  and  an  attendant 
with  a  led  horse.  Below  the  hill  are  other  falconers  on  horseback,  and  to  the  extreme 
left  a  horseman  riding  towards  the  others ;  several  spaniels  are  playing  about  in 
the  foreground.     An  extensive  view  over  the  low  country. 

Canvas,  85  in.  H.   x   120  in.  W. 

Cat.  1747.     Great  Hall,  No.  2. 

297.  Marine  View.     The  Island  of  St.  Nicholas,  ("  Drake's  Island,")  Plymouth. 

A  fortress  by  the  sea  shore,  with  vessels  of  war  lying  off. 
Canvas,  43!^  in.  H.   x  72^  in.  W. 
Cat.  1747.     Steward's  Parlour,  No.  3. 

298.  Greyhounds,  and  Game. 

Four  dogs  to  right,  and  a  young  boar  lying  at  the  foot  of  a  tree ;  hanging 
to  left  are  a  fawn,  a  heron,  and  partridges.  A  hunter's  bag  hangs  to  a  fork  of  the 
tree,  and  on  the  branches  above  are  two  chameleons.  In  the  centre  foreground,  a 
couple  of  pheasants.     Landscape  background.     False  signature  "  Snyders  f." 

Canvas,  51  in.  H.  x  94J  in.  W. 

The  Duke  of  Newcastle's  Managed  Horses. 

299.  A  Black  Horse  to  right,  prancing ;  background,  a  torrent. 

300.  A  Chestnut  to  left,  lake  with  low  hills  in  background. 

301.  A  Dark  Chestnut  to  right,  view  of  Bolsover  Castle  in  background  to  right. 

302.  A  Chestnut  to  right,  high  hill  to  left,  ravine  in  background  with  houses,  to  right. 

303.  A   Dun  to  right,  with  light  mane  and  tail,  lake  in  background,  a  burning  tower 
to  left. 

304.  A  Dark  Brown,  with  heavy  mane  and  tail,  to  right,  marked  on  the  haunches  with  a 
coat  of  arms,  background  of  hills. 

305.  A  Grey,  with  long  mane,  to  left,  ravine  in  background,  capital  of  column  to  left. 

306.  A  Chestnut   to  left,  prancing,  lake  background,   sunset  sky,  tower  on  an  island 
to  right. 

307.  A  Dark  Bay,  with  white  nose,  to  left,  ravine  and  waterfall  in  background. 


86  CATALOGUE   OF    PICTURES     [passage  to  underground  gallery. 


308.  A  Black  Horse  to  left,  landscape  background,  with  a  lake. 
All  are  on  canvas. 
Cat.  1747.     Great  Hall. 

309.  Henry  de  Vere,  Earl  of  Oxford,     D.  1625. 
Full    length,    life    size,    standing  to  right,   purple  doublet   and   trunks,   closely 

braided  with  gold  braid  edged  with  silver,  embroidered  sword  belt,  falling  ruff  and 
cuffs  edged  with  lace,  white  riding  boots  and  spurs,  the  knees  covered  with  plain  linen 
stocks ;  brown  fair  hair,  pointed  beard  and  moustache,  holding  his  hat  in  his  right 
hand,  left  on  hip.  Dark  background,  red  eastern  carpet  with  dark  pattern.  Inscribed 
"  Henry  de  Vere,/  Earl  of  Oxford,/  Ld.  High  Chamberlain/  Ob.  1625.  Married/ 
Diana  the  2d  Daughter/  to  Wm.  Cecil  Earl  of  Exeter." 
Canvas,  85!-  in.  H,   x  49!^  in.  W. 

310.  Arabella  Cavendish,  Wife  of  Charles,  Lord  Spencer,  as  a  Child, 
Full  length,  life  size,  seated  to  right,  on  a  stone  step ;  loose  blue  robe  with  wide 

sleeves,  looped  up  from  the  right  shoulder,  and  white  chemisette ;  she  is  seated  on 
I  crimson  drapery.     By  her  side  is  a  stone  vase  with  flowers,   from   which  she  has 

gathered  a  flower  she  holds  in  her  left,  the  right  elbow  rests  on  some  drapery,  hair 
loose,  falling  over  left  shoulder,  a  flower  set  in  it  on  the  right  side.  Garden,  with 
fountain  and  statue  to  right,  column  and  curtain  to  left.  Inscribed  below,  "  Arabella 
Cavendishe,/  5th  Daughter  of  Henry  Duke  of  Newcastle,/  Married  Charles 
Ld.  Spencer." 

Canvas,  87  in.  H.   x  53  in.  W. 

311.  Thomas  Wentworth,  Earl  of  Strafford.     1593 — 1641. 

Full  length,  life  size,  standing  to  right,  in  Garter  Robes  ;  holding  blue  velvet 

mantle  in  his  right,  the  left  outstretched  towards  table,  covered  with  a  crimson  cloth, 

il  on  which  lies  his  hat;  dark  background,  and  column  to  right.     Inscribed   "  Thos. 

■f  -  Wentworth,  Earl  of  Strafford,  married  to  his/  2d  wife  Arabella,  2D  Daughter 

TO  John,  Earl  of  Clare/  ob:  1641." 
Canvas,  85  in.  H.  x  49|-  in.  W. 
The  head  copied  from  Vandyck, 

312.  John  Holles,  ist  Earl  of  Clare.     1564 — 1637.  Maria  Verelst. 
Full  length,  life  size,  standing  to  left,  in  Peer's  Robes ;  holding  coronet  in  right, 

left  on  hip  ;  wall  and  fluted  columns  to  left,  sky  seen  between ;  curtain  to  right. 
Inscribed  "  Jn°.  Holles,  ist  Earl/  of  Clare,  married  Ann,  Daughter/  of  S".  Th". 
Stanhope  of  Shelford/  in  the  County  of  Nottingham." 

Canvas,  95  in.  H.   x   58^^  in.  W. 

Cat.  1747.     Grand  Saloon,  No.  15.     Copy  by  Miss  Verelst, 


i 


passage  to  underground  gallery.]     at   welbeck   abbey.  %y 

313.  Gertrude  Pierrepoint,  Mrs.  Cheney. 

Full  length,  life  size,  to  left ;  white  satin  dress,  blue  scarf,  blue  buskins,  and  gold 
sandals ;  she  holds  in  her  hand  a  garland  of  flowers  ;  the  blue  scarf  passes  over 
left  shoulder,  and  is  gathered  up  at  the  waist  by  a  gold  band.  Trees  and  sky  to  left, 
dark  architectural  background.  Inscribed  "Mrs.  Gertrude  Pierpont,/  married 
Mr.  Cheney." 

Canvas,  ?>•]  in.  H.   x   53!  in.  W. 

There  is  a  semi-classical  air  about  this  portrait ;  it  may  be  intended  to  represent 
"  Flora." 

314.  Gilbert  Holles,  3RD  Earl  of  Clare.  Maria  Verelst. 

Full  length,  life  size,  standing  to  left,  in  Peer's  Robes,  long  brown  wig,  and  lace 
cravat ;  his  right  hand  on  coronet  which  is  placed  on  a  table  covered  with  a  brown 
cloth,  to  left.  Dark  background,  brown  curtain  to  right.  Inscribed  "Gilbert 
Holles,  3°  Earl/  of  Clare,  married  Grace/  4^"  Daughter  of  William/  Pierepoint 
OF  Thorsesby,  Es'." 

Canvas,  93  in.  H.   x   58  in.  W. 

Cat.  1747.     Grand  Saloon,  No.  17.     Copy  by  Miss  Verelst. 

315.  Horace,  Lord  Vere  of  Tilbury.     1565 — 1635. 

Full  length,  life  size,  standing  to  right,  in  armour;  red  leather  sword  belt,  blue 
sash,  pointed  beard  and  moustache,  plain  falling  ruff,  truncheon  in  right  hand,  left  on 
plumed  helmet,  placed  on  a  pedestal  to  right ;  landscape  background  with  castle  on  a 
rock,  dark  crimson  curtain  to  left,  chequered  pavement.  Inscribed  "  Horace,  Lord 
Vere,  Baron  of  Tilbury,  married  Mary,  daughter/  to  Sr.  Jno.  Tracey  of 
Todington  in  Gloustershire,  and  died  An.  1635." 

Canvas,  84f  in.  H.   x  48f  in.  W. 

316.  William  Cavendish,  ist  Duke  of  Newcastle.     1592 — 1676.  After  Vandyck. 

Full  length,  life  size,  standing  to  right,  wearing  red  ribbon,  his  left  on  his 
hip,  right  hanging  down,  holding  his  hat,  base  of  column,  and  sky  to  right.  Inscribed 
below,  "William  Cavendish,  ist  Duke  of  Newcastle," 

Canvas,  83!^  in.   x   50  in.  W. 

This  picture  is  an  old  copy  of  the  original  in  this  collection,  taken  before  the 
Duke  obtained  his  Garter. 

Cat.  1747.     Dressing- Room,  No.  i. 

317.  Gilbert  Talbot,  Earl  of  Shrewsbury. 

Full  length,  life  size,  to  right,  in  Peer's  Robes ;  beneath  his  red  robes,  black 
doublet  and  trunks,  braided  with  crimson  and  gold  stripes ;  black  stockings,  white 


88  CATALOGUE   OF   PICTURES    [passage  to  underground  gallery. 


shoes  with  rose-coloured  rosettes,  black  hair,  moustache,  and  pointed  beard ;  wide 
falling  ruff  edged  with  lace  ;  in  his  right  a  black  stick,  coronet  in  left ;  the  hands  are 
gloved,  dark  grey  background,  eastern  carpet.  Inscribed  "  Gilbert  Talbot/  Erl. 
ll  -OF  Shrewsbury,/  married  Mary  Daughter  of/  Sr.  Wm.  Cavendishe." 

Canvas,  83  in.  H.  x   53!  in.  W. 

Cat.  1747.     Grand  Saloon,  No.  7. 

318.  Elizabeth  Vere,  Wife  of  John,  2nd  Earl  of  Clare. 
Full  length,  life  size,  seated  to  right,  holding  a  black  and  white  spaniel  on  her 

lap  to  drink  at  a  fountain,  white  satin  dress  with  scalloped  edges,  blue  mantle,  a  grey 
gauze  scarf  with  yellow  stripes  passes  over  the  right  shoulder;  wide  sleeves 
ornamented  with  pearls  and  jewels ;  pearl  necklace  and  ear-rings,  a  string  of  pearls 
round  knot  at  back  of  hair,  falling  over  left  shoulder  to  lap.  Dark  rocky  background 
to  left ;  sky  to  right,  and  fountain  with  boy  blowing  a  horn  and  riding  on  a  dolphin. 
Inscribed  "  Elizabeth,  Eldest  Daughter  &  one/  of  the  Coheirs  to  Horatio, 
Lord  Vere/  of  Tilbury  married  J  no.  2D  Earl  of  Clare." 

Canvas,  82  in.  H.  x   50  in.  W. 

Cat.  1747.     Turret  Room,  No.  3. 

319.  Elizabeth  Cheney,  Wife  of  Henry  Monson,  Esq. 
Full  length,  life  size,  standing  to  right ;  dark  blue  satin  dress,  short  wide  sleeves 

with  scalloped  edges,  showing  white  sleeves  of  chemisette  ;  pearl  necklace,  bands 
of  pearls  round  knot  at  back  of  head,  dark  hair,  curling  to  shoulders  ;  pearl  ear-rings ; 
holding  a  striped  tulip  in  her  right,  left  touching  dress;  rock  background,  vase 
containing  a  red  flower  to  left,  warm  sky.  Inscribed  "  Elizabeth  Cheney/  married 
TO  Henry  Monson,  Esqr." 

Canvas,  86|^  in.  H.   x  54^  in.  W. 

Cat,  1747.     Turret  Room,  No.  i. 

320.  Thomas  Wentworth,  Earl  of  Strafford.     1593 — 1641. 
Full  length,  life  size,  standing  to  right,  in  Garter  Robes ;  his  right  doubled  on  his 

hip,  holding  hat  in  left ;  plain  linen  band  ;  column  to  right,  eastern  carpet.     Inscribed 
"  Tho.  Wentworth/  Earl  of  Strafford/  married   to  his  2"  wife/  Arrabella 
'  2°  Daughter  of/  John,  Earl  of  Clare/  ob:  1641." 

i|  Canvas,  96  in.  H.  x   57^^  in.  W. 

The  head  copied  from  Vandyck,  the  picture  has  been  painted  for  the  Robes. 

321.  Frances  Cavendish,  Wife  of  John  Campbell,  Lord  Glenorchy. 

Full  length,  life  size,  to  left ;  white  dress,  bodice,  and  sleeves,  ornamented  with 
I  jewels  and  pearls ;  blue  velvet  mantle  lined  with  ermine ;  right  hand  touching  table 

■r 
i 


PASSAGE  TO  UNDERGROUND  GALLERY.]       AT     WELBECK      ABBEY.  89 


covered  with  a  yellow  cloth,  on  which  stands  a  vase,  with  a  white  flower  ;  left  holding 
mantle;  yellow  curtain,  brown  background.  Inscribed  "Frances  Cavendishe/  2° 
Daughter  OF  Henry,/ Duke  OF  Newcastle,/ married] ohn  Campbel/  L°.  Glenorchv." 

Canvas,  85  in.  H.   x   51  in,  W. 

Cat.  1747.     Great  Drawing-Room,  No.  6. 

322.  Edmund  Sheffield,  Earl  of  Mulgrave.     D.   1646. 

Full  length,  life  size,  standing  to  right,  in  Garter  Robes;  a  stick  in  his  right 
hand,  holding  plumed  hat  in  left ;  long  hair  and  pointed  beard ;  dark  background, 
column  to  left,  eastern  carpet.  Inscribed  "  Edmd.  Shefield/  El.  of  Mulgrave/ 
married  2  WiFEs/  1ST  Ursula,  JDaughter/  of  Sr.  Rort.  Tirwhit/  2D  Maruna/ 
Daughter  to  Sr.  Wm.  Erwin.  Kt." 

Canvas,  85  in.  H.   x  49!-  in.  W. 

Cat.  1747.     Grand  Saloon,  No.  8. 

323.  Gertrude  Pierrepoint,  Wife  of  George  Savile,  Marquis  of  Halifax. 

Full  length,  life  size,  to  left ;  loose  grey  and  yellow  gown,  blue  cloak ;  flowers  in 
right,  cloak  gathered  up  with  left ;  a  string  of  pearls  and  jewels  passes  over  the 
right  shoulder,  and  under  left  arm  ;  long  dark  hair,  hanging  over  left  shoulder  in 
clusters  of  curls ;  landscape  background,  a  low  bank  at  the  back  of  the  figure  ;  red 
curtain  above,  sustained  by  the  branch  of  an  oak  tree.  Inscribed  "  Gertrude 
Pierpont,/  Youngest  Daughter  to  y"/  Honble.  William  Pierpont/  of  Thoresby, 
Married  to/  Geo:  Savile,  Marquis  of  Halifax." 

Canvas. 

Cat.  1747.     South  Dressing- Room,  No.  3. 

324.  Robert  Harley,   ist  Earl  of  Oxford.     1661 — 1724. 

Full  length,  life  size,  standing  to  right,  in  Peer's  Robes ;  he  wears  the  George 
and  collar,  holding  a  long  wand  in  his  right ;  an  Earl's  coronet  is  on  a  table,  covered 
with  a  green  velvet  cloth,  to  right ;  dark  background ;  green  curtain  to  left,  column 
to  right. 

Canvas. 


go  CATALOGUE      OF      PICTURES      [underground  gallery,   No.  ; 


UNDERGROUND   GALLERY,   No.    2. 

325.  James  I.    1566 — 1603 — 1625. 

Three-quarter  length,  life  size,  to  right,  white  doublet  and  sleeves  without 
ornament,  except  a  row  of  jewelled  buttons  down  the  front ;  the  trunks,  also  white,  are 
richly  embroidered  with  pearls  ;  sword  belt  covered  with  pearls,  jewelled  hilt  to  sword ; 
short  dark  brown  cloak,  lined  with  fur;  black  hat  and  feather,  ornamented  with  a 
brooch  of  rubies  and  pearls ;  collar  and  cuffs,  edged  with  point  lace ;  the  George, 
enamelled  in  gold  and  set  with  diamonds,  is  suspended  to  a  pearl  and  diamond  collar ; 
brown  gloves  with  red  wristbands,  small  square  beard,  short  whiskers  and  thin 
moustache  ;  the  right  elbow  rests  on  a  table  at  his  side,  which  is  covered  with  a  green 
cloth  ;  his  left  hangs  by  his  side,  holding  gloves.     Patterned  background. 

On  oak,  the  panel  is  composed  of  several  pieces  varying  in  thickness. 

From  Bulstrode,  No.  44,  MS.  List,  B.  M. 

326.  Henry,  Prince  of  Wales,  Eldest  Son  of  James  L     1594 — 1612. 

Ascribed  to  Vansomer. 

Full  length,  small  life  size,  standing,  in  Garter  Robes,  the  doublet  and  trunks  are 
white,  the  surcoat  (gathered  in  at  the  waist)  is  of  red  velvet  lined  with  white  silk,  and 
the  cloak  of  purple  velvet  lined  with  white  silk  ;  a  long  velvet  band  crosses  the  breast 
and  reaches  to  the  middle  of  the  leg ;  he  wears  the  George  and  collar,  composed 
of  the  Tudor  rose  in  enamel,  surrounded  by  a  Garter,  joined  by  gold  knots  ;  the  sword 
belt  is  embroidered  with  gold  and  fastened  with  a  gold  clasp  ;  the  Garter  edged  with 
pearls,  the  motto  in  jewels,  set  in  gold  on  a  violet  band  ;  the  long  cord  and  tassels,  of 
purple  and  gold  cord,  belonging  to  cloak,  are  crossed  in  front  and  knotted  below  ; 
the  tassels  slung  over  the  sword  hilt.  In  his  right  he  holds  his  gloves,  which  are 
edged  with  pink  silk  and  studded  with  pearls;  the  left  hand  is  placed  on  his  hip. 
White  stockings,  gartered  below  the  knee ;  white  shoes  with  rosettes  and  pearl  centres. 
Straight  flaxen  hair,  brushed  off  the  forehead,  a  wide  collar  edged  with  lace  falls  over 
the  shoulders.  A  table  covered  with  a  green  cloth  to  left,  on  which  is  placed  his  black 
hat,  decorated  with  a  plume  of  white  ostrich  feathers,  fastened  by  a  jewelled  ornament ; 
the  sides  are  also  ornamented  with  rubies,  pearls,  and  diamonds ;  an  Eastern  carpet 
beneath  the  feet.  A  dark  green  curtain,  divided  in  the  centre,  hangs  on  either  side  in 
the  background. 

Canvas,  62  in.  H.   x  42  in.  W. 

From  Bulstrode,  No.  45. 

Exhibited  at  Manchester,  1857.     Cat.  No.  38. 

Stuart  Exhibition,  New  Gallery.     No.  63. 


underground  gallery,  no.  2.]         at   welbeck    abbey.  9i 

327.  Lady  Arabella  Stuart,  at  the  age  of  13.     1575 — 1615. 

Full  length,  under  life  size,  standing  to  left;  white  dress  with  full  sleeves 
powdered  with  jewels,  set  in  gold ;  the  hem  of  the  dress  and  edge  of  the  bodice  are 
ornamented  with  similar  jewels,  eleven  gold  and  red  enamelled  brooches  are  set  in 
front  of  the  petticoat ;  embroidered  cuffs  edged  with  yellow  lace,  the  corset  is  edged 
with  black  and  white  embroidery  at  the  neck  ;  a  girdle  of  pearls  and  jewels  sewn  on  a 
band  encircles  the  waist ;  necklace  of  four  rows  of  pearls,  tied  together  with  a 
narrow  black  ribbon  at  the  breast,  hanging  below  the  girdle,  double  strings  of  pearls 
wound  round  the  wrists  ;  long  hair,  hanging  over  the  shoulders  and  below  the  waist ;  a 
pearl  is  set  at  the  top  of  the  hair,  in  the  centre,  and  she  wears  similar  drop  ear-rings.  Her 
right  hand  is  placed  on  the  table  to  left,  her  left  hangs  by  her  side,  holding  the  fan  which 
is  suspended  from  her  waist  by  a  red  cord  ;  on  the  table,  which  is  covered  with  a  green 
cloth,  are  two  books  ;  at  her  feet  to  left  lies  a  small  black  and  white  dog.  Red  curtain 
to  right,  looped  back,  Eastern  carpet.  Inscribed  in  yellow  letters  on  a  tablet  with  a 
black  ground,  bordered  with  blue  and  surrounded  by  a  red  frame,  to  left  in  upper  corner, 

"ARBELLA    STUARTA/    COMITISSA   LEVINI^/    yETATIS    SU^,     1 3    ET   |-/    ANNO    DNL     1 5  89." 

Beneath  is  a  later  inscription,  "  Grandaughter  to  Sr.  Wm./  Cavendishe  &  Elizth. 
Hardwick  by  Elizth./  their  2nd  Daughter  &/  her  Husband/  Charles  Stuart,/ 
Earl  of  Lenox." 

Canvas,  64  in.  H.  x  34^^  in.  W. 

Lady  Arabella  Stuart,  (gran'daughter  of  Sir  William  Cavendish  and  Elizabeth 
Hardwick,  by  their  2nd  Daughter,)  married  Sir  William  Seymour,  2nd  son  of  the 
Duke  of  Somerset,  without  consulting  James  ist,  who  committed  her  to  the  Tower, 
where  she  died  in  1615. 

This  portrait  was  attributed  to  Zucchero,  who  was  not  in  England  as  late  as  1589, 
the  date  of  the  picture.  A  copy  of  smaller  size,  17  x  14^  in.,  belongs  to  the  Duke  of 
Devonshire. 

Cat.  1747.     In  the  South  Dressing-Room,  No.  4. 

Manchester  Art  Treasures  Exhibition,  1857.     Cat.  No.  t,'j. 

Stuart  Exhibition,  New  Gallery,  1889.     Cat.  No.  58. 

328.  Henry  Wriothesley,  3RD  Earl  of  Southampton.     1573 — 1624. 

Full  length,  life  size,  standing  to  left ;  in  a  white  satin  peascod  doublet,  white  and 
gold  trunks  and  knee  breeches ;  red  and  gold-embroidered  sword  belt,  decorated  with  two 
white  bows  ;  white  stockings,  with  purple  garters  tied  below  the  knee  and  embroidered 
with  silver  thread,  and  black  shoes.  The  gorget  descends  in  a  point  to  the  middle  of 
the  breast,  the  edge  of  red  leather  is  scalloped,  and  embroidered  with  silver;  the  hilt 
of  rapier  is  ornamented  with  gold ;  the  body  armour,  the  whole  of  which  is  richly 
damascened,  lies  on  the  ground  to  right ;  it  is  decorated  with  interlaced  serpents  in  a 
lozenge  pattern,  the  interstices  filled  with  flowers,  birds,  and  snails  ;  broad  collar  edged 


92  CATALOGUE   OF    PICTURES    [underground  gallery,  no. ,. 

with  lace ;  the  hair  is  worn  long,  and  brought  over  in  front  of  the  left  shoulder,  hanging 
below  the  arm  pit ;  slight  beard  and  moustache.  The  right  hand  rests  on  a  table, 
covered  with  a  purple  velvet  cloth,  embroidered  with  gold ;  the  left  on  his  hip ;  white 
gloves,  embroidered  with  flowers  ;  dark  background  and  tesselated  pavement. 

Canvas,  8i  in.  H.  x  47  in.  W. 

Henry  Wriothesley,  3rd  E.  of  Southampton,  born  1573,  the  friend  and  patron  of 
Shakespeare.  In  1599  as  General  of  Horse  accompanied  Essex  to  Ireland.  Joined 
Essex  insurrection,  accused  of  high  treason,  and  sentenced  to  death,  reprieved  by 
Elizabeth,  and  attainder  reversed  in  following  reign.  Took  part  in  colonization  of 
.  America.  In  1624  in  the  Netherlands,  where  he  was  seized  with  a  fever  and  died 
November,  1624. 

From  Bulstrode,  No.  30,  MS.  List. 

Tudor  Exhibition,  New  Gallery,  1890.     Cat.  No.  386. 

329.  Portrait  of  a  Gentleman. 

Full  length,  life  size,  standing  to  right ;  doublet  of  purple  brocade  embroidered 
with  flowers  in  colours  and  gold,  and  braided  with  gold  ;  striped  trunks,  closely  braided 
with  gold  braid  edged  with  silver ;  a  short  cloak  of  the  same  pattern  is  thrown  over 
the  left  arm,  lined  like  the  doublet ;  violet  silk  hose,  gartered  below  the  knee  with  ties 
of  the  same  colour,  embroidered,  and  edged  with  gold  and  silver  lace  ;  white  perforated 
shoes  with  rosettes  of  gold  and  silver  lace ;  ruff  and  cuffs  edged  with  point  lace  ; 
frizzed  hair,  beardless ;  his  left  hand  on  his  sword  hilt,  the  right  by  his  side.  Dark 
background  with  grey  column  to  right,  and  pilaster  to  left. 

Canvas,  8o|-  in.  H.  x   37^^  in.  W. 

From  Bulstrode  ? 

330.  Frances  Howard,  Countess  of  Essex,  and  Countess  of  Somerset.     D.  1632. 

Ascribed  to  Vansomer. 
Full  length,  life  size,  standing  to  right ;  the  bodice,  sleeves,  and  petticoat  are  of 
purple  satin,  richly  embroidered  with  flowers  in  coloured  silk  and  gold,  the  edge 
scalloped  and  finished  with  gold  lace  and  spangles ;  two  red  bows  fasten  the  front  of 
the  bodice  which  is  cut  very  low  at  the  neck,  and  like  the  cuffs,  bordered  with  yellow 
lace  relieved  on  a  scarlet  ground.  The  cufis  are  ornamented  with  triple  bands  of  lace, 
and  a  wide  point  lace  collar  finishes  the  edge  of  the  bodice  ;  the  train,  falling  from  the 
shoulders,  is  of  apple  green  satin,  one  end  is  caught  up  and  fastened  to  the  waist,  the 
edge  is  embroidered  with  scarlet  flowers,  green  leaves,  and  gold  thread ;  scarlet 
stockings  and  white  perforated  shoes,  with  scarlet  rosettes  edged  with  gold  lace ;  fair 
hair,  short  and  curled  above  the  forehead,  brushed  from  the  face,  and  hanging  loose 
to  the  shoulders ;  it  is  waved,  but  without  ornament ;  necklace  of  rubies  set  in  gold, 
with  pearls  at  the  points  ;  an  ear-ring  in  the  left  ear  with  love  lock  attached  to  a  heart, 


L 


UNDERGROUND  GALLERY,   No.  ».]  AT     WELBECK     ABBEY.  93 

a  plain  cord  (probably  a  hair  chain),  depends  from  the  neck  ;  a  ring  on  the  little  finger 
of  the  right  hand  is  attached  to  a  cord,  which  is  wound  three  times  round  the  wrist ; 
knotted  and  looped  at  short  intervals,  and  attached  to  the  cuff,  where  a  ring  hangs 
on  one  of  the  loops.  In  her  right  hand  she  holds  a  handkerchief,  with  a  broad 
border  of  point  lace ;  her  left  is  placed  on  the  table,  which  is  covered  with  a  dark 
eastern  cloth  ;  dark  purple  curtain,  braided  with  gold,  to  right ;  sky  and  landscape  to 
left ;  she  stands  on  an  eastern  carpet. 

Canvas,  80  in.  H.  x  48  in.  W. 

Frances,  Daughter  of  Thos.  Howard,  ist  Earl  of  Suffolk,  by  his  2nd  wife 
Catherine  Knevet;  married  ist  Robt.  Devereux,  3rd  Earl  of  Essex,  from  whom  she 
obtained  a  divorce;  and  2nd  Robt.  Carr,  Earl  of  Somerset  in  1613.  She  was 
implicated  in  the  poisoning  of  Sir  Thos.  Overbury,  and  died  in  1632. 

From  Bulstrode,  No.  39. 

Exhibited  at  Manchester,  1857.     Cat.  No.  24. 

331.  George  Villiers,  Duke  of  Buckingham,  as  a  Youth.     1592 — 1628. 

Full  length,  life  size,  standing  to  right ;  dark  green  flowered  doublet  and  trunks, 
sword  belt  ornamented  with  bows  and  tags ;  green  stockings,  gartered  below  the  knee 
with  crimson,  gold  embroidered  ties  ;  falling  ruff,  edged  with  point  lace  ;  lace  cuffs,  and 
slashings  to  sleeves ;  white  perforated  shoes,  with  gold  lace  rosettes.  His  right  hand 
rests  on  his  hip,  his  left  is  placed  on  the  table  to  right,  covered  with  a  crimson  cloth, 
on  which  rests  his  black  hat  with  a  gold  band  ;  heavy  gold  fringe  to  table  cloth  ;  eastern 
carpet  with  red  ground;  dark  background.  He  is  represented  young  and  beardless, 
with  dark  hair,  both  hands  are  gloved,  a  sword  is  slung  at  his  belt.  Inscribed  "  Mr. 
•    George  Villiers,  afterwards/  Duke  of  Buckingham." 

Canvas. 

From  Bulstrode,  No.  28. 

Exhibited  at  Manchester,  1857.     Cat.  No.  44.     It  was  attributed  to  Jansen. 

332.  Mary  Cavendish,  Wife  of  Gilbert,  7th  Earl  of  Shrewsbury. 

Three-quarter  length,  life  size,  to  left ;  black  dress,  ornamented  with  thin  bands  of 
velvet,  covered  with  innumerable  tags ;  down  the  front  of  the  bodice  runs  a  strip  of 
muslin,  fastened  by  six  gold  and  jewelled  brooches,  a  seventh  is  below  the  point  of  the 
bodice,  which  is  finished  with  a  red  bow,  similar  ornaments  at  the  sleeves  where  they 
are  fastened  to  the  shoulder ;  a  jewel  is  pinned  to  the  left  breast  by  a  red  bow,  and  a 
watch  is  suspended  to  the  waist  at  the  right  side ;  black  ruff,  spotted  with  white,  and 
edged  with  a  broad  border  of  white  point  lace ;  pearl  and  ruby  necklace,  a  collar  of 
five  strings  of  pearls  terminating  in  a  pendent  pearl  attached  to  a  gold  chain,  a  collar 
of  five  strings  of  pearls  descends  below  the  waist ;  the  hair  is  dressed  in  minute  curls, 
brought  to  a  point  in  the  middle  of  the  forehead.     The  right  hand  rests  on  the  dress. 


94  CATALOGUE   OF    PICTURES    [underground  gallery,  no.2. 

in  the  left  she  holds  a  closed  fan.     Inscribed  to  right,  in  upper  comer,  "  Mary,  3RD 
Daughter/  to  Sr.  Wm.  Cavendishe,/  married  Gilbert,  Earl/  of  Shrewsbury." 

Canvas,  42  in.  H.  x  34  in.  W. 

She  was  the  Daughter  of  Elizabeth  Hardwick,  and  wife  of  7th  Earl  of  Shrewsbury. 

Cat.  1747.     Great  Dining- Room,  No.  15. 

333.  Francis  Manners,  6th  Earl  of  Rutland.     D.  1632. 

Full  length,  life  size,  standing  to  left ;  scarlet  jerkin  and  trunks,  the  sleeves  of  the 
doublet  embroidered  with  gold,  the  trunks  are  braided  with  crimson,  and  ornamented 
with  rows  of  buttons  ;  the  knees  covered  with  stocks  of  gold  cloth  ;  plain  ruff  and  small 
gorget ;  the  George  is  suspended  to  his  neck  by  a  blue  ribbon  ;  gold  embroidered 
sword  belt,  riding  boots  turned  down  below  the  knee,  and  spurs.  His  right  hand  is  placed 
on  the  table  to  left,  covered  with  a  dark  green  cloth,  on  which  is  placed  his  beaver  with 
white  ostrich  plume,  his  left  is  on  his  hip  ;  body  armour  on  the  ground  to  right, 
eastern  carpet ;  dark  brown  background.  Inscribed  "  Francis  Manners,  Earl  of 
Rutland." 

Canvas,  80  in.  H.  x  48  in.  W. 

Francis  6th  Earl  of  Rutland,  was  the  2nd  son  of  John  4th  Earl,  he  succeeded  to 
the  Earldom  on  the  death  of  his  brother  Roger  in  161 2.  Married  ist  Frances  d.  of 
Sir  Henry  Knyvett ;  their  only  d.  Katherine  m.  George  Villiers  D.  of  Buckingham. 
The  Earl  m.  2ndly  Cecily  d.  of  Sir  Jas.  Tufton  of  Hothfield. 

From  Bulstrode,  No.  33. 

334.  Lucy  Harrington,  Wife  of  Edward,  3RD  Earl  of  Bedford.     D.  1627. 

Full  length,  life  size,  standing  to  left,  in  a  Fancy  dress ;  the  white  tight-fitting 
jacket,  open  from  the  neck  to  the  waist,  is  embroidered  with  flowers  and  edged  with 
gold  lace,  the  sleeves  the  same,  the  pattern  of  the  embroidery  is  enriched  with  a 
multitude  of  silver  spangles,  and  the  red  bands  which  encircle  the  close-fitting  sleeves 
are  covered  with  open  lace,  cut  wider  than  the  spaces  they  cover,  so  as  to  puff  out, 
and  arch  them  over.  The  wristbands  are  turned  back  and  embroidered,  with  a  cuff  of 
point  lace  ;  the  bodice  which  shows  at  the  opening  of  the  jacket,  is  of  red  silk  with 
gold  stripes,  pleated  in  front;  the  girdle  of  pearls  and  jewels,  with  a  jewelled  three- 
pointed  aigrette  in  the  centre  at  the  point  of  the  bodice  ;  the  upper  skirt  is  of  red  silk, 
the  same  as  the  bodice,  with  horizontal  bands  of  gold,  and  square  patches  of  grey 
(silver  spangles  ?)  at  intervals,  the  bands  are  probably  formed  of  narrow  gold  braid  : 
the  edging  is  of  gold  lace,  enriched  with  gold  pendent  spangles ;  the  petticoat  is  of 
blue  silk,  richly  braided  with  nine  bands  of  open  gold  braid,  the  bands  of  blue  silk 
between,  are  covered  with  gold  spangles ;  red  stockings  with  gold  clocks,  blue  shoes, 
covered  with  lace,  red  rosettes  with  jewelled  centres.  Auburn  hair,  arranged  in  a 
mass  of  small  curls,  surmounted  by   a  pearl  and   ruby,   crown-shaped,   head-dress. 


UNDERGROUND  GALLERY,  No.  J.]        AT   WELBECK   ABBEY."  95 


somewhat  narrow  in  front,  with  a  diamond  aigrette  of  five  points  in  the  centre,  above 
this  is  a  smaller  aigrette  of  three  points,  with  rings  of  pearls  above,  the  whole 
topped  by  a  large  triangular  diamond,  with  a  pearl  at  the  point ;  on  the  left  side  of  the 
head,  is  an  aigrette  of  white  feathers  ;  a  long  gauze  veil  is  attached  to  the  head-dress, 
ornamented  with  little  tufts  of  red  floss  silk,  the  veil  is  striped ;  a  pearl  bracelet  is 
wound  round  the  right  wrist,  and  fastened  with  a  jewel  to  the  cuff;  pearl  necklace, 
with  jewelled  pendant,  and  ruby  ear-rings  ;  the  right  hand  by  her  side,  the  left,  doubled 
under  at  her  waist,  holding  gauze  veil.  The  background  is  partly  dark,  with  light 
breaking  through,  to  the  right ;  a  dark  mass  descends  obliquely  behind  the  figure,  a 
pale  light  to  the  left  divides  it  into  two  masses  of  cloudy  shadow  ;  lower  down  to  the 
right,  where  the  light  from  the  above  is  dimmer,  it  is  crossed  horizontally  by  a  wavy 
band  of  light,  and  there  are  smaller  patches  of  light  below  ;  it  is  possible  that  the  dark 
masses  are  intended  for  flying  drapery  ;  the  ground  on  which  she  stands  is  dark  brown, 
without  flowers,  or  shrub  of  any  kind.  Inscribed  in  the  lower  left  hand  corner 
"  Lucy   Harrington   0^  of   Bedford." 

Canvas,  8o|^  in.  H.  x  48  in.  W. 

Lucy,  eldest  daughter  of  John,  ist  Lord  Harrington  of  Exton,  married  1594, 
Edward,  3rd  Earl  of  Bedford.  She  was  the  patroness  of  Ben  Jonson,  Drayton, 
Daniel,  and  Donne,  all  of  whom  wrote  verses  in  praise  of  her  accomplishments. 

A  full  length  portrait  of  her  in  a  black  dress,  attributed  to  Mark  Garrard,  was 
exhibited  in  1866  at  the  National  Portrait  Exhibition,  No.  440;  a  half  length, 
attributed  to  Honthorst,  belongs  to  the  Duke  of  Devonshire,  and  was  exhibited 
at  the  same  time,  and  again  at  the  Tudor  Exhibition  in  1 890. 

From  Bulstrode,  No.  46,  MS.  List. 

Exhibited  at  Manchester,  1857.     Cat.  No.  23. 


335.  Portrait  of  a  Gentleman.     Temp.  James  L  1603 — 25. 

Full  length,  life  size,  standing  to  left,  wearing  a  gorget ;  purple-grey  jerkin 
and  trunks  ;  the  sleeves  of  the  doublet  are  scarlet,  embroidered  with  gold ;  scarlet  and 
gold  embroidered  sword  belt,  with  red  bows  and  gold  tags ;  brown  gloves,  the  wrist 
pieces  embroidered  in  red  and  gold,  with  gold  fringe ;  cloth  of  gold  knee  stocks  ;  ruff 
and  cuffs  edged  with  lace ;  riding  boots  and  gilt  spurs ;  moustache  and  pointed  beard, 
love  lock  and  ear-ring  in  Jeft  ear  ;  stick  in  right  hand,  left  by  his  side.  Table  to  left, 
covered  with  dark  cloth  with  bullion  fringe,  on  which  is  placed  a  black  hat  with  gold 
band,  and  a  red  cloak,  braided  like  the  jerkin.     Brown  background,  chequer  pavement. 

Canvas,  80  in.  H.   x  37^^  in.  W. 

The  braided  ornaments  of  the  dress  are  similar  to  those  in  the  portrait  of  the 
6th  Earl  of  Rutland. 

From  Bulstrode. 


96  CATALOGUE   OF    PICTURES    [underground  gallery,  no. ,. 

336.  Richard,  Duke  of  Gloucester,  afterwards  Richard  III.     1452 — 1483 — 1485. 

Half  length,  small-life  size,  to  right,  putting  ring  on  finger ;  gold  jewelled  collar, 
three  rings  on  right  hand ;  dark  background.  Inscribed,  in  left  upper  corner, 
"  Ricardo." 

Panel,  21  in.  H.  x   i6|^  in.  W. 

337.  Henry  VII.     1457— 1485— 1509. 

Bust,  life  size,  to  right.     Dark  background. 
Panel,  23  in.  H.  x   18  in.  W. 


338.  Portrait  of  a  King,  Edward  IV.  .-• 

Half  length,  life  size,  to  left,  wearing  a  collar  with  cross  attached,  hands  clasped. 
Panel,  19^^  in.  H.   x   11  in.  W. 


339.  Portrait  of  a  King,  John  ? 

Bust,  life  size,  to  left,  wearing  crown,  dark  background. 
Panel,  23  in.  H.   x   17  in.  W. 

Cat.  1747.  Staircase.  Portraits  of  Kings  of  England  from  William  the  Conqueror 
to  Henry  VIII. 

340.  Portrait  of  a  Lady. 

Three-quarter  length,  life  size,  to  right ;  black  dress  with  slashed  sleeves,  white 
and  gold-embroidered  petticoat ;  ruff  and  cuffs  edged  with  lace ;  brown  frizzed  hair 
with  black  head-dress  at  the  crown ;  black  ear-rings,  a  pearl  pendant  is  fastened  to 
the  dress  on  the  left  side,  beneath  which  she  wears  a  memorial  token  attached  below 
the  waist.  A  feather  fan  in  her  right  hand,  her  left  rests  on  the  back  of  the  chair ; 
russet-coloured  curtain  with  gold  fringe.  Dark  background  with  a  partially  erased 
inscription,  "  Elizabeth  .  .  .  .  cy  of  P .■*" 

Panel,  44^  in.  H.  x  33  in.  W. 

From  Bulstrode  ? 


341.  Portrait  of  a  Gentleman.     Temp.  James  I.  1603 — 25. 

Full  length,  life  size,  standing  to  left ;  in  a  black  doublet  and  dark  blue  hose ;  sword 
belt  embroidered  with  silver  and  ornamented  with  blue  and  silver  tags,  stockings 
gartered  below  the  knee  with  blue  and  silver  ties ;  white  perforated  shoes,  with  blue 
and  silver  bows,  edged  with  lace ;  point  lace  ruff  and  cuffs ;  dark  hair,  reddish 
brown  moustache  and  beard ;  right  hand  doubled  on  his  hip,  the  left  by  his  side.    On 


UNDERGROUND  GALLERY,  No.  a.]  AT     WELBECK     ABBEY.  97 

a  table  to  right,  which  is  covered  with  a  red  cloth,  a  black  hat  with  a  silver  band ;  red 
curtain  looped  back  to  left ;  dark  background,  eastern  carpet. 

Canvas,  8o|-  in.  H.  x  48  in.  W. 

From  Bulstrode. 

342.  Portrait  of  a  Lady. 

Three-quarter  length,  life  size,  to  right ;  in  a  white  dress,  the  shoulder  pieces  are 
decorated  with  scarlet  rosettes  with  jewelled  centres.  The  corset  is  edged  at  the 
neck  with  a  border  of  lace,  minute  white  buttons  down  the  front ;  the  girdle  is  jewelled, 
and  below  the  corset  is  a  band  braided  with  silver,  to  which  the  skirt  is  attached ; 
round  the  neck  is  a  collar  of  the  thinnest  rolled  and  puffed  out  muslin,  the  cuffs  are 
double,  the  upper  of  plain  muslin,  the  lower  of  point  lace;  pearl  necklace  and 
pear-shaped  pendants  ;  the  hair  is  brushed  off  the  forehead  and  plaited  in  innumerable 
small  plaits,  that  are  drawn  up  to  meet  the  gold  tiara  with  tall  points  set  with  jewels ; 
the  ends  of  the  plaits  are  tied  with  small  red  bows,  that  are  seen  above  the  tiara ; 
jewels  with  alternate  red  and  white  pear-shaped  pendants  are  set  in  the  hair,  and  a  large 
pearl  in  the  centre.  She  holds  a  brown  fan  in  her  right,  the  left  rests  on  the  edge 
of  her  hoop  ;  the  table  to  right  is  covered  with  a  crimson  velvet  cloth  ;  dark 
background. 

Canvas,  45^^  in.  H.  x  36  in.  W. 

From  Bulstrode. 

343.  Portrait  of  a  Lady. 

Three-quarter  length,  life  size,  to  left ;  in  a  white  dress,  wide  slashed  sleeves 
covered  with  muslin  puffs,  the  bodice  is  ornamented  like  the  sleeves ;  jewelled  girdle 
and  pearl  necklace  ;  a  collar  of  numerous  rows  of  pearls  hangs  from  the  shoulders  to 
below  the  waist ;  a  jewelled  ornament  in  the  shape  of  a  palm,  with  a  star  shaped  base, 
is  set  in  the  centre  of  the  corset ;  dark  brown  hair  arranged  in  minute  curls.  The  right 
hand  rests  on  a  red  tablecloth,  the  left  on  dress  ;  dark  background. 

Canvas,  47  in.  H.  x  37  in.  W. 

From  Bulstrode. 

344.  Portrait  of  a  Gentleman. 

Full  length,  life  size,  standing  to  right ;  white  figured  silk  doublet,  ornamented 
with  bows  and  tags ;  red  silk  sash,  dark  green  knee  breeches,  and  rose-coloured 
stockings  gartered  below  the  knee  with  cloth  of  silver,  edged  with  lace  ;  yellow  shoes, 
with  large  cloth  of  silver  rosettes ;  wide  lace  collar  and  cuffs ;  short  hair,  pointed 
beard  and  moustache.  He  holds  a  stick  in  his  right  hand,  the  left  doubled,  rests  on  his 
hip,  beside  him  to  the  left  is  a  black  and  white  dog.  Curtain  to  left,  opening  to  right, 
with  the  view  of  a  garden.     Pavement  in  the  foreground. 

Canvas,  81  in.  H.  x  48|-  in.  W.  / 

o 


98  CATALOGUE   OF    PICTURES  [underground  gallery,  no. 


UNDERGROUND  GALLERY,   No.  3. 

345.  Edward  Hyde,  Lord  Cornbury,  afterwards  3RD  Earl  of  Clarendon,  d.  1723, 
AND  HIS  Wife,  Catherine  O'Brien,  Baroness  Clifton.  Sir  Peter  Lely. 

Three-quarter  length  figures,  life  size,  both  seated,  Lord  Cornbury  to  left,  and 
his  wife  on  the  right.  Lord  Cornbury  is  in  a  dark  purple-brown  silk  mantle,  showing 
the  full  white  sleeves  of  the  shirt,  his  left  hand  crosses  his  breast,  and  gathers  up  the 
drapery  on  his  right  shoulder ;  the  right,  open,  points  to  his  wife,  who  is  seated  a  little 
more  in  front,  to  the  right,  in  a  loose  amber-coloured  silk  dress,  with  wide  sleeves ;  a 
pale  blue  scarf  is  fixed  to  the  left  shoulder  and  looped  up  with  jewels ;  she  holds  the 
end  of  it  in  her  right,  which  rests  on  the  left  knee ;  in  her  left  she  holds  a  white  flower, 
gathered  from  a  vase  standing  near ;  dark  yellow  curtain  looped  up  behind  her,  a 
fountain  surmounted  by  an  amorino  is  in  the  centre  of  the  background,  dark  trees 
beyond.  Lady  Cornbury  has  black  hair  disposed  in  thin  ringlets  over  her  forehead, 
descending  to  her  shoulders,  and  wears  a  pearl  necklace ;  Lord  Cornbury  has  long 
dark  hair,  parted  in  the  centre.  Inscribed  on  the  base  of  the  statue  in  the  centre, 
"  Edward  Hyde  Lord  Cornbury,"  and  on  the  flower  vase  "  Lady  Cornbury, 
Baroness  Cliffton." 

Canvas,  62^^  in.  H.  x  6^^  in.  W. 

Edward  Hyde,  only  son  of  2nd  E.  Clarendon,  Master  of  the  Horse  to  Prince 
George  of  Denmark,  Governor  of  New  York ;  he  is  said  to  have  assumed  female 
attire  to  represent  Q.  Anne  at  New  York,  and  a  picture  of  him  in  a  woman's  dress 
belonging  to  Sir  J.  S.  Pakington,  Bart.,  M.P.,  was  exhibited  at  the  National  Portrait 
Exhibition  in  1867.     Cat.  No.  130. 

Exhibited  at  Manchester,  1857.    Cat.  No.  207. 

346.  Rachael  Ruvigny,  Countess  of  Southampton.  School  of  Vandyck. 

Full  length,  seated  to  left,  on  the  clouds,  with  her  foot  on  a  skull ;  the  right  hand 
rests  on  her  knee,  holding  the  end  of  a  blue  scarf  that  floats  behind  her,  the  left  hand 
on  a  globe ;  loose  blue  drapery,  fastened  on  the  right  shoulder  with  a  pearl  orna- 
ment, pearl  necklace  and  pendent  ear-rings,  a  string  of  pearls  wound  round  the  back  of 
the  head ;  white  chemisette  with  wide  sleeves  rolled  back  to  the  elbow ;  the  hem  of 
the  dress  has  a  scalloped  edge. 

Canvas,  8o|-  in.  H.  x  48  in.  W. 

Engraved  in  mezzotint  by  McArdell. 

A  fine  replica  is  in  the  collection  of  Earl  Cowper,  K.G.,  another  belongs  to  Earl 
Spencer,  K.G.,  in  which  she  holds  a  sceptre,  a  smaller  copy  is  in  the  Duke  of  Devon- 
shire's collection. 


UNDERGROUND  GALLERY,  No.  3]  AT     WELBECK      ABBEY.  99 

Rachael  Ruvigny,  Css.  of  Southampton,  the  first  wife  of  Thomas  Wriothesley, 
Earl  of  Southampton,  grandmother  to  the  first  Duchess  of  Portland ;  her  2nd 
daughter  was  the  famous  Lady  Russell,  whose  husband  was  beheaded  July,  1683. 

From  Bulstrode,  No.  40. 

347.  William  Henry  Cavendish,  3RD  Duke  of  Portland,  and  his   Brother,   Lord 
Edward  Bentinck.  Sir  Benjamin  West,  P.R.A.,  1774. 

Full  length  figures,  life  size.  The  Duke  is  dressed  in  Peer's  Robes,  his  right  hand 
leaning  on  a  pedestal,  the  left  hanging  beside  him ;  he  stands  cross  legged ;  on  the 
pedestal  is  his  coronet  resting  on  velvet  mantle  ;  silver-embroidered  waistcoat  and  knee 
breeches  and  grey  wig.  His  brother  stands  beside  him  in  a  gold-embroidered  waist- 
coat and  knee  breeches  and  violet  cloak  with  white  silk  lining ;  brown  hair  gathered  in  a 
queue  behind ;  his  right  rests  on  his  brother's  shoulder,  and  his  left  on  his  hip,  the 
right  knee  is  bent.  Green  curtain,  looped  up  with  gold  cord  and  tassel  to  left,  stone 
vase  with  a  rose  bush  to  right ;  sky  background.  Signed  on  the  base  of  the  pedestal, 
"  B.  West,"  and  dated  "  1774." 

Canvas. 

William  Henry  Cavendish,  3rd  Duke  of  Portland,  Viceroy  of  Ireland,  1782, 
twice  Prime  Minister  during  reign  of  George  III.,  married  Dorothy,  only  daughter  of 
4th  Duke  of  Devonshire,  died  1809.     Lord  Edward  Bentinck  died  18 19. 

Engraved  in  mezzotint  by  J.  R.  Smith. 

348.  Ferdinand,  Prince  of  Brunswick- Wolfenbuttel,  K.G.     1721 — 1792. 

J.  G.  Ziesenis,  1763. 

Full  length,  life  size,  standing  to  left ;  blue  coat  with  yellow  facings  and  small 
clothes,  black  and  silver  girdle  with  tassels  ;  wearing  order  on  right  breast.  Garter  and 
blue  ribbon  ;  Court  sword,  powdered  hair,  white  stockings  and  black  shoes ;  holding 
baton  in  his  right,  left  on  hip ;  a  dog  with  a  red  collar  beside  him  near  the  table  to 
left,  looking  up  at  his  master ;  dog's  collar  (with  padlock  attached)  inscribed  in  gold 
letters,  "  F.D.B.L. ;"  on  the  table  lies  a  crimson  velvet  mantle  lined  with  ermine,  on 
which  is  placed  a  black  hat  laced  with  gold ;  architectural  background.  Signed, 
"J.  G.  Ziesenis,  Pinxt.  1763." 

Canvas,  95  in.  H.  x  60  in.  W. 

Ferdinand,  Prince  of  Brunswick,  the  hero  of  Minden,  fought  against  the  French, 
1st  August,  1759.  Born  12th  January,  1721,  entered  Prussian  service  at  age  of  19, 
distinguished  himself  in  the  Seven  Years'  War,  1756-63.  The  Peace  of  Paris,  1763, 
terminated  his  military  career,  he  died  at  Brunswick,  3rd  July,  1792. 

349.  Charles,  Duke  of  Brunswick- Wolfenbuttel.     1735 — 1806. 

J.  G.  Ziesenis,  1763. 
Full  length,  life  size,  standing  to  left,  in  a  landscape ;  dark  blue  uniform  with 


loo  CATALOGUE   OF   PICTURES  [underground  gallery,  no.  3. 


yellow  facings,  lined  with  scarlet ;  white  small  clothes,  white  and  gold  silk  scarf,  boots 
to  knee,  star  of  black  eagle  on  left  breast ;  right  arm  extended,  his  left  rests  on  his 
hat,  placed  on  a  rock  to  right;  landscape  background.  Signed  "J.  G.  Ziesenis, 
1763." 

Canvas,  95  in.  H.  x  60  in.  W. 

Charles  William  Ferdinand,  Hereditary  Prince  of  Brunswick  and  Lunenburg. 
Born  2nd  Oct.,  1735,  married,  1764,  Princess  Augusta,  daughter  of  Frederick,  Prince 
of  Wales  ;  served  under  his  uncle.  Prince  Ferdinand.  At  the  Battle  of  Auerstadt  in 
1806,  he  was  wounded  by  a  ball  in  the  forehead,  through  which  he  lost  his  eyesight. 
Died  loth  Nov.,  1806. 

A  picture  of  the  Prince  by  Ziesenis  was  several  times  engraved;  in  1764  it 
belonged  to  General  Conway. 

350.  Portrait  of  a  Boy,  in  a  Vandyck  Suit. 

Bust,  life  size,  to  right,  nearly  full-face  ;  blue  cloak  thrown  over  left  arm,  blue 
doublet  and  baldric  with  silver  embroidery,  slashed  sleeves,  laced  cuffs  and  collar; 
brown  hair  ;  grey  background. 

Pastel  on  paper. 

351.  Louis,  Due  D'Orl£ans,  Son  of  the  Regent.     1703 — 1752.       C.  Coypel,  1740. 

Bust,  in  armour,  life  size,  to  right,  in  an  oval ;  wearing  the  order  of  the  Golden 
Fleece  attached  to  a  red  ribbon,  beneath  is  a  broad  blue  ribbon  over  another  red  one. 
A  scarf  crosses  the  left  shoulder,  the  end  of  which  is  seen  in  front  of  the  bust ;  grey 
wig.    Pale  blue  background.    Signed  to  the  left,  outside  the  oval,  "  C.  Coypel,  1740." 

Pastel  on  paper. 

A  similar  portrait  was  engraved  by  Drevet. 

352.  Lady  Sundon.     D.  1742.  George  Knapton. 

Bust,  life  size,  to  right,  nearly  full  face ;  white  satin  dress,  the  corset  laced  with 
blue  ribbon,  a  blue  knot  is  fastened  to  the  left  side  ;  the  shoulders  are  covered  with  a 
fine  lace  kerchief,  a  blue  ribbon  in  her  hair ;  background  grey-blue.  Inscribed  to 
right  in  the  top  corner,  "  The  Rt.  Honble.  Lady  Sundon." 

Pastel  on  paper,  24  in.  H.  x  18J  in.  W. 

Lady  Sundon  (Charlotte  Dives),  Mrs.  Clayton,  Queen  Caroline's  celebrated 
waiting  woman,  died  1742. 

Cat.  1747.     East  Dressing-room,  No.  4. 

Exhibited  at  Manchester,  1857.     Cat.  No.  275. 

353.  Portrait  of  a  Young  Girl,  as  a  Bacchante. 

Bust,  life  size,  to  right ;  leopard  skin  over  shoulder,  and  a  wreath  of  ivy  leaves, 
tied  with  red  ribbon,  on  her  head ;  sky  background. 
Pastel  on  paper. 


underground  gallery.  no.  3-]        atwelbeckabbey.  loi 

354.  Portrait  of  a  Young  Man. 

Bust,  life  size,  to  left ;  in  academical  cap,  black  gown,  and  band ;  dark  blue-grey 
background. 

Pastel  on  paper. 

355.  Dorothy   Cavendish,   Wife  of   William    Cavendish    Bentinck,   3RD   Duke  of 
Portland.  Francis  Cotes,  R.A.,  1767. 

Bust,  life  size,  to  right ;  black  silk  mantilla  with  lace  edging,  a  frill  of  pink  silk 
ribbon  round  the  neck ;  brown  hair  done  up  in  a  knot  on  the  top  of  the  head ;  dark 
blue-grey  background.     Signed  to  the  right,  "  F.  Cotes,  pxt.  1767." 

Pastel  on  paper. 

356.  Portrait  of  a  Gentleman.  Francis  Cotes,  R.A.,  1767. 

Bust,  life  size,  to  left ;  brown  coat,  violet  waistcoat  with  a  broad  border  of  gold 
lace,  light  wig,  laced  cravat;  blue-grey  background.    Signed  to  left,  "  F.  Cotes  1767." 
Pastel  on  paper. 

357.  Portrait  of  a  Gentleman.  Francis  Cotes,  R.A,,  1767. 

Bust,  life  size,  to  left ;  crimson  velvet  coat  lined  with  white  silk,  lace  cravat,  dark 
ribbon  round  the  neck  ;  dark  eyebrows,  powdered  wig  ;  brown  background.  Signed 
to  left,  "  F.  Cotes,  pxt.  i  767.' 

Pastel  on  paper. 

358.  Sir  Charles  Cavendish.     D.  161 7.  D.  Mytens. 

Full  length,  life  size,  standing  to  right ;  black  slashed  doublet  with  lace  in  the 
openings ;  his  right  hangs  by  his  side  holding  a  glove,  hat  with  jewelled  band  in  his 
gloved  left ;  point  lace  collar  and  cuffs,  orange  stockings  gartered  below  the  knee,  gold 
and  silver  brocade  ties,  slashed  shoes  with  rosettes  of  silver  lace.  Pale-auburn  hair 
parted  in  the  centre,  hanging  below  the  ears,  moustache  brushed  up  at  the  ends,  small 
tuft  on  chin.  Behind,  to  left,  a  table  covered  with  a  green  velvet  cloth ;  dark  back- 
ground.    Inscribed  below  to  right,  "Sr.  Charles  Cavendishe." 

Canvas,  84  in.  H.  x  47^^  in.  W. 

Sir  Charles  Cavendish,  3rd  son  of  Sir  William  Cavendish  and  Elizabeth  Hard- 
wick,  married  ist,  Margaret,  Daughter  and  Coheir  of  Sir  Thomas  Kitson  of  Hengrave, 
Suffolk,  2nd,  Catherine  Baroness  Ogle;  he  was  father  of  the  ist  Duke  of  Newcastle, 
and  died  161 7. 

Cat.  1747.     Grand  Saloon,  No.  5. 

Cat.  1 83 1.     Chapel  Staircase. 

Exhibited  at  Manchester,  1857.     Cat.  No.  43. 


I02  CATALOGUE   OF    PICTURES  [underground  gallery,  no.  3. 

359.  The  Garden  of  Love.  After  Rubens. 

A  composition  of  numerous  small  figures,  in  a  garden  landscape. 

Canvas,  48  in.  H.  x  62  in.  W. 

A  good  old  copy  of  the  picture  at  Madrid. 

Cat.  1 83 1.     Drawing- Room. 

360.  Catherine,  Baroness  Ogle,  Wife  of  the  ist  Sir  Charles  Cavendish. 

Full  length,  life  size,  standing  to  left ;  dark  blue  velvet  dress,  low  bodice,  and 
ermine  mantle ;  her  right  rests  on  the  corner  of  the  table,  with  her  left  she  gathers  up 
the  folds  of  her  dress ;  wide  sleeves  open  below  the  shoulder,  fastened  with  jewelled 
clasps,  lawn  sleeves  edged  with  point  lace ;  pearl  necklace,  the  bodice  is  ornamented 
with  four  pearl  and  diamond  jewels  down  the  front ;  dark  curled  hair,  disposed  in 
masses  on  either  side  of  the  head,  with  curls  on  the  temples.  Dark  green  velvet 
table  cover  with  broad  gold  border,  three  roses  in  a  glass  vase  near  her  hand.*  Archi- 
tectural background,  a  column  against  the  sky,  gold  brocade  curtain  to  left.  Inscribed 
below  to  left,  "  Catherine,  Baroness  Ogle,  of  Ogle,  2nd  daughter  and  Heiress 
TO  Cuthbert,  Lord  Ogle,  Wife  to  Sir  Charles  Cavendishe,  and  Mother  to  Wm. 
Duke  of  Newcastle." 

Canvas,  85  in.  H.  x  51  in.  W. 

Cat.  1747.     Great  Alcove  Bedchamber,  No.  4. 

Exhibited  at  Manchester,  1857,     Cat.  No.  42. 

361.  William  Bentinck,   ist  Earl  of  Portland.     1649 — 1709. 

Sir  Godfrey  Kneller,  1697. 

Full  length,  life  size,  standing  to  right,  in  Garter  Robes  ;  wearing  the  George  and 
collar,  his  coronet  lies  on  a  gilded  pedestal  to  left,  on  the  corner  of  which  his  right, 
hand  rests ;  the  left  on  his  hip.     On  the  front  of  the  pedestal,  within  a  wreath,  is 
inscribed   "William    Bentinck,   Earl  of    Portland."     Sky   and   terrace   to    left. 
Signed,  to  left,  on  step,  "G.  Kneller  Eques.  f.  1697," 

Canvas,  84  in.  H.  x  66|^  in.  W, 

From  Bulstrode,  No.  i. 

Exhibited  at  Manchester,  1857.     Cat.  No.  231  e. 

362.  Sir  Charles  Cavendish.     D.  1653. 

Full  length,  life  size,  standing  to  right,  in  armour.  Inscribed  below  to  the  right, 
"The  second  S".  Charles  Cavendishe." 

Canvas,  88:|-  in.  H.  x  51^^  in.  W. 

The  figure  and  background  copied  from  the  portrait  of  Strafford  by  Vandyck  in 
this  collection. 

Cat.  1747.     Grand  Saloon,  No.  10. 

Exhibited  at  Manchester,  1857.     Cat.  No.  122. 


I 


UNDERGROUND  GALLERY.  No.   3.]  AT     WELBECK      ABBEY.  IO3 


363.  Thomas  Wriothesley,  Earl  of  Southampton,  and  Frances  Seymour,  his  3RD 
Wife.  Sir  P.  Lely. 

Three-quarter  length  figures,  life  size.  The  Earl  holds  his  wand  of  Office  and  is 
seated  to  left,  turning  to  spectator;  black  doublet  and  cloak,  blue  ribbon  crossing 
breast,  plain  linen  band ;  right  arm  crossed  in  front  of  him,  holding  the  edge  of  his 
cloak  with  his  right  hand  ;  the  left,  gloved,  holds  the  right  hand  glove  and  his  staff. 
Dark  hair  falling  over  collar ;  he  wears  a  large  eight-pointed  star,  in  the  centre  of  which 
is  the  badge  of  the  Garter.  The  Countess  is  standing  on  the  left ;  white  dress,  olive- 
brown  scarf,  descending  from  right  shoulder  in  front  of  her ;  her  right  hand  is  open, 
with  the  first  finger  extended,  left  holding  scarf ;  brown  curled  hair,  large  pendent  ear- 
rings and  pearl  necklace.  Landscape  and  sky  to  left,  red  curtain  to  right,  looped  up 
against  a  column.  Inscribed  above  to  right,  "THO^  Earl  of  Southampton,"  and  to 
left,  "  The  CouNT^  of  Southampton." 

Canvas.  ' 

From  Bulstrode,  Nos.  14  and  15. 

364.  Elizabeth  Bassett,  of  Blore,  ist  Wife  of  William,  ist  Duke  of  Newcastle. 

D.  Mytens,  1624. 

Full  length,  life  size,  standing  to  left;  black  dress,  with  orange-red  bows  and 
rosette ;  the  right  hand  gloved,  holding  left-hand  glove  ;  sleeves  open  below  the  shoulder, 
showing  accordion-pleated  white  sleeve  beneath,  wide  ruff  and  cuffs ;  the  neck  is 
covered  with  pleated  muslin.  Below  the  ruff  is  suspended  a  jewel,  a  jewelled  chain 
depends  from  the  shoulders,  passes  round  the  edge  of  the  dress,  and  is  gathered  in  a  long 
pendent  loop  in  front  of  the  bodice,  where  it  is  fastened  by  an  orange  rosette ;  a  love 
lock  hangs  from  the  left  side  of  the  head,  fastened  to  a  jewelled  heart  with  a  crown  of 
pearls,  a  pendent  pearl  in  right  ear ;  dark  hair,  brushed  off  the  forehead.  A  white 
ostrich-feather  fan  lies  on  the  table  to  left,  which  is  covered  with  a  crimson  velvet 
cloth  ;  grey  background,  crimson  curtains  on  either  side,  oriental  carpet.  Inscribed  on 
the  background,  ".^tatis  su^  25,  Anno  1624,  D.  Mytens  feV  and  below  to 
right,  "  Elizabeth  Daughter  and/  heir  to  W".  Bassett  of  Blore/  Es'^^  married 
W".  Lord  Ogle/  AFT°^  Duke  of  Newcastle." 

Canvas,  Sy^  in.  H.  x  54  in.  W. 

Cat.  1747.     Great  Drawing- Room,  No.  2. 

Cat.  1 83 1.     Chapel  Staircase. 

Exhibited  at  Manchester,  1857.     Cat.  No.  40. 


I04  CATALOGUE  OF  PICTURES  [gZL™ ''''°^''''''''"'"' 


LOBBY  TO  UNDERGROUND  GALLERY. 

365.  William  Henry  Cavendish  Scott  Bentinck,  4th  Duke  of  Portland.    1768 — 1854. 

Three-quarter  length,  life  size,  seated  to  left ;  holding  a  pen  in  his  right,  the  left 
hand  rests  on  the  arm  of  the  chair  in  which  he  is  seated  ;  star  on  left  breast. 

Canvas. 

William  Henry,  4th  Duke,  F.R.S.,  F.S.A.  Born  24th  June,  1768,  married 
4th  August,  1 795,  Henrietta,  eldest  daughter  and  coheir  of  General  John  Scott  of 
Balcomie  co.  Fife.     Died  27th  March,  1854. 

366.  William  Ponsonby,  2nd  Earl  of  Bessborough,     1704— 1793. 

Jean  Etienne  Liotard. 

Bust,  life  size,  profile,  to  right.  Coloured  in  imitation  of  a  cameo,  the  head  on  a 
blue-grey  ground. 

Pastel  on  paper,  24|-  in.  H.  x  19I  in.  W. 

Presented  by  Lord  William  Bentinck  to  Madame  Adelaide  of  France  who,  by 
her  will,  bequeathed  it  to  the  Duke  of  Portland.  A  duplicate  of  this  pastel  remained 
in  the  possession  of  Liotard's  family,  and  was  bequeathed  by  Madlle.  Liotard  to  the 
Amsterdam  Gallery,  Cat.  No.  858. 

William,  2nd  Earl  of  Bessborough,  a  distinguished  politician,  filled  several  high 
offices.  Lord  of  the  Treasury,  etc.,  married,  1739,  Lady  Caroline  Cavendish,  eldest 
daughter  of  William,  3rd  Duke  of  Devonshire.  Ld.  Bessborough  was  a  particular 
friend  of  Liotard's,  and  several  pastels  by  him  are  still  preserved  by  the  family  in 
Ireland,  including  a  portrait  of  Frederick,  3rd  Earl,  when  young. 

367.  Adelaide  Kemble,  Mrs.  Sartoris,  as  Semiramis.      Sir  Francis  Grant,  P.R.A. 

Full  length,  life  size,  to  left ;  white  dress  embroidered  with  gold  and  jewels, 
scarlet  cloak,  crimson  sash  in  which  is  stuck  a  dagger ;  she  points  with  her  right  out- 
stretched, and  holds  cloak  with  left.  Architectural  background;  through  principal 
opening  to  left  is  the  view  of  an  Egyptian  temple. 

Canvas. 

368.  William  John  Cavendish  Scott  Bentinck,  5th  Duke  of  Portland.    1800 — 1879. 

Ward. 
Full  length,  life  size,  seated  in  an  arm  chair,  full  face,  looking  down,  a  plan  of 
Welbeck  across  his  knees.     With  his  right  he  holds  the  paper,  the  left  hangs  over 
the  arm  of  the  chair.     Black  morning  coat,  buttoned  up,  and  white  cravat ;  he  wears" 


LOBBY  TO  UNDERGROUND-]  ^J    WELBECK    ABBEY.  lO"; 


GALLERY. 


a  wig,  his  hat  and  stick  lie  on  the  carpet  to  left ;  a  table  covered  with  papers,  and  ink- 
stand to  right.  Architectural  background,  parapet  and  crimson  curtain ;  opening  to 
right,  sunset  sky. 

Canvas. 

A  posthumous  portrait  painted  for  Lady  Ossington  from  a  photograph,  and  the 
cast  taken  after  the  Duke's  death,  from  which  the  marble  bust  in  the  Gallery  was 
executed. 

369.  Portrait  of  a  Young  Man. 

Half  length,  life  size,  standing  to  left ;  scarlet  coat,  embroidered  waistcoat,  short 
wig  and  black  tie,  black  riband  round  the  neck ;  left  hand  outstretched  pointing. 
Column  to  left,  dark  background. 

Canvas. 

370.  Belisarius.  After  Mierevelt  ?  by  James  Goupy. 

Composition  of  six  figures  and  a  dog.  Belisarius  is  seated  to  the  right  receiving 
alms  from  a  woman  ;  a  soldier,  with  his  hands  joined,  stands  in  front  of  him  to  the  left ; 
behind  are  two  women  and  a  child. 

Coloured  pastel,  on  paper,  22  in.  H.  x  28  in.  W. 

The  original  picture,  a  canvas  with  life-sized  figures,  is  at  Chatsworth. 

Cat.  1 747.     North  Room,  No.  6. 

371.  The  Tower  of  Babel. 

In,  the  foreground,  to  right,  the  King,  attended  by  numerous  courtiers,  is  giving 
instructions  to  a  man  kneeling,  who  presents  a  plan  to  him ;  some  masons  are  busy,  in 
the  centre,  below  the  steps.  The  tower  rises,  in  the  centre,  on  a  vast  platform,  which 
is  flanked  to  the  left  by  a  fortified  wall,  with  a  town  built  on  it.  The  tower  is  built 
tier  above  tier,  like  an  amphitheatre,  until  it  is  lost  in  the  clouds.  The  ground  in  the 
middle  distance,  between  the  outer  wall  and  the  platform  on  which  the  tower  rises,  is 
crowded  with  figures,  as  busy  as  ants. 

Canvas,  372^  in.  H.  x  49!  in.  W.  ' 

Cat.  1 83 1.     Drawing-Room. 

• 

372.  Queen  Anne.     1665— 1702— i  714.  _  After  Kneller. 

Bust,  life  size,  profile,  to  left,  in  an  oval,  wearing  crown ;  gold  brocade  dress, 
ermine  collar  and  facings,  ermine  cloak,  collar  with  St.  George,  knot  on  left  shoulder 
of  gold  cord  ;  a  long  curl  descends  over  right  shoulder. 

Canvas,  30  in.  H.  x  25  in.  W. 

Said  to  be  a  study  for  the  coinage,  and  similar  to  a  picture  by  Kneller  at 
Blenheim. 


I06  CATALOGUE   OF    PICTURES  llZ'^'^^vrnTJ^'''''''"' 


373.  Lord  William  Bentinck,  G.C.B.     1774 — 1839. 

Bust,  life  size,  to  right ;  in  uniform,  wearing  an  order  and  blue  ribbon ;  sky 
background. 

Canvas,  oval,  32  in.  H.  x  25  in.  W. 

Lord  William  Henry  Bentinck,  G.C.B.,  G.C.H.,  born  14th  Sept.  1774,  Governor- 
General  of  India,  1827-1835,  married,  19th  February,  1803,  Mary,  2nd  daughter  of 
Arthur,  ist  Earl  of  Gosford. 

Exhibited  at  the  National  Portrait  Exhibition,  1868.      Cat.  No.  243. 


LIBRARY. 

374.  Sir  Kenelm  Digby  (1603— 1655),  his  Wife,  Lady  Venetia  (1600 — 1633),  and 
Children.  '  *  After  Vandyck. 

Half  length  figures,  life  size.  Sir  Kenelm  is  on  the  left,  seated  to  right,  in  a  silver  and 
gold  brocade  doublet ;  a  purple  velvet  cloak  covers  the  right  arm,  his  left  rests  on  the 
arm  of  the  chair.  Lady  Digby  is  seated  opposite,  in  a  blue  dress,  pointing  to  her  children 
with  her  right ;  one  child,  in  crimson,  is  leaning  on  her  knee ;  the  other,  in  a  white 
doublet  and  yellow  cloak,  stands  to  right ;  Lady  Digby 's  left  hand  is  placed  on  his 
shoulder.  Her  dress  is  edged  at  the  neck  with  lace,  a  wide  collar  of  point  lace 
falling  over  the  shoulders  ;  a  purple  rosette  is  fastened  in  the  centre  of  the  breast,  and 
a  knot  of  white  ribbon  at  the  back  of  her  head.  Sir  Digby  wears  a  wide  lace  collar 
and  laced  wristbands.     On  a  table  to  left,  covered  with  a  yellow  cloth,  is  an  astrolabe. 

Canvas,  54  in.  H.  x  83!-  in.  W. 

The  picture  has  been  often  copied.  Miniatures  of  the  two  principal  figures  by 
Peter  Oliver  are  in  the  possession  of  Wingfield  Digby,  Esq. 

Cat.  1 83 1.     Little  Drawing-Room. 


UNDERGROUND  GALLERY. 

SOUTH   WALL. 

375.  Angel  in  Contemplation.  Sir  Joshua  Reynolds. 

The  Angel,  in  red  drapery,  is  seated  on  clouds  towards  the  right  of  the  picture, 

leaning  his  head  on  his  right  hand,  the  left  resting  on  the  right  arm  ;  looking  upward 

at  a  vision  of  the  cross,  which  appears  in  a  glory  filling  nearly  the  whole  of  the  sky  above, 

dark  clouds  below ;   from  beneath  the  elbow  depends  a  scroll  with  a  Greek  inscrip- 


UNDERGROUND  GALLERY.J  ^T     WELBECK      ABBEY.  I07 

SOUTH  WALL.  -■  ' 

tion.  The  design  is  in  the  form  of  a  Gothic  arch,  the  spandrils  are  filled  with 
panels  and  rosettes  on  a  ground  of  gold. 

Canvas,  loi  in.  H.  x  ii8|^  in.  W. 

One  of  the  designs  for  the  Oxford  (New  College  Chapel)  Window.  This 
canvas  is  mainly  the  work  of  an  assistant.  The  surface  is  much  corroded  from  the  use 
of  bitumen. 

Bequeathed  to  the  3rd  Duke  of  Portland  by  Sir  Joshua  Reynolds. 

Cat.  1 83 1.     Gothic  Hall. 

Exhibited  at  Manchester,  1857.     Cat.  No.  159,  Modern  Masters. 

376.  Charity. 

Full  length  figure,  small-life  size  ;  looking  down  at  a  child,  who  stands  on  tip-toe 
with  outstretched  arms  to  left ;  she  holds  another  child  in  her  arms  wrapt  in  cloak, 
which  is  of  a  pale  red  colour,  the  petticoat  is  of  a  deeper  red. 

Canvas,  6'/^  in.  H.  x  ^o^  in.  W. 

This  and  the  three  companion  pictures  are  by  an  English  painter  much  under  the 
influence  of  Guido  Reni,  they  bear  little  or  no  resemblance  to  the  works  of  Sir  Joshua 
Reynolds,  to  whom  they  were  ascribed. 

Cat.  1 83 1.     Gothic  Hall. 

377.  Faith. 

Full  length  figure,  small-life  size,  to  right ;  looking  down,  holding  a  cup  in  her 
right,  and  cross  in  left ;  dark  yellow  dress  with  short  sleeves,  girdled  at  the  waist,  and 
below  the  breast ;  blue  mantle.     Background,  a  grey  niche  with  arched  top. 

Canvas,  67^  in.  H.  x  3o|-  in.  W. 

Cat.  1 83 1.     Gothic  Hall. 

378.  Religion  ? 

Full  length  figure,  small-life  size,  standing  to  left ;  looking  down,  her  arms  crossed 
over  her  breast ;  she  holds  a  lamb,  and  is  entirely  robed  in  white. 
Canvas,  67!^  in.  H.  x  30^  in.  W. 
Cat.  1 83 1.     Gothic  Hall. 

379.  Hope.  ' 

Full  length  figure,  small-life  size,  standing  to  left ;  looking  up,  her  hands  are 
joined  in  prayer ;  long,  dark,  loose  hair ;  dark  blue  dress,  light  scarf  over  shoulder, 
floating  behind. 

Canvas,  6y^  in.  H.  x  30^^  in.  W. 

Cat.  1 83 1.     Gothic  Hall. 


io8  CATALOGUE   OF   PICTURES  [underground  gallery, 

•-SOUTH  WALL-WEST  WALL. 

380.  Yew  Tree  at  Lorton,  near  Cockermouth.  George  Barret,  R.A. 

In  the  shadow  of  the  great  tree,  cattle  and  horses  reposing  ;  bridge  to  right,  distant 
hills  to  left. 

Canvas,  53J  in.  H.  x  76^  in.  W. 

The  views  depicted  in  this  set  of  pictures  by  Barret  were  identified  by  the  4th 
Duke  of  Portland,  by  whose  order  labels  were  attached. 

381.  Welbeck  from  the  Deer  Park. 

Sunset,  a  wooded  slope  in  the  foreground  with  deer. 
Canvas,  54^^  in.  H.  x  76!^  in.  W. 

382.  "  Seven  Sisters  "  Oak  Tree,  Welbeck. 

The  tree  stands  a  little  to  the  left,  the  trunk  divided  into  seven  forks  a  short 
distance  above  the  ground;  beneath  the  tree,  mares  and  foals.  Wooded  distance,  sheet 
of  water  to  right. 

Canvas,  51  in.  H.  x  41 J  in.  W. 

383.  Greendale  Oak,  Welbeck. 

The  venerable  trunk  has  lost  nearly  all  its  foliage,  only  the  stump  of  one  of  the 
arms  bears  a  few  small  leafy  branches  ;  the  hollow  trunk  has  been  tunnelled  through,      Jlj 
and  some  sheep  are  lying  within  its  shade.     Wooded  background.     On  the  road  to 
left  is  a  boy  with  a  flock  of  sheep  and  a  goat. 

Canvas,  50  in.  H.  x  402-  in.  W. 


WEST  WALL. 

384.  Hazel  Gap  Plantation.  George  Barret,  R.A. 

A  stream  in  the  foreground  with  wooded  banks ;  nearly  in  the  centre  a  boat,  in 
which  are  two  men,  one  fishing ;  swans  to  left,  and  horses  grazing  on  the  bank  to 
right. 

Canvas,  45  in.  H.  x  66  in.  W. 

View  taken  about  1767  from  the  Reindeer  Park  on  the  south  side  of  the  Great 
Wood ;  at  that  time  Bulstrode  Hill  was  about  twenty  years  old  and  the  Hazel  Gap 
Plantation  about  ten. 

385.  View  of  Welbeck. 

A  hill  in  the  foreground,  with  trees  and  deer,  a  sheet  of  water  beyond,  a  house  in 
the  distance,  evening  sky. 

Canvas,  39^^  in.  H.  x  50  in.  W. 


UNDERGROUND  GALLERY,-]  ^T     WELBECK      ABBEY.  lOQ 

west  wall-east  wall.  -•  "^ 

386.  Landscape,  View  in  Welbeck  Park.  George  Barret,  R.A. 

A  bridge  crosses  the  stream  in  the  middle  distance,  nearly  in  the  centre  of  the 
picture  ;  beyond  the  bridge  in  the  distance  is  a  mansion,  oak  tree  to  right ;  shepherds 
in  the  foreground  and  a  mare  and  foals. 

Canvas,  54!^  in.  H.  x  76  in.  W. 

This  picture  was  painted  in  1767.  The  bridge  shown  here  fell  during  building 
in  1768. 

387.  Welbeck  Park. 

A  slope  in  the  foreground  with  tall  trees  and  deer,  the  river  winding  below  ;  on 
a  point  of  land  in  the  middle  distance  is  a  clump  of  trees  and  a  group  of  deer,  one 
standing  by  the  water's  edge.  On  the  opposite  bank  of  the  river,  which  is  well  wooded, 
is  a  small  chapel ;  a  hill  in  the  distance. 

Canvas,  44|-  in.  H.  x  66  in.  W. 


EAST    WALL, 

388.  AiREY  Force.  George  Barret,  R.A. 

Below  the  hill  to  the  left  is  a  wooden  hut,  a  broken  mill-wheel  leaning  against 
the  wall ;  the  waterfall  is  crossed  by  a  rustic  bridge,  three  peasants  to  the  right  below 
the  bank  ;  above  the  stream  is  a  rainbow. 

Canvas,  45  in.  H.  x  66  in.  W. 

389.  River  Scene. 

The  river  winds  through  the  distance  on  the  left ;  a  shepherdess  and  two  boys 
with  a  flock  of  sheep  and  two  cows  are  on  the  near  bank  ;  low  hills  beyond,  a  couple  of 
trees  in  the  foreground  to  left. 

Canvas,  45  in.  H.  x  66  in.  W. 

390.  Roche  Abbey,  near  Welbeck. 

A  pool  of  water  in  the  foreground  to  left ;  on  the  bank  are  two  boys  and  a  dog  ; 
nearer  to  the  right  are  a  man  and  a  dog,  and  a  woman  with  a  child  is  seated  on  a  stone 
by  the  side  of  the  road.  In  a  vaulted  chamber  of  the  ruin  beyond,  a  cart  is  stabled,  and 
some  horses  are  grazing ;  a  gate  in  a  low  stone  wall  leads  to  a  flight  of  stone  steps ; 
the  ruins  are  much  overgrown  with  trees. 

Canvas,  45|-  in.  x  66  in.  W. 

391.  Roche  Abbey. 

The  ruins  are  on  the  left  of  the  picture ;  in  the  centre  is  a  path,  leading  through 
a  gate  in  a  low  stone  wall,  that  crosses  the  road  and  is  partly  built  on  a  slope  that  rises  to  a 


I  lo  CATALOGUE  OF   PICTURES  [underground  gallery, 

"-EAST  WALL-SOUTH  WALL. 

rocky  ridge  on  the  right,  a  grass  slope  and  trees  below.  In  the  foreground  to  the  left 
a  man  and  woman  with  a  dog  ;  on  the  path,  near  a  demolished  wooden  gate  leading 
by  the  side  of  the  ruins,  the  stones  of  the  wall  are  scattered  about ;  boulders  of  rock, 
and  dark  foliage  to  right. 

Canvas,  45 J  in.  H.  x  66  in.  W. 


SOUTH  WALL. 

392.  Zaccaria  Contarini.  Venetian  School. 

Three-quarter  length,  life  size,  to  right ;  his  right  hand  rests  on  a  vellum-covered 
book  which  lies  on  the  table,  pointing  with  left.  Black  dress  trimmed  with  fur,  dark 
green  curtain,  looped  up  at  back,  red  chair  to  right.  Inscribed  in  upper  left  corner, 
"  Sig""  Zacaria  Contarini." 

Canvas,  47  in.  H.  x  38  in.  W. 

Cat.  1 83 1.     Drawing- Room. 

393.  Sir  Thomas  Killigrew.     1611 — 1682.  Sheppard  or  Shepherd. 

Three-quarter  length,  life  size,  seated  to  right,  in  an  armchair,  his  head  resting 
on  his  right  hand ;  in  his  left  he  holds  the  MS.  of  "  Polidor,  or  the  Dream."  White 
satin  doublet  with  gold  buttons,  lined  with  brown  fur,  fur  cuffs  and  cap,  a  striped 
Venetian  scarf  round  his  waist,  a  blue  cloak  edged  with  gold  lace  has  fallen  from  his 
shoulders.  Long  fair  curly  hair,  moustache,  and  imperial.  On  his  right  wrist  is  a 
mourning  bracelet  tied  with  black  ribbon,  a  miniature  attached.  On  the  wall  at  the 
back  is  an  oval  portrait  of  Charles  I.  in  armour  wearing  the  blue  ribbon,  inscribed 
"C.R.I.,"  surmounted  by  the  Royal  Crown.  Red  curtain,  chair,  and  table-cloth, 
fastening  at  the  corners,  trimmed  with  gold  braid,  loops,  and  buttons.  On  the  table 
are  a  number  of  books,  inscribed  with  the  names  of  Killigrew's  plays  ;  in  front  a  brown 
dog  looking  up  at  his  master,  on  the  dog's  collar  is  engraved  "  Tho.  Kill " 

Canvas. 

Engraved  by  Faithome  as  a  frontispiece  to  Killigrew's  plays,  1664. 

394.  Dutch  Landscape. 

The  foreground  to  the  left  is  a  plateau  on  the  slope  of  a  hill ;  against  the  hill-side 
is  built  a  rude  stone  house  with  a  chimney  and  thatched  roof ;  near  the  entrance  a  man 
is  shoeing  a  mule,  a  woman  and  child  standing  by,  some  cattle  and  a  boy  complete  the 
group.  On  the  road  beyond  is  another  lad  with  a  dog,  driving  a  mule ;  to  the  extreme 
left  a  man  and  woman  are  asleep,  with  a  dog  at  their  feet ;  a  man  seated  on  the  back 
of  a  mule  is  talking  to  a  shepherdess  ;  a  mule,  goats,  and  sheep,  are  reposing  in  the 


UNDERGROUND    GALLERY,-!  AT     WELBECK      ABBEY.  TIT 

SOUTH  WALL.  -■  '  '  ' 


foreground ;  more  to  the  right,  by  a  group  of  tall  trees  in  the  centre,  a  shepherd  leans 
on  his  staff;  below  the  hills  to  the  right  is  the  bed  of  a  torrent  crossed  by  a  rustic 
bridge,  wooded  banks  and  hill-side,  with  ruins  on  the  slope. 
Canvas,  19  in.  H.  x  28  in.  W. 

395.  William  Henry  Cavendish  Bentinck,  3RD  Duke  of  Portland?     1738 — 1809. 

Half  length,  life  size,  to  left ;  plum-coloured  coat  and  waistcoat,  lace  cravat  and 
ruffles  ;  hair  powdered,  and  tied  with  black  ribbon,  chin  clean  shaven  ;  the  right  hand 
thrust  in  breast  of  waistcoat.     Earth  bank  to  right,  and  grey  sky. 

Canvas,  30  in.  H.  x  25  in.  W. 

396.  Dorothy  Cavendish,  Wife  of  William  Hy.  Cavendish  Bentinck,  3RD  Duke  of 
Portland. 

Bust,  life  size,  seated  to  left ;  the  left  arm  supported  on  a  stone  ledge,  the  head 
turned  to  the  spectator,  nearly  full  face  ;  dove-coloured  dress  with  gold  hem,  orange 
scarf  round  her  waist,  the  light  brown  hair  is  drawn  up  on  the  top  of  the  head  and 
tied  with  pink  ribbon,  two  loose  plaits  hang  down  over  either  shoulder ;  she  is  seated 
against  a  rock,  landscape  and  sky  to  left. 

Canvas. 

Dorothy  Cavendish,  daughter  of  4th  Duke  of  Devonshire,  born  1750,  married 
William  Henry  Cavendish  Bentinck,  3rd  Duke  of  Portland. 

397.  Charles  I.,  as  a  Child,  with  a  Greyhound.     1600 — 1625 — 1649. 

Full  length,  life  size,  standing  to  left,  nearly  full  face ;  green  velvet  dress  braided 
with  gold,  red  silk  lining  ;  red  scarf,  by  which  hangs  a  sword,  the  left  hand  rests  on  the 
hilt ;  in  his  right  he  holds  a  small  gun,  resting  on  his  hip ;  the  sleeves  are  open  and 
show  the  under  vest  with  tight  sleeves  of  white  and  gold  brocade,  ruff  and  wristbands 
edged  with  point  lace ;  a  white  and  tan  greyhound  to  left,  with  red  velvet  collar  edged 
with  gold.  To  right  is  a  table  covered  with  a  red  cloth  braided  at  the  corner,  on  which 
lies  a  grey  felt  hat  with  a  white  feather,  the  brim  is  looped  up  with  a  jewel,  and  has  a 
plaited  band  of  gold  cord.     The  right  foot  is  advanced  ;  white  shoes  with  spurs ;  light 

brown  hair.     Signed  in  the  right  lower  corner,  „  tvt  >> 

Canvas. 

From  the  Northwick  Collection,  1859.     Sale  Cat.  No.  47. 

Stuart  Exhibition,  New  Gallery,  1889.     Cat.  No.  66. 

398.  Dutch  Interior. 

By  a  table  to  left,  covered  with  cards  and  pipes,  stands  a  bare-footed  man,  he 
points  to  the  cards  on  the  table  with  his  left,  while  declaring  a  number  with  his  right ; 


112  CATALOGUE   OF    PICTURES  [underground  gallery. 

/  LcnilTH    WAIT 


SOUTH  WALL. 


by  his  side  another  man  is  seated,  with  a  glass  in  his  right  resting  on  the  table ;  he 
points  with  his  left  to  a  man  drinking  from  a  jug,  on  the  opposite  side  of  the  table. 
To  the  right  are  some  tubs,  and  various  earthenware  utensils ;  three  ducks  are  in  the 
foreground.  A  boy  is  leaning  on  a  barrel,  with  his  arms  folded,  looking  at  the  card 
players,  a  smaller  child  stands  opposite  with  his  hands  on  the  edge ;  above  is  a  hay 
rack.  In  the  inner  apartment,  a  woman  and  boy  are  seated  by  the  fire. 
Panel,  22f  in.  H.  x  28^  in.  W. 


399.  Elizabeth  Vernon,  Wife  of  Henry  Wriotheslev,  3RD  Earl  of  Southampton. 

Three-quarter  length,  life  size,  seated  to  left ;  black  dress  with  white  flowered 
pattern,  the  upper  part  of  the  bodice  and  puffs  of  sleeves  slashed  and  lined  with  scarlet 
and  embroidered  with  flowers ;  the  lower  edge  of  the  corset  is  finished  with  a  chain 
of  coloured  stones  set  in  gold,  sewn  on  a  band,  fastened  at  the  point  of  the  bodice  with 
a  gold  clasp.  She  wears  a  cap  with  a  narrow  lace  border,  the  edging  of  pearls, 
arranged  in  points  like  lace,  with  three  pear-shaped  pearls  of  larger  size  on  the  points 
in  front ;  point  lace  ruff  and  cuffs  ;  gold  collar,  with  a  jewel  attached  to  the  front  of  the 
bodice,  on  the  left  side  is  pinned  a  medallion  with  a  scarlet  ribbon,  two  rings  on  the 
third  finger  of  left  hand,  one  of  which  is  attached  to  the  wrist  by  a  cord,  dark  hair, 
■pearl  pendent  ear-rings.  The  right  hand  rests  on  a  red  feather  fan,  the  left  on  the 
arm  of  the  chair,  which  is  covered  with  green  velvet  and  studded  with  round-headed 
brass  nails,  green  curtain  to  left,  dark  background.  Inscribed  in  the  left  lower  corner, 
"  Elizabeth  Vernon,/  C^^-  of  Southampton." 

Canvas,  6i|-  in.  H.  x  42  in.  W. 

Elizabeth  Vernon,  called  "  The  Fair  Mrs.  Vernon,"  daughter  of  J.  Vernon  of 
Hodnet,  married  Henry  Wriothesley,  3rd  Earl  of  Southampton,  the  friend  of 
Shakespeare. 

From  Bulstrode,  No.  49. 

Exhibited  at  Manchester,  1857.     Cat.  No.  32. 


400.  Mr.  Cleaver.     ^  Sir  Joshua  Reynolds. 

Three-quarter  length,  life  size,  seated  to  left ;  in  a  light  grey  suit ;  his  hands  are 
clasped  in  front ;  grizzled  hair.    A  black  wide-awake  hat  lies  on  the  table,  with  his  gloves 
in  front  of  him.     The  table  is  covered  with  grreen  cloth,  similar  in  colour  to  the  chair, 
which  is  studded  with  brass  nails ;  dark  brown  background,  sky  to  left. 
Canvas,  50;^^  in.  H.  x  40  in.  W. 
•     Mr.  Cleaver  was  for  many  years  agent  at  Welbeck  for  the  3rd  Duke  of  Portland. 
Cat.  183 1.     Dining- Room. 


UNDERGROUND  GALLERY,-]  ^T     WELBECK      ABBEY.  II, 

WEST   WALL.  -'  *  J 


WEST  WALL. 


WEST  WALL. 

401.  Frances  Seymour,  Wife  of  Thos.,  4th  Earl  of  Southampton. 

Full  length,  life  size,  seated,  her  left  hand  pressed  to  her  breast ;  holding  a  grey 
scarf  which  crosses  the  right  shoulder,  the  end  of  which  is  held  in  her  right  White 
satin  dress  with  full  sleeves,  looped  up  at  the  elbow  and  fastened  with  pearls  ;  pearl 
necklace,  and  large  drop  ear-rings ;  a  small  curl  in  centre  of  forehead,  two  long 
ringlets  fall  to  the  shoulders.  On  a  table  to  left,  covered  with  a  red  cloth,  is  a 
coronet;  landscape  background,  dark  grey  sky,  column  and  red  curtain  to  right. 
Inscribed  below  to  the  left,  "  Frances  Seymour,/  O  of  Southampton." 

Canvas. 

Gran'daughter  of  Francis  Devereux,  Earl  of  Essex,  daughter  of  William,  2nd 
Duke  of  Somerset,  3rd  wife  of  Thomas,  4th  Earl  of  Southampton,  afterwards 
married  Conyers,  2nd  Earl  of  Holderness. 

From  Bulstrode,  No.  31. 

402.  William  Wentworth,  2nd  Earl  of  Strafford.  Maria  Verelst. 

Full  length,  life  size,  standing  to  left,  in  Garter  Robes ;  right  on  hip,  left  holding 
cloak ;  hat  on  table  to  left,  covered  with  brown  cloth ;  brown  wig,  lace  cravat ;  fluted 
column  to  right,  sky  to  left;  dark  background.  Inscribed  "Will".  Wentworth 
2°  Earl  of  Strafford  Married  2  Wifes  i"  Lady  Mary  Stanley,  Eldest/ 
Daughter  to  James  Stanley,  Earl  of  Derby,  2°  Henrietta,  Daughter  to 
Frederick  Charles  du  Roy." 

Canvas,  96  in.  H.   x   58  in.  W. 

Cat.  1747.     Grand  Saloon,  No.  21. 

403.  Lady  Frances  Cranfield,  Wife  of  Richard,  5TH  Earl  of  Dorset.    After  Vandyck. 

Full  length,  life  size,  standing  to  left ;  white  satin  dress,  blue  lining  to  upper 
sleeve ;  right  hand  raised,  holding  thin  grey  scarf  that  passes  across  the  left  arm  and 
floats  behind  her,  the  left  arm  outstretched ;  dark  hair  worn  off  the  forehead  in 
clusters  of  curls  on  either  side  of  the  head,  the  knot  at  the  back  is  ornamented 
with  strings  of  pearls.  Landscape  background,  tall  trees  to  left,  and  rock  to  right 
Inscribed  below  to  left,  "  Lady  Frances  Cranfield/  0\  of  Dorset." 

Canvas. 

Lady  Fs.  Cranfield,  Daughter  of  Lionel  Cranfield,  E.  of  Middlesex,  married  about 
1636,  Richard  5th  Earl  of  Dorset 

From  Bulstrode,  No.  43.     There  is  a  copy  also  at  Windsor  Castle. 

404.  Charles,  Lord  Viscount  Mansfield,  and  his  Brother,  Lord  Henry  Cavendish, 
Sons  of  William,  ist  Duke  of  Newcastle.  After  Vandyck. 

Three-quarter  length  figures,  life  size.  Lord  Henry  on  the  right,  faces  to  left,  and 
turns  towards  the  spectator ;  he  is  dressed  in  a  white  satin  doublet,  with  small  lace 

Q 


114  CATALOGUE   OF   PICTURES  punderground  gallery, 

~  l-WF.ST  WAIT.. 


collar  and  blue  cloak,  his  right  on  his  breast,  the  left  lightly  touching  bent  leg,  hilt  of 
sword  seen  beneath  cloak ;  Ld.  Mansfield  fronts  the  spectator ;  his  left  on  his  sword, 
the  right  hanging  by  his  side ;  dark  green  velvet  doublet,  and  yellow  cloak ;  the 
doublet  is  fastened  with  gold  rose-shaped  buttons  showing  shirt  beneath ;  small  lace 
collar  and  strings  ;  dark  hair.     Red  curtain  to  left ;  dark  background. 

Canvas,  5i|^  in.  H.  x  51^^  in.  W. 

Cat.  1747.     Servants'  Room,  No.  i. 

There  is  no  doubt  as  to  the  personages  here  represented,  but  with  the 
exception  of  the  heads,  the  whole  is  copied  from  the  well-known  picture  of  Lord  John 
and  Lord  Bernard  Stuart,  by  Vandyck,  belonging  to  Earl  Cowper ;  another  example 
belongs  to  Earl  Darnley. 

405.  Henry,  2nd  Duke  of  Newcastle. 

Full  length,  life  size,  standing  to  left ;  red  doublet  lined  with  white  silk,  blue 
mantle  lined  with  white,  doublet  ornamented  with  lace  and  ribbons,  white  stockings, 
buff-coloured  shoes  with  red  heels,  wearing  George  and  collar ;  right  arm  extended, 
the  left  on  his  hip  covered  by  his  blue  mantle ;  hair  curling  to  shoulders,  lace  cravat. 
Dark  background,  red  curtain  to  right.  Inscribed  "  Henry  2"  Duke  of  Newcastle, 
married/  Frances  Eldest  Daughter  to  W"  Pierepont  Esq"." 

Canvas,  87  in.  H.   x   53  in.  W. 

Exhibited  at  Manchester.     Cat.  No.  187. 

406.  Stag  Hunt.  Snyders. 

A  Stag  to  the  right,  pursued  by  seven  dogs,  the  eighth  has  been  tossed  by 
.    the  stag,  three  others  are  barking  in  front,  to  right.     A  pool  of  water  in  the  centre, 
open  wooded  landscape  background,  a  willow  tree  on  the  bank,  to  the  extreme  left. 
Canvas,  70  in.  H.  x   136  in.  W. 
Cat.  183 1.     Dining-Room. 

407.  Bear  Hunt.  Snyders. 

Twelve  dogs  attacking  a  couple  of  brown  bears ;  to  right,  the  bear  standing 
upright,  hugs  a  dog  with  his  forepaws,  while  another  seizes  him  by  the  ear,  a  third 
biting  him  in  the  leg  in  front,  a  fourth  barking  with  his  tail  between  his  legs,  a  fifth 
dog  (of  which  the  hind  quarters  only  are  visible)  is  behind,  apparently  'hors  de 
combat,'  the  head  of  another  is  seen  to  the  extreme  right.  The  cub  to  left  is  closely 
pressed  by  three  dogs,  a  fourth  beneath  him  seizes  him  by  the  leg,  another,  badly 
hurt,  is  rolling  on  the  ground,  in  the  centre  of  the  foreground,  the  head  of  a  sixth  is 
seen  to  the  left,  apparently  hurt,  but  barking  vigorously.  Open  landscape  background, 
with  tall  trees  to  left. 

Canvas,  84!  in.  H.   x   12,6^  in.  W. 

Cat.  1 83 1.     Dining-Room. 


UNDERGROUND  GALLERY,    WKST-I  y^-p     WELBECK      ABBEY.  IM 

WALL-NORTH  WALL-EAST  WALL.-"  J 


408.  Boar  Hunt.  Attributed  to  Snyders. 

The  boar,  nearly  spent,  stands  with  his  shoulder  against  the  trunk  of  an  oak  tree, 
attacked  by  four  dogs  ;  a  fifth,  badly  wounded,  lies  on  his  back  in  front  of  the  boar, 
in  the  centre  of  the  picture;  a  bank  to  the  right,  open  wooded  landscape  to 
left,  with  low  hills. 

Canvas,  83  in.  H.  x   138  in.  W. 

Cat.  1 83 1.     Dining-Room. 


NORTH   WALL. 

409.  Boar  Hunt.  Snyders. 

A  boar  has  been  brought  to  bay  at  the  foot  of  a  tree  and  is  attacked  by  twelve 
dogs.  The  boar  appears  to  have  a  decided  advantage,  as  the  nearer  dogs  show  some 
hesitation  in  attacking  him,  and  five  are  either  badly  wounded  or  killedj  only 
the  nose  of  the  twelfth  dog  is  seen  in  the  picture  ;  open  landscape  and  thickly  wooded 
bank  to  the  left. 

Canvas,  8i|-  in.  H.  x  137  in.  W. 

Cat.  1 83 1.     Hall. 


410.  Hawking.  Snyders. 

Four  dogs  are  rousing  the  grouse  from  the  cover,  and  two  hawks  are  seizing 
them  on  the  wing ;  one  dog  is  to  the  right  on  a  bank,  another  is  scenting  the  ground  in 
front,  a  third  is  looking  at  one  of  the  hawks  and  barking,  while  the  fourth,  near  the 
stump  of  a  tree  on  a  bank  to  right,  is  barking  at  the  birds  he  has  roused.  Open  land- 
scape background. 

Canvas,  70  in.  H.  x  135  in.  W. 

Cat.  1 83 1.     Dining-Room. 

Exhibited  at  the  British  Institution,  1855. 


EAST  WALL. 

411.  Bull  Baiting.  Snyders. 

A  dark  brown  bull  is  defending  himself  from  seven  dogs ;  two  lie  behind  him 
'  hors  de  combat,'  he  has  just  tossed  the  third  in  the  air,  and  with  his  horns  low  on 
the  ground  he  fronts  the  remaining  four.     Low  landscape  and  trees  to  left. 
Canvas,  8o|-  in.  H.  x  I4i|-  in.  W. 
Cat.  1831.     Hall. 


,i6  CATALOGUE   OF    PICTURES  [-underground  gallery. 

*  "-EAST  WALL  — WEST  WALL. 

412.  Boar  Hunt.  De  Vos. 

A  sow  with  a  litter  of  young  ones  attacked  by  eight  dogs ;  the  old  boar  has  just 
repulsed  the  attack  of  a  black  and  white  dog  who  is  falling  backwards,  another  is  rolling 
on  the  ground  in  the  centre,  three  others  are  racing  up  the  slope  to  left,  and  the  head 
of  the  fourth  appears  on  rising  ground  to  the  right ;  two  dogs  have  each  a  cub  by  the 
ear,  and  one  is  dragging  his  prey  away.  Open  landscape,  a  river  in  the  distance  to 
left. 

Canvas,  81  in.  H.  x  94  in.  W. 

Cat.  1 83 1.     Hall. 


WEST   WALL. 

413.  James  II.     1633 — 1685 — 1701. 

Full  length,  life  size,  standing  to  right,  in  armour;  blue  velvet  coat  lined  with 
ermine,  fastened  to  right  shoulder,  long  grey  wig,  lace  cravat ;  he  wears  the  Garter 
and  a  Medallion  of  St.  George  attached  to  a  blue  ribbon  on  his  right  side  ;  he  holds  a 
sceptre  in  his  right,  his  left  on  hip,  the  regalia  on  a  pedestal  to  left.  Background,  wall 
and  parapet,  sky  to  right.     Inscribed  below  in  gold  letters,  "III.  James  :  VII.  1685." 

Canvas. 

414.  Christopher  Monk,  2nd  Duke  of  Albemarle.     D.  1687. 

Full  length,  standing,  nearly  full  face ;  in  the  robes  of  the  Garter,  wearing  the 
George ;  he  points  downwards  with  his  right  towards  a  plumed  hat  which  is  on  the  floor, 
and  with  the  left  gathers  up  the  end  of  his  blue  velvet  cloak;  long,  dark,  curled  wig, 
white  stockings,  grey  shoes  with  red  heels  and  jewelled  ornaments  ;  the  sleeves  of  the 
doublet  are  decorated  with  rows  of  pearls,  looped  up  above  the  wrist  showing  the  lace 
edged  shirt  beneath.  Dark  background  and  chequered  pavement.  Inscribed  below  to 
right,  "  Christopher  Monk/  2°  Duke  of  Albemarle." 

Canvas,  87  in.  H.  x  54  in.  W. 

Christopher  Monk,  2nd  Duke  of  Albemarle,  son  of  General  Monk,  ist  Duke, 
Governor  of  Jamaica,  and  Commander-in-Chief  of  all  plantations  belonging  to  England 
in  the  West  Indies,  died  at  Jamaica  soon  after  his  arrival  in  1687.  Married  Elizabeth, 
daughter  of  Henry  Cavendish,  2nd  Duke  of  Newcastle. 

Exhibited  at  Manchester,  1857.     Cat.  No.  190. 

415.  Lady    Elizabeth    Cavendish,    Wife    of    Christopher    Monk,    2nd    Duke    of 
Albemarle. 

Full  length,  life  size,  seated  to  left ;  in  an  armchair,  with  her  feet  on  a  velvet 
cushion  ;  white  and  gold  brocade  dress,  blue  velvet  mantle  lined  with  ermine  ;  her  right 
is  placed  on  the  arm  of  the  chair,  and  the  left  elbow  rests  on  the  back,  which  is 


UNDERGROUND  GALLERY.-I  JS^J      WELBECK     ABBEY.  117 

WEST  WALL.  -•  / 

covered  with  the  folds  of  her  mantle ;  dark  background ;  to  left  is  a  stone  vase  of 
antique  shape,  yellow  curtain  to  right.  Inscribed  below  in  right  corner,  "Elizabeth 
Cavendishe,  1^7  Daughter  to  Henry,  Duke/  of  Newcastle,  married/  to  Chris- 
topher Monk,/  2°  Duke  of  Albemarle." 

Canvas,  87  in.  H.  x  52^  in.  W. 

She  married  andly,  Ralph,  Earl,  and  afterwards  Duke  of  Montagu. 

Cat.  1747.     Great  Dining- Room,  No.  5. 

Exhibited  at  Manchester,  1875.    Cat.  No.  189. 

416.  Louis  XV.,  AS  A  Child.     1710 — 1774.  Vanloo  ? 

Whole  length,  life  size,  seated  on  a  throne  ;  blue  velvet  mantle,  powdered  with 
fleur-de-lis  and  lined  with  ermine,  wearing  collar  and  star ;  gloved  hands,  lace  ruffles 
and  cravat,  black  wig ;  his  feet  rest  on  a  blue  velvet  cushion  covered  with  fleur-de-lis, 
like  the  robe  ;  holding  sceptre  in  right,  which  rests  on  the  arm  of  the  chair ;  pointing 
with  left ;  table  to  right  covered  with  crimson  velvet  cloth,  the  step  of  the  throne  is 
covered  with  a  heavy  gold  and  silver  brocade,  a  similar  curtain  above ;  fluted  columns 
in  the  background,  a  garden  to  right,  sphinxes  at  the  base  of  the  throne. 

Canvas. 

417.  Christopher  Monk,  2nd  Duke  of  Albemarle.     D.  1687. 

Full  length,  life  size,  standing  to  right,  in  Garter  Robes ;  right  on  his  hip,  left 
resting  on  plumed  hat,  placed  on  saffron-coloured  curtain  drapery  to  right ;  black  wig 
and  lace  cravat;  grey  background,  column  to  left.  Inscribed  "  Christopher  Monk, 
2D  Duke  of  Albemarle,  married  Elizabeth/  Cavendishe  Eldest  Daughter 
OF  Henry  Duke  of  Newcastle." 

Canvas,  95  in.  H.  x  59  in.  W. 

Cat.  1747.     Grand  Saloon,  No.  4. 

418.  A  Wolf  Hunt.  De  Vos. 

A  wolf  that  has  killed  a  fawn,  whose  carcass  lies  in  the  centre  of  the  foreground, 
is  attacked  by  six  dogs  ;  the  wolf  has  seized  one  dog  by  the  hind  quarters,  and  is  seized 
in  turn  by  the  right  forepaw  by  another,  the  heads  of  the  other  four  dogs  are  seen  right 
and  left  of  the  canvas ;  a  wood  to  right,  and  fallen  trunk  ;  open  landscape  to  left. 

Canvas,  54  in.  H.  x  81  in.  W. 

Cat.  1 83 1.    Hall. 

419.  Edward  Harley,  2nd  Earl  of  Oxford  and  Mortimer.     Michael  Dahl,  1728. 

Full  length,  life  size,  standing,  in  Peer's  Robes  ;  holding  coronet  in  right.    Brown 
background,  a  niche  with  a  shell  dome  to  right.     Signed  "  M.  Dahl,  pinx""  1728." 
Canvas,  95  in.  H.  x  58  in.  W. 


ii8  CATALOGUE   OF    PICTURES  [underground  gallery 


WEST  WALL. 


Edward  Harley,  2nd  Lord  Oxford,  married  Lady  Henrietta  Cavendish  Holies, 
only  child  of  John  Holies,  Duke  of  Newcastle,  he  was  father  of  Lady  Margaret 
Cavendish  Harley,  who  married  the  2nd  Duke  of  Portland.  Lord  Oxford  was  the 
collector  of  the  Harleian  MSS. ;  died  1741. 

Engraved  by  Vertue. 

From  Bulstrode  ?    No.  22. 

420.  Denzil  Holles,  Baron  of  Ifield,  afterwards  Lord  Holles.     1597 — 1680. 

Maria  Verelst. 

Full  length,  life  size,  full  face,  in  Peer's  Robes ;  his  right  rests  on  his  hip,  his  left 
on  the  table  to  right,  on  which  is  placed  a  coronet ;  long  wig,  lace  cravat ;  curtain  and 
column  to  right,  sky  to  left.  Inscribed  "  Denzil  Holles,  Baron/  of  Ifield  married 
3  wiFES,  i^^  Dorothy  &  heir  to  S".  Francis  Ashley  by  whom  he  had  4/  Sons 
2°  Jane  y^  Eldest  Daughter  &  Coheir  to  S".  John  Shirley  3°  Hesther  the 
Second  Daug'^"./  &  Coheir  to  Gideon  le  Lou,  Lord  of  the  Mannor  of  Columbiers 
IN  Normandy." 

Canvas,  96  in.  H.  x  59  in.  W. 

Cat.  1747.     Servant's  Room,  No.  2. 

421.  Francis  Holles,  Baron  of  Ifield. 

Full  length,  life  size,  standing  to  left,  in  Peer's  Robes ;  his  right  hand  gloved, 
rests  on  the  table,  covered  with  green  cloth,  on  which  is  placed  a  coronet,  holding  a 
stick  in  his  left ;  dark  background,  curtain  looped  up  to  right ;  on  the  left,  arms  with 
motto,  "  Spes  audaces  adiuvat  ;  "  eastern  carpet.  Inscribed  "  Francis  Holles,  Baron 
of  Ifield,  had  2  Wifes,  1"  Lucy,  the  youngest  Daughter  to  S".  Robert/  Carr  of 
Sleford,  2°  Ann,  the  Eldest  Daughter  &  Coheir  to  S*.  Francis  Pile,  of 
Compton/  Beaucham  in  Berks." 

Canvas,  91  in.  H.  x  53^  in.  W. 

Cat.  1747.     Dressing- Room,  No.  9. 

422.  The  Countess  of  Oxford's  Dun  Mare.  J.  Wootton. 

Held  by  a  groom  in  blue  livery,  to  right ;  landscape  background,  tall  trees  to  left, 
a  sheet  of  water  in  the  middle  distance. 
Canvas,  50  in.  H.  x  4o|^  in.  W. 
Cat.  1747.     Vestibule,  No.  13. 

423.  Portrait  of  a  General  on  Horseback. 

Small  whole  length,  in  steel  armour,  to  left ;  he  wears  a  slouched  hat  with  a  grey 
feather,  a  yellow  scarf  with  gold  fringe  round  his  waist,  and  is  mounted  on  a  grey 
horse.     A  page,  in  blue,  holds  his  Master's  helmet,  which  has  plumes  of  orange 


UNDERGROUND  GALLERY,-!  Ji^J     WELBECK      ABBEY.  IIO 

WEST  WALL.  ■' 

feathers.  In  the  low  ground,  seen  beneath  the  horse's  belly,  are  tents  and  soldiers, 
horse  and  foot ;  view  of  a  town  in  the  distance. 

Canvas. 

Cat.  1747.  West  Drawing- Room.  "  Prince  Maurice  of  Nassau  on  Horseback  in 
little."    This  entry  of  a  picture,  hitherto  unrecognized,  possibly  refers  to  the  above. 

424.  Portrait  of  a  Lady. 

Small  half  length,  to  right ;  red  dress  with  white  sleeves,  and  lace  cloak ;  holding  a 
mirror  in  her  right,  the  left  resting  on  a  green  cushion ;  the  red  table  cloth  in  front  of 
her  is  covered  with  an  open  lace  cloth. 

Panel,  13I  in.  H.  x  lof  in.  W. 

425.  Landscape.  J.  Wootton. 

In  the  foreground  to  right,  is  a  lady  in  an  open  carriage,  drawn  by  six  horses 
with  an  out-rider ;  more  to  the  right  is  a  mounted  groom  with  a  led  horse.  In  the 
background  is  a  house  and  garden,  flanked  by  long  avenues  of  trees,  with  obelisks  at 
the  cross  paths ;  on  the  hill  behind  the  house  is  a  small  circular  building.  A  party  of 
gentlemen  in  the  foreground  to  the  left,  and  a  horse  held  by  a  groom  near  a  tree. 
Signed  "J.  Wootton  fecit." 

Canvas,  45  in.  H.  x  50  in.  W. 

Cat.  1747.  Upper  East  Apartment,  Dressing- Room,  No.  2.  A  view  of  the  seat 
of  Lord  Clinton  in  Cornwall  ? 

426.  A  Fair,  with  the  contrast  between  Carnival  and  Lent.  Brueghel? 

The  scene  is  an  open  square,  with  a  church  in  the  background  to  the  right,  the 
interior  is  seen  through  the  open  door ;  from  a  side  door  issue  a  number  of  old  women 
with  black  cloaks,  and  men  in  brown,  some  carrying  their  chairs  on  their  heads  ;  a  little 
to  the  left  is  a  shop  with  eatables  exposed  for  sale,  and  a  boy  seated  on  the  window  sill 
above,  with  his  legs  dangling  below.  In  the  street  at  the  side,  which  is  flanked  with  a 
row  of  houses  and  shops,  is  a  procession  of  old  people  in  brown  cloaks,  in  the  distance 
are  peasants  dancing  in  a  ring ;  at  the  corner  of  the  street,  to  the  left,  a  man  is  standing 
on  a  barrel  drinking,  while  a  man  empties  a  bucket  on  his  head  from  a  window  above,  to 
the  delight  of  the  children  who  are  standing  round ;  near  by  is  a  mock  procession, 
headed  by  a  man  in  a  long  robe  bearing  a  sword,  a  little  in  front  is  a  man  with  a  cross 
bow,  and  other  figures,  who  appear  to  belong  to  the  party,  are  receiving  gifts  from 
the  occupants  of  a  house  near ;  two  crooked  staves  project  from  the  wall  of  the 
house  above  the  porch.  To  the  extreme  left  in  the  foreground  is  an  inn,  with  a 
flaming  beacon  hanging  out  of  the  lower  window,  a  sign  with  a  boat  painted  on  it 
above,  hanging  from  a  red  painted  bar.  At  the  street  corner  are  placed  a  couple  of 
barrels  with  jugs  and  glasses,  a  procession  is  passing  near,  headed  by  a  man  playing 


I20  CATALOGUE   OF   PICTURES  [underground  gallery, 

on  a  shovel,  the  procession  is  accompanied  by  a  tented  structure  carried  on  long 
poles,  and  two  figures  dancing.  In  the  square  is  a  group  of  five  cripples,  beyond  are 
two  figures  on  their  knees  gambling,  and  a  group  of  four,  throwing  pots  and  kettles  to 
one  another  to  catch,  the  shards  of  a  broken  pot  lie  on  the  ground.  In  the  centre  of  the 
square  is  a  fish-woman's  stall  and  a  well,  with  a  woman  drinking  from  a  bucket,  beyond 
are  children  playing  with  whipping  tops ;  near  the  well  is  a  pig,  a  group  of  maskers 
whose  backs  are  turned  to  the  spectator  and  an  old  woman,  seated,  making  gaufifre 
cakes.  The  foreground  is  occupied  with  two  processions  encountering,  representing 
the  battle  between  Carnival  and  Lent,  or  the  Fat  and  the  Lean ;  a  fat  man  is  seated 
astride  a  barrel,  drawn  on  a  sledge,  with  his  feet  in  cooking-pots,  he  holds  a  spit 
spear-wise  on  which  are  trussed  a  pig's  head,  a  fowl,  and  other  eatables,  including  a 
sausage  dangling  by  a  string ;  on  his  head  is  a  pie  dish,  with  the  legs  of  a  pigeon 
protruding  from  the  pie,  a  ham  is  fastened  to  the  head  of  the  barrel  with  a  knife  ;  he  is 
followed  by  a  motley  crew ;  the  man  who  is  pushing  the  barrel  has  a  string  of  egg- 
shells about  him,  another  has  a  cooking-pot  for  a  helmet,  and  is  playing  a  musical 
instrument ;  he  is  followed  by  a  woman  with  a  salt  box,  wearing  a  necklace  of  egg- 
shells, another  bears  a  round  tray  with  cakes,  holding  a  candlestick  in  one  hand,  and  a 
cup  in  the  other;  this  company  is  encountered  by  another,  in  which  an  old  woman 
with  a  cross  on  her  forehead,  and  a  basket  on  her  head,  is  seated  in  a  chair  on  a  red 
trolley,  drawn  by  a  man  and  woman  in  white  and  brown  dresses ;  the  man  has  a  black 
hood,  with  a  long  point  attached  to  the  girdle  at  his  back  ;  the  old  woman  encounters 
the  fat  man  with  a  shovel,  on  which  are  a  couple  of  fishes.  On  the  trolley  is  a  pan  of 
mussels  and  other  Lenten  fare,  the  car  is  followed  by  children,  bearing  what  is 
probably  a  kind  of  rattle.  To  the  right  in  the  foreground,  are  cripples  and  people 
bestowing  alms,  and  to  the  left,  gamblers. 
Panel,  47  in.  H.  x  6^^  in.  W. 

427.  The  Dutch  Fleet  at  Anchor.  Wm.  Vandevelde  the  elder,  1685. 

In  the  foreground  are  nine  small  boats  full  of  men,  five  being  near  the  principal 
vessel,  two  others  are  near  a  sloop  to  the  right,  another,  in  shadow,  separate  from  the 
rest  and  nearer  the  spectator.  Imitation  of  a  pen-and-ink  drawing,  in  black  on  a  white 
ground.     Signed  in  the  left  lower  corner,  "W.  V.  Velde  1685  .  .  hondt  74  Jaren." 

Canvas,  4oJin,  H.  x  58  in.  W. 

428.  Holy  Family  with  Angels.  After  Raphael. 

Known  as  the  "  Madonna  of  Francis  I.,"  from  the  original  picture  in  the  Louvre, 
having  been  painted  for  that  King. 
Canvas,  78^^  in.  H.  x  54  in.  W. 
Cat.  1 83 1.     Drawing- Room. 


UNDERGROUND  GALLERY.-]  ^T     WELBECK     ABBEY.  121 

WEST  WALL.  ■■ 

429.  Sir  Edward  Harley,  K.B.     D.  1700.  Lely  ? 

Three-quarter  length,  Hfe  size,  standing  to  left ;  in  a  buff  coat  and  gorget,  the 
sleeves  of  his  doublet  are  embroidered  with  silver,  a  broad  red  silk  scarf  with  a  border 
of  gold  lace  crosses  his  breast,  plain  band  ;  a  staff  in  his  right,  the  left  rests  on  the  hilt 
of  his  sword.     Inscribed  to  left  below,  "S"-  Edw°-  Harley." 

Canvas,  48!^  in.  H.  x  39^^  in.  W. 

Sir  Edward  Harley,  K.B.  of  Brampton  Bryan  Castle  in  Hertfordshire,  raised  a 
regiment  for  Charles  I.  M.P.  for  Hertford  in  Restoration  Parliament,  father  of 
ist  Earl  of  Oxford,  died  1700.  His  first  wife  was  Mary  Button,  daughter  of  Sir 
William  Button  of  Parkgate,  Devonshire. 

Cat.  1747.     In  the  South  Drawing-Room,  No.  8. 


430.  John  Egerton,  2nd  Earl  of  Bridgewater,  and  his  Wife  Elizabeth  Cavendish. 

DOBSON. 

Three-quarter  length  figures,  Hfe  size,  seated.  The  Earl  is  on  the  right,  a  fawn- 
coloured  silk  cloak  wrapped  round  his  shoulders  ;  wide  shirt  sleeves,  left  hand  holding 
edge  of  mantle,  plain  linen  collar  fastened  at  the  throat  with  a  brooch ;  long  brown 
hair  and  thin  moustache.  His  wife  is  seated  to  right,  facing  him,  in  a  white  satin 
dress,  a  blue  scarf  thrown  over  right  shoulder ;  low  bodice  showing  the  edge  of  the 
chemisette,  wide  sleeves  turned  back  ;  the  right  arm,  bare,  rests  by  her  side ;  she  holds 
some  grapes  in  her  left  hand  which  she  is  taking  from  a  basket ;  the  front  of  the  bodice 
is  ornamented  with  jewels,  and  a  jewelled  band  crosses  the  right  shoulder,  a  string  of 
pearls  round  the  neck ;  brown  hair  curled  at  the  ends  ;  dark  landscape  background. 
Inscribed  to  the  left,  "  Eliz'^"  Cavendishe/  3°  Daughter  to  W"  Duke  of/  Newcastle 
married  John/  Egerton  2"  Earl  of  Bridgewater"  and  to  right  "John  Egerton/ 
2°  Earl  of  Bridgewater/  married  Elizabeth  Cavendishe/  3°  Daughter  to  W" 
Duke  of  Newcastle." 

Canvas,  46^^  in.  H.  x  55 J  in.  W. 

Cat.  1747.     Great  Dining-Room,  No.  4. 

Exhibited  at  Manchester,  1857.     Cat.  No.  209. 


431.  Elizabeth  Wriothesley,  Lady  Noel,  Countess  of  Gainsborough. 

School  of  Lely. 

Three-quarter  length,  life  size,  seated  to  left.     Amber-coloured  satin  dress,  with 

full  sleeves  looped  up  to  the  elbow,  showing  the  wide  sleeves  of  the  chemisette  beneath  ; 

her  right  is  placed  on  her  breast,  and  her  left  rests  on  the  blue  drapery  of  the  cloak 

which  falls  from  her  left  shoulder ;  a  grey  scarf,  looped  up  with  jewels,  crosses  the  bodice. 

R 


122  CATALOGUE   OF    PICTURES  punderground  gallery, 

LWEST   WAI  T. 


WEST  WALL. 


Dark  yellow  curtain  background,  drawn  aside  to  left,  sky  and  dark  trees  ;  dark  hair  dis- 
posed in  short  thin  curls  on  forehead,  pearl  necklace  and  drop  ear-rings.  Inscribed  to 
left,  "  Ehiz™  Wriothesley/  Lady  Noel." 

Canvas,  5o|  in.  H.  x  4o|-  in.  W. 

Elizabeth  Wriothesley,  Lady  Noel,  afterwards  Countess  of  Gainsborough. 
Daughter  and  Co-heir  of  Thomas  Wriothesley,  4th  Earl  of  Southampton,  Mother  of 
Lady  Elizabeth  Noel,  who  Married  Henry,  ist  Duke  of  Portland,  died  about  1685. 

From  Bulstrode,  No.  32. 


432.  Portrait  of  a  Gentleman  in  Armour.  Dutch  School. 

Three-quarter  length,  life  size,  standing  to  right,  in  black  armour  ;  he  holds  a  long 
baton  in  his  right,  the  left  rests  on  his  hip,  a  silver-hilted  sword  hangs  by  his  side,  and 
a  red  scarf,  richly  embroidered  with  silver  and  edged  with  silver  lace,  crosses  his  breast ; 
red  velvet  breeches  with  silver  lace  and  buttons ;  brown  straight  hair,  parted  in  the 
centre,  falling  to  the  collar,  which  is  edged  with  point  lace,  slight  moustache.  Purple 
velvet  table  cover  on  which  rests  his  helmet  and  left  gauntlet ;  dark  background. 

Canvas,  50^^  in.  H.  x  40  in.  W. 


433.  Lady  Jane  Cavendish,  Wife  of  Charles  Cheney,  ist  Viscount  Newhaven. 

School  of  Lelv. 

Bust,  life  size,  to  left;  white  dress  fastened  with  gold  buttons,  wide  sleeves, 
slashed  and  lined  with  blue,  a  blue  scarf  wound  round  the  right  arm  ;  brown  hair,  in 
clusters  of  curls  at  the  side  of  the  head ;  pearl  necklace.  Dark  background.  Inscribed 
above  "Jane  Cavendishe,  Eldest  Daughter  to  W"7  Duke  of  Newcastle, 
married  Charles  Cheney/  of  Chesham  Boys,  Esq"-  this  Lady  kept  Garris/  on 
FOR  her  Father  at  Welbeck  against  the/  Parliament/  Army." 

Canvas,  30  in.  H.  x  25  in.  W. 

Cat.  1747.     East  Dressing- Room,  No.  9. 

Cat.  1 83 1.     Horsemanship  Bedchamber. 

Exhibited  at  Manchester,  1857.     Cat.  No.  150. 


434.  Portrait  of  a  Young  Lady.  Dutch  School. 

Bust,  life  size,  to  left ;  black  silk  dress  with  high  collar  and  ruff,  edged  with  point 
lace ;  straight  hair,  brushed  off  the  forehead,  hanging  to  the  collar  without  ornament. 

Panel,  27  in.  H.  x  20J  in.  W. 

Cat.  1747.  In  the  East  Dressing- Room,  No.  10.  "Head  upon  board,  Young 
Woman  in  black  w*  a  ruff  &  loose  hair." 


UNDERGROUND  GALLERY.-]  ^T     WELBECK      ABBEY.  '  JOX 

WEST  WALL.  -^  .**0 


435.  Lady  Lucy  Percy,  Countess  of  Carlisle.  After  Vandyck. 

Three-quarter  length,  life  size,  to  left ;  blue  dress,  wide  sleeves  showing  the  white 
sleeves  of  chemisette  beneath  ;  the  hem  of  the  dress  is  scalloped  and  ornamented  with 
pearls  ;  a  gold-striped  fawn-coloured  scarf  descends  from  the  left  shoulder,  is  gathered 
up  in  the  left  hand,  with  which  she  holds  her  dress,  and  passes  over  the  right  fore 
arm,  which  is  folded  across  her  body ;  the  end  of  the  scarf  is  held  in  her  right  hand. 
A  double  string  of  pearls  descends  in  a  loop  from  the  throat,  and  a  pearl  and  jewelled 
girdle  encircles  the  waist  of  her  bodice ;  brown  hair  in  short  curls,  ornamented  with 
pearls  and  coral  beads  at  the  crown  of  the  head,  pendent  ear-rings.  Warm  grey- 
background.  Inscribed  to  left  in  lower  corner,  "  Sady  Ducy  Percy,/  Countess  of 
Curlisie"  (sic). 

Canvas,  5o|-  in.  H.  x  40  in,  W. 

Cat.  1 83 1.     Little  Drawing- Room. 

436.  Battle  of  the  Boyne,  July  i,  1690.  Wyck. 

On  the  near  bank  to  right,  a  couple  of  horsemen  are  conspicuous,  one  in  yellow, 
the  other  in  a  green  coat ;  more  to  the  centre  and  a  little  behind,  is  another  in  red, 
beside  him  a  man  with  a  led  horse  ;  another  group  behind  with  an  ensign  falling  from 
his  horse,  just  as  he  is  landing  on  the  high  bank ;  further  to  left  is  the  single  figure  of 
a  horseman  in  a  dark  coat,  followed  by  others  who  are  below  the  bank ;  a  large  party 
are  crossing  the  river  in  the  distance  ;  a  sharp  engagement  takes  place  to  the  extreme 
right  near  a  group  of  trees,  where  a  line  of  musketeers  are  stationed  who  are  firing  a 
volley ;  there  is  a  sharp  bend  in  the  river  in  the  centre  of  the  picture.  Distance  of  blue 
hills,  bright  blue  sky  with  long  white  clouds,  trees  to  the  extreme  left 

Canvas. 

437.  General  Lord  Thomas  Fairfax.     161  i — 1671. 

Small,  three-quarter  length,  standing  to  right,  in  armour;  pale  crimson  scarf;  a 
truncheon  in  his  right,  pointing  in  front  of  him,  the  left  hangs  by  his  side ;  his  helmet 
is  placed  on  a  low  wall  to  right ;  plain  linen  band,  straight  hair  parted  over  forehead, 
thin  moustache  and  imperial.  Dark  yellow  curtain  to  left;  landscape  background 
with  battle  in  the  distance. 

Canvas,  S^  in.  H.  x  6f  in.  W. 

Lord  Fairfax  married  Anne,  Daughter  and  Co-heir  to  Horatio  Lord  Vere. 

Cat.  1747.     North  Room,  No.  32. 

Exhibited  at  Manchester,  1857.     Cat.  No.  138. 

438.  Mary  Beatrice  d'Este,  Wife  of  James  IL?     1658 — 1718. 

Small  bust  in  an  oval,  the  head  turned  to  right.     Red  dress  fastened  with  jewels, 
chemisette  showing  at  neck,  wide  sleeves.     Dark  hair.     Grey  background. 
Canvas.  .  ^ 


124  CATALOGUE   OF   PICTURES  [-underground  gallery, 


WEST  WALL. 


439.  James  II.  ? 

Small  bust,  to  left,  in  an  oval,  the  head  turned  to  right ;  star  on  left  shoulder,  red 
cloak,  lace  neck-cloth,  long  light  brown  wig ;  grey  background. 
Canvas. 

440.  Lady  Frances  Howard,  Wife  of  Sir  Edward  Villiers.  Sir  Peter  Lely. 

Three-quarter  length,  life  size,  seated  to  left ;  blue  velvet  dress  with  short  sleeves, 
fastened  in  front  with  jewelled  buttons  showing  white  skirt  beneath,  wide  sleeves 
to  chemisette  ornamented  with  a  band  of  pearls  and  diamonds ;  the  right  hand  rests  on 
a  pedestal,  covered  with  a  dark  red  velvet  curtain ;  the  left  rests  on  her  knee ;  pearl 
necklace  and  pendants,  a  curl  falls  over  the  left  shoulder ;  curtain  background,  sky 
and  trees  to  left.  Inscribed  "  Lady  Frances  Howard,/  wife  to  S"  Edward 
Villiers." 

Canvas,  49|-  in.  H.  x  40  in.  W. 

Cat.  1 83 1.     Horsemanship  Bedchamber. 

Exhibited  at  Manchester,  1857.     Cat.  No.  219. 

441.  Lady  Frances  Cavendish,  2nd  Daughter  to  William,  ist  Duke  of  Newcastle, 
Wife  of  Oliver  St.  John,  Earl  of  Bolingbroke. 

Bust,  life  size,  to  left ;  dark  dress  studded  with  jewels,  the  bust  is  nearly  covered  by 

a  pale  blue  scarf,  fastened  across  the  left  shoulder  with  a  jewelled  brooch,  blonde  hair, 

curled  at  the  ends,  pearl  necklace  ;  dark  background.    Inscribed  "  Frances  Cavendishe/ 

2"  Daughter  to  W"  Duke/  of  Newcastle  married  to/  Oliver  S'"  John  Earl  of/ 

-  bolenbroke." 

Canvas,  30  in.  H.  x  25  in.  W. 

Cat  1747.     Dressing- Room  to  Great  Alcove  Bedroom,  No.  4. 

442.  Brilliana  Harley,  Wife  of  James  Stanley.  Gerard  Soest. 

Half  length,  life  size,  to  left,  as  a  shepherdess ;  yellow  dress,  blue  cloak  thrown 
across  the  shoulders ;  long  brown  hair,  curled  at  the  temples,  descending  to  the 
shoulders  ;  the  crown  of  the  head  is  covered  with  a  coif  at  the  back,  and  wreathed  with 
white  dog  roses ;  a  crook  lies  behind  her,  she  holds  a  leaf  in  her  right  hand  and  the 
foot  of  a  lamb,  that  is  beside  her,  in  her  left.  Background  a  bank  of  earth,  sky  and 
landscape  to  left.  Inscribed  in  left  upper  corner,  "  Brilliana,  ^Daughter/  to  S^  Rob''. 
Harley,/  and  Wife  to/  James  Stanley,/  Nephew  to  W"./  Earl  of  Darby." 

Canvas,  28  in.  H.  x  23!-  in.  W. 

She  was  the  Eldest  Daughter  of  Sir  Robert  Harley  by  his  3rd  wife  Brilliana, 
daughter  of  Viscount  Conway. 

Cat.  1747.     In  the  Bedchamber,  No.  4,  by  "Zoust." 


UNDERGROUND  GALLERY.-I  ^T     WELBECK      ABBEY.  1 2  <? 

Wl-ST   WALL.  •'  J 


WEST  WALL. 


443.  The  Adoration  of  the  Shepherds.  School  of  P.  Veronese. 

The  Virgin  kneehng,  raising  a  white  drapery  from  the  child,  who  lies  in  the 
manger  a  little  to  right ;  in  the  centre  of  the  composition  a  shepherd  kneels,  with  a 
staff  in  his  right ;  to  left  a  brown  ox,  a  shepherd  in  a  yellow  jacket  leans  across  the  back 
of  the  ox ;  two  other  shepherds  are  led  in  by  St.  Joseph. 

Canvas,  25!  in.  H.  x  31  in.  W. 

Cat.  1 83 1.    Little  Drawing-Room. 

It  was  formerly  attributed  to  Bassano. 

444.  The  Golden  Age.  F.  Francks. 

Composition  of  numerous  small  figures.  In  the  foreground  a  man  is  seated  on 
some  drapery,  with  a  garland  of  vine  leaves,  leaning  his  cheek  on  his  right  hand ; 
more  to  the  right  a  child  is  seated  fondling  a  cat,  a  woman  reclines  near,  with  a  child 
clinging  to  her,  a  monkey  is  seated  beside  her ;  some  tents  are  erected  to  right,  and  a 
child  is  swinging  in  the  entrance  of  the  nearest  one.  On  a  hillock  are  some  couples 
embracing,  a  dance  is  seen  to  the  left ;  wooded  landscape.  Signed  to  right,  in  lower 
corner,  "  F.   Franck." 

Copper,  19!^  in.  H.  x  26  in.  W. 

The  copper  bears  a  stamped  mark  of  a  hand,  and  the  date  1 608. 

445.  Landscape  with  Figures.  Ascribed  to  Francks. 

A  composition  of  numerous  small  figures  in  a  landscape ;  a  tall  tree  to  the  left, 
beneath  which  are  seated  several  male  and  female  figures,  an  old  man  in  red  drapery 
is  drinking  from  a  shell,  a  girl  is  seated  in  front  with  a  bunch  of  grapes  in  her  hand ; 
below  the  bank  is  a  child  with  a  cat,  a  peacock  in  the  centre  of  the  foreground,  and  some 
rabbits  to  the  right ;  a  little  way  off  is  another  group  of  reclining  figures,  a  man 
stooping  in  front,  in  purple  drapery ;  a  white  goat  is  at  the  foot  of  the  tree  on  the  left, 
and  in  the  lower  left  corner  are  seated  two  boys  with  a  tablet,  inscribed  "Aurea 
Saturno,"  etc.,  "  1605."     Saturn  is  above,  seated  on  the  clouds. 

Copper,  19!  in.  H.  x  26  in.  W. 

The  copper  is  stamped  at  the  back  with  the  date  "  Anno  1604,"  a  hand,  and  a  sign 
with  the  initials  "  F.S." 

446.  Landscape,  with  Cattle  on  the  Banks  of  a  Stream,  Moonlight. 

Ascribed  to  Berchem. 
A  man  fishing  with  a  landing  net,  another  figure  is  stooping  near  him,  some 
covered  boats  are  moored  in  the  stream. 
Panel,  13  in.  H.  x  17  in.  W. 
/  Cat.  183 1.     Drawing-Room. 


X 


i 


i 


126  CATALOGUE   OF   PICTURES  [underground  gallery. 

'-WEST  WALL. 

447.  Edward  Harley,  2nd  Earl  of  Oxford.     D.  1741.  Michael  Dahl. 

Half  length,  life  size,  seated  to  right,  with  a  table  in  front  of  him,  on  which  are 
some  ancient  silver  coins ;  in  his  right  he  holds  a  large  medal  of  Queen  Anne,  his  left 
arm  rests  on  the  table.  Blue-green  and  violet  shot-silk  dressing-gown  and  cap,  white 
cravat ;  dark  green  chair;  brown  background.  Signed  to  left "  Dahl  Pinxt."  Inscribed 
in  upper  right  corner  "Edward  Harley,/  the  2°  Earl  of  Oxford/  and  Earl 
Mortimer." 

Canvas,  4o|^  in.  H.  x  33J  in.  W. 

Engraved  by  Vertue. 

Cat.  1747.     South  Drawing- Room,  No.  10,  by  error  attributed  to  Kneller. 

Cat.  1 83 1.     Horsemanship  Bedchamber. 

Exhibited  at  Manchester,  1857.     Cat  No.  249. 

448.  Aubrey  de  Vere,  Earl  of  Oxford.  Verelst. 

Full  length,  life  size,  to  right,  in  Garter  Robes  ;  long  greyish-brown  wig  ;  his  right 
placed  on  his  hip,  the  left  holding  cloak ;  saffron  curtain  looped  up  to  right ;  brown 
background.  Inscribed  below  to  right  "  Aubry  de  Vere,/  Earl  of  Oxford,  married 
2  Wifes,  i",  Ann,  one  of  y'=  Daughters/  &  Coheirs  of  Paul  Vis'^.  Banning,  2°, 
Diana,  Daughter  to  George  Kirke." 

Canvas. 

Cat.  1747.     Grand  Saloon,  No.  20. 

449.  David  Scott  of  Scotstarvit.  Allan  Ramsay,  1747. 

Bust,  life  size,  to  right ;  his  left  hand  thrust  in  the  bosom  of  his  waistcoat,  red  coat 
and  waistcoat,  white  cravat,  and  grey  wig.  Brown  background.  Inscribed  to  right, 
"  Etatis  54./  1747."  and  below  "A.  Ramsay/  pinxt.  1747." 

Canvas. 

450.  Matthew  Prior,  the  Poet.     1664 — 1721.  J.  Richardson. 

Three-quarter  length,  life  size,  seated,  nearly  full  face ;  black  coat  and  knee 
breeches,  white  stockings,  and  black  cap,  with  a  red  centre ;  lace  cravat  and  ruffles ; 
he  holds  a  quill  in  his  right,  which  is  resting  on  the  table  beside  him,  covered  with  a 
red  cloth  ;  his  left  hand  is  thrust  in  the  bosom  of  his  coat ;  high  back  to  chair, 
covered  with  red  leather;  grey  background.     Inscribed  to  left  "  Prior." 

Canvas. 

Engraved  by  Vertue. 

Prior,  writing  to  Swift,  4  May,  1720,  says,  "Richardson  has  made  an  excellent 
picture  of  me  from  whence  Lord  Harley  (whose  it  is)  has  a  stamp  taken  by  Vertue." 
There  is  a  duplicate  in  the  Bodleian  Library,  Oxford, 

Cat.  1747.     Lady's  Dressing- Room,  No.  i. 

Cat.  1 83 1.     Dining- Room  Staircase  ? 

Exhibited  at  Manchester,  1857.     Cat.  No.  270. 


UNDERGROUND  GALLERY.-I  ^^X     WELBECK      ABBEY.  127 

WEST  WALL.  -"  '  •*  / 


451.  The  Honble.  Edward  Harley,     D.  1735.  Richardson. 

Bust,  life  size,  to  left,  in  an  oval,  three-quarter  face ;  blue  velvet  coat,  white 
cravat,  long  grey  wig;  dark  eyebrows;  dark  background.  Inscribed  in  left  upper 
corner,  "  Mr.  Auditor/  Harley." 

Canvas,  30  in.  H.  x  25  in.  W. 

Probably  the  picture  engraved  by  Vertue. 

Cat.  1747.     Bedchamber,  No.  3. 

452.  Margaret  Cavendish  Harley,  Wife  of  William,  2nd  Duke  of  Portland,  as  a 
Child,  when  about  8  years  old.  Michael  Dahl. 

Full  length,  life  size,  to  left,  as  a  shepherdess.  White  satin  dress,  with  low 
bodice,  laced  with  gold  cord,  cuffs  turned  back  and  lined  with  pink  satin,  black  hat 
laced  with  gold,  and  ornamented  with  a  white  feather,  placed  high  on  her  head,  a  rose 
in  the  hair  to  the  right ;  she  holds  her  staff  in  her  right  hand,  with  the  left  she  offers 
some  grass  to  a  lamb  by  her  side  lying  on  a  bank  ;  a  black  and  white  spaniel  to  left,  in 
the  foreground,  is  looking  up  at  its  mistress.  Landscape  background.  Signed  in  the 
lower  left  corner,  "  Dahl  pxnxt."  Inscribed  to  right  "  The  HoN'"-^  Miss  Margaret/ 
Cavendishe  Harley,/  Married  to  W".  Bentinck,  D"^  of  Portland." 

Canvas,  61  in.  H.   x  48  in.  W. 

Cat.  1747.     South  Drawing-Room,  No.  11. 

453.  Portrait  of  a  Gentleman. 

Bust,  life  size,  to  left,  in  an  oval ;  fawn-coloured  velvet  coat,  black  wig,  plain  white 
cravat. 

Canvas,  30  in.  H.  x  25  in.  W.  ,  ^ 

There  is  another  picture  of  the  same  personage,  in  a  blue  coat  ornamented  with 
gold  lace  and  lace  cravat,  hanging  over  a  door  in  the  Lobby  to  Horsemanship  Bed- 
chamber, No.  1 76  in  this  Catalogue. 

454.  Henrietta  Cavendish  Holles,  Countess  of  Oxford.       Sir  Godfrey  Kneller. 

Three-quarter  length,  life  size,  to  right,  holding  a  basket  of  flowers  resting  on  a 
pedestal ;  white  satin  dress  with  a  string  of  pearls  across  the  bodice,  dull-red  cloak 
with  scalloped  edge,  gathered  up  beneath  right  elbow,  and  passing  over  the  left 
shoulder.  Brown  architectural  background,  sky  to  right.  Signed  to  left,  "  G.  Kneller. 
(the  G  and  K  interlaced)  17 16."  Inscribed  in  left  lower  corner,  "Lady  Henrietta 
Cavendish  Holles,  sole  Daughter/  to  John,  Duke  of  Newcastle,  Married  Edw°. 
Lord  Harley,  afterwards  Earl  of  Oxford."  ^ 

Canvas,  50  in.  H.  x  40  in.  W. 

Cat.  1747.     Great  Drawing-Room,  No.  10. 

Cat.  1 83 1.     Green  Room. 


128  CATALOGUE   OF   PICTURES         [^underground  gallery. 


WEST  WALL— NORTH  WALL. 


455.  Portrait  of  a  Lady.  "  Allan  Ramsay,  1746. 

Bust,  life  size,  to  left,  in  an  oval.  White  satin  dress,  blue  velvet  mantle  lined 
with  ermine,  a  blue  bow  in  front  of  the  bodice,  to  which  is  attached  a  string  of  pearls ; 
small  open  ruff;  the  mantle  passes  over  the  left  shoulder,  wide  sleeves  and  muslin 
rufifles  ;  only  the  right  hand  seen  in  the  picture ;  reddish-brown  hair,  ornamented  with 
pearls,  pearl  necklace.  Signed  outside  the  oval,  in  lower  right  corner,  "  A.  Ramsay 
1746." 

Canvas. 

456.  Sketch  for  a  Frieze,  in  Monochrome.  Sir  Peter  Paul  Rubens. 

A  procession  of  sea-nymphs  and  tritons,  directed  to  left,  an  old  bearded  man  is 
seen  to  left,  breast  high  above  the  waves,  followed  by  a  triton  blowing  a  conch  shell, 
and  bearing  a  nymph  on  his  back.  To  right  is  a  group  of  three  nymphs,  the  centre 
figure  kneeling  on  her  right  knee  on  a  dolphin,  embraced  by  her  companions ;  above 
are  three  flying  Cupids,  sustaining  a  garland  of  shells,  above  these  are  three  heads  of 
the  Winds,  with  puffed  out  cheeks. 

Panel,  i4|-  in.  H.   x  19!^  in.  W. 

Cat.  1 83 1.     Dining- Room. 

457.  Louis  XIIL,  in  Coronation  Robes.     1601 — 1643. 

Small  whole  length,  standing  to  right,  in  his  robes,  holding  a  sceptre  in  each  hand, 
on  a  table  to  right,  covered  with  a  crimson  cloth,  lies  the  crown,  and  on  the  ground, 
placed  on  a  cushion,  is  a  plumed  helmet,  curtain  on  either  side. 

On  alabaster.     The  stone,  left  its  natural  colour,  forms  the  background. 

Louis  XIIL  became  King  under  the  Regency  of  his  mother,  Marie  de  Medici,  in 
1610. 


NORTH   WALL. 

458.  John  Holles,  2nd  Earl  of  Clare.     D.  1665.  Maria  Verelst. 

Full  length,  life  size,  standing  to  right,  in  Peer's  Robes.  Inscribed  "John 
Holles  2"  Earl  of  Clare/  Married  Eliz"  Eldest  Daughter/  &  one  of  the 
Coheirs  of  Horace/  Lord  Vere  of  Tilbury." 

Canvas. 

John  Holies,  2nd  Earl  of  Clare,  brother  to  Denzil,  ist  Lord  Holles  of  Ifield,  and 
eldest  son  of  John,  ist  Earl  of  Clare,  married  Elizabeth,  eldest  daughter  and  coheir 
of  General  Sir  Horatio  Vere.  Forsaking  the  cause  of  Charles  I.,  his  estates  were 
ordered  to  be  sequestrated,  but  the  sequestration  was  taken  off  by  Parliament.  He 
supported  the  restoration  of  Charles  II.,  died  1665.  Clarendon  speaks  of  him  as  a 
man  of  honour  and  courage,  but  too  much  set  upon  improving  his  estate. 


UNDERGROUND  GALLERY.-]  ^J     WELBECK      ABBEY.  1 2Q 

NORTH   WALL.  -'  '  -^y 


Cat.  1747,  Grand  Saloon,  No.  16.  It  appears  to  be  copied  from  the  half  length 
in  armour  in  this  Collection,  No.  504. 

459.  William  III.     1650— 1689— 1702,  After  Kneller, 

Full  length,  life  size,  to  right,  in  his  Coronation  Robes,  standing  on  stone  step  ;  his 
right  hand  on  his  hip,  the  left  by  his  side ;  parapet  and  columns  to  left,  red  curtain 
embroidered  with  gold  and  sky  to  right ;  in  front  of  him  the  regalia  on  a  table  which 
is  covered  with  the  end  of  the  curtain. 

Canvas,  9i|-  in.  H.  x  62  in.  W. 

Engraved  in  mezzotint  by  J.  R.  Smith  as  a  bust,  in  an  oval. 

From  Bulstrode,  No.  20. 

Exhibited  at  Manchester,  1857.    Cat.  No.  195. 

460.  Mary  II.,  Consort  of  William  III.     1662 — 1689 — 1694.  After  Kneller.  '/A*i. 

Full  length,  life  size,  standing  to  left,  on  step,  in  Coronation  Robes;  white 
satin  petticoat  and  bodice  ornamented  with  large  jewelled  plaques,  the  blue  bodice 
and  train  are  faced  and  lined  with  ermine;  her  right  rests  on  the  orb  in  front 
of  her  on  a  table,  the  crown  lies  beside  it  on  a  cushion ;  with  her  left  she  gathers  up 
her  train ;  pearl  necklace,  pendants  and  shoulder  knots  in  the  form  of  bows ;  table 
cover  of  crimson  velvet  with  gold  fringe  ;  sky  to  left,  and  palace  in  background ;  heavy 
gold  brocade  curtain. 

Canvas,  93  in.  H.  x  54 J  in.  W. 

From  Bulstrode,  No.  19. 

Exhibited  at  Manchester,  1857.     Cat.  No.  196. 

461.  James  II.,  in  Coronation  Robes.     1633 — 1685 — 1689.     D.  1701. 

Full  length,  life  size,  standing  to  left ;  with  his  right  he  holds  his  mantle,  left  rest- 
ing on  hip  ;  green  and  gold  girdle ;  the  plumed  hat  is  on  a  chair  to  right  behind  him  ; 
dark  curtain  to  left,  the  crown  lies  on  a  cushion  to  right,  on  a  table  covered  with  a 
cloth  of  gold  brocade. 

Canvas,  86|^  in.  H.  x  54^  in.  W. 

462.  Elizabeth  Wriothesley,  Countess  of  Northumberland  ? 

Three-quarter  length,  life  size,  seated  to  left ;  blue  dress,  fawn-coloured  scarf, 
which  passes  over  the  right  arm  and  is  fastened  by  a  band  that  crosses  the  breast, 
reappearing  beneath  the  left  elbow  where  it  is  gathered  up  on  the  seat  at  her  side ; 
she  holds  a  bunch  of  jessamine  in  her  left,  and  a  few  blossoms  in  her  right,  which  is  , 
raised ;  a  fringe  of  fair  hair  in  curls  on  her  forehead,  and  in  clusters  at  the  sides  of  the 
head,  pearl  necklace  and  pendants ;  fountain  to  right,  dark  curtain  looped  above,  with 

s 


I30  CATALOGUE    OF    PICTURES  (-underground  gallery. 

•^  l-NORTH  WALL. 

heavy  gold  fringe  ;  landscape  and  sky  to  left.  Inscribed  "  Elizabeth  Wriothesley 
C*=  OF  Northumberland  "  in  left  lower  corner  in  white  letters. 

Canvas. 

Elizabeth,  youngest  daughter  of  Thomas  Wriothesley,  Earl  of  Southampton,  and 
of  Frances  Leigh,  his  second  wife,  married  the  i  ith  Earl  of  Northumberland,  and  was 
mother  of  Elizabeth  Percy,  the  wife  of  Henry,  Lord  Ogle. 

It  is  probable  that  this  portrait  is  wrongly  named,  and  that  it  is  really  Lady 
Elizabeth  (or  Frances)  Leigh,  daughter  of  Thomas,  ist  Earl  of  Chichester,  2nd  wife  of 
Thomas,  4th  Earl  of  Southampton. 

From  Bulstrode,  No.  41. 

463.  Abigail  Stephens,  2nd  Wife  of  Sir  Edward  Harley. 

Bust,  life  size,  to  right,  in  an  oval ;  white  satin  dress,  a  blue  scarf  crosses  the  left 
arm;  brown  hair,  with  a  thin  fringe  on  the  forehead,  pearl  pendants  and  necklace; 
dark  background.  Inscribed  above,  "  Abigail  Stephens,/  wife  to/  Sr.  Edward/ 
Harley." 

Canvas,  30  in.  H.  x  25  in.  W. 

Abigail  Stephens,  2nd  wife  of  Sir  Edward  Harley,  daughter  of  Nathaniel  Stephens 
of  Essington,  Gloucestershire ;  through  this  lady  Sir  Edward  Harley's  children  were 
related  to  Sir  Francis  Walsingham,  Sir  Philip  Sydney,  and  the  Earl  of  Essex ;  she 
was  the  mother  of  the  ist  Earl  of  Oxford  and  Mr.  Auditor  Harley  (father  of  the  2nd 
Earl),  and  therefore  Great-Grandmother  of  Lady  Margaret  Cavendish  Harley. 

Cat.  1 747.  In  the  Bedchamber,  No.  5,  there  was  a  portrait  of  this  lady  attributed 
to  Dahl.     This  is  probably  the  picture,  but  it  is  not  by  Dahl. 

464.  Gervase  Holles,  Esqr.     1606 — 1665? 

Half  length,  life  size,  to  right ;  in  a  buff  jerkin,  purple  sleeves  with  stripes  of  broad 
silver  braid,  open  collar  edged  with  lace,  sword  to  left,  dagger  on  the  left  side ;  grey 
hair,  long  at  the  sides,  bald  on  the  crown,  cheeks  shaved,  moustache  and  square  beard ; 
dark  background.  Inscribed  in  upper  right  corner,  "Gervase  Holles  Esq"./  Son 
and  Heir  of  Frescheville/  Holles,  Married/  Dorothy  Daughter/  of  Jn°. 
Kirkton/  Gent." 

Canvas,  3i|^  in.  H.  x  25^  in.  W. 

Gervase  Holles  of  Grimsby,  son  of  Freschville  Holies  by  Elizabeth  Kingston, 
Nephew  of  John  ist  Earl  of  Clare,  Master  of  Requests  to  Charies  I.  M.P.  for  Great 
Grimsby,  fought  at  Edghill  1642,  in  exile  in  Holland  till  the  Restoration.  Antiquary, 
and  Author  of  the  Holles  MSS.  relating  to  his  family,  died  before  1665. 

Cat.  1747.      South  Dressing-Room,  No.  8. 

Exhibited  at  Manchester,  1857.     Cat.  No.  136. 

National  Portrait  Exhibition,  1868.     Cat.  No.  712. 


NORTrwALL°  ^'''''^^"^'^  ^"^   WELBECK  ABBEY.      -  13, 


465.  HoNBLE.  William  Pierrepoint  of  Thoresby,  Esq. 

Bust,  to  left,  three-quarter  face  ;  black  doublet,  falling  collar  edged  with  lace ;  long 
straight  brown  hair,  parted  in  the  centre  and  falling  to  shoulders ;  dark  background. 
Inscribed  to  left,  in  the  upper  corner,  "  Hon°'-=  William  Pierrepoint  of  Thoresby, 
Esq",  married  Eliz""".,  Daughter  and  Cohier  to  S".  Tho'.  Harris  of  Tonge 
castle  in  y^  Com  :    Salop." 

Canvas,  30^^  in.  H.  x  2^^  in.  W. 

The  father  of  Grace  Pierrepoint,  who  married  the  3rd  Earl  of  Clare.  He  was 
nicknamed  "  The  Wise  William." 

Cat.  1747.     Great  Dining- Room,  No.  2? 

466.  Denzil  Holles,  Baron  of  Ifield,  afterwards  Lord  Holles.     1597 — 1677. 

Bust,  life  size,  to  left,  in  an  oval.  Black  doublet  with  gold  buttons,  white  collar, 
edged  with  broad  lace,  over  which  falls  a  long  wig.  A  coat  of  arms  in  the  right  top 
corner.  Inscribed  "  Denzil  Holles,  Baron  of  Ifield,  married  3  wifes,/  ist. 
Dorothy,  &  Heir/  to  S".  F"'.  Ashley,  by/  wh".  he  had  4  sons,/  2°  Jane,  Eldest 
Daughte"  &  Coheir  to  S^  J"".  Shirley,/  3"  Hesther,  the/  Second  Daughte" 
&  Coheir  to  Gide""/  le  Lou,  Lord  of/  the  Mannor/  of  Columbiers/  in  Nor-, 
mandy,/  Dyd  Oc*".  31"/  1677/  Aged  79." 

Canvas,  30  in.  H.  x  25  in.  W. 

Cat.  1 747.    South  Dressing-Room,  No.  9. 

Exhibited  at  Manchester,  1857.     Cat.  No.  177. 

National  Portrait  Exhibition,  1868.     Cat.  No.  273. 

467.  Frances  Pierrepoint,  Wife  of  Henry,  Lord  Ogle,  afterwards  Duke  of  New- 
castle. After  HuYSMAN  (?). 

Three-quarter  length,  life  size,  seated  to  left ;  red  dress,  fastened  in  front  with 
gold  buttons,  short  sleeves  with  scalloped  edges,  blue  velvet  mantle  with  ermine 
lining,  gauze  scarf  with  gold  stripes  fastened  to  the  left  shoulder ;  the  right  hand 
rests  on  the  yellow  drapery  of  the  curtain  that  covers  the  arm  of  the  chair,  the 
left  on  her  lap,  holding  mantle,  which  falls  over  the  right  arm,  the  lining  turned  back 
over  the  chair ;  the  sleeves  of  chemisette  reach  to  the  elbow,  and  are  encircled  with 
strings  of  pearls  and  jewels;  dark  brown  hair,  worn  full  at  the  sides,  with  veil  attached 
at  the  back  of  the  head  ;  sky  and  landscape  to  the  left,  above  low  parapet ;  a  column  and 
yellow  curtain  to  right ;  brown  background.     Inscribed  "  Frances  Eldest/  Daughter 

TO   W"  PlERREPONT,  Es'^7  MaRRIED  TO  Hen7  EaRL  OF  OgLE/  AfTERWARDS  DukE  OF 

Newcastle,"  in  left  lower  corner. 
Canvas,  49^^  in.  H.  x  41  in.  W. 
This  picture  is  a  copy  from  the  full  length  in  the  Horsemanship  Bedchamber, 


I 


( 


B 


1-2  CATALOGUE   OF   PICTURES  j-underground  gallery, 

"  l-KORTH   WAIT. 


attributed  to   Huysman.     Frances,   eldest  daughter  to  William  Pierrepoint,   Esqr., 
married  Henry,  Earl  of  Ogle,  afterwards  Duke  of  Newcastle. 
Cat.  1747.     Great  Dining- Room,  No.  14. 


^)  -  468.  William  Henry,    Lord  Woodstock,   Marquess  of  Titchfield,  Elder  Brother 

OF  THE  5TH  Duke  of  Portland,  as  a  Child.     1794 — 1821. 

Sir  Martin  Archer  Shee,  P.R.A. 

Full  length,  life  size,  seated  on  the  back  of  a  black  and  white  Newfoundland  dog ; 

low-necked  white  frock  and  low  shoes ;  he  uses  a  footstool  to  mount  on  the  dog's 

back ;   straight,   dark  brown  hair,  with   a   fringe   across  the   forehead ;    sculptured 

pedestal  to  right. 

Canvas. 

469.  Queen  Anne  (?).     1664 — 1702 — 1714. 
Bust,  life  size,  to  left,  in  an  oval ;  dark  olive-green  dress,  red  mantle  lined  with 

ermine,  thrown  over  right  shoulder  and  draped  round  left  arm,  a  white  frill  is  turned 
over  the  edge  of  the  dress,  and  ornamented  with  a  string  of  pearls  ;  dark  hair,  one  lock 
falling  over  right  shoulder,  a  pearl  pendant  at  the  opening  of  the  sleeve ;  brown  back- 
ground. 

Canvas,  30  in.  H.   x   25^^  in.  W. 

This  portrait,  supposed  to  represent  Queen  Anne,  is  possibly  a  portrait  of  her 
sister  Mary,  the  Queen  of  William  111. 

470.  Sir  Francis  Vere.     1554 — 1608. 
Bust,  life  size,  to  left,  profile,  in  an  oval ;   white  spotted  doublet  and  sleeves, 

tied  on  the  left  shoulder  with  a  blue  and  gold  lace ;  damascened  gorget,  and  plain 
band  ;  short  brown  hair,  light  moustache,  and  imperial,  slight  whiskers.     The  oval  is 
inscribed  "  Medio  et  Tempore,"  and  to  left, "  Sr.  Francis  Vere."  The  motto  occupies 
three  sides  of  the  oval  and  the  name  the  fourth. 
Canvas,  24  in.  H.  x   19  in.  W, 

Sir  Francis  was  the  second  son  of  Geoffrey  de  Vere,  who  was  the  third  son 
of  the  15th  Earl  of  Oxford  ;  he  distinguished  himself  as  Lord  General  of  the  English 
forces  in  the  Netherlands,  and  was  made  Governor  of  Flushing  by  Queen  Elizabeth 
in  1596.  Gained  honour  at  a  battle  near  Nieuport,  and  in  the  defence  of  Ostend 
against  the  Spaniards.  Died  1608,  and  was  buried  at  Westminster. 
^         '  Engraved  by  Faithorne  for  Vere's  Commentaries,  1657. 

;  Cat.  1747.     Great  Dining-Room,  No.  10. 

}  Exhibited  at  Manchester,  1857.     Cat.  No.  75. 


UNDERGROUND  GALLERY-j  ^-f     WELBECK     ABBEY. 

KORTH  WALLt  *  33 


471.  A  Butcher's  Stall,  Winter.  School  of  Bassano. 

The  butcher  to  left,  with  a  bench  in  front  of  him,  carcasses  of  pigs  hanging  on 
the  wall  at  the  back  ;  a  woman  in  the  centre  cutting  up,  a  boy  near  is  drinking  from  a  case 
bottle  ;  behind  is  a  man  carrying  some  meat  in  a  dish,  two  young  women  are  occupied 
near  the  table  to  the  left,  one  drawing  back  a  curtain.  In  the  foreground  is  a  cat 
seated  on  a  chair,  some  utensils  lying  near ;  in  the  distance  near  a  shed,  two  figures 
are  seated  at  a  fire,  snowy  landscape  beyond. 

Canvas,  46|-  in.  H.  x  58^^  in.  W. 

This  picture  is  probably  one  of  a  series  of  the  Seasons,  and  represents  "Winter." 

Cat.  1 83 1.     Little  Drawing-Room. 

472.  Thomas  Stanhope,  of  Shelford,  Knt.     1572. 

Half  length,  under  life  size,  to  left,  in  black  armour;  holding  a  truncheon  in  his 
right,  resting  on  his  hip  ;  the  left  on  helmet ;  short  hair  and  beard,  heavy  moustache  ; 
dark  background.  Inscribed  "  1572,/  Thomas  Stanhope  of  Shelforde/  in  the 
County  of  Nottingham/  Esquire  Knighted  in/  1575  who  dyed  in/  1596," 

Canvas,  29^  in.  H.  x  25^^  in.  W. 

This  picture  has  been  mutilated,  some  red  and  white  fringe  is  seen  beneath  the 
arm  to  right,  the  date  "1572  "  is  contemporary  with  the  picture,  the  inscription  was 
added  later ;  his  only  daughter,  Ann,  married  John  Holies,  ist  Earl  of  Clare. 

On  the  back  of  the  canvas  is  the  pedigree  of  the  Stanhope  family. 

Cat.  1747.     East  Dressing- Room,  No.  30. 


473.  Portrait  of  an  Architect,  Sir  Christopher  Wren  ?    Attributed  to  H.  Gascard. 

Small  full  length,  standing ;  loose  red  dressing-gown  with  white  lining,  long  dark 
wig,  lace  cravat,  white  stockings,  and  red  shoes.  He  holds  in  his  right  a  drawing  of 
the  elevation  of  the  fa9ade  of  St.  Paul's,  the  left,  holding  drapery,  rests  on  his  hip ; 
to  the  right  is  a  bust  of  Charles  II.  in  stone,  flanked  by  an  amorino,  weighing  the 
insignia  of  Royalty  against  a  number  of  Tablets  carved  with  Coats  of  Arms ;  the  pedestal 
ofthebust  is  inscribed  within  an  oval,  "CAROLO  II.  D.G.  BRITTANIARUM 
IMP.  OPT.  MAX.  UBIQUE  VENERANDO  SEMPER  AUG."  On  the 
step,  at  the  base  of  the  pedestal,  is  a  group  with  a  tablet,  supported  by  two  figures 
of  children,  and  surmounted  by  a  bust  of  Envy  ;  below  is  a  circular  stone,  or  anvil, 
with  a  bridle  on  it ;  to  left,  some  antique  fragments,  a  capital  and  portion  of  a  fluted 
column,  a  bas-relief  of  the  head  of  Medusa,  and  the  portion  of  a  frieze ;  dark  back- 
ground with  lurid  sky. 

Canvas. 

The  head  bears  little  resemblance  to  the  portraits  of  Wren,  and  appears  to  be 
much  too  young  for  him  at  the  time  he  built  St.  Paul's, 


134  CATALOGUE    OF    PICTURES  [-underground  gallery. 

^^  "-NORTH  WALL-EAST  WALL. 

474.  Catherine  Greville,  Duchess  of  Buckingham.  Sir  Godfrey  Kneller. 

Three-quarter  length,  life  size,  seated  to  right ;  green  gown,  loose  white  sleeves 
and  frilled  edge  to  chemisette ;  she  holds  a  garland  of  flowers  to  her  breast  with 
her  left,  her  right  lies  open  on  her  lap.  Brown  hair,  worn  high  on  the  forehead, 
hanging  in  long  locks  to  the  shoulders.  Red  curtain  to  left,  open  landscape  to  right, 
with  a  fountain  surmounted  by  a  dolphin.  The  head  is  relieved  against  a  grey  wall, 
across  which  trails  a  branch  of  jessamine. 

Canvas,  50  in.  H.  x  40^  in.  W. 

The  copy  of  this  picture  was  at  Bulstrode,  No.  155  in  this  Catalogue. 


EAST  WALL. 

475.  Portrait  of  a  Lady. 

Half  length,  life  size,  to  right,  in  an  oval ;  white  dress  with  gold  border ;  black 
hair  falling  over  left  shoulder,  a  white  ribbon  in  the  hair  and  three  leaves ;  blue  cloak 
over  right  shoulder  and  left  arm  ;  border  to  dress  and  bracelets  set  with  jewels.  The 
right  arm  rests  on  a  stone  slab,  the  left  hand  is  placed  on  the  right  arm ;  grey  background. 

Canvas. 

476.  Francis  Holles,  3RD  Son  of  John,  ist  Earl  of  Clare.     1604 — 1622. 

Bust,  life  size,  to  left ;    red  coat,  white  sleeves,  gorget  and    ruff.      Inscribed 
"Francis  Holles,/  30  son  of  Jno./  ist  Earl/  of  Clare/  dyed  1622/  AEta^  18." 
Canvas,  27  in.  H.  x  20  in.  W. 
This  is  a  repetition  of  the  portrait  No.  492. 
Cat.  1747.     Dressing- Room,  No.  8? 

477.  Anne,  Daughter  of  Horace,  Lord  Vere,  Wife  of  Thomas,  3RD  Lord  Fairfax. 

Bust,  under  life  size,  to  right,  holding  a  garland  of  roses;  white  bodice  orna- 
mented with  three  rows  of  jewels,  wide  blue  sleeve  lined  with  red,  looped  up  with  a 
jewel ;  a  black  scarf  crosses  the  left  shoulder  and  passes  over  the  right  arm,  collar 
edged  with  lace,  drop  ear-rings,  hair  done  up  in  a  knot  at  the  crown  with  long  locks  on 
either  side  of  the  head,  necklace  a  double  row  of  pearls  ;  left  hand  only  seen,  to  right. 

Canvas,  30  in.  H.  x  24^^  in.  W. 

Cat.  1747.     First  Bedchamber  on  the  Stairhead,  No.  4. 

478.  Portrait  of  a  Gentleman. 

Half  length,  life  size,  to  right ;  grey  velvet  coat,  yellow  brocade  waistcoat;  left 
hand  thrust  in  breast  of  waistcoat;  hat  under  arm,  grey  wig,  lace  frilled  shirt  and 
ruffles ;  grey  background. 

Canvas,  30  in.  H.  x  25  in.  W. 


UNDERGROUND  GALLERY.]  ^J     WELBECK      ABBEY 

EAST  WALL.  ■'  ^  •■  •  I^^ 


479.  Charles  II.     1630 — 1660 — 1685. 

Full  length,  life  size,  to  right,  standing  ;  in  Garter  Robes,  holding  cloak  with  right, 
left  on  table  at  side,  on  which  is  placed  his  plumed  hat,  blue  and  gold  girdle ;  red 
velvet  table  cover,  fluted  pedestal  to  right. 

Canvas,  86  in.  H.  x  50^^  in.  W. 

Cat.  1747.     Grand  Saloon,  No.  13. 

Exhibited  at  Manchester,  1857.     Cat.  No.  182.  ^ 


480.  Pope  Innocent  XI.  ?     1676 — 1689. 

Bust,  life  size,  to  left,  in  crimson  cap  and  robes. 

Canvas,  30  in.  H.  x  25  in.  W. 

Cat.  1747.     In  the  4th  Bedchamber,  No.  4.     Head,  Pope  Clement  XI.  ? 


481.  Portrait  of  a  Lady. 

Bust,  life  size,  to  right,  in  an  oval ;  white  satin  dress,  blue  scarf  over  head,  falling 
to  right  behind  her,  and  over  left  arm  ;  dark  background. 
Canvas. 


482.  Cleopatra.  Michael  Wright. 

Whole  length,  life-sized  figure,  seated  to  right,  looking  up  ;  her  right  arm  is  folded 
across  her  body,  the  left  outstretched  holding  the  asp ;  thin  white  drapery,  blue  cloak 
and  pink  scarf ;  curtain  to  right ;  dark  background. 

Canvas,  76  in,  H.  x  49  in.  W. 


483.  Moses  defending  the  Daughters  of  Jethro.  Roman  School,  17th  century. 

The  well  is  to  the  left,  and  one  of  the  girls  is  pouring  water  into  a  trough  from 
an  ewer ;  Moses  to  the  right,  has  overthrown  two  of  the  shepherds,  a  third  is  driving 
his  flock  away  in  the  distance,  three  others  are  seen  at  the  further  side  of  the  well,  and 
two  are  advancing  from  the  distance. 

Canvas,  43 J  in.  H.  x  57  in.  W. 

Cat.  183 1.     Drawing-Room. 

484.  St.  Michael  trampling  on  Satan.  After  Guido  Renl 

Canvas,  67!  in.  H.  x  48^^  in.  W. 
Cat.  1747.  Bedchamber,  No.  i. 
Cat.  1 83 1.     Red  Damask  Dressing- Room. 


y 


ii6  CATALOGUE   OF   PICTURES  tunderground  gallery 

•^  "-EAST  WALL. 

485.  "Casey,"  a  Spaniel  Bitch  belonging  to  the  Countess  of  Oxford.  J.  Wootton. 

Black  and  white  bitch,  seated  to  left,  on  a  crimson  velvet  cushion ;  window  to 
left,  a  picture  of  dogs  in  background,  and  curtain  looped  up  to  right. 

Canvas,  50  in.  H.  x  40  in.  W. 

Cat.  1747.  In  the  West  Room,  No.  i.  "A  Harlequin  bitch  (Casey)  on  a 
Cushion  ;  w""  a  picture,  as  in  the  room,  of  Mina  &  Die,  two  other  dogs." 

486.  Elizabeth  Christina,  Queen  of  Bohemia.  G.  B.  Lampi. 

Full  length,  life  size,  standing  to  left,  crowned ;  white  satin  dress,  the  petticoat 
and  edge  of  train  richly  embroidered  with  gold ;  the  front  of  the  bodice  is  nearly 
covered  with  jewels,  the  edge  bordered  with  lace,  lace  flounced  sleeves,  pearl  bracelets 
and  diamond  necklace ;  the  hair  is  powdered  and  curled,  two  long  curls  resting  on 
left  shoulder.  Her  right  rests  on  the  back  of  a  chair,  on  the  seat  of  which  are  placed 
three  crowns ;  her  left  arm  is  extended  in  front  of  her.  Dark  background,  with 
brocaded  curtain  to  right,  chequer  pavement.  Inscribed,  in  yellow  letters  to  right, 
on  the  background,  "  Elisabeth  a  Cristina,  Rom.  Im.  Coron.  Reg.  Bohem.  Praga," 
and  "  Lampi." 

Canvas.  ^ 


487.  Dogs  and  Hare  in  a  Landscape.  J.  Wootton. 

A  brown  and  white  dog  standing  to  left,  a  black  and  white  one  lying  down  to 
right,  with  a  dead  hare  between  them  ;  on  a  bough  of  the  tree  to  right  sits  a  jay,  and 
nearer  the  centre  is  the  wall  of  a  terrace  ;  open  landscape  to  left.  Signed  on  the  stone 
in  right  lower  corner,  "J.  Wootton." 

Canvas,  50  in.  H.   x  4o|-  in.  W. 

Cat.  1747.  Vestibule,  No.  7.  "Two  Dogs  (Gill  and  Die)  and  a  dead  Hare. 
Wootton." 

488.  Denzil  Holles.     1538 — 1590. 

Bust,  life  size,  in  an  oval,  to  right;  black  armour,  crossed  by  red  baldric ;  he  wears  a 
conical  black  cap,  to  which  is  fastened  a  medallion,  the  cap  border  faced  with  red  and 
edged  with  gold  lace  ;  pointed  beard,  falling  ruff;  coat  of  arms  in  the  right  top  corner. 
Inscribed  "  Denzel  Holles,  Esqr.,  Eldest  Son  &  Heir  of  Sr.  Wm.  Holles,  the 
2ND  of  that  name,  Married  Eleanor,  Daughter  of  Edmund,  Baron  Sheffield, 
dyed  April  22D.  1590,  320  of  Eliz.,  in  y^  51ST  year  of  his  age,"  beneath  in  white 
letters,  "  Not  forgoten." 

Canvas,  29^^  in.  H.  x  24  in.  W. 

Cat.  1747.     South  Dressing- Room,  No.  7. 

National  Portrait  Exhibition,  1868.     Cat.  No.  632. 


UNDERGROUND  GALLERY.J  ^T      WELBECK      ABBEY.  Tl7 

BAST  WALL.  -"  '37 

489.  Francis,  Youngest  Son  of  Sir  Gervase  Holles.     1576 — 1656. 

Bust,  life  size,  to  right,  in  black  armour ;  red  scarf,  embroidered  with  gold  and 
edged  with  lace,  falling  ruff  edged  with  lace,  ear-ring  in  right  ear,  with  pendent 
love  lock;  light  reddish  hair,  pointed  beard  and  moustache.  Inscribed  "Mr. 
Francis  Holles/  Youngest  son  of  S\  Gervase  Holles,/  married  Ann  Daughter/ 
AND  Heir  of  James  Lany/  Gen"'./  of  Barwick/  upon  Tweed/  and  died/  An 
1656." 

Canvas,  27  in.  H.   x  2 if  in.  W. 

Cat.  1747.     Dressing-Room,  No.  4. 


490.  John  Holles,  ist  Earl  of  Clare.     1564 — 1637. 

Bust,  life  size,  to  left ;  white  tunic,  red  scarf  edged  with  gold  lace,  gorget  and 
fringed  ruff;  hair  brushed  up  into  a  tuft  on  the  top  of  his  head,  short  beard  and 
moustache,  the  ends  turned  up,  gold  ear-ring.  Inscribed  and  dated  in  left  upper 
corner,  on  oval  frame,  "  1611/  S^  John  Holles  of  Haughton/  in  the  County  of 
Nottingham/  Knight  Conptroller  of  the/  Household  of  Henry/  Prince  of 
Wales,  which  S".  John/  was  afterwards  Earle  of/  Clare  and  Lord  and/  Baron 
Haughton  of/  Haughton  before/  mentioned  and  dyed/  1637  aged  seaven/  ty  and 
three  yeares  or/  thereabouts." 

Panel,  22^^  in.  H.  x   17!^  in.  W. 

Sir  John  Holles,  created  by  James  I.,  Baron  Haughton  and  ist  Earl  of  Clare, 
married  Anne,  only  daughter  of  Thomas  Stanhope  of  Shelford,  Notts,  his  daughter 
Arabella  married  Thomas  Wentworth,  Earl  of  Strafford. 

Cat.  1747.     Dressing-Room,  No.  6. 


491.  Freschville,  Son  of  Sir  Gervase  Holles.     D.  1630. 

Bust,  life  size,  to  left,  in  buff  coat  tied  with  white  bows  and  points  and  white 
sleeves,  lace  edged  falling  ruff,  and  steel  gorget,  dark  brown  hair,  parted  in  the  centre, 
and  moustache.  Inscribed  "  Frescheville  Holles  Son  &  Heir  of  S^  Gervase/ 
Holles  married  Eliz™.  Daughter  &  Heir/  of  Jn°.  Kingston/  of  Grimsby/  in 
Lincoln/  shire  EsQ^/  died  An  :   1630." 

Canvas,  26^^  in.  H.   x   23  in.  W. 

Cat.  1747.     Dressing-Room,  No.  3. 

National  Portrait  Exhibition.  Cat.  No.  689.  In  the  Catalogue  he  is  confounded 
with  Sir  Frescheville  Holles  who  lost  an  arm  at  the  outbreak  of  the  Dutch  war  in  1666 
and  was  killed  in  the  battle  of  Solebay,  1670;  the  above  picture  represents  another 
member  of  the  family,  the  father  of  Gervase  Holles,  the  historian. 


1-8  CATALOGUE   OF    PICTURES  [underground  gallery, 

■^  "-EAST  WALL. 

492.  Francis  Holles,  3RD  Son  of  John,  ist  Earl  of  Clare.     1604 — 1622. 
Bust,  life  size,  to  left,  in  an  oval ;  red  coat  with  white  sleeves  braided  with  gold ; 

steel  gorget  damascened  with  gold,  the  scalloped  edge  of  red  velvet  ornamented  with 
gold  braid  ;  long  light  hair  brushed  off  forehead  and  slight  moustache ;  ear-ring  in  left 
ear,  with  a  pendent  heart  transfixed  by  two  arrows,  cross  wise,  below  it  a  tiny  plait  of 
hair  trails  over  the  shoulder.  Inscribed  "  Francis  Holles/  30  Son  of  Jno.  ist/ 
Earl  of  Clare./  Dy'd  1622/  AEtas  18."     A  coat  of  arms  to  left. 

Canvas,  oval,  27  in.  H.  x   22^^  in.  W. 

Cat.  1747.     Dressing-Room,  No.  8  ? 

493.  Portrait  of  a  Young  Man. 
Bust,  life  size,  to  left ;  pale  yellow  doublet  braided  with  silver,  silver  buttons,  lace 

ties  to  sleeve,  black  gorget  and  plain  linen  band ;  right  hand  on  hip,  short  dark  hair, 
fair  moustache  and  imperial ;   dark  background. 

Canvas. 

One  of  the  Holles  family  ? 

494.  An  Allegory.  Guido  Cagnacci. 

A  young  woman,  nearly  nude,  is  lying  In  the  foreground,  with  some  white  drapery 
beneath  her,  resting  on  her  elbows  ;  a  gold  chain  is  wound  round  the  right  wrist,  and 
falls  over  her  hands  (which  are  clasped  in  front  of  her)  like  a  rosary  :  her  head  is  raised 
as  she  listens  to  a  young  girl  in  a  violet  dress,  who  is  seated  on  the  ground  in  front  of 
her  to  the  right ;  this  girl,  whose  left  is  outstretched  in  the  act  of  speaking,  is  pointing 
fl  Vith  her  right  to  a  white-winged  youthful  figure  in  blue  flying  drapery,  who  striding 

rapidly  forward  with  wings  extended,  is  driving  away  with  a  stick  a  flying  Satyr. 
Above  the  Satyr  is  a  glazed  window ;  two  females  are  leaving  by  the  door  to  right, 
which  one  is  closing  as  she  turns  to  look  back  ;  the  second  woman  holds  a  glass  with  a 
yellow  liquid  in  it,  in  her  right,  while  with  her  left  she  presses  a  handkerchief  to  her  eyes. 
Outside  the  door  is  a  balcony,  with  a  vase  of  pinks  on  the  balustrade.  In  the  fore- 
ground to  left  lies  a  blue  dress,  richly  embroidered  with  silver,  an  overturned  toilet- 
box,  a  pair  of  blue  shoes  braided  with  gold,  and  a  number  of  jewelled  ornaments  and 
pearls  are  scattered  about ;  a  carpet  and  cushions  are  in  the  background.  Between 
the  two  principal  figures,  on  the  ground,  is  an  ointment  vase  and  cover.  Signed  to 
^  *  the  right,   in  the  lower  corner,  in  sloping  letters,  "  Guidus  Cagnaccius  Inventor 

....  llabrae  .  .  .  ." 

Canvas. 

495.  Mary  Talbot,  Wife  of  Sir  William  Airmyne,  Bart. 

Three-quarter  length,  life  size,  seated  to  right ;  black  dress,  white  under-sleeves 
tied  with  black  bows,  black  veil  folded  back  over  the  head,  a  gauze  scarf  falls  from  the 


f 


UNDERGROUND  GALLERY.J  J!^J     WELBECK     ABBEY.  T  ,0 

EAST  WALL.  ■'  '  JV 


right  shoulder  to  her  lap ;  wide  collar,  fastened  with  three  black  bows,  and  a  large 
jewel  in  front  of  the  bodice,  a  mourning  bracelet  on  the  right  arm  ;  her  right  hand  rests 
on  the  chair,  the  left  on  her  knee,  light  curly  hair.  Curtain  to  left,  crimson  velvet 
chair  with  brass  knobs.  On  the  wall  at  the  back  a  tablet  with  scroll  ornament  to  right. 
Inscribed  "  Mary  2nd  Daughter/  to  Henry  Talbot/  3rd  Son  to  George/  Earl 
OF  Shrewsbury/  Married  to  Sr.  W"./  Airmyne,  Bart./  of  Osgodby,  in/  Lincoln- 
shire." 

Canvas,  49!^  in.  H,   x  41  in.  W. 

Cat.  1 747.     Little  North  Bedchamber,  No.  2. 

496.  Margaret  Wootton,  Wife  of  Sir  Thomas  Grey,  K.G.  After  Holbein. 

Three-quarter  length,  life  size,  to  right,  black  dress,  the  wide  upper  sleeves  are 
looped  back  and  lined  with  ermine,  the  edge  of  the  bodice  and  the  kirtle  is  also 
bordered  with  ermine ;  she  holds  a  red  staff  with  both  hands  in  front  of  her,  and  a 
bunch  of  flowers  in  her  right ;  close  black  hood  and  white  cap  beneath,  round  her  neck 
is  a  small  black  chain.  On  the  background  to  left  is  inscribed  in  gold  letters, 
"AD    HOSPITEM   PICTOR 

"TOT   PROCERES   GENEROSA   PARENS   TOT  CLARA  NEPOTUM 
"LUMINA   QUJE   FERRIS   LIQUIT  SACRAVIT   OLYMPO 
"WUTTONIAM   A   GENITORE   VIDES   A  CONIUGE   GRAIAM " 

and  to  right, 

"WUTTONIA  AD  [S]VOS 

"VIVITE    [FELIJCES   ANIMISQ[UE]    INGENTIBUS   ISTA 
"SORDIDA   CALCANTES   PEDIBUS    SUBLIM[I]A  SEMPER 
"SPIRATE   &  CERTOS   VIT^    [ME]LIORIS   HONORES." 

Below  to  right  is  inscribed  "  Margaret  Wootton,  wife/  to  Sr.  Thos.  Grey,  Knt./ 
OF  THE  Garter,  and/  Grandmother  to/  Lady  Jane  Grey." 

Panel,  42  in.  H.  x  33  in.  W. 

Cat.  1747.     In  the  Turret-Room,  No.  4. 

Exhibited  at  Manchester,  1857.     Cat.  No.  53. 

497.  Frances  Cavendish,  Wife  of  John  Campbell,  Lord  Glenorchy. 

Three-quarter  length,  life  size,  seated  to  left.  Fawn-coloured  dress  with  short 
sleeves,  blue  cloak  embroidered  with  gold,  frilled  edge  to  chemisette  at  the  neck  ;  her 
right  elbow  rests  on  a  table,  covered  with  the  end  of  the  purple  curtain  which  hangs 
to  left,  she  holds  a  lock  of  her  hair  in  her  hand,  the  left  rests  on  her  lap  holding 
cloak  ;  pearl  necklace  and  pendent  ear-rings,  brown  hair,  with  string  of  pearls  wound  in 
it,  descending  to  the  shoulders.     Column  and  pedestal  to  right ;  brown  background. 


I40  CATALOGUE   OF   PICTURES  [-underground gallery. 

^  "-EAST  WALL. 

Inscribed  "  Frances  Cavendishe,/  2nd  Daughter  to/  Henry,  Duke/  of  Newcastle,/ 
Married  John/  Campbel,/  Ld.  Glenorchy." 

Canvas,  48  in.  H.  x  38!  in.  W. 

Cat.  1747.     Great  Dining- Room,  No.  i. 

498.  William  Cavendish,  2nd  Earl  of  Devonshire.     D.  1628. 

Three-quarter  length,  life  size,  standing  to  right ;  in  a  black  doublet,  sword  belt 
ornamented  with  gold ;  holding  his  gloves  in  his  left,  which  rests  on  a  table  covered 
with  a  red  cloth,  his  right  hangs  by  his  side  ;  tall  hat  and  ruff;  dark  brown  background. 
Inscribed  in  the  upper  left  corner  in  yellow  letters,  "  Willm.  Cavendishe,  Earl  of 
Devonshire,  married  Lady  Grace  Talbot,  youngest  Daughter  to  George,  Earl 
OF  Shrewsbury,"  and  in  black  letters  to  right,  ".^tatis  57  Anno  1609." 

Canvas,  49^  in.  H.  x  38  in.  W. 

According  to  Burke,  Henry  the  eldest  son  of  Sir  Wm.  Cavendish  and  Elizabeth 
Hard  wick,  married  Lady  Grace  Talbot.  Henry  died  without  issue  16 16,  and  was 
succeeded  by  his  brother,  Sir  Wm.  Cavendish,  ist  Earl  of  Devonshire. 

Cat.  1747.     In  the  Great  Dining- Room,  No.  6. 

499.  Lady  Catherine  Darnley,  Duchess  of  Buckingham,  with  Her  Son  Edmund,  the 
last  Duke.  Enoch  Zeeman,  the  Elder. 

Three-quarter  length,  life  size,  seated  to  right,  nearly  full  face  ;  her  son  stands  on 
her  left ;  with  her  right  she  takes  a  rose  from  him,  her  left  is  placed  on  his  shoulder ; 
the  child  holds  a  spray  of  jessamine  in  his  left.  The  Duchess  is  in  a  loose  gown  of 
white  satin,  a  blue  mantle  thrown  over  the  left  shoulder,  and  gathered  in  her  lap ;  her 
son  Edmund  is  in  semi-classic  costume  wearing  a  red  cap,  looped  up,  in  front  and 
ornamented  with  a  white  feather.  Garden  court  with  fountain  to  right,  dark  wall  to 
left.  Inscribed  "  Lady  Catherine  Darnley,  natural  daughter  to  King  James 
II.,  by  Mrs.  Catherine  Sedley." 

Canvas,  50  in.  H.  x  41  in.  W. 

Cat.  1747.     In  the  Bedchamber,  No.  5. 

Exhibited  at  Manchester,  1857.     Cat.  No.  243. 

500.  Henry  Wriothesley,  3RD  Earl  of  Southampton,  as  a  Prisoner  in  the  Tower. 
1573— 1624. 

Three-quarter  length,  life  size,  to  left;  black  doublet  and  cloak,  the  cloak  lined  with 
grey  fur,  wide  collar  edged  with  lace,  and  cuffs  ;  gold  chain  wound  round  left  wrist,  the 
right  hand  is  gloved  holding  left  hand  glove,  the  elbow  rests  on  a  piece  of  furniture,  his 
left  hand  rests  on  his  cloak,  which  hangs  from  the  left  shoulder,  and  is  wrapped  round 
his  waist ;  brown  gloves  with  white  borders,  slashed  at  the  edges,  and  ornamented 
with  bows  of  black  ribbon.     Long  brown  hair,  hanging  below  the  shoulders,  thin 


UNDERGROUND  GALLERY,-]  y^f     WELBECK      ABBEY.  T^I 

EAST  WALL.  -■  '  4 ' 


moustache,  curled  at  the  ends,  slight  beard  and  whiskers.  Window  to  left  with  several 
panes  of  glass  broken,  beneath  sits  a  black  and  white  cat ;  a  book  lies  near,  bound  in 
red,  with  a  coat  of  arms  on  the  cover ;  a  gold  cross  surmounted  by  a  crown,  on  a  black 
ground,  quartered  with  birds.  Grey  stone  muUions  to  window,  and  wall  to  right. 
Inscribed  in  left  lower  corner  "  Henry  Wriothesley,  Earl  of  Southampton." 

Canvas,  43  in.  H.  x  34^  in.  W. 

There  are  some  curious  coincidences  between  this  picture  and  a  portrait  of  Sir 
Henry  Wyat  ?  belonging  to  the  Earl  of  Romney. 

Henry  Wriothesley,  E.  of  Southampton  was  a  prisoner  in  the  Tower  after  joining 
in  Essex's  insurrection,  1601 ;  he  was  father  of  Thomas  Wriothesley,  E.  of  Southampton, 
Lord  High  Treasurer  under  Charles  H. 

From  Bulstrode,  No.  48,  V.  Granger,  IV.  373,  ed.  1775  ;  the  picture  was  brought 
to  his  notice  by  Walpole. 

Exhibited  at  Manchester,  1857.     Cat.  No.  31. 

Tudor  Exhibition,  New  Gallery,  1890.     Cat.  No.  481. 

501,  Elizabeth  Foley,  Wife  of  Robert  Harley,  ist  Earl  of  Oxford. 

Three-quarter  length,  life  size,  seated  slightly  to  left;  purple-grey  dress,  short 
sleeves  with  scalloped  edges,  grey-blue  mantle,  white  under-sleeves  ;  a  string  of  pearls 
is  fastened  to  a  jewel  in  the  centre  of  the  dress,  dark  hair  in  clusters  of  curls.  With 
her  right  she  places  a  scarlet  flower  in  her  breast,  her  left  holding  a  basket  of  flowers 
on  her  lap.  On  the  window  ledge  to  right  is  a  black  and  white  pigeon,  purple  curtain 
to  left.  Inscribed  to  right,  below  the  window,  "  Elizabeth  Foley,/  ist  Wife  to 
RoBT./  harley,/  Esqr." 

Canvas,  50^  in.  H.  x  41  in.  W. 

Elizabeth  Foley,  daughter  of  Thomas  Foley  of  Whitley  Court  Worcestershire, 
I  St  wife  of  Robert  Harley,  ist  Earl  of  Oxford  and  Mortimer,  Lord  High  Treasurer  in 
the  reign  of  Q.  Anne. 

Cat.  1747.     In  the  Bedchamber,  No.  6. 

Cat.  183 1.     Red  Damask  Dressing- Room. 

502.  Thomas  Harley,  Esq.     1606. 

Three-quarter  length,  life  size,  to  right ;  dark  grey  dress  with  black  spots,  gold 
embroidered  sword  belt,  plain  frilled  ruff;  short  hair,  pointed  beard  and  moustache ; 
his  right  resting  on  a  table  to  left,  his  left  on  his  sword.  On  the  table  are  a  couple  of 
books  placed  one  upon  another  ;  a  coat  of  arms  to  right.  Inscribed  in  upper  corner  to 
left,  "Thomas  Harley  Esqr./  ^tatis  Su^  42/  anno  1606." 

Panel,  36|-  in.  H.  x  28  in.  W. 

The  remains  of  an  older  inscription  to  be  seen  beneath  the  present  one. 

Cat.  1747.     In  the  South  Drawing- Room,  No.  6. 


CATALOGUE   OF   PICTURES  [underground  gallery, 


503.  Portrait  of  a  Military  Officer. 

Bust,  life  size,  to  right ;  red  coat  with  gold  facings,  hat  under  left  arm,  right  hand 
thrust  in  the  breast  of  coat ;  hair  powdered  and  tied  with  black  ribbon ;  grey 
background. 

Canvas,  30  in.  H.  x  25  in.  W. 

504.  John  Holles,  2nd  Earl  of  Clare.     D.  1665. 

Three-quarter  length,  life  size,  to  right ;  in  black  armour,  holding  a  baton  in  his 
right,  his  left  hand,  bare,  rests  on  a  pedestal  covered  with  crimson  velvet,  on  which  his 
helmet  is  placed  ;  sword  to  right,  plain  linen  band,  long  dark  hair,  small  moustache  and 
chin  tuft ;  red  hanging  to  right,  dark  brown  background.  Inscribed  "  John  Holles,/ 
2°  Earl  of  Clare,/  married  Elizabeth,/  Eldest  Daughter/  &  one  of  the 
Coheirs/  of  Horace,  Lord  Vere/  of  Tilbury." 

Canvas,  49^^  in.  H.  x  40^^  in.  W. 

This  would  appear  to  be  the  original  from  which  the  full  length  In  Peer's  Robes 
was  copied  by  Maria  Verelst,  No.  458  in  this  Catalogue. 

Exhibited  at  Manchester,  1857.     Cat.  No.  158. 

505.  Portrait  of  a  Gentleman,  in  Military  Uniform. 

Half  length,  life  size,  to  left ;  scarlet  coat  with  gold  facings,  left  arm  resting  on  a 
pedestal,  hand  hanging  down,  right  not  seen. 
Canvas,  39^^  in.  H.  x  29!-  in.  W. 

506.  Grace  Pierrepoint,  Wife  of  Gilbert  Holles,  3RD  Earl  of  Clare. 

Three-quarter  length,  life  size,  seated  to  left ;  blue  satin  dress,  red  scarf  thrown 
over  right  shoulder ;  curled  hair,  in  clusters  at  the  ears,  a  string  of  pearls  wound  round 
the  crown  of  the  head,  pearl  necklace  and  pendent  ear-rings,  jewel  and  pearl  ornament 
in  the  centre  of  the  bodice,  jewelled  clasps  to  sleeves.  The  right  arm  is  supported 
on  a  bank  of  earth,  the  left  on  her  lap,  holding  end  of  scarf.  Landscape  background, 
with  earth  bank,  sunset  sky  to  left.  Inscribed  to  right  in  the  upper  corner,  "Grace 
Daughter/  of  W".  Pierrepont/  of  Thoresby  in/  County  Nott  :  Esq"./  married 
TO  Gilbert  Holles,/  3°  Earl  of  Clare." 

Canvas,  49^^  in.  H.   x   39  in.  W. 

Cat.  1747.     Great  Drawing- Room,  No.  i. 

507.  St.  John  in  the  Wilderness.  Annibale  Carracci. 

St.  John  is  seated  to  the  left,  resting  on  his  right  arm;  beside  him  a  reed  cross 
and  a  drinking  cup  ;  he  points  with  his  left  to  Christ,  who  is  seen  on  an  eminence  in 
N^  the  distance.     Landscape  background. 

Canvas,  622-  in.  H.  x  462-  in.  W. 
Cat.  1 83 1.     Drawing- Room. 


UNDERGROUND  GALLERY.-j  ^^     WELBECK      ABBEY.  14, 

EAST  WALL.  -*  *  tO 


508.  Portrait  of  a  Lady.  G.  Netscher. 

Full  length,  life  size,  standing  to  left;  white  satin  dress,  the  corset  is  richly 
embroidered  with  floral  ornaments  in  gold  and  silver ;  short  sleeves  lined  with  pale 
blue  satin,  and  looped  up  with  jewels ;  the  cambric  sleeves  beneath  are  edged  with 
lace,  and  ornamented  with  a  jewel  (in  the  form  of  a  bow),  above  the  elbow,  and  bands 
of  pearls,  the  scalloped  edge  of  the  bodice  is  also  hemmed  with  pearls.  With 
her  right  she  gathers  a  rose  from  a  sculptured  vase  to  left,  her  left  hangs  by  her 
side  holding  a  striped  gauze  scarf,  rolled  round  the  top  of  the  corset  and  fastened 
in  the  centre  by  a  jewel,  with  three  pearl  pendants.  Blonde  hair,  hanging  in  thick 
clusters  of  curls  to  the  shoulders,  a  string  of  pearls  wound  in  the  knot  at  the  back 
of  the  head,  and  pearl  necklace.  Red  curtain,  fluted  column  to  right,  house  and 
garden  to  left ;  the  terrace  is  ornamented  with  statues,  and  the  court  with  fountains 
and  statues ;  the  house,  which  has  a  sloping  roof  in  the  French  style,  is  on  the  right 
of  the  court.     Signed,  on  the  pedestal  of  the  vase,  "G.  Netscher  f." 

Canvas. 

509.  Cardinal  Fleury,  Prime  Minister  to  Louis  XV.     1653 — 1743.     After  Rigaud. 

Three-quarter  length,  life  size,  seated  to  right ;  in  Cardinal's  Robes,  holding  his 
cap  in  his  hands.  On  a  table  to  right  are  some  books  and  writing  materials,  gilded 
chair  ;   architectural  background,  brown  curtain. 

Canvas. 

* 

510.  Anne  Pile,  2nd  Wife  of  Francis,  Lord  Holles. 

Bust,  life  size,  to  right,  in  white  dress ;  dark  background.  Inscribed  above, 
"Anne  Pile/  the  Eldest  Daughter  &/  Coheir  of/  S".  FRAN^  Pile/  y^  2°  of 
that/  name  of/   Compton/  Beauchamp/   in  the   County/  of   Berks,/    Baronet/ 

2°  wife   to    FRAN^/    HoLLES,/    BARON    OF    IfEILD." 

Canvas,  oval,  30  in.  H.  x  24!-  in.  W. 

Cat.  1747.  In  the  Bedchamber,  No.  6,  it  is  distinguishable  from  the  copy  which 
hung  in  the  South  Dressing-Room,  No.  10,  which  has  the  Baron's  coronet  on  the 
background  and  the  date  1672,  both  duly  noted  in  the  old  catalogue.  There  is  a 
long  inscription  on  the  back  of  the  canvas,  similar  to  that  on  the  copy.  See  No,  13 
in  this  Catalogue. 

511.  Battle  of  the  Boyne.     1690. 

The  King,  in  blue,  is  mounted  on  a  white  horse  with  a  crowd  of  officers  to 
the  left ;  in  the  foreground,  on  a  bank  of  earth  in  the  centre,  are  four  cannon,  two  of 
which  are  being  discharged ;  more  to  the  right,  a  couple  of  trumpeters  are  galloping 
and  blowing  their  trumpets,  near  this  group  is  an  officer  in  red,  with  other  horsemen. 


144  ^-         CATALOGUE   OF    PICTURES  [underground  gallery 

^  '-EAST  WALL. 

In  the  distance  the  infantry  are  crossing  the  river  in  four  columns,  that  on  the  extreme 
left  of  the  picture  is  ascending  the  hill  on  the  opposite  side  ;  on  the  hill  to  left  are 
a  couple  of  cannon. 

Canvas. 

The  disposition  of  this  picture  is  nearly  the  same  as  that  by  Dirck  Maas,  but  it  is 
not  so  clear,  and  the  fields  of  standing  corn  on  the  near  shore  are  not  shown ;  the 
cannon  on  the  hill  to  left  are  in  both  pictures,  and  no  doubt  the  paintings  were 
executed  from  careful  description  or  by  an  eye-witness.  This  picture  is  attributed  to 
Van  der  Meulen,  but  appears  to  be  by  the  same  hand  as  that  ascribed  to  Wyck,  which 
represents  the  battle  as  seen  from  the  other  side  of  the  river. 

Cat.  1 83 1.     Dining- Room  Staircase. 

512.  Lucy  Carr,  ist  Wife  of  Francis,  Lord  Holles. 

Bust,  life  size,  to  right ;  white  dress  with  blue  lining  to  sleeves,  fastened  in  front 
by  pearls,  connected  with  gold  links ;  similar  ornaments  to  the  sleeves ;  the  haii"' 
is  drawn  back  from  the  forehead  and  hangs  in  curls  to  the  shoulders,  pearl  necklace 
and  ear-rings,  a  string  of  pearls  wound  in  the  hair  at  the  back ;  dark  background. 
Inscribed  "  M.  Lucy/  Carr/  3°  &  youngest/  daughter/  to  S".  Robert  Carr/  of 
Sleeford/  in  the  County/  of  Lincoln/  married  to/  Francis  L°/  Holles/  Baron/ 
of/  I  field." 

Canvas,  oval,  30  in.  H.  x   24  in.  W. 

Cat.  1747.     In  the  Bedchamber,  No.  2. 

513.  Horace,  Lord  Vere,  Baron  of  Tilbury.     1565 — 1635. 

Bust,  life  size,  to  right ;  black  doublet  with  white  satin  sleeves,  blue  scarf  edged 
with  gold  lace,  white  falling  ruff;  grey  hair,  pointed  beard  and  moustache.  Inscribed 
"  Lord  Vere,"  in  left  hand  corner,  another  inscription  added  subsequently,  "  Horace 
Lord  Vere,  Baron/  of  Tilbury,/  married  Mary/  Daughter  to  Sr./  John  Tracy 
of/  Todington  in/  Gloucestershire/  and  dyed/  An.  1635." 

Panel,  26|-  in  H.   x  24  in.  W. 

Horace,  younger  brother  to  Sir  Francis  Vere,  distinguished  himself  in  Germany, 
took  Sluys  for  James  I.,  in  1604  succeeded  his  brother,  Sir  Francis  Vere,  as  Lord 
General  of  the  English  Army  in  the  Netherlands,  died  1635,  when  nearly  seventy, 
buried  in  Westminster  Abbey  near  his  brother.  His  daughter  Ann,  married  Thomas, 
Lord  Fairfax.     Lord  Vere  married  Mary,  daughter  of  Sir  John  Tracey  of  Todington. 

Cat.  1747.     Great  Dining-Room,  No.  11. 

514.  Abraham's  Servants  bringing  Presents  to  Rebecca.  Seb.  Bourdon. 

One  of  the  messengers,  in  a  grey  cloak  and  red'^ress,  kneels  in  centre  of  fore- 
ground taking  some  stuffs  from  a  trunk,  near  by  are  some  vases,  another  servant 


UNDERGROUND  GALLERY.-]  ^-J-     WELBECK     ABBEY.  JAK 

EAST  WALL.  -•  *43 


kneels  behind  him,  who  turns  to  look  at  a  couple  of  camels  that  are  being  unloaded  ; 
at  his  side  is  a  grey-haired  man  in  a  yellow  cloak,  pointing  to  Rebecca,  who  stands  to 
the  left,  in  yellow  and  blue ;  an  infant  behind  her  is  turning  to  look  at  a  couple 
of  chickens ;  the  child's  left  is  held  by  a  woman  in  red  behind  Rebecca,  and  the  head 
of  another  child  is  seen  over  her  shoulder;  a  woman  wrapped  in  a  cloak  stands 
by,  looking  on.  To  the  extreme  left,  standing  on  a  step,  are  two  turbaned  figures.  A 
cloth  is  suspended  above  the  house  porch,  and  a  vine  trails  to  a  couple  of  trees 
in  the  centre.  In  the  background  is  an  obelisk,  and  more  to  the  right,  some  tall 
trees  rise  above  the  porch  of  a  low  building  to  left. 

Canvas,  50  in.  H.  x   57  in.  W. 

Cat.  1 83 1.     Ante-room. 

515.  Elizabeth,  Queen  of  Bohemia.     1596 — 1662.  Honthorst  ? 

Bust,  life  size,  to  left;  grey  dress  braided  with  black,  open  sleeves,  showing 
puffed  under-sleeves  of  muslin  laced  with  silver ;  the  corset  is  ornamented  in  similar 
fashion,  a  large  jewel  on  her  breast  to  which  is  fastened  a  string  of  large  pearls,  wide 
open  rufif  and  collar,  the  sleeves  are  tied  with  pink  ribbons,  a  girdle  of  the  same  at  the 
waist ;  the  hair  is  frizzed  and  ornamented  with  an  aigrette  of  pearls ;  pearl  necklace, 
and  pendent  ear-rings. 

Canvas,  24!  in.  H.  x  25  in.  W. 

Elizabeth,  Queen  of  Bohemia,  Sister  of  Charles  I.,  and  Grandmother  of  George  I., 
married  the  Elector  Palatine,  chosen  King  of  Bohemia. 

Cat.  1 747.  South  Bedchamber,  No.  2  ?  Another  portrait  hung  in  the  South 
Dressing- Room,  No.  i. 

516.  Sir  William  Farmor  of  Easton-Neston.  Ascribed  to  Dobson. 

Three-quarter  length,  life  size,  standing  to  right,  in  armour ;  holding  his  helmet, 
lined  with  red  quilted  silk,  which  rests  on  a  bank  in  front  of  him.  Red  silk  scarf  round 
waist;  long  dark  hair.  In  the  background  is  a  statue  of  Mars  in  a  niche  to  the  left; 
column  to  right  and  landscape,  a  battle  in  the  distance.  A  coat  of  arms  is  painted 
in  the  left  lower  corner.  Inscribed  "  Sr.  William  Farmor  of  Easton-Neston  in  the 
County  of  Northampton,  Knight  and  Bart.  Captain  of  a  troop  of  Horse  in  the 
SERVICE  of  King  Charles  ist.  and  Groom  of  y"  Bedchamber  to  Charles  Prince  of 
Wales." 

Canvas. 

From  the  Northwick  Collection.     Sale  Cat  No.  123.  • 

517.  The  Adoration  of  the  Shepherds.  Gerard  Honthorst. 

A  night  piece.  The  Virgin  kneels  to  the  right  in  a  red  dress,  she  holds  the  ends 
of  the  linen  cloth  on  which  the  child  is  lying.  Five  shepherds  in  adoration  to  the 
left,  one  in  the  foreground  has  his  hand  on  a  lamb,  lying  by  his  side.     St.  Joseph  is 

U 


146  CATALOGUE   OF   PICTURES  tukderground  gallery. 

'  "-EAST  WALL. 

Standing  to  the  right  with  a  candle,  shading  his  eyes  from  the  light  with  his  right. 
The  principal  light  proceeds  from  the  infant  Christ, 

Canvas,  66  in.  H.  x  83  in.  W. 

Cat.  1 747.     Lobby  to  Lady's  Apartment,  No.  5. 

518.  Admiral  Michiel  Adriaensz  de  Ruyter.     1607 — 1676. 

Half  length,  life  size,  standing ;  wearing  a  gorget,  a  truncheon  in  his  right,  his 
left  resting  on  hip  ;  black  coat  with  short  sleeves  and  gold  buttons,  it  is  open  from  the 
neck  and  shows  the  buff  waistcoat  beneath,  orange  scarf  trimmed  with  gold  lace ; 
sleeves  of  under-coat  are  turned  back  and  edged  with  silver  lace ;  from  a  silver  chain 
round  his  neck  depends  an  order,  attached  to  a  pale  blue  ribbon  knot,  with  St  Michael 
trampling  on  the  Dragon  ;  the  chain  is  formed  of  silver  shells  united  by  a  number  of 
small  links,  a  frame  of  the  same  pattern  surrounds  the  order  of  St.  Michael.  Black 
tie,  white  cravat ;  long  grizzled  hair,  parted  in  the  centre,  black  moustache  with  pointed 
ends,  brushed  straight  across,  and  small  grey  imperial.  Dark  purple  curtain  back- 
ground, looped  back,  showing  sky  to  right. 

Canvas,  44  in.  H.  x  36  in.  W. 

Cat.  1 83 1.     Dining- Room. 

519.  George  Talbot,  6th  Earl  of  Shrewsbury.     1522 — 1590. 

Bust,  under  life  size,  to  left ;  black  striped  doublet,  high  collar  and  ruff,  edged 
with  lace,  a  Medallion  of  St.  George  attached  to  a  triple  gold  chain  round  his  neck; 
grey  hair  parted  in  the  centre,  crown  somewhat  bald,  forked  beard  and  thin  moustache. 
Inscribed  "  George  Talbot  Earl  of  Shrewsbury,"  also  "  Georgius  Talbotus, 
Comes  Salopiae  ann.  aetatis  58  S.H.  1580."  "  Married  Gertrude,  Daughter  of 
THO^  Manners,  Earl  of  Rutland,  a""-"  to  Elizabeth  widow  of  Sr.  Wm.  Caven- 
dishe  &  Daughter  &  Heir  of  J"".  Hardwick  of  Hardwick." 

Panel,  22^  in.  H.  x  17  in.  W. 

Cat.  1 747.     Grand  Saloon,  No.  9. 

520.  Thomas  Howard,  Earl  of  Arundel.     1586 — 1646.  Vansomer? 

Full  length,  life  size,  standing  to  right ;  black  slashed  doublet  and  black  hose, 
grey  shoes  ;  wearing  blue  ribbon  with  a  Medallion  attached  round  his  neck,  falling  ruff 
edged  with  point  lace,  and  plain  cuffs,  dark  fur-lined  cloak  ;  in  his  right  he  holds  a  staff, 
with  left  he  holds  back  the  edge  of  his  cloak ;  gold  embroidered  sword  belt,  and 
jewelled  garter;  his  black  hat  lies  on  the  table  in  front,  which  is  covered  with  a  red 
cloth,  gold-fringed,  looped  at  the  corner ;  red  curtain  to  left,  looped  back,  shewing  a 
terrace  garden  and  red  brick  mansion.     Eastern  carpet. 

Canvas. 

Thomas  Howard,  Earl  of  Arundel,  married  Alethea,  3rd  daughter  of  Gilbert, 
7th  Earl  of  Shrewsbury. 


UNDERGROUND  GALLERY.-j  ^J     WELBECK      ABBEY.  147 

EAST  WALL.  ■•  '4/ 


521.  Alethea  Talbot,  Wife  of  Thomas  Howard,  Earl  of  Arundel. 

Full  length,  life  size,  seated  to  left ;  black  dress,  decorated  with  tags  ;  in  her  right 
she  holds  a  lace-edged  handkerchief,  the  left  rests  on  the  arm  of  the  chair,  the  corset 
is  edged  with  lace  at  the  neck ;  a  jewelled  chain  is  fastened  at  the  breast  with  a  large 
jewelled  IHS  ;  the  lower  edge  of  the  bodice  is  girdled  with  a  string  of  pearls,  every 
eleventh  pearl  being  set  in  gold  ;  pearl  tiara,  a  jewel  suspended  by  a  black  cord  round 
her  neck ;  open  ruff  of  point  lace,  lace  ruffles  to  sleeve,  and  gold  bracelets  set  with 
coloured  stones  ;  blonde  hair  frizzed.  To  left  is  a  corridor,  terminatingjn  a  doorway, 
with  a  view  of  a  garden  court  and  fountain.  Persian  carpet,  red  curtain  to  right,  red 
velvet  Spanish  chair. 

Canvas. 

The  Duke  of  Norfolk  possesses  a  similar  picture  ascribed  to  Van  Somen 

522.  Edward  Vere,  17TH  Earl  of  Oxford.     1550 — 1604. 

Bust,  life  size,  to  right ;  pale  violet  silk  doublet,  pinked  and  ornamented  with 
narrow  gold  braid  in  horizontal  lines,  gold  buttons  down  the  front;  black  cloak 
fastened  to  the  left  shoulder,  braided  with  gold,  and  lined  with  silk  brocade  the  same 
colour  as  the  doublet ;  high  collar  and  point  lace  ruff,  black  velvet  hat  cocked  on  the  right 
side  of  the  head,  with  a  small  brown  and  white  feather,  the  rim  ornamented  with  gold 
buttons  in  pairs  ;  thin  moustache,  shaven  chin  ;  the  right  hand  is  placed  behind  him,  the 
left  not  seen  in  the  picture.  Inscribed  to  right,  "Edward  Vere,  17™  Earle  of 
Oxford,/  Lord  high  Chamberlaine  of  Eng"-"./  Married  i''^.  Ann  Daughter 
to/  W".  Cecil  Lord  Burghlev  2°'-7  Eliz.  Daughter  to  TH0^  Trentham/  of 
Roucester  in  Com  :  Stafford/  and  died  24^"  of  June  1604,"  and  to  left,  "^tatis 
Su^  25./  1575." 

Canvas,  42  in.  H.  x  25  in.  W. 

Cat.  1747.     East  Dressing- Room,  No.  26. 

Exhibited  at  Manchester,  1857,     Cat.  79. 

523.  The  Battle  of  the  Boyne.     July  ist,  1690.  Dirk  Maas. 

The  moment  chosen  is  the  close  of  the  battle  ;  the  main  body  of  the  King's  Army 
has  already  crossed  the  river  and  is  marching  in  five  close  columns  on  the  opposite 
bank,  the  enemy  scattering  in  all  directions ;  the  cavalry  and  reserves  are  crossing 
the  river  in  long  lines  at  five  points,  the  columns  on  the  right  and  centre  are  composed 
of  infantry  with  a  small  baggage  train.  To  the  extreme  left  beyond  a  cornfield,  the 
cavalry  in  a  long  thin  line  are  seen  ascending  the  low  hill  on  the  opposite  bank,  their 
progress  marked  by  the  smoke  from  the  firing.  In  the  middle  distance  is  a  cornfield, 
with  a  few  horsemen  and  a  white  horse  lying  dead ;  nearer  the  spectator,  to  right,  are 
three  horsemen  galloping  on  the  road,  with  two  led  horses,  followed  by  two  foot  soldiers 
and  a  peasant  woman,  also  running.    In  the  foreground  to  left,  is  the  ridge  of  a  hill  on 


148  CATALOGUE   OF   PICTURES        [-underground  gallery, 

^  Least  wall. 

which  four  cannon  are  planted,  two  are  just  being  discharged,  and  an  artilleryman  is 
adjusting  another  ;  near  by  are  several  officers  on  horseback,  one  in  blue  on  a  chestnut 
horse,  appears  to  address  himself  to  a  gentleman,  who  is  conspicuous  on  a  white  horse, 
perhaps  the  King,  a  black  and  white  dog  stands  near ;  on  a  little  knoll  behind  is  the 
artist  seated  drawing,  with  a  man  standing  beside  him,  pointing  to  the  distant  battle. 
Signed  in  the  left  lower  corner,  "  Dirck  Maas,  1690." 

Canvas,  4^^  in.  H.   x   6i|-  in.  W. 

Painted  for  the  ist  Earl  of  Portland. 


524.  Two  Boys  with  a  Bird's  Nest.  Dutch  School. 

Beneath  a  tree,  on  which  grows  a  convolvulus,  are  a  couple  of  boys  kneeling ;  the 
eldest,  in  a  blue  velvet  dress,  is  feeding  a  young  bird  with  his  finger ;  the  younger  has 
his  right  hand  on  the  shoulder  of  the  elder  boy ;  on  the  bank  is  a  red  velvet  cap  with 
a  knot  of  pink  ribbon,  and  orange,  white,  and  blue  feathers.  Wild  flowers  and  shrubs 
in  the  foreground ;  landscape  background  with  distant  hills. 

Copper. 

525.  The  Meeting  of  James  I.  and  Nigel  Oliphant  in  St.  James's  Park. 

Numerous  figures  on  horse  and  foot;  Nigel  in  the  centre  mounted  on  a  black 
horse,  extends  his  right  towards  James,  who  takes  no  notice ;  a  courtier  to  left  on  a 
white  horse,  an  attendant  in  red  livery  holding  a  dog  back ;  hilly  background. 

Canvas.  , 

526.  A  Woman  Watering  a  Plant.  Greffier. 

An  old  woman  with  a  pitcher  at  an  arched  window,  about  to  water  a  verbena,  that 
grows  in  a  red  earthenware  vase,  placed  on  a  stool  outside ;  she  is  dressed  in  red,  with 
a  frilled  collar  and  white  cap  ;  a  bird-cage  hangs  above  to  the  right,  a  bas-relief  in  the 
style  of  De  Witt  beneath  the  window  ledge. 

Panel,  1 1  in.  H.  x  S^  in.  W. 

Cat.  1 83 1.     Drawing- Room. 

527.  Sir  Robert  Cecil,  ist  Earl  of  Salisbury.     1550 — 1612. 

Three-quarter  length,  under  life  size,  to  left ;  black  doublet  and  cloak,  wearing 
George  suspended  from  his  neck  by  a  blue  ribbon,  plain  white  ruif  and  cuffs ;  brown 
hair  brushed  up  in  front  and  long  at  the  sides,  small  pointed  beard  and  thin  moustache ; 
his  right  rests  on  the  table  in  front  of  him,  which  is  covered  with  an  olive  green  cloth  ; 
with  his  left  he  holds  the  George.  On  the  table  is  a  silver  bell,  and  a  red  bag  of 
Office  embroidered  with  the  Royal  Arms,  and  some  letters,  one  is  addressed  "  To 


ErsrTALr''" ''''''''^'''''^  ^'^   WELBECK   ABBEY.  i^g 


THE  RIGHT  HONORABLE    RoBERT,/  EaRLE  OF   SALISBURY,  ViSCOUNT/  CrANBORN,  BaRON 

Cecill  of  Essing/  don,  Principall  Secretary,"  etc.  Brown  background,  to  left  the 
motto  "  sero,   sed  serio." 

Canvas,  36  in,  H.  x  3o|-  in.  W. 

Mr.  David  Laing  of  Edinburgh  possessed  a  replica  of  this  picture  with  slight 
variations. 

From  Bulstrode,  No.  47. 

Exhibited  at  Manchester,  1857.     Cat.  No.  84. 

528.  Francis,  Lord  Talbot. 

Bust,  under  life  size,  to  left ;  black  doublet  with  gold  buttons  down  the  front, 
black  cap  with  black  plume  at  the  side,  and  two  jewels  in  front,  wide  ruff ;  red  hair 
and  moustache  ;  grey  background.     Inscribed  "  Francis  last  Lorde  Talbott." 

Panel,  23  in.  H.  x  17^^  in.  W. 

Cat.  1747.     East  Dressing- Room,  No.  29. 

Francis  Talbot,  eldest  son  of  George,  6th  Earl  of  Shrewsbury,  married  Anne, 
daughter  of  William,  ist  Earl  of  Pembroke,  but  died  before  his  father  without  issue. 

529.  Christ  and  his  Disciples,  in  a  Landscape.  After  Albano. 

Christ  and  five  disciples,  in  a  landscape ;  female  figure,  kneeling,  to  left. 

Canvas,  2C)f  in.  H.  x  30  in.  W. 

This  picture  may  represent  Martha  inviting  Christ  and  his  disciples  to  enter  her 
house,  or,  as  suggested  by  the  compiler  of  the  1861  catalogue,  The  Syrophenician 
Woman  crying  after  the  Saviour,  St.  Mark,  ch.  7,  v.  26. 

530.  Jupiter  and  a  Nymph.  Sebastian  Ricci. 

A  nymph,  seated,  in  blue  and  white  drapery,  repels  the  advances  of  Jupiter,  a 
youthful  figure  in  a  yellow  cloak.  Two  cupids  above,  on  the  clouds  to  left,  one  with 
a  red  flying  scarf;  the  eagle  with  thunderbolt  to  left ;  landscape  with  rocks  and 
herbage  to  right,  a  pool  of  water  in  the  foreground. 

Canvas,  25  in.  H.  x  30  in.  W. 

Cat.  1 83 1.     Dining- Room. 

531.  Nymph  and  Satyr.  Sebastian  Ricci. 

A  nymph,  asleep,  on  some  white  drapery,  her  head  on  a  blue  bolster ;  a  satyr,  in 
yellow  drapery,  kneels  beside  her,  accompanied  by  a  young  girl  in  red  ;  in  the  back- 
ground, is  a  male  figure,  seated  on  the  ground,  with  his  back  turned ;  to  the  right  is  a 
block  of  stone  with  a  Greek  inscription,  a  bust  of  a  Satyr,  a  brass  vase,  and  an  urn  with 


I50     CATALOGUE  OF  PICTURES  AT  WELBECK  ABBEY,    tundergrd.  gally. 

■-OROSVENOR  PLACE. 


some  drapery  are  placed  above  it ;  an  overturned  vase  with  some  red  drapery  is  lying 
in  the  foreground,  to  right ;  a  cup  lies  at  the  head  of  the  sleeping  nymph,  to  left 

Canvas,  25  in.  H.  x  30  in.  W. 

Cat.  183 1.     Dining-Room. 

532.  An  Allegory. 

An  old  man  with  a  cross  and  rosary,  lying  on  the  ground,  a  crown  to  left ;  two 
winged  boys,  one  with  hands  folded,  the  other  holding  a  lighted  lamp. 
Panel,  i8f  in.  H.  x  25  in.  W. 

533.  Portrait  of  a  Young  Girl. 

Bust,  life  size,  to  right,  in  an  oval ;  in  a  costume  of  the  last  century ;  rose-coloured 
dress,  open  in  front  showing  chemise,  green  drapery  over  left  shoulder ;  wall  to  right, 
sky  to  left ;  hair  parted  in  centre,  and  hanging  to  shoulders  without  ornament 

Canvas. 


NORTH   WALL. 

534.  A  Cavalry  Engagement.  J,  Wyck. 

On  the  slopes  of  some  low  hills  to  the  right,  a  number  of  horsemen  are  fighting 
at  close  quarters ;  in  the  distance  a  party  of  foot  soldiers  are  being  pushed  over  the 
brow  of  a  hill.  To  the  left  on  high  ground  a  trumpeter  and  drummer  playing,  both 
on  horseback.  In  the  distance  is  a  walled  town  before  which  a  skirmish  is  taking 
place.  Hilly  country  beyond,  the  sky  is  darkened  by  smoke,  and  entirely  obscured  to 
right 

Canvas,  52^^  in.  H.  x  66^  in.  W. 

Cat.  1 747.     Vestibule,  No.  6  ? 


GROSVENOR  PLACE. 

535.  Sir  Robert  Harley.  Hill,  after  Isaac  Oliver. 

Bust,  life  size,  to  right,  in  an  oval ;  black  dress,  falling  ruff  edged  with  lace,  wear- 
ing red  ribbon  of  Bath ;  dark  hair,  moustache  and  imperial.  Inscribed,  to  right  in 
lower  corner  in  yellow  letters,  "  S"  Robert  Harley." 

Canvas. 

Sir  Robert  Harley,  son  of  Thomas  Harley  of  Brampton-Brian,  County  Hereford, 
Grandfather  of  Robert  Harley,  ist  Earl  of  Oxford  and  Mortimer. 

Cat  1747.     South  Drawing- Room,  No.  7. 


GROSVENOR    SQUARE. 


\ 


HALL 

536. 

jLIZABETH  HARDWICK,  Wife  of  Sir  William  Cavendish. 

Three-quarter  length,  small  life  size,  to  left ;  black  dress,  frilled 
ruff  and  cuffs  ;  close  black  cap,  lined  with  white  ;  right  hand  touching 
table  to  left,  the  left  holding  pearl  necklace  ;  pale  auburn  curled  hair  ; 
dark  grey  background.      Inscribed  to  left,  in  upper  corner,  "  Eliz  : 
Hardwick,/    Daughter    and    Coheir    of    John/    Hardwick  -  of 
Hardwick  in  the/  County  of  Darby  Esq\  married/  to  her  second  Husband, 
5r_  \yM_^  Cavendishe   of  Chatsworth,/   in  the  same  County,  she/  settled   her 
3°  Son  Charles/  Cavendishe  at  Welbeck/  in  the  County  of/  Nottingham." 
Canvas,  40  in.  H.  x  34  in.  W. 
Cat.  1747.     Great  Dining- Room,  No.  13. 
Cat.  1 83 1.    Chapel  Staircase. 
Exhibited  at  Manchester,  1857.     Cat.  No.  33. 
Engraved  for  the  Lincoln  Architectural  Society,  i860. 


537.  Mary,  Queen  of  Scots.     1542 — 1587, 

Full  length,  life  size,  standing  to  left ;  black  dress,  long  muslin  cloak,  falling  from 
shoulders  with  a  narrow  border  of  lace  ;  lace-edged  ruff  and  cuffs,  wearing  rosary  and 
crucifix,  a  ring  on  third  finger  of  left  hand,  close  white  cap ;  right  hand  on  red  table 
cover,  to  left ;  left  holding  rosary  at  her  girdle ;  green  curtain,  a  book  on  the  table ; 
oriental  carpet.  Inscribed  in  the  left  upper  corner  "An  Original  of  Mary  Queen 
OF  Scots/  taken  at  Hardwick  whilst  She  was  in  Custody/  of  George  Talbot 
Earl  of  Shrewsbury/  which  Queen  was  committed/  to  the  keeping  of  S". 
Amias  Poulet/  in  1584,  27  Eliz.  two  Years/  before  her  Tryal  after  She/ 
had  been  for  17  Years  with/  the  said  Earl  of  Shrewsbury/  and  his  Countess 
Elizabeth,/  Daughter  and  Heir  of/  John  Hardwick/  of  Hardwick  in  Com./ 
Derb.  Esq",  and  the/  Widow  of  S".  W"./  Cavendishe," 

Canvas,  86  in.  H.  x  48  in.  W. 

The  Cavendish  and  Harley  picture. 


X 


154  CATALOGUE   OF   PICTURES  P*^^- 

'-MORNING  ROOM. 

Similar  pictures  are  in  the  possession  of  Earl  Darnley,  the  Duke  of  Devonshire, 
and  Her  Majesty  at  Hampton  Court,  the  last  is  reversed  and  supposed  to  be  the 
earliest,  it  is  dated  1580.  The  costume  is  much  the  same  as  in  the  "Memorial" 
portraits  belonging  to  the  Queen,  to  Blair's  College,  Aberdeen,  and  to  Earl  Darnley, 
in  which  she  holds  a  breviary  in  one  hand  and  a  crucifix  in  the  other ;  in  these  three 
last-mentioned  pictures  there  is  a  representation  of  her  execution  in  the  background. 

There  is  a  half  length  of  Queen  Mary,  seated  in  a  chair,  in  the  "  Hermitage  "  St. 
Petersburg,  attributed  to  Clouet.  The  head  closely  resembles  the  Memorial  portraits, 
and  may  be  the  original  of  the  whole  series. 

Exhibited  at  Manchester,  1857.     Cat.  No.  25. 

538.  Charles  I.     1600 — 1625 — 1649. 

Half  length,  life  size,  standing  to  right,  in  Garter  robes ;  white  silk  doublet  and 
red  mantle  ;  wearing  George  and  collar ;  right  hand  by  side,  left  on  hip,  gloved,  hold- 
ing walking-stick,  wearing  his  hat ;  curtain  to  left ;  dark  background. 

Canvas. 

539.  Henrietta  Maria,  Queen  of  Charles  I.     1609 — 1669. 

Half  length,  life  size,  standing  to  left ;  white  satin  dress,  fur  collar  over  shoulders, 
arms  folded  in  front ;  crown  to  left  on  green  tablecloth,  curtain  to  right ;  dark  brown 
background. 

Canvas. 


MORNING  ROOM. 

540.  William  Henry  Cavendish  Bentinck,  Marquess  of  Titchfield,  as  a  Boy  ;  after- 
wards 4TH  Duke  of  Portland.     1768 — 1854.  Sir  Joshua  Reynolds,  P.R.A. 

Full  length,  life  size,  standing  to  left,  in  a  Vandyke  suit ;  warm  red  doublet,  cloak, 
and  knee  breeches ;  brown  shoes  with  red  rosette,  frilled  collar,  point  lace  cuffs  and 
white  stockings  ;  a  walking  stick  in  right,  left  arm  folded  across  chest ;  long  brown 
hair,  cut  straight  over  the  forehead.  Landscape  background  with  dark  foliage,  sky  to 
left. 

Canvas,  56^^  in.  H.  x  45^  in.  W. 

Engraved  in  mezzotintby  J.J  ehner,  published  1777  andby  Tompkins  for  Reynolds' 
works,  also  by  Walker.  The  design  is  almost  identical  with  that  of  the  picture  of  the 
young  Duke  of  Gloucester  in  Trinity  Hall,  Cambridge. 

Cat.  1 83 1.     Little  Drawing- Room. 


MORNING  ROOM.]  AT   GROSVENOR  SQUARE.  155 


541.  Henry  Bentinck,  2nd  Earl  and  ist  Duke  of  Portland.     D.  1726. 

Sir  G.  Kneller. 

Three-quarter  length,  life  size,  standing  to  right,  full  face ;  blue  velvet  coat,  open 
to  waist ;  plain  cravat  and  ruffles,  grey  wig,  the  end  hanging  over  left  shoulder ;  right 
hand  extended  as  if  speaking,  the  left,  gloved,  holding  right  hand  glove,  on  his  hip ; 
wearing  sword.  Fawn-coloured  curtain  to  left ;  brown  background.  Inscribed  in  lower 
right  corner  in  white  letters,  "  Henry  Bentinck,  Duke  of  Portland," 

Canvas,  49^  in.  H.  x  40^^  in.  W. 

542.  Henry  Cavendish,  Lord  Ogle.     D.  1680.  Sir  Peter  Lely. 

Three-quarter  length,  life  size,  standing  to  right,  in  semi-classic  costume  ;  olive 
coloured  tunic  and  red  cloak,  fastened  with  boss  on  right  shoulder ;  lace  cravat,  grey 
wig ;  pointing  with  right,  left  on  hip  ;  curtain  background,  column  to  right,  sky  to  left. 
Inscribed  to  right  in  lower  corner,  in  yellow  letters,  "  Henry  Cavendishe,/  Lord  Ogle, 
ONLY  Son  &  Heir  of  Hen^V  Duke  of  Newcastle,  Married  Lady  Eliz'"'. 
Percy,  Sole  Daughter  &  heir/  to  Joceline  Percy,  the  iT"  &  Last/  Earl  of 
Northumberland." 

Canvas,  50^  in.  H.  x  40^^  in.  W. 

This  picture,  in  all  except  the  head,  is  the  counterpart  of  a  portrait  of  S'  Thomas 
Isham  Bar'  1655 — 1681,  engraved  in  mezzotint  by  D,  Loggan  1676,  v.  Smith  II.  p.  824. 

Cat.  1747.     Great  Dining- Room,  No.  16. 

543.  Lady  Elizabeth  Percy,  Wife  of  Lord  Ogle.  Sir  Peter  Lely. 

Three-quarter  length,  life  size,  seated  to  right;  the  head  is  turned  to  the  left 
over  shoulder ;  loose  blue  dress,  orange  scarf  over  left  shoulder  ;  chemisette,  with  wide 
sleeves,  dress  fastened  on  right  shoulder  with  four  pearls  ;  reddish-brown  hair  loosely 
gathered  up  in  a  knot,  and  falling  over  left  shoulder ;  right  hand  resting  on  orange 
drapery,  left  folded  across  the  breast  pointing  to  a  red  and  grey  parrot  perched  amongst 
the  foliage  of  a  blossoming  orange  tree  in  a  sculptured  vase  to  left ;  sky  background, 
column  to  right.  Inscribed  to  left,  "  Lady  Eliz'^"  Percy,  Sole/  Daughter  & 
Heir/  to  Joceline  Percy/  i  T"  &  last  Earl  of/  Northumberland,/  Married 
2  husbands/  i"  Henry  Cavendishe/  Lord  Ogle,  2°,  Charles/  Seymour,  Duke 
of/  Somerset." 

Canvas,  5o|-  in.  H.  x  4o|-  in.  W. 

The  pose  is  the  same  as  that  of  Lely's  picture  of  Mrs.  Jenny  Deering,  formerly 
at  Houghton,  of  which  there  is  a  mezzotint  by  Townley. 

Cat.  1747.     Great  Dining- Room,  No.  17. 

544.  Grace  Dalrymple,  Mrs.  Elliott.    1756? — 1823?    Thomas  Gainsborough,  R.A. 

Bust,  life  size,  to  left,  in  an  oval ;  white  dress  with  pink  bow  on  the  breast  to 


156  CATALOGUE   OF   PICTURES  l^Ti^^ZT.^T'- 

which  a  locket  is  attached  ;  lace  handkerchief  round  edge  of  bodice  ;  powdered  hair, 
dark  eyebrows,  spot  on  left  cheek  ;  black  ribbon  round  throat,  tied  in  a  bow  under 
the  chin,  gold  pendant  earrings  ;  brown  background. 

Canvas,  29  in.  H.   x   25  in.  W. 

Youngest  daughter  of  Hew  Dalrymple,  an  Edinburgh  advocate.  Educated  in  a 
French  Convent,  married  Sir  John  Elliott,  M.D.,  1771.  Eloped  in  1774  with  Lord 
Valentia.  Known  subsequently  as  "  Dolly  the  Tall,"  favourite  of  Prince  of  Wales  and 
Philip  Egalite.  She  was  imprisoned  during  the  Revolution  ;  her  memoirs,  written 
after  her  return  to  England,  were  published  in  1859,  as  "Journal  of  my  Life  during 
the  French  Revolution."  Her  daughter  Georgina  Augusta  Frederica  Seymour  married 
1808,  Lord  Charles  Bentinck,  and  died  in  18 13.  Mrs.  Elliott  died  at  Ville  d'Avray 
before  1830. 

Gainsborough  painted  a  second  picture  of  Mrs.  Elliott,  full  length,  which  was  in 
the  possession  of  the  Cholmondeley  family ;  it  was  engraved  in  mezzotint  by  John 
Dean,  published  1779. 

Exhibited  at  the  British  Institution,  i860. 

International  Exhibition,  1862.     Cat.  No.  116. 

Gainsborough  Exhibition,  Grosvenor  Gallery,  1884.     Cat.  No.  no. 

Grafton  Gallery,  1894.     Cat.  No.  131. 


STyDY. 

545.  Count  D'Orsay.     1798— 1852.  John  Stevens,  1828. 

Full  length,  life  size,  standing  a  little  to  left,  full  face ;  caressing  a  St.  Bernard 
dog,  whose  right  paw  is  placed  on  the  Count's  knee ;  black  coat  and  stock,  black 
velvet  waistcoat ;  right  hand  on  the  head  of  dog,  left  on  hip,  holding  gloves ;  the  dog's 
collar  is  engraved  with  his  Master's  name,  "  Alf.  Comte  d'Orsay."  Low  parapet  to 
right,  with  view  of  river  and  a  bridge,  St.  Peter's  beyond. 

Canvas,  92  in.  H.   x  60  in.  W. 

Alfred,  Count  D'Orsay;  Author  and  Amateur  Artist;  bom  1798,  died  4  Aug., 
1852.     The  above  picture  was  painted  in  Rome. 


RED  DRAWING-ROOM. 

546.  The  Misses  Scott.  David  Martin,  1789. 

Full  length  figures,  life  size,  standing  together  in  a  landscape.     The  eldest  in  the 

centre  wearing  a  yellow  satin  petticoat,  the  upper  dress  of  white  muslin,  purple  and 


\ 


RED  drawing-room]  AT   GROSVENOR  SQUARE.  157 


silver  scarf  round  waist ;  she  extends  her  right  to  her  sister  in  a  pale  blue  dress,  with 
an  upper  skirt  of  white  muslin  and  a  yellow  scarf;  the  eldest  sister  has  her  left  round 
the  neck  of  the  youngest  girl  in  a  pink  dress,  white  muslin  upper  skirt  and  blue  scarf. 
A  white  and  tan  spaniel,  standing  on  its  hind  legs,  caressed  by  the  youngest  girl. 
The  eldest  sister  has  black  hair,  the  second  dark  brown,  the  third  flaxen.  A  tree  and 
statue  to  left,  and  a  temple  in  the  distance,  to  right.     Signed  "  Martin  pinx"".  i  789." 

Canvas,  92  in.  H.  x  61  in.  W. 

Henrietta,  the  eldest,  became  Duchess  of  Portland,  Lucy,  the  second.  Lady 
Doune;  the  third,  Lady  Canning. 

547.  Louise  Henriette  de  Bourbon-Conti,  Duchesse  d'Orl^ans,  as  Hebe.     1726 — 
1759.  Nattier? 

Three-quarter  length,  small  life  size,  to  left,  standing ;  white  dress  and  scarf,  the 
bodice  embroidered  with  gold ;  arms  bare  to  elbow,  bodice  edged  with  lace,  jewelled 
band  to  sleeve ;  a  garland  of  flowers  over  right  shoulder,  passing  round  the  back  of 
the  neck,  powdered  hair,  with  flowers  set  on  the  left  side  of  the  head ;  holding  cup  in 
right  hand,  the  left,  placed  on  gold  ewer ;  brown  eagle  to  left,  grey  background,  dark 
foliage  to  right.  Inscribed  "Louise  Henriette  de  Bourbon-Conti,/  Duchesse 
d'Orleans,  as  Hebe/  by  Nattier,"  in  white  letters  to  right. 

Canvas,  44  in.  H.   x  34  in.  W. 

A  picture,  that  has  been  engraved  by  Hubert,  differing  in  several  details,  is  at 
Versailles. 

"  Louise  Henriette  de  Bourbon-Conti,  the  daughter  of  Louis  Armand  H.,  Prince 
de  Conti  married  the  Duke  de  Chartres,  afterwards  Louis  Philippe  L  d'Orleans ;  she 
was  the  mother  of  Philippe  Egalite." 

548.  Louis  Alexandre  de  Bourbon,  Comte  de  Toulouse.     1678 — 1737. 

Ascribed  to  LARGiLLifeRE. 

Three-quarter  length,  life  size,  seated  to  left ;  long  blue  coat,  richly  embroidered 
with  gold,  the  sleeves  lined  with  red ;  lace  cravat  and  ruffles,  red  bow  to  cravat,  large 
blonde  wig ;  right  hand  in  breast  of  coat  which  is  open  to  waist ;  left  gloved,  holding 
right  hand  glove,  and  black  hat  with  white  feather  on  knee ;  curtain  background  of 
gold  brocade,  grey  lining  seen  to  right  above  gilt  high-backed  chair,  which  is 
upholstered  in, crimson.  Inscribed  to  right,  "Louis  Alexandre  de  Bourbon/  Comte 
de  Toulouse,  son  of  Louis  XIV  and/  Madame  de  Montespan.  by  Largilliere/ 
Born  1678 — Died  1737." 

Canvas. 

Louis  Alexandre  de  Bourbon,  Comte  de  Toulouse,  and  Due  de  Damville, 
Amiral  de  France,  son  of  Louis  XIV.  and  Madame  de  Montespan. 


158  CATALOGUE   OF   PICTURES  [red  drawing-room. 

549.  Madame  Victoire.     1733 — 1799.  L.  M.  Vanloo. 

Half  length,  life  size,  full  face ;  white  bodice,  covered  with  folded  lace ;  crimson 
velvet  cloak,  lined  with  grey  fur,  over  shoulders  ;  the  hands  not  seen  ;  powdered  hair, 
flowers  on  left  side;  dark  grey  background.  Inscribed  to  right,  in  lower  corner, 
"Madame  Victoire,/  daughter  of  Louis  XV  and  Marie  Leczinska,/  Born  1733 
Died  1799./     By  L.  M.  Vanloo." 

Canvas. 

Marie  Louise  Therese  Victoire  de  France,  5th  Daughter  of  Louis  XV.  called 
Madame  Victoire,  was  born  at  Versailles,  11  May,  1733. 


550.  Anne  of  Austria,  Queen  of  Louis  XIII.     1601-2 — 16*66.       Louis  Ferdinand? 

Small  bust,  to  right,  wearing  crown  ;  blue  dress,  powdered  with  jewelled  fleur  de 
lis  ;  diamond  chain  and  star  on  breast,  pearl  necklace,  open  gauze  ruff,  edged  with  lace ; 
hair  curled  and  powdered ;  dark  background. 

Canvas. 


551.  Marie  Ad£la!de  Clotilde,  Sister  of  Louis  XVI.     1759 — 1802.  Drouais. 

Half  length,  under  life  size  ;  seated  to  right,  head  turned  to  left ;  white  and  violet 
striped  dress  trimmed  with  pink  and  white  ribbons,  loose  figured  gauze  scarf  round  the 
throat,  fastened  under  chin  with  a  bow  striped  like  the  dress  trimmings,  a  basket  of 
flowers  under  right  arm  resting  on  the  arm  of  chair,  pointing  with  left,  which  is 
crossed  in  front  of  her.  Bodice  edged  with  lace  at  the  neck,  lace  ruffles,  powdered 
hair  with  roses  set  in  it ;  arm  of  gilt  chair  to  left ;  dark  yellow  background. 

Canvas. 

She  was  painted  by  Drouais  in  1767,  in  the  company  of  her  brother  Charles 
Philippe,  Comte  d' Artois ;  the  picture  is  at  Versailles. 


552.  Madame  la  Marquise  de  Pompadour.     1721 — 1764.  Ascribed  to  Vanloo. 

Small  whole  length,  seated,  front  face ;  white  dress  ;  right  elbow  resting  on  table, 
cheek  on  hand,  a  book  in  the  left,  by  her  side ;  roses  on  lap  and  in  bodice,  powdered 
hair,  ribbon  round  throat.  White  and  tan  spaniel  to  right  on  crimson  cushion,  a  bowl 
of  water  beside  it ;  toilet  table  to  right,  with  blue  and  white  drapery ;  bed  with  pale 
crimson  hangings,  gilt  legged  table  to  left,  on  which  is  a  blue  sevres  vase  containing 
flowers  and  an  open  music  book,  a  rose  lying  near.  Above  is  a  window  with  a 
crimson  curtain ;  on  the  floor  is  a  harp  supported  against  a  foot-stool ;  panelled  walls 
with  landscape  over  door    a  clock  to  left. 

Canvas. 


RED  DRAWING-ROOM.-.  j^j   QROSVENOR   SQUARE.  rea 

BOUDOIR.  •'  '^  'jV 


553.  Portrait  of  a  Lady,  in  a  Landscape.  Angelica  Kauffmann,  R.A. 

Small  whole  length,  seated  on  a  bank  to  right ;  white  dress  and  lace-edged  scarf, 
large  black  hat  and  feathers ;  holding  a  branch  of  trailing  rose  in  right,  and  some  cut 
flowers  in  her  left.     Landscape  with  blue  hills,  tree  to  right,  and  foliage  to  left. 

Canvas,  oval,  28  in.  H.  x  24  in.  W.     Squared  at  back,  30  in.  H.  x  25^  in.  W. 


BOUDOIR. 

554.  Fran^oise  Louise  de  La  Baume  Le  Blanc,  Duchesse  de  la  Valli^re.    1644 — 
17 10.  Ascribed  to  Mignard. 

Bust,  life  size,  slightly  to  right,  full  face ;  blue  satin  dress  with  raised  silver  and 
gold  embroidery ;  loose  sleeves  looped  back  and  fastened  with  jewel  and  pearl  pendant ; 
purple  shot-silk  mantle  lined  with  white  fur,  lace  border  to  chemisette,  jewel  fastening 
to  dress,  brown  hair  with  strings  of  pearls  wound  in  it,  a  large  pearl  in  left  ear ;  brown 
hair  parted  in  the  centre,  in  clusters  of  curls  on  either  side  to  the  shoulders ;  dark 
background. 

Canvas,  oval,  27  in.  H.  x  21  in.  W. 

555.  Louise  de  Qu£roualle,  Duchess  of  Portsmouth.     1650? — 1734. 

Ascribed  to  Wissing. 

Half  length,  life  size,  seated,  nearly  full  face ;  yellow  and  white  brocade  dress, 
lined  with  pink  silk ;  blue  cloak,  red  petticoat ;  right  hand  resting  on  scarlet  cushion, 
placed  on  table  to  left ;  left  on  her  lap ;  dark  hair  parted  in  the  centre,  pearl  necklace ; 
dark  sky  and  landscape  to  right. 

Canvas,  oval,  49  in.  H.  x  32  in.  W. 

Louise  Rende  de  Penencovet  de  Qudroualle,  cr.  Dss.  of  Portsmouth  by  Charles  IL, 
and  Dss.  of  Aubigny  by  Louis  XIV.  She  was  Maid  of  Honour  to  the  Dss.  of 
Orleans,  and  met  Charles  H.  at  Dover  in  1670. 

556.  Dorothy  Sidney,  Countess  of  Sunderland.     1617 — 1684.  After  Vandyck  ? 

Half  length,  life  size,  to  left ;  crimson  red  dress,  wide  sleeves,  the  right  looped 
back  with  jewel,  the  left  turned  back  over  shoulder  and  the  lining  only  seen,  the  arm 
bare  to  elbow ;  she  holds  a  garland  of  roses  with  both  hands  resting  on  a  parapet  in 
front ;  jewelled  chain  round  bodice,  jewel  and  pearl  ornaments  in  front,  a  spray  of 
leaves  in  front  of  the  corset ;  fair  hair  in  ringlets,  wound  in  a  knot  at  back  of  head, 
short  curls  on  the  forehead ;  pearl  necklace  and  pendants,  jewelled  gold  buttons  down 


i6o     CATALOGUE   OF   PICTURES  AT   GROSVENOR  SQUARE,     [boudoir. 

the  front  of  dress ;  dark  brown  background.  Inscribed  to  right,  on  the  lower  edge, 
"  Dorothy  Sidney,/  Countess  of  Sunderland,/  by  Sir  Peter  Lely." 

Canvas,  39  in.  H.  x  31  in.  W. 

The  "  Sacharissa  "  of  Waller  the  Poet.  Daughter  of  Robt  Sidney,  and  E.  of 
Leicester,  m.  Henry  Ld  Spencer  of  Wormleighton  cr.  E.  of  Sunderland  1643,  who  was 
killed  at  the  Battle  of  Newbury.     M.  2ndly  Richd.  Smythe  of  Bounds,  Kent. 


BIOGRAPHICAL   LIST  OF  PAINTERS. 


I 
I 

i 


i 


BIOGRAPHICAL  LIST  OF  PAINTERS. 


ARRET,  GEORGE,  R.A. 

Born  in  Dublin  about  1732  ;  died  in  London,  29  May,  1784.  He 
was  the  son  of  a  clothier,  and  his  first  artistic  employment  was  that  of 
colouring  prints  for  a  publisher ;  he  afterwards  became  a  drawing- 
master,  and  later  obtained  a  premium  of  ;^50  from  the  Dublin  Society 
for  a  landscape ;  this  encouraged  him  to  come  to  London  in  1761  or 
1762,  where  he  was  patronised  by  Lord  Dalkeith.  He  became  a  member  of  the 
Incorporated  Society  of  Artists,  and  in  1 764  gained  the  premium  of  the  Society  of 
Arts.  On  the  foundation  of  the  Royal  Academy  in  1 768  he  was  elected  a  member. 
When  in  the  height  of  his  reputation  he  became  bankrupt.  Through  the  influence  of 
Burke  he  was  appointed  Master  Painter  to  Chelsea  Hospital.  He  died  at  Westbourne 
Green,  and  was  buried  at  Paddington  Church.  He  etched  a  few  plates.  His  son, 
also  named  George,  became  an  excellent  water-colour  painter,  his  classical  landscapes', 
mostly  effects  of  sunlight,  are  highly  prized. 


Bassano,  Jacopo  da  Ponte,  called  "  II  Bassano,"  and  the  "  Elder." 

Born  at  Bassano,  15 10;  died  there,  1592.  Jacopo  is  usually  regarded  as  the 
founder  of  the  reputation  of  the  family,  but  his  father,  Francesco,  was  also  a  painter 
of  repute,  and  the  author  of  an  altarpiece  in  the  Cathedral  of  Bassano,  where  he  died 
in  1530.  Jacopo  studied  under  his  father,  and  later  under  Bonifazio  at  Venice,  but 
his  style  was  finally  formed  by  the  study  of  Titian.  His  reputation  would  have  been 
greater  but  for  the  unfortunate  repetition  of  his  designs  by  his  followers ;  his  sons, 
Francesco  and  Leandro,  were  both  able  painters;  of  the  other  two  sons,  Giovan 
Battista  and  Gerolamo,  little  is  known,  and  it  is  only  conjectured  that  they  were 
amongst  those  who  reduced  their  father's  art  to  the  level  of  an  industry,  and  flooded 
the  world  with  their  copies  and  repetitions,  in  which  the  figures  are  played  about  like 
chessmen,  whatever  the  subject,  till  all  meaning  and  every  charm  is  lost.  The 
multiplication  of  pictures  called  Bassano's  must  have  gone  on  till  late  in  the  17th 
century,  as  is  evident  from  the  total  loss  of  the  colour  faculty,  possessed  in  an  eminent 


i64  BIOGRAPHICAL   LIST 


degree  by  the  principal  members  of  the  family  itself,  and  was  indeed  common  to  the 
Venetians  long  after  the  decay  of  all  the  other  Italian  schools.  The  works  of  the 
father,  "  II  Bassano,"  ar6  rarer  than  is  generally  supposed,  owing  to  the  best  work  of 
the  school  being  generally  attributed  to  him.  The  elder  Bassano's  style  is  peculiar, 
and  his  pictures  may,  generally,  be  recognized  by  the  proportions  of  the  figures,  which 
are  distinguished  from  those  of  his  son's  by  their  length,  especially  of  back ;  his 
colouring  in  his  earlier  time  is  much  less  glowing  than  in  his  later  works,  and  it  is  not 
unusual  to  find  these  pictures  attributed  to  other  painters  ;  a  fine  "  Adoration  of  the 
Shepherds"  is  at  Hampton  Court  under  the  name  of  Palma  Vecchio.  "  The  Good 
Samaritan  "  in  the  National  Gallery  is  a  good  example  of  his  mature  style.  It  is 
probably  not  without  reason  that  Ridolfi  praises  Francesco  as  the  ablest  of  the  sons, 
and  no  doubt  many  of  the  best  pictures,  attributed  to  the  father,  are  by  him.  He 
seems  unfortunately  to  have  inherited  from  his  mother  a  taint  of  insanity,  and  had 
hardly  completed  his  forty-third  year  when,  showing  signs  of  mental  disturbance,  he 
was  shut  up  by  his  wife  in  an  upper  room  of  his  house ;  hearing  one  day  a  loud 
knocking  at  the  door,  and  oppressed  by  a  continual  dread  of  arrest,  he  threw  himself 
out  of  window  to  escape  the  police  he  supposed  had  come  to  take  him  away.  His 
brother  Leandro,  himself  of  a  somewhat  melancholy  temperament,  completed  his 
pictures.  Leandro 's  work  is  better  known  than  that  of  Francesco,  he  signed  a  number 
of  pictures,  his  colour  is  less  brilliant,  and  drawing  more  imperfect  than  that  of  his 
father  ;  he  seems  to  have  been  much  employed  as  a  portrait  painter ;  his  own  head  is 
in  the  Uffizi  collection,  but  is  not  remarkable ;  it  is  probable,  however,  that  in  his 
youth  his  work  bore  a  closer  resemblance  to  that  of  his  father  and  brother  Francesco, 
and  is  confounded  with  theirs.  He  died  in  1623,  in  his  sixty-fifth  year.  Giovan 
Battista  died  in  161 3,  at  the  age  of  sixty,  Gerolamo  in  1622,  at  sixty-two. 

Berchem,  or  Berghem,  Nicolaas. 

Born  at  Haarlem,  1620;  died  at  Amsterdam,  1683.  He  studied  under  his  father 
Van  Goyen,  and  others.  He  married  a  daughter  of  Jan  Wils.  His  early  pictures,  in 
the  style  of  Weenix,  often  represent  seaports,  but  his  later  works  are  usually  sunny 
Italian  landscapes,  hill  and  lake  scenes,  with  figures  and  cattle  in  the  foreground  ; 
these  groups  are  very  skilfully  introduced  and  admirably  composed.  He  is  generally 
supposed  to  have  visited  Italy,  but  nothing  is  definitely  known.  His  works  are  very 
numerous,  one  of  the  finest,  said  to  have  been  painted  in  competition  with  Both,  is  at 
St.  Petersburg,  but  nothing  finer  of  his  exists  than  a  small  picture  in  the  Holford 
collection,  of  the  most  exquisite  finish  and  brilliancy.  He  etched  a  number  of  plates 
remarkable  for  their  delicacy. 

BoGDANi,  James. 

He  was  a  native  of  Hungary,  but  came  to  England  when  young,  and  after  a 


OF   PAINTERS.  165 


residence  here  of  nearly  half  a  century,  died  in  London  in  1 720.  Many  of  his  pictures 
were  purchased  by  Queen  Anne,  and  are  now  at  Hampton  Court,  where  one  of  the 
smaller  rooms  is  full  of  pictures  by  him  of  birds,  fruit,  and  flowers. 

BORGOGNONE,    JaCQUES    CoURTOIS. 

Born  at  St.  Hippolyte,  162 1  ;  died  in  Rome,  1676.  At  the  age  of  fifteen  he  went 
to  Milan,  where  he  entered  the  army ;  after  serving  three  years,  he  again  took  to 
painting.  On  first  visiting  Rome  he  began  by  painting  religious  subjects,  finally  he 
devoted  himself  to  battle  pieces,  in  which  he  achieved  a  considerable  reputation  ;  his 
drawing,  however,  is  always  indifferent,  and  the  blackening  of  the  shadows  in  his 
pictures  deprives  them  of  value.  He  was  accused  of  poisoning  his  wife,  which  caused 
him  to  withdraw  from  public  life  and  enter  the  Jesuit  order.  He  painted  a  life-sized 
head  of  himself  in  the  Jesuit  habit,  for  the  famous  collection  of  painters'  portraits  in  the 
Uffizi ;  the  picture  shows  a  very  small  capacity  for  working  on  a  large  scale,  the  flesh 
tone  is  heavy,  and  of  an  exaggerated  orange  red,  utterly  wanting  in  gradation,  and  the 
shadows  are  now  burnt  black.  He  continued  to  paint  till  his  death,  which  occurred  in 
Rome,  in  the  56th  year  of  his  age. 

Both,  Jan. 

Born  at  Utrecht  about  1610;  died  1652.  He  was  the  son  of  a  glass-painter; 
like  his  elder  brother,  Andries,  he  studied  under  Bloemart,  and  later  they  went  to  Italy 
together ;  here  Jan  painted  a  number  of  landscapes  in  emulation  of  Claude,  to  which  his 
brother  supplied  the  figures.  Andries  was  accidentally  drowned  at  Venice,  and  Jan 
returned  to  Utrecht,  where  he  died  on  the  9th  August,  1652.  He  is  the  author  of 
two  charming  sets  of  landscapes,  etched  by  himself,  and  the  "Five  Senses"  from  his 
brother's  designs.  Andries  also  etched  several  plates,  mostly  figure  subjects.  After 
the  death  of  Andries,  Poelemburg  is  said  to  have  painted  the  figures  for  Jan  Both's 
landscapes.  • 

Boucher,  Fran(;ois. 

Born  in  Paris,  29  September,  1 703 ;  died  at  the  Louvre,  30  May,  1 770.  He  studied 
under  Lemoine,  gained  the  Prix  de  Rome  in  1723,  and  was  elected  Academician  in 
1734  for  his  picture  of  "  Rinaldo  and  Armida."  He  became  first  painter  to  the  King 
in  1765.  He  was  a  frequent  exhibitor  at  the  Salon  between  1737  and  1753,  and  his 
works  are  to  be  found  in  nearly  all  the  great  French  Collections,  both  public  and 
private  ;  a  charming  full  length  portrait  of  Madame  de  Pompadour  was  lately  in  the 
Lonsdale  Collection.  The  single  small  picture  in  the  National  Gallery  gives  little 
idea  of  his  powers ;  he  decorated  in  grisaille  the  Queen's  Chamber  at  Versailles, 
painted  a  Venus  and  Love  at  the  Grand  Trianon,  and  at  Fontainebleau  the  Salon  de 
Famille.     He  made  a  number  of  designs  for  the  Gobelins  Tapestry  Works. 


i66  »  BIOGRAPHICAL   LIST 

Bourdon,  S^bastien. 

Born  at  Montpellier,  2  February,  1616  ;  died  in  Paris,  8  May,  1671.  He  was  the 
son  of  a  glass-painter,  and  one  of  the  founders  of  the  Academy,  of  which  he  became 
Rector  in  1655.  He  was  First  Painter  to  Queen  Christina  of  Sweden  in  1653-4,  and 
painted  her  portrait,  a  half  length,  which  is  in  the  Museum  of  Nantes,  another  is 
at  Aix.  He  was  celebrated,  however,  for  his  classical  landscapes  with  figures,  which 
were  greatly  admired  by  Sir  Joshua  Reynolds  ;  the  "  Return  of  the  Ark,"  now  in  the 
National  Gallery,  was  one  of  his  most  valued  possessions.  Bourdon  was  a  prolific 
painter,  and  etched  some  of  his  own  compositions.  During  his  rectorship  of  the 
Academy  he  delivered  four  lectures  on  art :  On  the  Study  of  the  Antique ;  On 
a  picture  by  Poussin ;  on  the  St.  Stephen  of  Carracci ;  and  on  the  Distribution  of 
Light  in  pictures. 

Brill,  Paul. 

Born  at  Antwerp,  1554;  died  In  Rome,  1626.  He  studied  under  Oortelmans,  and 
commenced  by  painting  the  covers  of  harpsichords ;  later  he  proceeded  to  Rome  to 
assist  his  elder  brother  Matthys  in  the  work  he  had  undertaken  for  the  Pope. 
He  continued  in  favour  with  two  successive  Popes,  Sixtus  V.  and  Clement  VIII.; 
for  the  latter  he  painted  the  great  landscapes  in  the  Sala  Clementina.  His  easel 
pictures  are  common  In  Italy,  and  he  strongly  influenced  a  number  of  Italian  land- 
scape painters  of  the  seventeenth  century.     He  etched  some  of  his  own  compositions. 


Brueghel,  Jan,  called  Velvet  Brueghel. 

Born  1568?  died  at  Antwerp,  1625.  The  younger  son  of  Peter  Brueghel.  He 
painted  flowers  in  his  youth,  but  after  visiting  Italy,  1593-6,  landscapes  and  figures.  In 
1597  he  was  registered  in  the  Art  Guild.  In  1599  he  married  Isabelle  de  Jode.  His 
son  Jan  was  also  a  painter,  whose  works  are  commonly  confounded  with  those  of  his 
father.  His  daughter  married  Van  Kessel.  By  his  second  marriage,  in  1605,  he  had  a 
daughter  who  married  David  Tenlers.  Jan  was  sometimes  associated  with  Rubens, 
•who  esteemed  his  landscapes  highly ;  a  joint  work  of  theirs,  "  Adam  and  Eve  in 
Paradise,"  is  now  in  the  Hague.  Brueghel  also  worked  in  company  with  Rottenhammer 
and  Van  Balen,  and  etched  a  few  small  plates. 

Brueghel,  Pieter,  the  Elder, 

Born  in  the  village  of  the  same  name,  near  Breda,  about  1530,  died  1569.  He 
was  instructed  by  Pieter  Coucke  ;  in  155 1  he  became  a  member  of  the  Antwerp  Guild. 
After  travelling  in  France  and  Italy,  he  settled  In  1553  at  Antwerp.  In  1563,  he 
went  to  Brussels,  and  died  in  1569.     In  the  Belvedere  Gallery  is  a  fight  between 


OF   PAINTERS.  167 


<-»v 


Carnival  and  Lent  and  several  other  works,  two  are  in  the  Louvre,  and  he  is  well 
represented  in  the  German  collections.  He  etched  a  few  plates,  one  of  which  is  dated 
Rome,  1553.  His  eldest  son,  named  Pieter  after  his  father,  was  an  inferior  painter, 
nicknamed  "  Hell"  Brueghel,  on  account  of  the  subjects  with  devils  and  monsters,  that 
he  chose  to  paint. 

Cagnacci,  or  Canlassi,  Guido. 

Born  at  Castel'  Sant'  Arcangelo,  near  Rimini,  1601 ;  died  at  Vienna,  1681.  He  is 
little  spoken  of  by  Italian  biographers,  owing  perhaps  to  his  leaving  Italy  early  in  life 

and  remaining  at  Vienna,  where  he  died.    The  latinized  signature  on  this  picture  throws        -"vX  jLte  (a^   K.    if^, 
some  doubt  on  the  common  legend  that  he  was  called  Cagnacci  simply  on  account  of        CftK  t/j" 
his  deformity.    Malvasia  hardly  names  him  in  his  biographies  of  the  Bolognese  Artists, 
although  he  was  undoubtedly  the  most  able  of  all  Guido  Reni's  pupils  excepting  only 
Simone  da  Pesaro.     Pictures  by  Cagnacci  are  to  be  found  in  the  Florentine  and 
Roman  Galleries,  also  at  Paris,  Munich,  and  Dresden. 

Calcar,  or  Calcker,  Jan  Stephanus  van. 

Born  at  Calcker  in  Cleve  about  1499;  died  at  Naples,  1546.  He  studied  at 
Dordrecht  and  later  at  Venice.  He  is  said  to  have  successfully  imitated  Titian  in  his 
portraits,  and  a  remarkably  fine  portrait  of  a  young  man  in  the  Louvre  is  catalogued 
under  his  name.  In  a  private  collection  in  Paris,  there  is  a  fine  portrait  of  a  man  in 
black  attributed  to  him,  which  has  a  decided  Flemish  character,  such  as  might  be 
expected  from  his  education.  Later  in  life  he  changed  his  style,  and  is  said  to  have 
imitated  Raphael.  He  is  credited  with  the  illustrations  to  an  edition  of  Vesalio's 
Anatomy,  which  are  not  remarkable.  No  picture  is  known  that  can  be  positively 
traced  to  his  hand ;  the  Louvre  portrait  is  purely  Italian  in  character,  and  more  like  a 
fine  Moroni  than  the  work  of  a  scholar  of  Titian,  and  if  it  were  proved  to  be  by  Calcar, 
would  be  unique,  as  no  Fleming  or  German  ever  known  succeeded  in  divesting  himself 
entirely  of  his  national  character.  Other  portraits  under  his  name  are  at  Berlin  and 
Vienna,  and  a  "  Nativity"  is  at  Prague  that  belonged  to  Rubens.  The  small  copy  in 
this  collection  is  from  the  Louvre  picture,  and  it  is  not  unimportant  to  note  that  the 
original  was  then  attributed  to  Titian. 

Cany,  Jean  Baptiste  de. 

Of  this  painter  of  the  French  school,  little  is  known,  except  that  he  painted  the 
"Conversion  of  St.  Denis,"  in  1671  for  Notre  Dame. 

Carracci,  Annibale. 

Born  at  Bologna,  1 560 ;  died  in  Rome,  1 609.  His  uncle  Lodovico,  discovering  his 
natural  ability,  took  him  into  his  studio.   In  1 580,  he  went  to  Parma  to  study  Correggio, 


i68  BIOGRAPHICAL    LIST   OF 

and  later  to  Venice  to  join  his  brother  Agostino,  who  was  there  engraving  the  pictures 
of  Tintoretto  and  other  Venetian  contemporary  masters.  In  1589  he  returned  to 
Bologna  and  opened  the  famous  Academy.  The  frescoes  of  the  Farnese  palace,  which 
he  painted  for  the  Cardinal  Odoardo,  were  executed  about  16004,  and  are  justly  cele- 
brated ;  they  are  perhaps  the  finest  produced  by  the  school,  and  eminently  characteristic 
of  the  master.  Annibale  died  in  Rome,  and  was  buried  in  the  Pantheon.  It  is  note- 
worthy, as  a  sign  of  the  force  of  fashion,  that  this  master's  "  Deposition  "  at  the  sale 
of  the  Orleans  collection,  fetched  the  highest  price  of  any  picture  in  the  Gallery ;  it 
is  now  at  Castle  Howard.  Taste  has  so  changed  since  the  beginning  of  the  century 
when  the  Eclectic  School,  of  which  Annibale  was  the  brightest  ornament,  was  at  the 
height  of  its  reputation,  that  it  is  difficult  to  understand  the  enthusiasm  of  our  prede- 
cessors for  such  works ;  but  deducting  everything  for  mannerism  and  academical 
calculation,  which  is  apparent  in  everything  he  did,  Annibale  was  certainly  a  great 
master,  and  it  is  difficult  to  understand  the  preference,  occasionally  shown,  for 
Domenichino,  every  way  his  inferior. 

Chamberlin,  Mason,  R.A. 

Died  1787.  He  was  the  pupil  of  Frank  Hayman,  R.A.,  and  gained  the  second 
premium  of  the  Society  of  Arts  in  1 764  for  an  historical  painting  ;  but  devoted  himself 
subsequently  entirely  to  portrait  painting.  He  was  a  member  of  the  Incorporated 
Society  of  Artists,  and  when  the  Royal  Academy  was  started,  became  one  of  the 
foundation  members  ;  he  is  mentioned  in  Peter  Pindar's  ode.  He  exhibited  at  Spring 
Gardens  in  1763  and  afterwards  at  the  Academy.  He  died  in  Holborn,  26  January, 
1787.  He  presented  a  portrait  of  Dr.  Hunter  to  the  Academy,  which  has  been 
engraved.  He  had  a  son  who  was  a  landscape  draughtsman  and  exhibited  at  the 
Academy  between  the  years  1786  and  1821. 

Champaigne,  Philippe  de. 

Born  at  Brussels,  26  May,  1602  ;  died  in  Paris,  12  August,  1674.  He  was  succes- 
sively the  pupil  of  Bordeaux,  Fouquiere,  and  L'Allemand,  and  one  of  the  founders  of 
the  French  Academy  in  1648.  The  portrait  of  President  Seguier  was  presented  by 
him  as  his  diploma  work;  he  became  professor  in  1655.  Little  is  recorded  of  him 
beyond  his  activity  as  an  artist,  the  number  of  his  historical  compositions  almost 
equalling  that  of  his  portraits  ;  amongst  the  most  famous  of  the  former  being  the  "  Feast 
of  Simon  "  in  the  Louvre  where  it  is,  however,  classed  in  the  Flemish  school.  Of  his 
portraits  few  are  better  known  than  that  of  the  Cardinal  Richelieu.  Champaigne  had 
a  nephew,  Jean  Baptiste,  who  was  his  pupil,  he  was  born  at  Brussels,  1631,  died  in  Paris, 
1 68 1.  He  was  adopted  by  his  uncle  when  eleven  years  old,  and  was  intimately 
associated  with  him  in  his  later  historical  pictures ;  he  wrote  several  treatises  on  Art  for 
the  Academy,  principally  illustrating  the  works  and  genius  of  Poussin. 


X 


OF  PAINTERS. 


169 


CoNCA,  Sebastian. 

Born  at  Gaeta,  1679;  died  at  Naples,  1764.  He  studied  under  Solimena,  and 
went  to  Rome  with  his  brother  Giovanni  in  1706.  After  studying  the  antique  for 
some  years,  he  painted  some  pictures  which  attracted  the  notice  of  Pope  Clement  XI., 
who  commissioned  him  to  paint  the  frescoes  of  S.  Clemente.  He  was  afterwards 
knighted,  and  became  one  of  the  most  successful  painters  of  his  time. 

CoswAY,  Richard,  R.A. 

Born  at  Tiverton  in  1740;  died  in  London,  4  July,  182 1.  His  father  was  a 
schoolmaster.  Early  showing  a  taste  for  art,  he  was  sent  to  London  and  placed  in 
the  studio  of  Hudson.  He  gained  a  premium  for  drawing  from  the  Society  of  Arts  in 
1755,  and  soon  became  known.  He  joined  the  Incorporated  Society  in  1766,  was 
elected  an  A. R.A.  in  1770,  and  full  R.A.  in  the  following  year.  The  graceful  and 
pleasing  character  of  his  works  soon  made  him  the  most  fashionable  miniaturist  of  his 
day,  and  a  portrait  which  he  painted  of  Mrs.  Fitzherbert  gained  him  the  favour  of  the 
Prince  of  Wales.  All  the  beauties  of  the  Prince's  circle  sat  to  him,  and  his  reputation 
rapidly  increased.  He  occasionally  painted  in  oil,  but  few  pictures  of  his  are  known 
in  this  medium.  He  painted  several  portraits  of  himself  in  the  curious  theatrical 
fancy  costume  that  was  so  popular  at  the  time,  and  which  was  not  only  used  on  the  t/'^juy  w«.. 
stage  itself,  but  serves  to  disfigure,  and  sometimes  even  renders  ridiculous,  the 
historical  pictures  of  the  period.  Cosway  was  a  great  collector  of  works  of  art,  and 
formed  a  very  large  collection  of  ancient  drawings.  He  married  in  1781  Maria 
Hadfield,  herself  a  good  painter  and  musician,  celebrated  for  her  beauty.  Numerous 
stories  are  told  of  Cosway's  eccentricity  in  the  latter  part  of  his  life,  his  devotion  to 
Swedenborg's  doctrines,  his  professed  belief  in  his  power  to  raise  the  dead,  and  asser- 
tion that  the  Virgin  Mary  had  appeared  to  him  and  sat  for  a  picture.  He  desired  to 
be  buried  at  Antwerp,  near  Rubens,  but  rests  instead  in  the  Church  of  St.  Marylebone, 
where  a  tablet  was  erected  to  his  memory.  Many  of  his  portraits  were  engraved  by 
Bartolozzi  and  Valentine  Green,  and  at  the  present  time  are  much  sought  after. 

Cotes,  Francis,  R.A. 

Born  in  London,  1726;  died  there,  20  July,  1770.  His  father  had  been  Mayor 
of  Galway,  but  owing  to  a  political  dispute,  he  removed  to  London  and  took  a  house 
in  Cork  Street,  Burlington  Gardens,  about  1720,  where  his  son  was  born.  Francis 
Cotes  was  a  pupil  of  George  Knapton  ;  he  belonged  later  to  the  Incorporated  Society, 
and  was  one  of  the  foundation  members  of  the  Royal  Academy.  In  1767,  he  painted 
a  portrait  of  Queen  Charlotte  with  the  infant  Princess  Royal,  which  was  engraved ; 
a  portrait  of  Admiral  Lord  Hawke  is  at  Greenwich  ;  a  family  piece  belonging  to  the 
Sacred  Harmonic  Society,  representing  the  Bates  family,  is  considered  one  of  his  best 
works,  which  are  often  confounded  with  the  early  works  of  Reynolds.     A  portrait  of 

z 


170  BIOGRAPHICAL  LIST 


a  lady  by  him  has  recently  been  presented  to  the  National  Gallery.  He  executed  a 
number  of  portraits  in  pastel  as  well  as  in  oil.  He  died  at  32,  Cavendish  Square,  a 
house  afterwards  occupied  by  Romney,  and  Shee ;  his  death  was  occasioned  by  a  dose 
of  soap  lees,  which  he  had  taken  without  medical  advice. 

CoYPEL,  Charles  Antoine. 

Born  in  Paris,  11  July,  1694;  died  at  the  Louvre,  14  June,  1752.  The  son  of 
Antoine  Coypel,  and  the  last  of  the  Coypel  family  of  painters.  He  was  elected 
Academician  in  1 7 1 5,  for  his  picture  of  "  Medea ; "  he  exchanged  this  picture  for 
"Abraham  embracing  Isaac,"  in  1747,  when  he  also  presented  his  portrait  to  the 
Ecole  des  Beaux  Arts,  where  it  is  still  preserved.  Between  the  years  1737  and  1747, 
he  was  actively  engaged  in  painting.  He  seems  to  have  early  turned  his  attention 
to  authorship,  and  wrote  a  number  of  plays,  some  of  which  were  published  in  1720-21, 
the  greater  part,  some  twenty-six  pieces,  remained  in  MS.,  copies  of  which  were  in  the 
Lavalliere  Library,  but  they  had  disappeared  at  the  death  of  this  celebrated  collector. 
Coypel  wrote  also  a  number  of  works  on  the  Fine  Arts  which  were  published  by 
Mariette  and  others.  He  is  the  author  of  a  series  of  drawings  for  a  folio  edition  of 
"Don  Quixote,"  which  appeared  in  1746;  he  engraved  several  plates  himself  after 
Michael  Angelo  and  other  ancient  masters. 

Dahl,  Michael. 

Born  at  Stockholm,  1656;  died  in  London,  20  October,  1743.  He  studied  in  his 
native  place,  and  came  to  England  at  the  age  of  twenty-two ;  he  stayed  for  a  year, 
and  then  went  to  France  and  Italy.  He  returned  to  England  in  1688,  and  settled  in 
London,  competing  with  Kneller  for  Court  favour.  He  painted  the  portraits  of  Queen 
Anne,  Prince  George,  and  many  of  the  nobility.  His  pictures  are  clear  in  colour,  but 
he  is  rarely  successful  in  the  pose  of  his  full  length  figures,  and  the  draperies  are  apt 
to  be  stiff  and  poorly  designed.  The  Harley  portraits  in  this  collection  are  favourable 
specimens  of  his  abilities  ;  notably  so  the  half  length  of  the  Earl  of  Oxford  holding  a 
medal  of  Queen  Anne.     Dahl  educated  a  son  as  a  painter,  but  he  died  before  his  father. 

Delaroche,  Hippolyte,  called  "  Paul." 

Born  in  Paris,  17  July,  1797 ;  died  there,  4  November,  1856.  He  was  the  pupil  of 
Gros,  and  married  the  daughter  of  Horace  Vernet  in  Rome  in  1835.  Delaroche 
entered  the  Ecole  des  Beaux  Arts  in  18 16,  and  became  professor  there  in  1833.  His 
pictures  of  the  "Princes  in  the  Tower,"  1831,  the  "Execution  of  Lady  Jane  Grey," 
1834,  the  "Assassination  of  the  Duke  de  Guise,"  1835,  "  Strafford  going  to  Execution," 
1837,  are  amongst  the  most  popular  of  his  numerous  engraved  pictures.  After  1837 
he  ceased  to  exhibit  at  the  Salon  on  account  of  the  persistent  attacks  of  the  newspaper 


OF   PAINTERS.  17, 


critics.  He  painted,  besides  historical  pictures,  many  portraits.  An  elder  brother, 
Jules  Hippolyte,  was  also  a  painter,  but  his  works  are  rare,  as  he  early  abandoned  art 
for  an  official  career,  and  died  at  Versailles  in  1 849. 

Desanges. 

A  modern  French  artist.  Well  known  as  the  painter  of  the  series  of  pictures 
known  as  the  Victoria  Cross  Gallery,  long  exhibited  at  the  Crystal  Palace ;  he  is  not 
mentioned  either  by  Redgrave,  (Edn.  1878,)  or  by  Auvray. 

De  Vos,  Paulus. 

Born  at  Hulst  about  1590;  died  1678.  He  was  the  younger  brother  of  Cornells 
de  Vos,  and  is  said  to  have  first  studied  under  Remeeus,  like  his  brother,  but  his 
pictures  are  very  close  imitations  of  his  brother-in-law  Snyders,  and  it  is  probable 
that  he  was  an  assistant  of  that  master.     A  number  of  his  works  are  at  Madrid. 

De  Vos,  S. 

Nothing  seems  to  be  known  of  this  painter,  who  is  not  to  be  confounded  with 
Simon  de  Vos,  born  1603  ;  a  scholar  of  Rubens,  who  died  in  1676. 

Diana,  Benedetto. 

A  Venetian  artist,  of  whom  little  is  known  beyond  his  works,  which  show  the 
influence  of  Bellini.  He  was  living  towards  the  close  of  the  fifteenth  century,  and 
probably  as  late  as  the  first  decade  of  the  sixteenth.  A  "  Virgin  and  Child  with  two 
Saints,"  half  length  figures,  and  a  "Virgin  and  Child  enthroned  with  four  Saints,"  full 
length  figures,  both  with  landscape  backgrounds,  are  in  the  Venice  Academy.  His 
types  are  peculiar,  and  readily  to  be  recognized,  his  colouring  is  clear  and  silvery  in 
tone. 

Dixon,  John. 

The  date  of  his  birth  is  unknown;  he  died  in  171 5.  He  was  a  pupil  of  Sir 
Peter  Lely.  William  III.  appointed  him  Keeper  of  the  King's  Pictures.  He  is  pro- 
bably the  painter  of  a  number  of  small  copies  on  vellum  from  portraits  in  the  Royal 
Collection,  executed,  no  doubt,  for  the  ist  Earl  of  Portland.  In  the  catalogue  of  the 
Welbeck  pictures,  made  in  1 747,  there  are  a  number  of  copies  from  pictures  by  the 
Old  Masters  under  his  name,  some  of  which  are  still  in  the  collection. 

DoBSON,  William. 

Born  in  London,  16 10;  died  there,  28  October,  1646.  His  father  was  a  gentleman 
of  St.  Albans,  who,  having  come  to  poverty,  was  appointed  Master  of  the  Alienation 
Office    it  is  supposed  by  his  friend.  Lord  Bacon,  Dobson  was  apprenticed  to  Sir 


172  BIOGRAPHICAL   LIST 


Robert  Peake,  and  also  studied  under  Francis  Cleyn.  Vandyck,  chancing  to  see 
some  of  his  work,  introduced  him  to  Charles  I.  On  the  death  of  Vandyck,  Dobson 
was  appointed  Serjeant  Painter  to  the  King.  He  attended  the  unhappy  Charles  at 
Oxford,  and  painted  the  King's  and  the  Prince  of  Wales'  portraits  there,  also  that  of 
Prince  Rupert.  Besides  numerous  portraits,  a  characteristic  example  of  which  is  in 
the  National  Gallery,  from  Gatton  Park,  he  painted  a  picture  of  the  Decollation  of 
St.  John,  which  is  at  Wilton.  He  was  an  excellent  companion,  and  witty  in  his 
conversation,  but  seems  to  have  been  somewhat  unthrifty.  On  the  fall  of  the  King 
he  was  imprisoned  for  debt,  and  died  shortly  after  his  release  at  the  early  age  of  thirty- 
six  ;  he  was  buried  at  St.  Martin's  Church.  His  portrait,  with  that  of  his  wife,  is  at 
Hampton  Court. 

DoLci,  Carlo. 

Born  in  Florence,  25  May,  1616;  died  there,  17  January,  1686.  He  was  the 
pupil  of  Jacopo  Vignali,  his  mother  was  the  sister  of  Bartolommeo  Marinari  the 
painter,  and  possessed  some  artistic  talent  herself.  When  Carlo  was  four  years  of  age 
his  father  died,  and  five  years  later  he  was  placed  in  the  studio  of  Vignali.  As  a 
child  he  had  religious  tendencies,  and  when  still  young  made  a  vow  to  dedicate  his 
talents  to  the  service  of  the  Church.  One  of  his  favourite  sitters  was  Maria 
Maddalena,  the  sister  of  Baldinucci,  his  biographer.  In  1654  Dolci,  who  was  of 
an  extremely  timid  disposition,  was  persuaded  to  marry,  and  he  was  betrothed  to 
Teresa  Bucherelli.  On  the  arrival  of  the  bride's  party  at  the  church,  the  painter  was 
not  to  be  found,  a  search  through  the  churches  was  made ;  he  was  finally  discovered 
praying  in  one  of  the  chapels  of  the  Annunziata.  In  1670  he  is  recorded  to  have 
painted  a  S.  Cecilia,  which  was  given  by  a  certain  cardinal,  his  patron,  to  the 
treasurer  of  the  King  of  Poland.  On  the  occasion  of  the  marriage  of  Claudia  Felice, 
the  daughter  of  Ferdinand  Charles,  Archduke  of  Austria,  with  the  Emperor  Leopold, 
Dolci  was  summoned  to  Innspruck  to  paint  the  bride  ;  the  painter  was  aghast  at  this 
proposal,  he  had  never  in  his  life  been  out  of  sight  of  the  walls  of  Florence,  and 
at  first  refused  to  go,  but  interest  having  been  made  with  his  confessor,  Padre 
Larioni,  he  obeyed,  and  in  the  custody  of  one  of  the  servants  of  the  royal  household 
he  left  Florence  in  April.  He  painted  the  portraits  required,  and  some  other 
pictures,  and  returned  to  Florence  early  in  September ;  it  is  characteristic  of  the  man 
that  he  alighted  at  the  Church  of  the  Annunziata,  before  returning  to  his  house,  to 
give  thanks  for  his  safe  return.  Shortly  after,  he  was  attacked  by  a  nervous  disorder, 
and  became  of  such  a  melancholy  humour,  that  he  was  persuaded  he  had  lost  all  capacity 
for  painting ;  he  was  finally,  by  a  stratagem,  induced  to  take  his  brushes  in  hand  to 
finish  a  picture  he  had  laid  aside ;  his  apprehensions  vanished  on  finding  his  powers 
unimpaired ;  he  was  then  in  his  fifty-first  year.  He  continued  to  work  diligendy  till 
1682,  when  he  had  a  return  of  hypochondria:  he  lived  some  three  years  longer  after 


OF   PAINTERS.  173 


a  partial  recovery,  but  the  death  of  his  wife  hastened  his  end.  He  died  in  his 
seventieth  year.  His  daughter  Agnese,  Onorio  Marinari,  a  relative  on  his  mother's 
side,  Lomi,  and  his  biographer  Baldinucci,  were  his  pupils. 

Drouais,  Francois  Hubert. 

Born  at  Paris,  14  December,  1727;  died  there,  21  October,  1775.  He  studied 
first  with  his  father,  and  afterwards  under  Norotte,  Carle  Van  Loo,  Natoire,  and 
Boucher.  He  was  elected  Academician  for  his  portraits  of  Coustou  and  Bouchardon, 
the  King's  sculptors,  in  1758,  and  became  finally  King's  Painter.  The  Louvre 
only  possesses  a  single  picture  by  him  of  the  Count  d'Artois  and  Marie  Adelaide 
Clotilde,  afterwards  Queen  of  Sardinia,  as  children.  In  the  Orleans  Museum  is  a 
portrait  of  Madame  de  Pompadour,  and  another  of  a  gentleman  unknown  ;  at  Amiens 
is  a  picture  of  the  Dauphin,  and  at  Marseilles  a  Magistrate  with  his  two  children. 
Between  the  years  1755  and  1775,  the  year  of  his  death,  he  exhibited  at  the  Salon 
a  number  of  portraits  of  the  most  conspicuous  personages  of  the  Court. 

DUGHET,   GaSPARD,    CALLED   GasPAR    PoUSSIN. 

Born  in  Rome,  161 3;  died  there,  1675.  He  was  of  French  parentage,  and 
studied  under  Nicholas  Poussin,  who  adopted  him  after  marrying  his  sister.  Gaspard 
is  said  to  have  had  as  many  as  four  different  houses  in  Rome,  at  Tivoli,  and  Frascati, 
for  the  purpose  of  studying  landscape.  His  pictures  were  much  sought  after,  and 
he  became  rich,  but  want  of  economy  and  a  long  illness  reduced  him  to  poverty,  and 
he  hardly  left  sufficient  money  to  pay  for  his  burial.  His  pictures  are  still  numerous 
in  Rome,  fine  examples  are  in  the  Doria  Collection,  and  the  Church  of  St.  Martin 
retains  its  frescoes  by  him ;  he  can  be  well  studied  in  our  own  Gallery,  which 
possesses  a  number  of  cabinet  specimens  of  the  highest  quality.  He  is  also 
well  represented  at  Dulwich. 

DuviviER,  Pierre  Bernard. 

Born  at  Bruges,  1762;  died  in  Paris,  24  November,  1837.  He  gained  a  prize 
in  1785  for  "  Horatius  killing  his  Sister  Camilla."  He  is  known  to  have  painted  a 
few  portraits,  but  the  picture  in  this  collection  might  possibly  be  by  Madlle.  Aimde 
Duvivier,  the  daughter  of  Pierre  Charles ;  the  date  of  her  birth  is  unknown,  but  she 
was  painting  between  1791  and  1824,  which  would  cover  the  date  of  this  picture. 

Elle,  Louis,  called  Louis  Ferdinand  the  Elder. 

Born  in  Paris,  161 2;  died  there,  12  December,  1689.  The  elder  son  of 
Ferdinand  Elle,  a  painter,  who  was  born  at  Malines,  but  becoming  a  naturalized 
Frenchman  and  widely  known  by  his  Christian  name,  it  was  adopted  by  his  son 
as  a  surname.     Louis  Ferdinand  studied  under  his  father,  and  was  one  of  the  twelve 


i 


/\ 


174  BIOGRAPHICAL  LIST 


founders  of  the  French  Academy  in  1648  ;  he  became  professor  in  1657.  In  1681  he 
was  excluded  as  a  Protestant,  but  abjured  and  was  reinstated  in  1686.  He  had 
a  son  of  the  same  name,  also  known  as  a  painter  of  portraits  and  history ;  he  was 
born  in  1648,  and  died  at  Rennes  in  171 7. 


Elsheimer,  Adam. 

Born  at  Frankfort?  1574;  died  in  Rome,  1620.  The  pupil  of  Uffenbach;  he 
early  went  to  Rome  and  distinguished  himself  by  his  representations  of  moonlight, 
candle-light,  and  similar  effects  with  strong  contrasts  of  light  and  shade.  A  set  of 
engravings  from  his  pictures,  by  his  friend  Count  Goudt,  are  remarkable,  and  give 
an  excellent  idea  of  Elsheimer's  style.  Elsheimer  is  said  to  have  laboured  over  his 
pictures  so  long,  that  they  were  unremunerative ;  he  became  very  poor  and  was 
imprisoned  for  debt.  Rembrandt  was  attracted  by  the  weird  character  of  the  master's 
work,  and  etched  a  plate,  never  quite  finished,  in  imitation  of  him.  Adam  had  a 
brother  Johann,  born  in  1593,  also  a  painter;  he  decorated  a  staircase  at  Frankfort 
with  the  story  of  Virginia. 

Fanelli,  Francesco. 

Said  to  have  been  the  son  of  Virgilio  Fanelli,  also  a  distinguished  sculptor,  who 
in  1644  was  living  in  Genoa.  Philip  IV.  of  Spain  having  sent  a  drawing  to  the 
Marquis  Villa  Allegra  of  the  lantern  for  the  Pantheon  of  the  Escurial,  asking  him  to 
get  it  executed  by  the  most  able  Italian  artist  he  could  find,  the  commission  was 
entrusted  to  Virgilio,  who  went  to  Spain  to  personally  superintend  its  erection. 
Between  1665  and  1674  he  was  in  Toledo,  occupied  with  the  Throne  of  the  Virgin 
in  the  Sanctuary,  from  the  design  of  Herrera.  After  executing  various  other  works 
of  importance,  he  died  in  Toledo,  1678.  On  comparing  these  dates  with  the  authentic 
records  of  Francesco  Fanelli's  activity  in  England,  it  seems  improbable  that  Virgilio 
was  the  father  of  Francesco.  Some  Italian  authorities  erroneously  describe  Francesco 
as  born  in  1628  ;  this  is  impossible,  as  he  was  employed  in  England  as  early  as  1635, 
and  in  receipt  of  a  pension  from  Charles  I.,  and  the  bust  in  this  collection  is  dated 
1640.  Fanelli  is  also  stated  to  have  been  a  citizen  of  Bologna,  and  to  have  constantly 
resided  there,  whereas  he  styles  himself  a  Florentine,  and  must  have  been  long  abroad. 
Redgrave  seems  to  have  been  unable  to  obtain  any  information  respecting  him  beyond 
the  fact,  that  he  signs  himself  "  King's  Sculptor,"  in  1640,  doubtless  on  the  authority 
of  the  bust  here ;  he  notes  also  a  bust  of  Lady  Cottinton,  another  of  Charles  I.  in  the 
Bodleian,  and  statfes  that  several  of  his  works  are  at  Welbeck,  which  is  an  error,  as 
there  is  only  one.  In  the  Calendar  of  State  Papers,  Domestic  Series,  May  8,  and 
November  20,  1635,  are  notes  of  payments  to  Fanelli  of  the  sums  of  ;^6o  and  ^30 
respectively. 


OF   PAINTERS.  175 


Ferg,  Paul. 

Born  at  Vienna,  1689  ;  died  1740.  He  studied  under  his  father,  also  with  Orient 
for  landscape,  and  Graf  for  figure-painting.  He  spent  some  years  by  invitation  at  the 
Court  of  Dresden.  In  17 18  he  went  to  London,  where  he  remained  for  about  twenty 
years.  He  is  said  to  have  been  found  dead  in  the  street,  it  is  not  said  where.  His 
pictures  are  very  carefully  painted,  but  wanting  in  any  conspicuous  quality ;  he  etched  a 
series  of  "  Ruins  with  Figures." 

Gainsborough,  Thomas,  R.A. 

Born  at  Sudbury,  in  Suffolk,  1727  ;  died  in  London,  2  August,  1788.  He  was 
one  of  a  large  family  ;  his  father  was  a  clothier  who  possessed  a  little  property,  which 
a  liberal  disposition  and  the  numerous  demands  made  by  his  family,  speedily 
diminished.  Gainsborough,  early  in  life,  took  to  sketching  in  the  picturesque 
Suffolk  country;  an  early  pencil  portrait  of  himself,  formerly  in  the  James  Collection, 
represents  him  seated  in  the  open,  drawing  with  the  aid  of  a  mirror.  At  the  age  of 
fifteen  he  came  to  London,  where  he  was  introduced  to  Gravelot  the  engraver,  and 
entered  the  St.  Martin's  Lane  Academy.  He  afterwards  became  the  pupil  of 
Hayman,  with  whom  he  stayed  for  nearly  four  years.  He  married  in  London, 
when  in  his  twentieth  year,  a  young  lady  possessed  of  a  small  fortune,  and  shortly 
after  took  up  his  residence  at  Ipswich,  occupying  himself  with  portrait  and  landscape 
painting ;  many  of  these  early  pictures  are  full  length  portraits  on  a  small  scale  with 
landscape  backgrounds;  he  also  painted  a  number  of  landscapes,  which  he  never 
surpassed  for  truth  to  nature  and  ease  of  handling ;  two  excellent  examples  of  his 
early  manner  are  in  the  National  Gallery.  About  1758  he  removed  to  Bath,  where 
many  of  his  most  surprising  portraits  were  painted ;  they  are  distinguished  by  their 
high  finish  combined  with  a  lightness  of  touch,  unrivalled  even  in  his  later  works. 
He  became  a  member  of  the  Incorporated  Society  of  British  Artists  in  1766,  and 
occasionally  sent  pictures  to  London  for  exhibition.  He  was  chosen  one  of  the  first 
members  of  the  Academy  and  settled  in  Hatton  Garden,  London,  in  1774.  Between 
the  years  1769  and  1784  he  was  a  frequent  exhibitor  of  the  Royal  Academy,  but 
owing  to  a  disagreement  with  the  Council  as  to  the  hanging  of  his  full  length  group 
of  the  "  Three  Princesses  "  in  that  year,  he  withdrew  the  whole  of  his  pictures  and 
never  again  exhibited  there.  A  coolness  grew  between  himself  and  Reynolds  in 
these  latter  years,  which  was  only  removed  by  the  interview  which  took  place 
between  the  two  painters  when  Gainsborough  was  on  his  death-bed.  After  1777 
Gainsborough  resided  at  Schomberg  House,  Pall  Mall,  until  his  death.  His  position 
in  the  English  school  can  never  be  contested,  and  he  was  undoubtedly  well  qualified 
by  nature,  to  take  a  place  amongst  the  greatest  painters  of  any  age  or  country.  He 
was  passionately  fond  of  music.  His  portrait  belonging  to  the  Academy  is  charac- 
terized by  its  extremely  refined  and  sensitive  expression.     His  pictures  are  happily 


I 


176  BIOGRAPHICAL   LIST 


very  numerous,  and  the  National  Gallery  possesses  several  of  his  masterpieces ;  the 
full  length  of  "Schomberg"  and  the  "Parish  Clerk  of  Bradford-on-Avon,"  are  in  his 
earlier  manner,  while  his  later  is  represented  by  the  admirable  half  length  of 
"  Mrs.  Siddons."  Amongst  his  landscapes  the  "  Watering- Place "  is  unsurpassed 
both  for  splendour  of  colour  and  solidity  of  execution.  The  Dulwich  Gallery 
possesses  the  picture  of  the  lovely  "  Sisters,"  "  Mrs.  Addison,"  and  "  Mrs.  Tickell," 
and  the  Edinburgh  Gallery,  "  Mary  Graham."  Except  when  they  have  been 
tampered  with  by  incompetent  restorers,  his  pictures  are  in  admirable  preservation, 
retaining  a  freshness  in  the  flesh  tints  that  is  a  testimony  to  the  soundness  of  his 
method  of  painting. 

Gascard,  Henri. 

Born  in  Paris,  1635;  died  in  Rome,  18  January,  1701.  Little  is  known  of  this 
painter;  he  was  elected  Academician  for  his  portraits  of  "MM.  De  Seve,"  and 
"  Ferdinand,"  now  in  the  Ecole  des  Beaux  Arts.  His  pictures  have  been  engraved 
by  Zimmerman,  P.  Lombard,  Van  der  Bank,  Dunkarton,  and  Tooker.  It  is  supposed 
that  Gascard  was  established  for  some  time  in  London  with  Van  der  Bank  the 
engraver,  whom  he  quitted  to  go  to  Rome,  where  he  died. 

Gell£e,  Claude,  called  Claude  Lorraine. 

Born  in  1600  at  the  Chiteau  Chamagne  on  the  Moselle;  died  in  Rome,  21 
November,  1682.  Claude  had  two  biographers,  Sandrartand  Baldinucci,  whose  accounts 
of  his  early  career  differ  widely ;  according  to  one  he  went  to  Rome  as  a  pastry-cook, 
whereas  the  other  states  that  he  had  an  elder  brother  a  wood-engraver  established  at 
Fribourg,  and  that  he  accompanied  a  relative  who  was  a  lace  merchant  to  Rome ; 
he  is  said  to  have  stayed  in  Naples  under  Jeoffrey  Walls,  who  taught  him  perspective, 
for  about  two  years.  On  his  return  to  Rome  he  entered  the  studio  of  Tassi,  a  pupil 
of  Paul  Brill,  who  is  generally  regarded  as  his  master.  Claude  lived  in  the  house  of 
Tassi  till  1625,  when  he  returned  to  France.  At  Nancy  he  made  the  acquaintance  of  a 
painter  in  the  service  of  the  Duke  of  Lorraine  who  employed  him  for  a  year  decorating 
the  vault  of  the  Carmelite  Church;  but  Claude  was  anxious  to  return  to  Italy,  and 
leaving  Nancy  travelled  by  way  of  Lyons,  where  he  met  Errard,  with  whom  he  arrived 
in  Rome  on  St.  Luke's  Day,  1627.  He  shortly  after  painted  a  couple  of  landscapes 
for  the  Cardinal  Bentivoglio  which  procured  him  the  favour  of  Pope  Urban  VIII. 
Thenceforward  his  works  were  much  sought  after,  and  he  became  the  victim  of  the 
copyists,  who  stole  his  inventions  while  they  were  still  on  his  easel  and  forged  specious 
imitations  of  them  which  were  sold  freely  under  his  name.  The  famous  collection  of 
drawings  known  as  the  "  Liber  Veritatis  "  at  Chatsworth  is  said  to  have  been  begun 
for  the  purpose  of  keeping  an  exact  record  of  his  original  pictures  that  they  might  be 
subsequently  identified,  but  Reiset  thinks  it  more  probable  that  it  was  for  his  own  use 


OF   PAINTERS.  ,77 


and  pleasure  he  made  these  notes  of  his  finished  pictures.  He  enjoined  his  heirs  to 
keep  the  collection  as  a  heirloom  in  the  family,  but  they  were  sold  for  200  crowns  to  a 
jeweller  who  disposed  of  them  again  in  Holland.  In  1770  they  were  bought  by  the 
Duke  of  Devonshire ;  they  have  been  engraved  in  facsimile  by  Earlom,  and  are  justly 
celebrated.  Nearly  all  the  known  drawings  by  Claude  belong  to  the  latter  part  of  his 
life,  one  in  the  Royal  collection  bears  the  date  1682,  the  year  of  his  death.  The 
National  Gallery  possesses  some  of  Claude's  finest  productions,  such  as  the  "  Embarka- 
tion of  the  Queen  of  Sheba"  and  the  "View  of  a  Seaport  at  Sunset."  The  Louvre,  and 
the  Hermitage  are  also  rich  in  his  works,  as  are  several  private  collections  in  England, 
such  as  the  Duke  of  Westminster's.  Claude  is  distinguished  as  the  first  great  painter 
of  direct  sunlight,  and  he  remained  alone  and  unrivalled  till  the  advent  of  Turner. 

Gheeraedts,  Marc,  the  Younger. 

The  dates  of  his  birth  and  death  are  both  unknown ;  he  was  the  son  of  Marc  the 
Elder,  and  born  at  Bruges.  Little  is  known  except  that  he  studied  under  Lucas  de 
Heere,  and  he  is  commonly  confounded  with  his  father.  Besides  the  signed  picture  in 
this  collection  and  the  great  picture  of  the  "  Spanish  Ambassadors  "  in  the  National 
Portrait  Gallery,  portraits  at  Woburn,  Penshurst,  and  in  the  Bodleian  Library  are 
attributed  to  him.  Marc  Gheeraedts  the  Elder  was  a  native  of  Bruges  and  the  pupil 
of  Martin  de  Vos.  He  is  supposed  to  have  died  before  1604.  A  portrait  of  Queen 
Elizabeth  engraved  by  himself  was  reproduced  by  Vertue,  and  portraits  of  the  Queen 
and  the  Earl  of  Essex  are  at  Burghley.  He  engraved  the  plates  for  an  edition  of 
^sop  published  at  Bruges  in  1567. 

Gilpin,  Sawrey,  R.A. 

Born  at  Carlisle,  11  November,  1733  ;  died  in  London,  8  March,  1807.  He  went  to 
London  with  the  intention  of  entering  into  business,  but  his  artistic  proclivities  induced 
him  instead  to  become  the  pupil  of  Scott  the  marine  painter.  In  1758  he  parted  from 
his  master  and  went  to  Newmarket  for  the  purpose  of  studying  horses  and  their 
anatomy.  The  Duke  of  Cumberland  took  him  under  his  protection.  He  was  a 
member  of  the  Incorporated  Society  and  for  a  while  President.  After  1786  he 
exhibited  at  the  Academy,  became  an  A.R.A.  in  1795,  and  R.A.  in  1797.  He 
occasionally  painted  in  conjunction  with  Zoffany  and  Barret.  The  "  Death  of  the 
Fox,"  one  of  his  most  popular  pictures,  was  engraved  by  John  Scott.  On  the  death 
of  his  wife  he  gave  up  his  house,  and  went  to  live  with  his  friend  Mr.  Samuel  Whit- 
bread  at  his  seat  in  Bedfordshire  ;  but  on  the  decline  of  his  health  he  returned  to  live 
with  his  daughter  at  Brompton,  where  he  died.  He  etched  a  few  plates  of  horses 
and  cattle,  as  well  as  some  heads  for  a  book  published  by  his  brother,  the  Rev.  William 
Gilpin,  who  was  both  a  writer  and  an  amateur  landscape  draughtsman. 

A  A 


178  BIOGRAPHICAL   LIST    , 

GouPY,  Joseph. 

Born  at  Nevers,  France;  died  in  London,  1763.  He  settled  in  England  when 
young,  painting  scenes  for  the  Opera  in  conjunction  with  Tillemans.  He  became  a 
fashionable  drawing  master  and  copyist,  and  taught  Frederick,  Prince  of  Wales ; 
George  III.,  who  had  also  been  his  pupil,  bestowed  a  pension  on  him  when  he  came 
to  the  throne.  Goupy  was  an  admirable  etcher  in  the  style  of  Salvator  Rosa,  many  of 
whose  pictures  he  engraved  ;  some  of  his  etchings,  such  as  "  Glaucus  and  Scylla," 
comparing  favourably  with  similar  subjects  by  the  painter  himself  Goupy  had  a 
brother  Bernhard,  a  miniature  painter,  and  it  is  probable  that  Louis  Goupy,  the  nephew 
of  B.  Lens,  was  also  related  to  him. 

Grant,  Sir  Francis,  P.R.A. 

Born  at  Edinburgh,  1803  ;  died  in  London,  5  October,  1878.  He  was  educated  at 
Harrow,  and  studied  law,  but  after  having  spent  his  patrimony  he  took  to  art  as  a 
profession,  having  long  practised  as  an  amateur.  His  earliest  pictures  of  hunting 
scenes,  horses  and  dogs,  with  figures,  on  a  small  scale,  are  admirable  both  in  colour  and 
execution.  In  1842  he  was  elected  A.R.A.  and  devoted  himself  more  to  life-sized 
portraits.  In  185 1  he  was  elected  R.A.,  and,  on  the  death  of  Sir  Charles  Eastlake,  he 
was  chosen  President,  after  the  honour  had  been  declined  by  Sir  Edwin  Landseer. 
He  painted  many  of  the  most  distinguished  statesmen  and  ladies  of  his  time.  He 
continued  to  practise  his  art  to  the  last,  with  declining  power  partly  occasioned  by 
illness.  It  is  necessary  to  see  his  earlier  pictures  to  estimate  his  powers  as  an  artist, 
of  which  his  later  pictures  give  little  idea. 

Griffier,  or  Greffier,  Robert. 

Born  in  London,  1688;  died  there,  1750.  The  pupil  of  his  father,  Jan  Griffier. 
He  resided  for  many  years  in  Amsterdam,  but  returned  to  England  at  the  close  of  his 
career.  He  was  a  laborious  but  mediocre  painter,  whose  landscapes  are  too  obviously 
"  composed." 

Hanneman,  Adrian. 

Born  at  the  Hague,  c.  1601 ;  died  there,  1671.  He  studied  under  Van  Ravesteyn. 
Attracted  by  the  hope  of  Royal  patronage  he  visited  England,  and  is  said  to  have 
assisted  Vandyck.  On  the  outbreak  of  the  Civil  War  he  returned  to  Holland  and 
was  appointed  Court  Painter  to  the  Princess  of  Orange.  There  is  a  good  example  of 
his  work  at  Hampton  Court,  a  portrait  of  William  III.  when  young,  now  a  full  length, 
but  originally  only  to  the  knees.  It  is  possible  that  "  Kennyman,"  an  altogether 
unknown  name  in  the  History  of  Art,  may  be  an  English  corruption  of  his  name,  but 
the  portrait  to  which  it  is  attached  in  this  collection  does  not  bear  out  this  supposition 
by  its  style. 


OF    PAINTERS.  179 


Holbein,  Hans,  the  Younger. 

Born  at  Augsburg,  1497  ;  died  in  London,  1543.  He  was  the  pupil  and  assistant 
of  his  father.  In  15 15  he  went  to  Basle  with  his  brother  Ambrose,  where  a  number 
of  his  finest  works  were  produced ;  of  these  the  Darmstadt  Madonna  is  the  most 
celebrated,  through  the  copy  at  Dresden,  which  for  many  years  passed  as  the  original 
picture,  the  other  being  hardly  known.  He  occupied  himself  also  with  designing  for 
the  booksellers  ;  the  "  Dance  of  Death  "  and  the  Bible  cuts  are  the  best  known  of  his 
works  of  this  description,  but  there  are  also  a  number  of  fine  frontispieces  and  borders 
for  books ;  later  he  became  famous  for  his  designs  for  goldsmiths'  work.  Through 
Erasmus  he  obtained  an  introduction  to  Sir  Thomas  More,  and  landed  in  England  in 
1526.  He  lodged  for  a  time  in  More's  house  at  Chelsea,  and  occupied  himself,  as  is 
supposed,  with  the  drawings  for  the  great  picture  of  the  Chancellor  surrounded  by  his 
family,  which,  had  it  ever  been  completed,  would  have  outshone  anything  of  the  kind 
ever  done ;  the  drawings  for  the  heads  are  at  Windsor.  He  returned  to  Basle  in 
1528,  and  bought  a  house  there.  He  returned  to  England  about  1531,  where  beseems 
to  have  resided  till  his  death,  with  the  exception  of  the  several  occasions  when  he  was 
abroad  in  the  service  of  Henry  VHI.,  for  whom  he  painted  the  well-known  portraits 
of  the  Duchess  of  Milan,  and  Anne  of  Cleves.  The  important  mural  paintings  he 
finished  in  the  Banqueting  Room  at  Whitehall  were  destroyed  by  the  fire. 

HONDECOETER,    MeLCHIOR    D'. 

Born  at  Utrecht,  1636  ;  died  at  Amsterdam,  1695.  He  studied  under  his  father 
Gysbert,  and  his  uncle  Jean  Baptiste  Weenix.  Besides  fowls  and  birds,  for  which  he 
is  celebrated,  he  painted  still- life  and  insects ;  an  example  is  in  the  National  Gallery 
with  the. signature  erased.  He  settled  at  Amsterdam  in  the  latter  part  of  his  life,  and 
became  a  citizen  in  1688.  A  series  of  gigantic  pictures  are  at  Schleissheim  of  swans 
and  other  fowl.  The  two  principal  pictures  in  this  collection  are  of  the  highest 
quality  and  importance.     He  etched  a  few  plates. 

HoNTHORST,  Gerard. 

Born  at  Utrecht,  1590 ;  died  there,  1656.  He  studied  with  Bloemart  till  his  twentieth 
year,  when  he  went  to  Rome.  In  Italy  he  was  known  as  Gherardo  della  Notte,  from 
his  candle-light  pieces,  which  were  famous  at  the  time.  On  his  return  to  Utrecht  in 
1623  he  was  elected  Dean  of  the  Guild  of  St.  Luke.  Charles  I.  invited  him  to 
England  and  employed  him  at  Whitehall.  He  painted  portraits  of  the  Duke  and 
Duchess  of  Buckingham  and  their  children  ;  a  fine  picture  of  the  Duke  and  his  family 
is  in  the  Royal  collection,  sometimes  attributed  to  Vandyck ;  there  is  also  a  large 
picture  of  the  Duke  of  Buckingham  and  his  family  at  Hampton  Court.  In  the  latter 
part  of  his  life  Honthorst  was  mainly  occupied  as  a  portrait  painter. 


i8o  BIOGRAPHICAL   LIST 

HopPNER,  John,  R.A, 

Born  at  Whitechapel,  4th  April,  1758  ;  died  23rd  January,' 18 10.  In  early  lifehe 
was  a  chorister  in  the  Chapel  Royal,  but  his  inclination  for  art  becoming  known 
to  the  King,  he  allowed  him  a  small  pension  to  enable  him  to  study.  In  1775  he 
became  an  Academy  student,  and  gained  the  Gold  Medal  in  1782  for  his  picture  of 
"  King  Lear."  He  was  married  in  the  same  year  to  Miss  Wright,  the  daughter  of  a 
lady  celebrated  for  her  portraits  in  wax.  In  1780  Hoppner  appeared  as  an  exhibitor 
at  the  Academy  ;  five  years  later  he  became  Portrait  Painter  to  the  Prince  of  Wales. 
In  1789  he  painted  the  Duke  and  Duchess  of  York.  In  1783  he  became  an  A.R.A., 
and  in  1795  R.A.  Many  of  his  best  pictures  are  at  St.  James's  Palace.  His  art  is 
not  wholly  founded  on  Reynolds,  though  the  resemblance  at  times  is  great,  but 
occasionally  leans  almost  equally  to  the  imitation  of  Romney.  His  pictures  vary 
much  in  colour,  perhaps  the  most  characteristic  are  those  in  which  the  carnations  are 
extremely  delicate,  with  pearly-violet  shadows  ;  the  half-tones  in  the  white  draperies  of 
these  pictures  are  also  of  a  violet-grey  tone,  and  the  lights  of  great  brilliancy,  warmth, 
and  variety  of  tone.  The  reds  at  this  period  are  inclined  to  pink,  never  vermilion,  and 
have  little  affinity  with  the  brick-red  tones  he  employed  at  other  times.  His  pictures 
are  now  highly  esteemed,  and  only  less  valued  than  those  of  Gainsborough,  Reynolds, 
and  Romney.  In  1803  he  published  a  series  of  his  portraits,  and  in  1806  "Oriental 
Tales,  translated  into  English  Verse."  He  continued  to  exhibit,  but  in  his  last  years 
suffered  from  irritability  and  chronic  ill-health.     He  was  buried  at  Hampstead. 

Hudson,  Thomas,  R.A. 

Born  in  Devonshire,  1701  ;  died  at  Twickenham,  26  January,  1779.  He  was  the 
pupil  of  Richardson,  whose  daughter  he  married.  He  succeeded  Jervas  as  the 
fashionable  portrait  painter  of  his  day,  and  lived  for  many  years  in  Queen  Street, 
Lincoln's  Inn  Fields.  He  was  a  Member  of  the  Incorporated  Society  of  Artists. 
After  his  eclipse  by  Reynolds  he  was  only  remembered  as  the  great  painter's  teacher, 
and  his  work  has  been  as  unjustly  condemned  as  it  was  formerly  over-estimated.  His 
best  pictures  are  much  like  the  earliest  ones  of  Reynolds,  who  learnt  far  more  from 
him  than  Is  generally  admitted.  Doubtless  he  employed  drapery  painters,  like  all  the 
fashionable  portrait  painters  from  Vandyck  to  the  present  day,  but  if  so  they  did 
excellent  journeyman's  work  for  him,  and  his  colour  Is  usually  good.  He  married  a 
second  time,  late  in  life,  a  lady  of  fortune.  His  pictures  are  very  numerous;  a 
portrait  of  Handel  is  in  the  National  Portrait  Gallery. 

Jansen,  or  Johnson,  Cornelius  van  Keulen. 

Was  possibly  born   in    London,    and   often  signed  his  name  in   English,  but. 
he  Is  usually  supposed  to  have  been  born  in  Amsterdam  in  1590.     He  was  well 
known   In    Holland   before   his  visit   to    England   in    1618,    when   he   entered  the 


OF   PAINTERS.  igi 


service  of  James  I.  He  remained  in  England  till  1648,  subsequently  he  settled  at 
the  Hague,  and  died  about  1662-4.  In  Bryan  it  is  stated  that  a  portrait  of  the  Duke 
of  Buckingham  exists  in  this  collection  by  him,  doubtless  referring  to  the  full  length 
of  the  Duke  when  young,  but  it  bears  no  resemblance  in  handling  to  the  undoubted 
works,  called  respectively,  portraits  of  "Fletcher"  and  "  Ireton,"  both  from  the 
Northwick  Collection,  the  former  of  which  is  authenticated  by  his  signature.  Jansen 
had  a  son  of  the  same  name,  a  portrait  painter,  who  was  Uving  at  Utrecht  in  1670.  'I 

Jervas,  Charles. 

Born  in  Ireland  about  1675  ;  died  in  London  ?  2  November,  1739.  He  was  well 
educated,  and,  showing  a  taste  for  art,  was  placed  under  Kneller ;  he  afterwards 
pursued  his  studies  in  Rome ;  he  was  then  about  thirty  years  of  age.  On  his  return 
to  England  he  married  a  lady  of  means,  and  was  appointed  Court  Painter  to  George  I., 
and  later  to  George  II.  He  was  the  friend  of  Pope  and  Addison,  and  considered  by 
many  the  head  of  his  profession  in  his  time ;  he  was  also  a  wit  and  a  man  of  letters, 
and  is  said  to  have  performed  the  feat  of  translating  "  Don  Quixote  "  without  under- 
standing Spanish!  In  1738  he  revisited  Italy.  He  was  a  great  collector  of 
bric-a-brac,  and  the  sale  of  his  collection  occupied  thirty-four  days,  of  which  twenty-five 
were  devoted  to  the  dispersion  of  his  collection  of  ancient  drawings.  He  painted 
Newton  and  Pope.  The  "Duchess  of  Queensberry"  is  in  the  National  Portrait 
Gallery.  His  pictures  are  much  like  Kneller's,  but  indifferently  drawn;  he  was  a 
good  colourist,  his  flesh  tints  being  particularly  clear  and  brilliant. 

Kauffmann,  Angelica  Maria  Catherine,  R.A.  ' 

Born  30  October,  1 740,  at  Coire,  in  the  Grisons ;  died  in  Rome,  5  November, 
1807.  She  was  the  daughter  of  a  Swiss  portrait  painter  who  was  in  England  between 
1 77 1  and  1779,  and  exhibited  at  the  Academy.  Angelica  early  developed  a  talent 
for  drawing  and  music,  and  drew  at  the  Academy  when  still  a  child.  In  1754  she 
went  with  her  father  to  Milan,  and  after  a  short  stay  there  travelled  to  Florence  and 
Rome,  where  she  arrived  in  1759.  In  1764  she  took  up  her  residence  in  Venice.  In 
the  following  year  she  accompanied  the  wife  of  the  English  ambassador  to  England. 
An  excellent  linguist  and  musician,  learned,  refined,  and  amiable ;  it  is  natural  that 
she  attracted  much  notice  and  sympathy.  In  1769  she  was  elected  a  member  of  the 
Royal  Academy ;  in  the  same  year  she  was  the  victim  of  an  adventurer,  and  was 
betrayed  into  a  clandestine  marriage  with  the  valet  of  Count  Horn,  who  personated 
his  master.  She  finally,  after  much  trouble,  rid  herself  of  the  man  by  giving  him  a 
sum  of  money.  She  was  a  constant  exhibitor  at  the  Academy  from  the  date  of  her 
election,  till  1782,  and  with  a  slight  interruption  till  1797.  In  1780  she  married  a 
Venetian  painter,  long  resident  in  England  named  Antonio  Zucchi,  but  retained  her 
maiden  name.     She  travelled  with  her  husband  in  Italy,  stayed  some  time  in  Naples, 


i82  BIOGRAPHICAL   LIST 

and  finally  settled  In  Rome  in  1782,  where  she  passed  the  last  twenty-five  years  of  her 
life.  She  is  said  for  many  years  to  have  entertained  a  passion  for  Sir  Joshua 
Reynolds,  who  had  a  great  esteem  for  her, 

Knapton,  George. 

Born  in  London,  1698  ;  died  1778.  He  was  the  son  of  a  bookseller,  and  studied 
under  Richardson.  In  1740  he  went  to  Italy.  He  obtained  the  appointment  of 
painter  to  the  Dilettanti  Society,  and  was  also  Keeper  of  the  King's  Pictures.  He 
wrote  an  account  of  the  discoveries  at  Herculaneum,  and  was  associated  with  Arthur 
Pond,  a  distinguished  connoisseur,  in  publishing  engravings  of  ancient  drawings.  He 
painted  the  widow  and  family  of  Frederick,  Prince  of  Wales,  a  large  canvas  now  at 
Hampton  Court.  His  portraits  of  the  members  of  the  Dilettanti  Society  are  amongst 
the  most  favourable  specimens  of  his  art.     He  worked  also  much  in  pastel. 

Kneller,  Sir  Godfrey,  Bart. 

Born  at  Lubeck,  1646  ;  died  7  November,  1723.  He  was  intended  for  a  military 
career  and  sent  to  Leyden  to  study,  but  soon  quitted  it  and  went  to  Amsterdam,  where 
he  became  the  pupil  of  Bol,  and  it  is  said  had  some  instruction  from  the  great  Dutch- 
man, Rembrandt,  himself.  In  1672  he  proceeded  to  Italy,  and  in  1674  came  to 
England.  The  Duke  of  Monmouth  introduced  him  to  Charles  II.,  and  he  painted 
the  King's  portrait,  who  was  so  well  pleased  with  it  that  he  sat  to  him  several  times, 
and  sent  him  to  Paris  to  paint  the  French  King.  He  held  the  office  of  State  Painter 
during  five  reigns;  he  was  knighted  by  William  III.  in  1692,  and  created  a  baronet 
by  George  I.  in  171 5.  His  earlier  works  are  distinguished  by  their  careful  drawing 
and  good  colour,  and  well  deserve  the  encomiums  lavished  on  them  by  his  contem- 
poraries ;  but  in  his  latter  days  his  drawing  became  feeble,  his  poses  artificial  and 
commonplace,  and  he  no  doubt  committed  much  of  his  work  to  assistants,  hence  the 
decline  of  his  reputation.  The  series  of  portraits  of  the  members  of  the  Kit  Cat  Club 
and  the  "  Beauties  of  the  Court  of  William  III.,"  are  amongst  his  best  known  works, 
a  large  number  of  which  have  been  engraved  in  mezzotint.  He  died  of  a  fever,  and 
was  buried  at  Twickenham. 

LARGILLlfeRE,    NiCOLAS    De. 

Born  in  Paris,  1656;  died  17  March,  1746,  The  pupil  of  Goebow,  of  Antwerp  ; 
elected  Academician  in  1686  for  his  portrait  of  Lebrun  painting,  now  in  the  Louvre. 
He  became  Director,  and  finally  Chancellor  in  1743.  Several  of  his  pictures  are  in 
the  Louvre  Collection,  including  his  own  portrait  with  that  of  his  wife  and  daughter, 
others  are  at  Versailles,  including  a  portrait  of  himself,  and  a  family  piece  in  which  his 
mother,  brothers,  and  three  daughters  are  introduced ;  the  Museums  of  Arras, 
Besangon,  Chartres,  Dijon,  Grenoble,  Lille,  Nancy,  Nantes,  and  Orleans,  are  rich  in 


OF   PAINTERS. 


183 


his  works ;  and  examples  are  to  be  found  at  Berlin,  Copenhagen,  Florence,  and  St. 
Petersburg. 

Lauri,  Fillippo. 

Born  in  Rome,  1623  ;  died  there,  1694.  His  father,  also  a  painter,  was  a  native 
of  Antwerp,  who  went  when  young  to  Italy  to  study  under  Brill,  and  died  in  Rome. 
Filippo  had  an  elder  brother,  Francesco,  a  promising  artist  who  died  young,  under 
whom  he  studied ;  after  this  brother's  death,  Filippo  worked  with  Caroselli.  Lauri's 
"  Bacchanals"  are  considered  his  best  pictures,  which  are  usually  small  in  scale.  He 
worked  at  times  for  Claude.     Lauri's  works  have  been  frequently  engraved. 

Lawrence,  Sir  Thomas,  Knt.,  P.R.A. 

Born  at  Bristol,  4  May,  1769  ;  died  in  London,  7  January,  1830.  His  father  was 
a  very  unsuccessful  man  of  business ;  at  the  time  of  his  son's  birth  he  kept  the 
White  Lion  Inn  at  Bristol ;  when  young  Lawrence  was  about  three  years  old,  he 
removed  (to  Devizes ;  it  was  there  that  the  painter  first  attracted  attention  by  his 
precocious  aptitude  both  for  reciting  and  drawing  in  his  sixth  year.  After  much 
wandering  the  family  settled  for  a  while  in  Bath,  where  the  boy  supported  his 
parents  by  his  pencil.  He  received  some  instruction  from  William  Hoare,  R.A., 
at  this  time.  In  1785  he  gained  a  premium  from  the  Society  of  Arts.  In  1787  he 
removed  to  London  and  entered  the  Academy  as  a  student ;  he  exhibited  in  the  same 
year  several  portraits  :  two  years  later  he  exhibited  a  portrait  of  the  Duke  of  York, 
and  in  the  following  year  portraits  of  other  members  of  the  Royal  Family.  He  was 
elected  an  A.R.A.  in  1791  when  only  twenty-two,  and  in  1792  was  appointed  King's 
Painter,  on  the  death  of  Sir  Joshua  Reynolds.  In  1794  he  was  elected  Academician. 
After  the  Peace  of  18 14  he  went  to  Paris  for  the  Prince  Regent,  to  paint  the  most 
eminent  statesmen  attached  to  the  Courts  of  the  Allied  Sovereigns,  a  task  for  which 
his  talents  eminently  fitted  him  ;  the  pictures  are  at  Windsor.  He  was  knighted  in 
181 5.  In  i8i8he  went  to  Aix-la-Chapelle,  Vienna,  and  Rome,  where  he  completed 
his  commission.  He  returned  to  England  in  1820,  after  visiting  the  principal  cities  of 
Italy.  On  his  arrival  in  London,  President  West  having  died,  he  was  elected  without 
opposition  President  of  the  Royal  Academy.  In  1825  he  revisited  Paris  at  the 
invitation  of  Charles  X.,  and  received  the  Cross  of  the  Legion  of  Honour.  He  died 
very  suddenly  at  his  house  in  Russell  Square,  while  still  in  the  prime  of  life,  and  was 
buried  at  St.  Paul's  with  much  ceremony.  He  left  the  most  valuable  collection 
of  ancient  drawings  ever  formed  by  a  private  collector ;  they  were  dispersed  owing  to 
the  parsimony  of  the  Government,  but  many  of  the  most  important  were  purchased 
for  the  Oxford  University.  Like  so  many  fashionable  portrait  painters,  the  reputation 
of  Lawrence  has  been  much  dimmed  by  time,  and  he  has  been  as  much  decried  as  he 
was  formerly  extravagantly  praised.     It  is  only  necessary  to  see  such  portraits  as 


i84  BIOGRAPHICAL   LIST 

that  of  Sir  Hans  Sloane,  in  the  British  Museum,  and  of  Mrs.  Angerstein,  an  old  lady 
in  black,  on  panel,  still  in  the  possession  of  the  family,  to  appreciate  his  powers,  and 
see  on  what  a  solid  foundation  his  reputation  rested :  fashion  is  again  veering 
round  to  a  recognition  of  the  merits  of  even  his  most  mannered  productions. 
Amongst  his  most  celebrated  pictures  are  the  portraits  of  Master  Lambton  and  the 
portraits  of  two  children  called  "  Nature,"  well  known  by  the  engravings. 

Lebrun,  Charles. 

Born  in  Paris,  24  February,  1619  ;  died,  12  February,  1690.  The  son  of  a 
sculptor,  he  received  his  first  lessons  in  drawing  from  his  father,  and  studied  after 
under  Le  Bourgignon.  When  only  thirteen  years  of  age  he  executed  a  drawing  on 
vellum  of  Louis  XIII.  in  battle,  which  he  showed  to  Chancellor  Siguier,  who  took 
him  under  his  care  and  lodged  him  in  his  house ;  two  years  later  he  painted  an 
allegorical  picture  complimentary  to  Cardinal  Richelieu,  who  commissioned  him 
to  paint  three  pictures,  "  The  Rape  of  Proserpine,"  "  The  Discovery  of  Diomede," 
and  "  The  Death  of  Hercules."  He  presented  a  picture  to  the  Confraternity  of 
St.  Luke,  of  the  Martyrdom  of  St.  John,  which  was  placed  on  the  altar  of  their 
Church  of  St.  Sepulchre.  Seguier  was  so  pleased  at  the  progress  of  his  proteg6  that 
he  gave  him  a  pension  of  200  crowns  to  enable  him  to  continue  his  studies  in  Rome, 
where  he  placed  him  under  the  care  of  Poussin  in  1642.  Four  years  later  he  returned 
to  Paris  with  a  well  merited  reputation.  "  The  Martyrdom  of  St.  Andrew"  (1647), 
and  "The  Martyrdom  of  St.  Stephen"  (165 1),  were  painted  for  the  Goldsmith's 
Company ;  the  last-mentioned  is  now  in  the  Louvre  ;  Fouquet  gave  him  a  pension  of 
1,200  livres,  and  commissioned  him  to  decorate  the  Chateau  Vaux.  His  fortune  was 
finally  assured  by  his  presentation  to  the  king  by  Cardinal  Richelieu,  after  painting  a 
picture  for  the  oratory  of  the  queen-mother  of  "  Christ  with  Angels,"  now  in  the 
Louvre;  he  was  appointed  by  Colbert  Director  of  the  Gobelins.  The  king 
commissioned  him  to  paint  the  "  History  of  Alexander,"  exhibited  1643.  After  the 
fire  at  the  Louvre  in  1661,  he  restored  the  palace,  and  built  the  Salon  d' Apollo.  In 
1667  he  accompanied  the  king  on  his  Flemish  campaign  ;  on  his  return  from  Lille  he 
was  occupied  with  colossal  decorative  works  at  St.  Germains,  Sceaux,  the  fagades 
and  pavilions  of  Marly,  and  finally,  the  great  gallery  at  Versailles,  which  occupied  him 
for  four  years.  The  death  of  Colbert  in  September,  1683,  finally  terminated  the 
favour  in  which  the  painter  was  held ;  Louvois  protected  Mignard,  and  so  embittered 
the  close  of  Lebrun's  career  by  intrigue  that  he  ceased  to  show  himself  at  Court,  and 
retired  to  the  Gobelins,  where  he  finally  terminated  his  active  life  in  1690.  Few 
painters  have  had  so  many  of  their  works  engraved,  and  he  etched  a  few  plates 
himself;  Edelinck,  Audran,  Tardieu,  Leclerc,  Simonneau,  Poilly,  Masson,  Nanteuil, 
and  others,  left  no  less  than  790  pieces  after  him.  He  was  the  prince  of  French 
academical  painters,  and  earned  for  himself  the  title  of  the  French  Raphael :  his 


OF   PAINTERS.  185 


countrymen  were  not  ashamed  to  offer  a  canvas  of  his  to  the  Venetians  in  exchange 
for  Veronese's  masterpiece,  "  The  Marriage  of  Cana,"  which  was  retained  after  the 
Peace  of  18 14.  Lebrun's  picture,  now  hardly  noticed,  still  hangs  in  the  Venice 
Academy.     He  left  several  treatises  on  Art,  and  is  well  represented  in  the  Louvre. 

Lelv,  Sir  Peter. 

Born  at  Soest  in  Westphalia,  161 7;  died  in  London,  1680.  His  father  was 
an  infantry  captain  who  changed  his  name  from  Van  der  Vaas  to  Lely.  Sir  Peter 
studied  at  Haarlem  under  Peter  de  Grebber.  At  the  age  of  twenty-four  he  came  to 
London,  intending  to  practise  as  a  historical  painter,  but  the  death  of  Vandyck  gave 
him  abundant  employment  as  a  portrait  painter.  There  is  an  excellent  picture  of 
Charles  L  and  the  Duke  of  York  by  him,  much  more  truthful  to  nature  than  his  later 
pictures ;  he  painted  Cromwell  also,  as  is  well  known,  but  his  fame  is  chiefly 
associated  with  the  Court  of  Charles  H.  The  King  made  him  a  baronet  in  1679-80; 
for  over  thirty  years  he  was  without  a  rival  in  popularity,  and  acquired  a  considerable 
fortune.  He  married  an  English  lady,  whose  name  is  not  known,  Pepys  describes 
him  as  "  a  mighty  proud  man  and  full  of  state."  For  some  years  he  lived  in  Drury 
Lane,  and  from  1662  till  his  death  in  1680,  in  the  Piazza,  Covent  Garden.  He  died 
of  apoplexy,  and  was  buried  at  the  Church  of  St.  Paul.  His  monument  with  the  bust  by 
Gibbons  was  destroyed  by  the  fire  of  1795.  He  was  a  great  collector  of  works  of  art ; 
his  collection  was  sold  for  the  large  sum  of  ^26,000,  and  took  forty  days  to  disperse. 
His  initials,  P.  L.,  are  stamped  on  a  vast  number  of  ancient  drawings.  A  Dutch  nephew 
was  the  heir.  A  few  of  his  historical  pictures  are  still  to  be  found ;  at  Windsor  are  two, 
a  "  Sleeping  Venus,"  and  a  "  Magdalen."  "  Susanna  and  the  Elders  "  is  at  Burghley, 
and  a  "  Judgment  of  Paris,"  engraved  by  Lens.  John  Greenhill,  whose  portrait, 
drawn  by  Lely,  is  in  the  British  Museum,  is  said  to  have  been  the  best  of  Lely's 
pupils,  and  a  close  imitator  of  his  manner ;  he  died  at  the  early  age  of  twenty-seven, 
in  1676.  Greenhill's  own  portrait  is  at  Dulwich,  and  a  portrait  of  Bishop  Ward  is  at 
Salisbury,  in  the  Town  Hall.    Lely  pensioned  his  widow,  who  died  insane  shortly  after. 

LiOTARD,  Jean  Etienne. 

Born  at  Geneva,  December  22,  1702  ;  died  there,  June  12,  1789.  In  1725  he  went 
to  Paris,  where  he  studied  under  Massd  and  Lemoyne.  In  1738  he  visited  Italy  and 
took  the  portrait  of  the  Pope.  After  leaving  Rome  he  went  to  Constantinople  and 
adopted  the  Turkish  costume ;  he  remained  there  four  years,  journeying  thence  to 
Moldavia  and  Vienna.  Paris  and  London  were  visited  in  turn.  In  1756  he  went  to 
Holland,  where  he  married  and  has  descendants  still  living.  In  1772  he  returned  to 
London  and  sold  by  auction  his  collection  of  pictures.  He  exhibited  at  the  Academy 
in  1773-4.     Ill  1776  he  returned  to  his  native  country,  where  he  died.     His  portrait 

B  B 


i86  BIOGRAPHICAL  LIST. 


in  Turkish  costume,  by  himself,  is  in  the  Uffizi  at  Florence,  and  his  granddaughter 
bequeathed  to  the  Amsterdam  Museum  a  collection  of  his  pastel  portraits,  amongst 
which  is  a  replica  of  the  portrait  in  this  collection. 

Maas,  Dirck. 

Born  at  Haarlem,  1656  ;  died  171 7.  He  studied  under  Mommers,  Boghen,  and 
Hugtenburg.  He  excelled  in  painting  horses  and  battle-pieces,  but  was  also  fond  of 
park  views  with  fountains,  etc.  He  was  in  England  for  some  time ;  it  is  probable  that 
the  picture  in  this  collection  was  painted  in  this  country.  Jan  Maas  or  Maes,  the 
Younger,  the  son  of  Pieter,  born  at  Haarlem  1655,  is  supposed  to  have  been  the  pupil 
of  Dirck  Maas  ;   he  painted  similar  subjects,  and  died  in  1690. 

Martin,  David. 

Born  at  Anstruther,  Fife,  1736  ;  died  at  Edinburgh,  1798.  He  was  the  pupil  of 
Allan  Ramsay,  and  accompanied  him  to  Rome.  On  his  return  to  England  he 
frequented  the  St.  Martin's  Lane  Academy  and  joined  the  Incorporated  Society. 
About  1775  he  was  in  Edinburgh  practising  as  a  portrait  painter ;  he  held  the  office 
of  principal  painter  to  the  Prince  of  Wales  in  Scotland.  In  1779  he  was  living 
in  Dean  Street,  Soho ;  on  the  death  of  his  wife  he  retired  to  Edinburgh,  where  he 
died.  He  engraved  in  mezzotint  his  own  portraits  of  Lord  Mansfield,  and  Roubilliac 
the  sculptor. 

Mercier,  J.  D, 

Painting  in  1849.  This  artist  is  not  mentioned  by  Auvray  or  Redgrave.  It  is 
probable  that  he  came  of  a  French  family  long  resident  abroad.  A  Philip  Mercier, 
of  whom  the  French  dictionaries  take  no  notice,  although  he  was  an  artist  of  some 
reputation  and  certainly  of  French  extraction,  was  born  at  Berlin  in  1 689 ;  he  was 
much  in  England,  and  probably  died  here  in  1760.  He  had  a  daughter  who  painted, 
and  died  in  England  in  1762;  it  is  possible  that  J.  D.  Mercier  may  have  been 
related  to  them. 

MiEREVELT,    MiCHIEL   JaNSZ. 

Born  at  Delft,  1567;  died  there,  1641.  When  a  lad,  according  to  some  authorities, 
he  was  placed  with  Jerome  Wierix  to  learn  engraving.  He  studied  painting  under 
Willem  Willemsz  and  d'Augustyn,  and  later  with  Anthony  van  Montfoort.  He 
settled  at  Delft,  but  resided  for  a  short  time  at  the  Hague.  He  painted  some  altar- 
pieces  for  Delft  churches,  but  his  vocation  for  portraits  became  evident  after  he 
had   painted    some    of   the    Princes    of   Nassau,   and    he   finally   devoted   himself 


OF   PAINTERS.  ,87 


exclusively  to  that  branch  of  art.  He  is  said  to  have  declined  an  invitation  from 
Charles  I.,  but  it  is  probable  that  at  some  time  he  was  in  England,  where  his 
works  are  sufficiently  numerous.  Amsterdam  and  the  Hague  Galleries  are  rich  in  his 
works.  He  had  a  son  Pieter,  born  1 595,  who  distinguished  himself  as  a  portrait  painter ; 
he  died  at  Delft  in  1632  ;  another  son,  Jan,  also  a  painter,  died  insane  in  1633. 

MiGNARD,  Pierre,  called  "  Le  Romain." 

Born  at  Troyes,  7  November,  161 2  ;  died  in  Paris,  30  May,  1695.  He  studied 
under  Boucher,  or  Bouchier,  a  painter  of  Bourges,  and  later  under  Vouet  at  Paris  ;  he 
was  ennobled  in  1687,  and  became  King's  Painter  in  1690.  He  was  nominated 
Academician  by  order  of  the  King,  passing  the  degrees  of  Associate,  Academician, 
Rector,  Chancellor,  and  Director  at  a  single  sitting  of  the  Council,  on  the  death  of 
Lebrun.  Mignard's  father  wished  him  to  study  medicine,  but  finally  allowed  him  to 
take  to  painting  in  emulation  of  his  elder  brother  Nicolas.  Mignard  remained  a  year 
with  Bouchier  at  Bourges,  and  proceeded  thence  to  Fontainebleau,  where  he  studied 
for  two  years ;  on  his  return  to  Troyes  he  received  a  commission  to  paint  the  Chapel 
of  the  Marechal  de  Vitry,  who  recommended  him  to  Vouet.  Towards  the  end  of 
1635  he  left  for  Rome,  where  he  met  Du  Fresnoy,  his  ancient  comrade  in  the  School 
of  Vouet,  and  in  his  company  he  commenced  to  study  the  antique  and  the  Italian 
School  of  Painting  ;  the  success  of  a  couple  of  portrait  pictures  obtained  him  a  sitting 
from  the  Pope,  Urban  VIII.  In  1664  the  Cardinal  of  Lyons,  elder  brother  of 
Richelieu,  arrived  in  Rome,  accompanied  by  Mignard's  brother  Nicolas,  and 
commissioned  Pierre  to  copy  the  Frescoes  of  the  Farnese  by  Carracci,  which  he 
finished  in  eight  months.  He  painted  the  portrait  of  Innocent  X.,  and  in  1653 
rejoined  his  friend  Du  Fresnoy  in  Venice ;  on  his  return  to  Rome  he  painted  Pope 
Alexander  VII.,  and  a  number  of  Madonnas,  which  were  nicknamed  after  him 
"  Mignardes."  After  twenty-two  years'  residence  in  Italy  he  was  recalled  by  the 
French  King  and  arrived  ill  at  Marseilles  in  the  autumn  of  1657  ;  he  was  obliged  to 
stay  for  some  months  at  Avignon  with  his  brother  to  regain  his  health  ;  on  his  arrival  at 
Fontainebleau  he  painted  a  portrait  of  the  King  for  Mazarin,  said  to  have  been  executed 
in  three  hours,  which  was  sent  to  the  Infanta  of  Spain,  who  afterwards  married  Louis 
XIV.  In  Paris  he  lodged  with  Du  Fresnoy  and  painted  the  Due  d'Epernon,  and  became 
one  of  the  most  fashionable  portrait  painters  of  the  day.  The  Queen  Mother 
commissioned  him  to  paint  the  cupola  of  the  Val  de  Grace  with  the  "  Paradise," 
a  composition  of  over  200  figures  the  size  of  life  ;  he  undertook  subsequently  extensive 
decorations  at  Versailles,  part  of  which  were  demolished  in  1728.  He  was  eighty-one 
years  of  age  when  he  made  the  design  for  the  dome  of  the  Invalides,  which  his  death 
prevented  him  from  carrying  out.  He  married  in  Rome  the  daughter  of  an  architect, 
by  whom  he  had  four  children  ;  his  daughter  Margaret,  born  1652,  had  a  great 
reputation  for  her  beauty  and  wit ;  she  married  Jules  de  Pas,  Comte  de  Feuquieres. 


i88  BIOGRAPHICAL   LIST 


Mignard's  youngest  son,  Rodolphe,  became  a  painter,  and  several  pictures  by  him  are 
in  the  Louvre  ;  he  was  still  living  in  1743.  Mignard's  works  are  distributed  through 
the  galleries  of  Europe,  and  a  great  number  of  his  pictures  have  been  engraved ;  he 
etched  a  few  plates  himself. 

Mytens,  Daniel,  the  Elder. 

Born  at  the  Hague  in  the  latter  part  of  the  sixteenth  century;  the  date  of  his 
death  is  unknown  ;  he  was  painting  in  1656.  He  came  to  England  during  the  reign 
of  James  I.  Charles  I.  appointed  him  King's  Painter  in  1625  ;  he  was  in  high  favour, 
and  much  esteemed  at  court  till  the  arrival  of  Vandyck.  Mytens  was  with  difficulty 
induced  to  stay  after  the  appointment  of  Vandyck  as  principal  painter ;  the  actual 
date  of  his  departure  is  unknown  ;  1630  is  the  date  usually  given,  but  there  is  reason 
to  believe  that  it  was  later.  In  1656  he  was  painting  the  ceiling  of  the  Town  Hall  at 
the  Hague,  after  which  date  notices  fail.  There  are  several  fine  pictures  by  him  in 
the  Royal  Collection,  also  at  Selby,  the  seat  of  Lord  Galway. 

• 

Mytens,  Johannes. 

Painted  between  1630  and  1670;  he  was  the  nephew  of  Daniel  Mytens  the 
Elder,  and  one  of  the  founders  of  the  Pictura  Society  in  1656.  Several  portraits 
signed  by  him  are  at  Amsterdam,  but  his  authentic  pictures  are  rare,  and  the  two  in 
this  collection  are  therefore  of  interest.  He  has  been  sometimes  confused  with  Isaac 
Mytens,  his  brother,  also  one  of  the  founders  of  the  Pictura  Society,  to  which  he 
belonged  as  late  as  1665, 

Nattier,  Jean  Marc. 

Born  in  Paris,  17  March,  1685;  died  there,  7  November,  1766.  He  was  the 
younger  son  of  Marc  Nattier  and  of  Marie  Courtois  the  miniaturist,  and  studied  under 
his  father,  who  was  an  excellent  portrait  painter.  He  was  elected  an  academician  in 
1 718  for  his  picture  of  "Perseus  petrifying  Phineas  with  the  head  of  the  Medusa." 
At  the  age  of  fifteen  he  obtained  the  first  prize  at  the  Academy,  and  his  godfather, 
Jouvenet,  wished  to  send  him  to  Rome,  but  he  refused.  On  the  death  of  Louis  XIV. 
he  accompanied  M.  le  Fort  to  Amsterdam,  where  he  met  Peter  the  Great,  and  painted 
his  portrait  and  that  of  the  Empress  Catherine,  and  various  personages  of  the  Court, 
and  a  picture  of  the  Batde  of  Pultowa.  Peter  wished  to  take  him  to  Russia,  but  he 
preferred  to  remain  in  France.  After  1720,  having  lost  money,  he  devoted  himself 
exclusively  to  portrait  painting,  and  we  owe  to  him  a  considerable,  number  of  portraits 
of  the  most  eminent  personages  of  the  court  of  Louis  XV.  He  is  well  represented  in 
the  Louvre  ;  his  picture  of  "  Camargo,"  the  celebrated  dancer,  is  at  Nantes.     Nattier 


OF   PAINTERS.  jgg 


had  a  son  who  was  a  promising  painter,  but  he  was  accidentally  drowned  in  the  Tiber 
shortly  after  his  arrival  in  Rome,  where  he  had  been  sent  to  pursue  his  studies.  One 
of  Nattier's  daughters  married  Tocqu6,  and  another  Challe,  also  a  painter. 

Netscher,  Caspar. 

Born  at  Heidelberg,  1639;  died  at  the  Hague,  1684.  He  was  the  son  of  a- 
sculptor  ;  his  father  died  when  he  was  only  two  years  of  age,  and  his  mother  made  her 
way  to  Holland,  where  she  arrived  with  her  child  in  a  nearly  destitute  condition.  A 
physician  named  Tullekens  adopted  the  young  Netscher,  and  educated  him  with  a 
view  to  his  following  his  own  profession,  but  he  finally  placed  him  with  Koster,  and 
later  with  Terburg,  under  whom  he  made  rapid  progress.  Determining  to  pursue  his 
studies  in  Italy,  he  embarked  at  Amsterdam  for  Bordeaux ;  there  he  painted  some 
portraits,  and  was  detained  by  an  attachment  he  formed  for  Marie  Godin,  whom  he 
married,  and  returned  to  Holland,  1660.  He  achieved  a  great  success  as  a  painter  of 
small  portraits,  but  painted  a  few  life  size,  the  picture  in  this  collection  being  an  example. 
His  son  Constantine,  born  1668,  excelled  in  the  same  branch  of  art;  he  studied 
under  his  father.  After  his  father's  death,  he  continued  to  copy  and  imitate  his 
pictures.  The  Earl  of  Portland,  whose  portrait  he  had  painted,  endeavoured  to 
persuade  him  to  visit  England,  but  he  declined  from  ill-health.  He  died  at  the 
Hague  in  1722. 

NoRTHCOTE,  James,  R.A. 

Born  at  Plymouth,  22  October,  1746  ;  died  in  London,  13  July,  1831.  He  spent 
several  years  as  his  father's  apprentice,  at  watch-making,  his  leaning  to  art  being  in 
no  way  encouraged  by  his  prudent  parent.  As  soon  as  he  was  free,  he  devoted  him- 
self to  portrait  painting,  and  in  1771  set  out  for  London  with  an  introduction  to  Sir 
Joshua  Reynolds,  whose  pupil  he  became ;  he  remained  in  Reynolds'  studio  for  about 
five  years,  and  then  returned  to  his  native  place,  where  he  practised  as  a  portrait 
painter  till  1777,  after  which  he  started  for  Italy.  He  was  away  over  three  years,  and 
returned  by  way  of  Flanders.  About  this  time  the  Boydell  Shakespeare  was  pro- 
jected, which  gave  him  an  opportunity  to  paint  some  historical  subjects;  in  1786  he 
exhibited  his  picture  of  the  "  Murder  of  the  Princes  in  the  Tower,"  followed  later  by 
the  "  Death  of  Wat  Tyler,"  now  in  the  Guildhall  Gallery.  He  possessed  considerable 
literary  gifts,  his  "  Fables "  are  well  known ;  he  also  contributed  to  the  "  Artist,"  a 
periodical  established  in  1807.  In  1813  he  published  his  "Life  of  Reynolds,"  and  in 
^  1830  a  "  Life  of  Titian,"  the  standard  book  in  English  on  the  great  Venetian  painter 
for  nearly  half  a  century.  Northcote's  portraits  are  very  unequal,  a  fairly  good  one 
of  himself  when  young  is  in  the  Gallery  at  Florence.  He  remained  a  bachelor,  and 
died  at  his  house  in  Argyll  Street,  where  he  had  lived  with  his  sister  for  nearly  fifty 
years. 


I90  BIOGRAPHICAL   LIST 


Orizonte,  Jan  Frans  van  Bloemen,  or  Blommen. 

Born  at  Antwerp,  1662;  died  in  Rome  about  1740.  He  went  early  to  Italy, 
where  he  studied  the  works  of  Poussin  and  Claude ;  his  nickname  was  given  to  him 
on  account  of  the  delicacy  of  his  distances.  His  principal  pictures  are  still  to  be  seen 
in  the  Roman  palaces,  but  the  Louvre  also  possesses  good  examples.  Jan  Frans  was 
the  second  of  three  brothers,  all  painters;  his  elder  brother,  Pieter,  born  1657,  also 
studied  in  Rome,  he  painted  horses  and  battle-pieces.  He  returned  to  Antwerp,  and 
died  there,  1717.  A  younger  brother,  Norbert,  born  1670,  excelled  in  portraits  and 
conversation  pieces ;  he  died  in  Amsterdam,  1 746. 

Pozzi,  II  Padre. 

There  were  numerous  painters  of  this  name  in  the  sixteenth  and  seventeenth 
centuries,  but  this  obscure  artist,  possibly  an  amateur,  appears  to  be  unknown. 

Ramsay,  Allan. 

Born  at  Edinburgh,  1713  ;  died  at  Dover,  10  August,  1784.  He  was  the  son  of 
the  poet,  and  came  to  London  when  about  twenty  years  of  age,  and  entered  the 
St.  Martin's  Lane  Academy ;  after  this  he  returned  to  Edinburgh,  and  started  for 
Italy  in  May,  1 736.  On  his  return  to  England,  he  resided  chiefly  in  London,  where 
he  made  a  great  reputation.  Lord  Bute  introduced  him  to  George  III.,  then  Prince 
of  Wales,  who  in  1767  appointed  him  his  principal  painter.  He  paid  a  second  visit  to 
Italy,  and  shortly  after  his  return  the  Royal  Academy  was  founded,  but  for  some 
reason  he  did  not  join  it.  In  1775  he  revisited  Rome  for  the  benefit  of  his  health, 
and  again  in  1784.  He  died  a  few  days  after  his  landing  at  Dover  on  his  return  from 
this  last  journey.  He  was  a  man  of  considerable  taste  and  learning,  a  good  linguist, 
and  much  esteemed  by  both  Reynolds  and  Johnson, 

Raoux,  Jean. 

Born  at  Montpellier,  12  June,  1677;  died  in  Paris,  10  February,  1734.  The 
pupil  of  Ranc  and  Bon  Boulogne.  In  1704  he  gained  the  Grand  Prix  for  his  picture 
of  David  and  Goliath,  in  1 7 1 7  he  was  elected  academician  for  his  picture  of  Pygmalion. 
He  went  to  Rome  for  three  years,  and  returning,  stayed  for  two  more  years  in  Venice 
under  the  protection  of  Justiniano  Zolini,  where  he  painted  the  portico  of  his  patron's 
palace.  On  his  return  to  France,  the  Prior  of  Vendome,  who  had  known  him  in  Rome, 
commissioned  him  to  paint  four  easel  pictures  of  the  Ages  of  Man,  and,  satisfied  with 
the  result,  gave  him  a  pension  of  1000  livres  and  an  apartment.  He  decorated  a 
number  of  rooms  in  the  palace  of  the  Prior  at  the  Temple,  where  he  lived  till  within 
four  years  of  his  death.  He  refused  the  appointment  of  Court  Painter  to  the  King  of 
Spain,  and  recommended  Ranc  instead.     In  1 720  he  visited  England,  where  he  stayed 


OF   PAINTERS.  191 


eight  months,  and  painted  a  number  of  portraits  ;  he  never  exhibited  ;  his  pictures  are 
to  be  found  at  Bordeaux,  Douai,  Montpellier,  Orleans,  and  Nantes,  also  in  the  Louvre, 
Florence,  and  Berlin. 

Raphael  Sanzio,  or  Santi. 

Born  at  Urbino,  1483  ;  died  in  Rome,  Good  Friday,  1520.  He  was  the  son  of 
Giovanni  Santi,  one  of  the  best  painters  of  Urbino  and  a  man  of  some  education. 
Giovanni  Santi  died  in  1494,  when  Raphael  was  too  young  to  have  been  much 
influenced  by  his  direct  teaching,  and  Raphael's  earliest  known  pictures,  such  as  the 
Dudley  "  Crucifixion,"  are  close  imitations  of  Perugino,  whose  studio  he  is  said  to  have 
entered  shortly  after  his  father's  death,  and  nothing  tenable  has  been  advanced  in 
support  of  Morelli's  assertion,  that  he  was  previously  the  pupil  of  Timoteo  della  Vite, 
who  was  himself,  later,  a  humble  and  feeble  imitator  of  his  gifted  fellow-townsman. 
Raphael  was  probably  at  Siena  with  Pinturicchio  in  1 504,  but  how  far  he  co-operated 
in  the  frescoes  of  the  Piccolomini  Library  is  doubtful.  The  famous  "  Sposalizio  "  of 
the  Brera  was  painted  in  1504;  it  is  a  direct  imitation  of  Perugino's  picture  at  Caen, 
but  possesses  a  charm  of  its  own  ;  the  figures  are  extremely  graceful.  The  "  Knight's 
Dream"  in  the  National  Gallery,  the  "Three  Graces"  belonging  to  the  Duke 
d'Aumale,  the  "  Two  St.  George's,"  and  other  early  pictures,  to  suit  Morelli's  theory, 
have  been  advanced  some  years  in  date ;  they  show  a  mastery  of  handling  which  the 
painter  could  not  have  possessed  till  about  1504-5,  and  were  painted  not  long  before 
or  after  the  Brera  picture ;  they  show  a  great  advance  on  the  Dudley  "  Crucifixion." 
The  Ansidei  Madonna,  1505-6,  betrays  some  weakness,  and  that  its  author  was  then 
still  unable  to  grapple  successfully  with  a  large  picture.  In  1507  the  "  Entombment" 
of  the  Borghese  shows  distinct  signs  of  his  growing  emancipation  from  Perugino's 
types,  and  his  wider  studies  ;  the  composition  is  influenced  by  Mantegna's  engraving 
of  the  same  subject,  but  sufficiently  altered  to  have  some  claim  to  originality ;  there  is 
a  noticeable  change  in  the  colouring,  which  henceforward  was  much  greyer.  The 
date  and  circumstances  of  Raphael's  call  to  Rome  are  obscure ;  a  letter  to  Francia, 
quoted  by  Malvasia,  dated  November,  1507,  on  which  the  old  tradition  was  based,  is 
now  disputed ;  or  if  the  letter  is  genuine,  the  date ;  1 509  is  now  believed  to  be  the 
earliest  date  possible  for  Raphael  to  have  commenced  his  work  in  the  Vatican.  The 
first  of  the  "  Stanze  "  was  finished  in  1 5 1 1  ;  the  series  of  frescoes  were  continued  till 
his  death,  at  which  time  he  was  also  Architect  of  St.  Peter's.  In  his  latter  years,  the 
number  of  his  commissions  was  such,  that  no  personal  activity  could  do  justice  to,  (^i^,,^ 
and  he  was  obliged  to  entrust  the  cartoons,  and,  in  unimportant  commissions,  possibly 
even  the  designs,  to  his  pupils.  Amongst  the  last  pictures  of  importance,  to  which  he 
gave  his  personal  attention,  was  the  "  Madonna  of  Francis  I.,"  now  in  the  Louvre,  of 
which  the  picture  in  this  collection  is  an  old  copy. 

"The  Transfiguration,"  painted  for  Cardinal  Giuliano  de  Medici,  was  intended 


192  BIOGRAPHICAL   LIST 


as  a  gift  to  the  City  of  Narbonne,  of  which  Francis  I.  had  made  him  bishop,  but  was 
retained  by  the  Pope  after  the  painter's  untimely  death.  Of  the  numerous  portraits 
by  Raphael,  the  finest  in  every  respect  is  that  of  "  Pope  Leo  X."  with  his  nephews  in 
the  Pitti  Palace.  The  much  over-praised  copy  at  Naples  is  very  inferior,  and  wholly 
unworthy  of  Andrea  del  Sarto,  to  whom  it  is  attributed. 

Reni,  Guido. 

Born  at  Calvenzano,  near  Bologna,  1575;  died  at  Bologna,  1642.  He  studied 
first  under  Denis  Calvert  the  Fleming,  and  after,  in  the  School  of  the  Carracci.  "  The 
Massacre  of  the  Innocents,"  and  the  "  Pieta"  in  the  Bologna  Gallery,  are  amongst  his 
earlier  works  painted  under  the  influence  of  Caravaggio.  He  went  to  Rome  in  1596. 
"  The  Aurora  "  of  the  Rospigliosi  Palace  is  the  most  celebrated  of  his  productions, 
and  typical  of  his  later  manner,  in  which  his  colour  is  pale  and  silvery,  and  the  heads 
studied  from  the  antique.  He  visited  Naples,  where'he  left  an  unfinished  "  Nativity" 
in  the  Church  of  S.  Martino,  abandoned  on  account  of  the  dangerous  enmity  of  the 
Neapolitan  artists,  who  had  no  scruple  in  employing  poison  against  any  rival  intruders 
of  merit.  Guido  has  left  some  excellent  etchings,  and  formed  a  number  of  scholars, 
the  best  of  whom  were  perhaps  Cagnacci  and  Simone  da  Pesaro.  Elisabetta  Sirani 
was  a  close  imitator,  whose  productions  resemble  the  weakest  of  the  master,  and  are 
often  mistaken  for  his. 

Reynolds,  Sir  Joshua,  P.R.A. 

Born  at  Plympton,  Devonshire,  16  July,  1723;  died  in  LiiiGoIft's-lntt- Fields, 
23  February,  1792.  His  father  was  a  clergyman  and  master  of  the  Grammar  School ; 
he  intended  his  son  for  the  medical  profession,  but  in  1741  he  sent  him  to  London, 
where  he  entered  the  studio  of  Hudson,  and  remained  with  him  four  years.  After 
leaving  his  master,  Reynolds  returned  to  his  native  place  and  painted  portraits  for 
some  time.  Lord  Keppel  was  one  of  his  early  patrons ;  in  1 749  he  took  him  with 
his  ship  to  the  Mediterranean,  and  landed  him  at  Leghorn,  whence  Reynolds  pro- 
ceeded to  Rome,  where  he  spent  two  years.  Little  or  nothing  is  known  of  his  life 
abroad  during  these  years  of  study  ;  he  is  supposed  to  have  painted  many  portraits  for  a 
livelihood,  and  a  few  copies.  It  is  certain  that  he  was  an  indefatigable  student.  He 
returned  to  London  in  1752,  and  in  1755  joined  the  St.  Martin's  Lane  Academy.  In 
1 761  he  was  able  to  purchase  a  house  in  Leicester  Square  and  build  a  gallery ;  the 
house  still  stands,  and  is  now  occupied  by  Messrs.  Puttick  and  Simpson,  Auctioneers. 
He  contributed  to  the  exhibitions  of  the  Incorporate  Society  of  Artists  from  1762  to 
1 768.  On  the  foundation  of  the  Royal  Academy  he  was  unanimously  elected  first 
President  and  knighted.  In  1782  he  experienced  a  slight  shock  of  paralysis  from 
which  he  recovered  ;  he  continued  to  ply  his  brush  with  undiminished  activity  and 
power  till  1789,  when  a  more  severe  attack  warned  him  of  his  approaching  end ;  after 


/L'^hiS.^h' Xv   •«'  ' 


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I 


I 


OF  PAINTERS.  201 


SOMER,  OR  VaNSOMER,  PaUL. 

Born  at  Antwerp,  about  1576;  died  in  London,  162 1.  He  resided  with  his 
brother  Bernard,  also  a  painter,  at  Amsterdam  in  1604;  soon  after  he  came  to 
England,  where  a  large  number  of  pictures  exist  by  him ;  several  are  at  Hampton 
Court  and  in  the  National  Portrait  Gallery.  He  was  buried  in  the  church  of  St. 
Martin's-in-the-Fields. 

Steenwyck,  or  Steinwyck,  Henri  the  Younger. 

Bom  about  1580,  either  at  Frankfort  or  Amsterdam;  he  died  in  London,  1648. 
He  was  the  pupil  of  his  father,  who  painted  similar  subjects,  and  whose  pictures  are 
often  confounded  with  his  son's.  The  latest  date  known  on  a  picture  by  the  elder 
Steenwyck  is  said  to  be  1604,  a  "Prison  Interior  with  the  Deliverance  of  S.  Peter," 
at  Vienna.  The  picture  of  the  same  subject,  No.  61  in  this  Collection,  may  be  by 
him.  Henri  the  Younger  was  a  friend  of  Vandyck,  who  included  his  portrait  in 
the  famous  series  of  his  contemporaries.  Vandyck  recommended  him  to  Charles  I., 
and  there  were  formerly  ten  pictures  by  him  at  Whitehall.  His  pictures  are  numerous  ; 
three  are  in  Dresden,  all  dated.  His  widow  Susanna  settled  in  Amsterdam  ;  their  son 
Nicholas  was  in  the  service  of  Charles  I.,  and  is  believed  to  have  died  in  England. 

Stevens,  John,  R.S.A. 

Born  at  Ayr,  N.B.,  about  1793;  died  in  Edinburgh,  i  June,  1867.  He  came  to 
London  to  pursue  his  studies,  and  in  181 5  was  admitted  as  a  student  at  the  Academy. 
On  his  return  to  Ayr,  he  occupied  himself  for  a  while  portrait  painting,  and  finally 
went  to  Italy.  He  spent  the  greater  part  of  his  life  in  Rome.  He  was  much  shaken, 
when  advanced  in  years,  in  a  railway  accident  in  France,  which  hastened  his  death. 

Streetes,  Gwillim. 

An  English  artist,  painter  to  Edward  VI.  in  1551.  It  is  recorded  by  Strype 
that  the  King  paid  him  fifty  marks  for  two  portraits  of  himself,  and  a  picture  of  the 
Earl  of  Surrey.     No.  121  in  this  Collection  has  been  ascribed  to  him. 

Stubbs,  George,  R.A. 

Born  at  Liverpool,  1724;  died  in  London,  10  July,  1806.  His  father  was  a 
surgeon  ;  little  is  known  of  the  painter's  early  years,  except  that  he  studied  anatomy ; 
about  1754  he  was  in  Italy,  and  is  mentioned  in  Barry's  letters,  who  praised  some  of 
his  pictures.  He  settled  in  London  on  his  return,  and  joined  the  Incorporated 
Society,  of  which  he  became  President  in  1773.  In  1766  he  published  his  "Anatomy 
of  the  Horse,"  with  eighteen  plates  etched  by  himself.  In  1780  he  was  elected  an 
A.R.A.,  and  R.A.  in  the  following  year,  but  he  declined  to  present  a  picture,  and 
therefore  never  properly  took  the  title.     His  best  pictures  are  those  of  quiet  country 

D  D 


202  BIOGRAPHICAL   LIST 

scenes,  with  portraits  of  gentlemen  and  horses ;  in  his  own  day  he  was  celebrated  for 
his  pictures  of  wild  animals,  but  they  have  not  maintained  their  reputation.  He  made 
some  experiments  in  enamelling  upon  iron,  and  in  1782  exhibited  a  picture  of  a  dog, 
executed  in  this  manner.  He  resided  at  Upper  Somerset  Street,  Portman  Square, 
for  forty  years,  and  died  there  in  1806.  His  son,  George  Townley  Stubbs,  was  an 
engraver ;  he  executed  a  number  of  plates  after  his  father's  pictures,  and  died 
in  1815. 

Teniers,  David,  the  Younger. 

Born  at  Antwerp,  16 10;  died  at  Brussels,  1690.  His  father,  known  as  David 
Teniers  the  Elder,  was  a  pupil  of  Rubens  and  Elsheimer,  and  able  to  give  his  son 
the  best  instruction  in  the  method  of  painting.  David  the  Younger  is  said  to  have 
also  studied  under  Brauwer.  In  1637  he  married  a  daughter  of  Jan,  called  "Velvet" 
Brueghel.  About  1655  he  received  an  appointment  in  the  household  of  the  Archduke 
Leopold ;  while  studying  the  masterpieces  of  Italian  art  in  the  Archduke's  cabinet,  he 
made  a  number  of  small  "  free "  copies,  which  were  engraved ;  about  half  the  total 
number  were  in  the  Marlborough  Collection,  but  are  now  dispersed.  On  their 
completion  the  Archduke  presented  him  with  his  portrait  and  a  gold  chain.  Philip  IV. 
of  Spain  had  a  great  admiration  for  Teniers,  and  built  a  special  gallery  for  the 
pictures  he  purchased  of  the  artist.  In  1650  Teniers  determined  to  retire  to  the 
country,  and  he  became  the  owner  of  the  famous  Chateau  at  Perck,  which  appears  in 
the  background  of  so  many  of  his  later  pictures.  In  1663  he  applied  for  letters  patent 
of  nobility ;  the  demand  was  favourably  considered,  but  with  the  troublesome  stipula- 
tion that  he  should  cease  to  paint  for  gain  on  its  being  granted  ;  no  more  seems  to  have 
been  heard  of  it.  Teniers  was  twice  married,  and  had  eleven  children.  He  had  a 
younger  brother  Abraham,  born  1629,  who  painted  similar  subjects  to  himself;  he 
died  in  1670.  David  Teniers  had  a  son,  also  named  David,  who  signed  his  pictures 
"  Teniers,  Junior ; "  he  in  turn  had  a  son  David,  who  settled  in  Portugal,  and  died  in 
1 77 1  at  Lisbon. 

Titian,  Tiziano  Vecellio. 

Born  at  Pieve  dl  Cadore,  about  1477;  died  in  Venice,  1576.  There  is  a 
tradition  that  before  he  went  to  Venice  he  studied  the  works  of  an  old  painter  of 
Cadore,  Rossi  by  name.  On  arriving  at  Venice  he  was  first  placed  with  Zuccato  the 
mosaic  worker,  but  soon  passed  into  the  studio  of  Bellini.  The  first  works  that 
brought  Titian  fame  were  the  frescoes  of  the  Fondaco,  painted  in  company  with 
Giorgione,  1 507-8  ;  they  have  unfortunately  perished ;  a  few  were  engraved  on  a  small 
scale  in  the  seventeenth  century,  and  the  fragmentary  remains  by  Zanetti  at  the  end 
of  the  last  century,  most  of  these  have  now  entirely  disappeared.  In  15 13  he  was  in 
a  position  to  offer  his  services  to  the  Great  Council  to  paint  the  Battle  of  Cadore, 


OF    PAINTERS.  203 


which  were  accepted.  In  15 16  he  went  to  Ferrara  to  work  for  the  Duke  ;  the  famous 
"  Bacchanals,"  of  which  two  are  at  Madrid,  and  the  third  in  our  own  Gallery,  date 
from  this  time,  also  the  "  Tribute  Money"  at  Dresden,  and  many  others  of  his  finest 
works.  In  1523  the  Duke  of  Mantua  was  added  to  his  patrons.  In  1530,  according 
to  Vasari,  Titian  met  Charles  V.  at  Bologna,  but  it  has  been  conjectured  that  he 
really  met  him  three  years  later  :  the  finest  portrait  of  Charles  V.  is  probably  the  full- 
length,  standing,  with  a  mastiff  by  his  side,  at  Madrid.  Charles  became  one  of  his 
greatest  admirers,  created  him  a  Count  Palatine,  and  gave  him  numerous  commissions, 
and  at  times  paid  him  liberally,  so  much  so,  that  he  neglected  his  work  for  the 
Venetian  State:  he  was  reminded  of  his  obligations  in  1537,  and  deprived  of  an  office 
he  held,  which  was  equivalent  to  a  State  pension,  but  it  was  subsequently  restored  to 
him.  In  1541  he  was  with  Charles  V.  at  Milan.  In  1545  he  went  to  Rome,  where 
he  was  received  with  great  distinction  by  Paul  III.  He  painted  there  the  magnificent 
half-length  of  the  Pope  seated,  now  at  Naples,  and  sketched  the  Pope  and  his 
nephews,  left  unfinished ;  it  is  a  valuable  indication  of  the  way  in  which  he  worked. 
In  1548  he  was  vigorous  enough  to  cross  the  Alps  in  winter  to  join  Charles  V.  at 
Augsburg.  He  painted  several  portraits  there,  including  the  Emperor  on  horseback  ; 
the  full  length  of  Philip  II.  in  half  armour  is  also  attributed  to  this  time :  both  are  at 
Madrid.  He  executed  a  number  of  commissions  for  the  Spanish  Court  in  the  latter 
part  of  his  life,  generally  accompanying  his  pictures  with  reminders  of  his  pension 
being  overdue.  In  1566  Vasari  saw  him  in  Venice  at  work,  still  full  of  vigour,  and  in 
1574,  in  his  ninety-seventh  year,  he  received  the  King  of  France,  Henry  III.,  with 
his  usual  magnificence.  In  1576  he  died  of  the  plague.  The  law  forbidding  church 
burial  was  set  aside  to  give  him  honourable  sepulture  in  the  Church  of  the  Frari. 
His  son,  Orazio,  died  within  a  few  days  of  his  father.  Little  is  known  of  his  domestic 
life  in  his  early  years;  his  wife,  Cecilia,  died  in  1530,  leaving  him  three  children, 
Pomponio,  Orazio,  and  Lavinia.  In  1531  he  took  a  house  on  the  Biri  Grande,  which 
was  in  existence  till  the  early  part  of  this  century ;  this  was  the  house  and  garden 
famous  for  its  entertainments,  where  Sansovino,  Aretino,  and  Nardi  were  feasted.  Of 
his  children  only  Pomponio  survived  him,  to  dissipate  his  property.  Titian  followed 
Bellini  in  giving  importance  to  landscape  ;  his  romantic  landscapes  are  of  the  highest 
beauty  ;  as  a  portrait  painter,  at  his  best  he  has  never  been  equalled.  Some  etchings 
are  attributed  to  him  on  insufficient  evidence. 

TocQUfi,  Louis. 

Born  in  Paris,  1696;  died  at  the  Louvre,  10  February,  1772.  The  son  of  a 
distinguished  architect;  at  an  early  age  he  entered  the  studio  of  Nicholas  Bertin, 
where  he  soon  distinguished  himself.  He  was  elected  Academician  in  January,  1 743. 
He  was  a  frequent  exhibitor  at  the  Salon,  and  towards  the  close  of  his  life  was  called 
to   Russia,  where  he  painted   the   Empress  full  length,   the  portrait  engraved   by 


204  BIOGRAPHICAL   LIST 

Schmidt ;  he  stayed  there  two  years  and  returned  by  way  of  Denmark,  where  he 
painted  several  portraits  of  the  Royal  family;  on  his  return  to  Paris  in  1760,  the 
Academy  presented  him  with  a  picture  by  Coypel,  to  mark  their  appreciation  of  the 
two  portraits  of  Monsieur  de  Tournehem  and  the  Marquis  de  Marigny,  which  he  had 
presented  to  the  institution;  in  1769,  he  made  a  second  journey  to  Denmark,  where 
he  was  elected  a  member  of  the  Academy  of  Copenhagen.  Many  of  his  pictures  were 
engraved  by  Schmidt,  Larmessin,  Teucher,  Wille,  Dupuis,  Cathelin,  Muller,  and 
Daull^ ;  the  Louvre,  Versailles,  Amiens,  Bayeux,  and  Marseilles  Museums  possess 
portraits  by  him. 

Troy,  Jean  Francois  de. 

Born  at  Paris,  1679;  died  in  Rome,  24  January,  1752.  The  son  and  pupil  of 
Frangois  de  Troy,  he  came  of  a  family  of  painters,  his  father,  his  uncle  Jean,  and  his 
grandfather  Nicholas  being  all  distinguished  artists.  He  was  elected  Academician  in 
1708  for  his  picture  of  "The  Death  of  the  Children  of  Niobe,"  now  in  the  Museum 
of  Montpellier.  He  became  Director  of  the  French  Academy  in  Rome,  1738.  His 
father  sent  him  to  Italy  when  he  was  about  twenty,  and  he  seems  to  have  remained 
there  till  he  was  twenty-seven,  giving  himself  up  more  to  pleasure  than  study,  and  his 
father  had  to  have  recourse  to  the  French  Minister  in  Florence  to  oblige  him  to 
return.  In  1727  he  competed  with  his  picture  of  "  Diana  at  the  Bath  "  for  the  Kino-'s 
Prize,  which  he  divided  with  Lemoine.  While  Director  of  the  French  Academy  in 
Rome  he  finished  the  seven  famous  pictures  of  the  "  History  of  Esther"  for  the 
Gobelins  Tapestry  Works,  a  set  of  which  is  at  Windsor,  and  a  series  of  designs  for 
the  "History  of  Jason;"  they  were  exhibited  at  the  Louvre  in  1748.  Dissatisfied 
with  his  treatment  by  the  Bureau  of  Fine  Arts,  he  sent  in  his  resignation  of  the  post 
of  Director  of  the  Roman  Academy,  hoping  that  in  the  event  of  its  acceptance  he 
would  have  been  nominated  King's  Painter,  with  an  apartment  in  the  Louvre ;  but  to 
his  immense  chagrin  he  found  himself  replaced  by  Natoire  in  Rome,  without  any 
corresponding  advantage  to  himself  When  he  was  about  to  leave  for  Paris  in  the 
company  of  the  French  ambassador,  he  died  suddenly  of  heart  disease.  His  pictures 
are  to  be  seen  in  the  Louvre,  Besan^on,  Dijon,  Montpellier,  Nancy,  and  Nimes, 
Some  of  his  principal  historical  works  were  engraved  by  Thomassin,  Cochin,  Pere  et 
Fils,  Fessard,  and  Gallimard, 

Van  der  Bilt,  Jacques. 

Both  the  date  and  place  of  his  birth  are  unknown.  In  1651  he  was  at  the 
Hague,  ten  years  later  he  was  at  Amsterdam.  In  1671  he  went  to  Antwerp,  and 
entered  the  Guild  in  the  following  year;  he  was  living  in  1678.  He  excelled  in 
painting  still  life.  Pictures  by  him  are  at  Antwerp  and  Copenhagen,  but  his  works 
are  rare,  or  pass  under  other  names.  He  commonly  signed  his  pictures  "  Biltius," 
as  in  the  examples  in  this  collection. 


OF    PAINTERS.  205 


Van  dk  Velde,  Willem,  the  Elder. 

Born  at  Leyden,  c.  1610;  died  in  London,  1693.  He  is  said  to  have  spent  a  good 
deal  of  his  early  life  at  sea,  but  he  acquired  a  reputation  as  a  draughtsman  before  he 
was  twenty.  He  was  employed  by  the  Dutch  State  to  make  drawings  of  sea-fights, 
and  a  small  frigate  was  equipped  expressly  by  the  Government  for  his  use.  He  was 
present  at  the  famous  battle  near  Ostend,  between  Monk  and  De  Ruyter,  which 
lasted  from  the  nth  to  the  14th  June,  1666;  his  drawings  are  said  to  have  been 
of  much  service  to  the  State,  he  having  recorded  every  movement  of  the  opposing 
fleets  with  the  greatest  exactitude.  He  came  to  England  on  the  invitation  of 
Charles  H.  in  1675,  and  he  continued  in  the  service  of  James  II.  He  seems  to 
have  recorded  Dutch  or  English  victories  with  the  same  complacency.  He  is 
celebrated  for  his  black  and  white  pictures  in  imitation  for  pen-and-ink  drawings,  an 
example  of  which  in  this  collection,  inscribed  with  the  date,  shows  the  manual  skill 
he  possessed  at  the  advanced  age  of  seventy-four.  Late  in  life  he  essayed  oil-painting, 
without  success. 

Van  de  Velde,  Willem,  the  Younger. 

Born  at  Amsterdam,  1633  ;  died  at  Greenwich,  1 707.  After  his  father  left  Holland 
he  studied  under  De  Vlieger,  but  was  shortly  invited  to  join  his  parent  in  England. 
Charles  II.  gave  him  a  pension  to  paint  sea-pieces,  for  which  his  father  furnished 
the  drawings.  He  himself  made  a  vast  number  of  pencil  drawings,  usually  of  a  very 
slight  character;  his  finished  drawings  are  rare.  He  was  buried  by  the  side  of  his 
father  at  St.  James's  Church,  Piccadilly.  Almost  the  whole  of  his  work  at  one  time 
was  in  pngland,  as,  not  content  with  the  pictures  painted  here,  amateurs  purchased  all 
that  were  to  be  obtained  in  Holland.  He  is  still  one  of  the  most  esteemed  of  Dutch 
marine  painters,  his  calm  seas  and  pale  blue  skies  have  a  charm  of  their  own,  and  are 
admirably  true  to  nature. 

Vandyck,  Sir  Anthony. 

Born  at  Antwerp,  22  March,  1599;  died  in  London,  9  December,  1641.  His 
father  was  a  silk  merchant,  his  mother  an  amateur  flower-painter.  Van  Dyck  was 
apprenticed  when  ten  years  of  age  to  Van  Balen.  In  161 5  he  entered  the  School  of 
Rubens,  and  in  1618  he  was  admitted  to  the  Painters'  Guild.  Except  for  a  visit  to 
England  in  1621-22,  on  some  special  service,  for  which  he  received  ;^ioo  from  the 
English  Treasury,  the  object  of  which  has  not  been  ascertained,  he  remained  with 
Rubens  as  his  assistant  till  1623,  when  he  started  for  Italy.  He  resided  for  some 
time  in  Genoa,  he  was  in  Palermo  in  June,  1623  ;  he  spent  some  time  also  in  Rome 
and  Venice,  devoting  much  time  to  the  study  of  the  Venetian  masters,  particularly  to 
the  works  of  Titian.  He  returned  to  Antwerp  in  1626,  and  was  immediately  in  great 
request ;  besides  numerous  altar-pieces,  the  famous  series  of  painters'  portraits  date 


2o6  BIOGRAPHICAL   LIST 


from  this  period  of  his  activity.  In  1630  he  again  visited  England,  without  attracting 
the  notice  he  expected,  but  shortly  afterwards  he  was  invited  to  return  by  Charles  I., 
who  despatched  Sir  Kenelm  Digby  for  that  purpose  in  1632.  On  his  arrival  he  was 
assigned  a  lodging  at  Blackfriars,  and  appointed  Principal  Painter,  knighted  in  June, 
and  a  pension  of  ;^200  was  granted  him  in  the  following  year.  Later,  when  Charles 
became  embarrassed,  the  prices  of  his  pictures  painted  for  the  King  were  considerably 
reduced,  but  owing  to  his  numerous  private  commissions  he  became  wealthy,  and 
notwithstanding  his  extravagance,  left  a  considerable  fortune.  Towards  the  close  of 
his  life  he  was  married  to  Mary  Ruthven,  apparently  by  the  King,  who  took  a  some- 
what paternal  interest  in  his  welfare,  but  his  health  was  already  broken,  and  his 
strength  insufficient  to  resist  the  fever  which  carried  him  off  in  the  forty-second  year 
of  his  age.  His  activity  was  great,  but  he  had  many  assistants,  and  an  excellent 
method  of  painting  which  enabled  him  to  work  with  a  rapidity  only  equalled  by  that 
of  Rubens  himself.  His  genuine  works  are,  however,  not  nearly  so  numerous  as  is 
generally  supposed,  and  even  in  the  Vandyck  Exhibition,  which  took  place  some  years 
since,  consisting  of  selected  pictures,  more  than  three-fourths  of  the  whole  were  copies 
and  spurious  pictures,  or  by  other  masters. 

Vanloo,  Louis  Michel. 

Born  at  Toulon,  2  March,  1707;  died  in  Paris,  20  March,  1771.  He  was  the 
eldest  son  of  Jean  Baptiste,  and  nephew  of  Carle  Vanloo ;  he  studied  under  his  father. 
Like  other  members  of  the  family,  he  possessed  various  talents,  but  finally  dedicated 
himself  to  portrait  painting.  He  obtained  the  first  prize  at  the  Academy  in  1725  for 
his  picture  of  "  Moses  destroying  the  Crown  of  Pharaoh,"  and  was  elected  Academician 
for  his  picture  of  "  Apollo  and  Daphne,"  1733  ;  this  picture  is  now  in  the  Louvre.  On 
the  death  of  Ranc  he  received  the  appointment  of  First  Painter  to  the  King  of  Spain; 
he  had  previously  spent  some  years  in  Rome  with  his  uncle.  He  was  loaded  with 
favours  by  the  Spanish  King,  whose  portrait  he  painted,  and  that  of  numerous 
members  of  the  Royal  Family.  He  took  a  prominent  part  in  the  foundation  of  the 
Academy  of  S.  Ferdinand,  and  was  nominated  Director  in  1751.  In  the  following 
year  he  returned  to  Paris.  He  was  of  an  extremely  gentle  character,  Diderot 
describes  him  as  the  personification  of  amiability  and  benevolence.  Between  1753 
and  1769  he  exhibited  a  number  of  portraits  at  the  Salon.  His  brothers  Fran9ois  and 
Charles  Am^dde  Philippe  were  both  distinguished  painters.  His  uncle,  Charles 
Andr^,  or  Carle  Vanloo,  was  born  at  Nice,  1705  ;  died  in  Paris,  1765. 

Verelst,  Simon. 

Born  at  Antwerp,  1664  ;  died  in  London,  17 10.  He  was  well  known  as  a  flower- 
painter  before  he  came  to  England  in  the  time  of  Charles  II.  In  England  his 
portraits  with  borders  of  flowers  became  fashionable,  and  he  was  much  patronised. 


OF   PAINTERS.  207 


His  vanity  is  said  to  have  turned  his  head,  and  he  was  for  a  time  confined  as  a 
madman.  His  elder  brother,  Herman,  was  also  a  painter  of  flowers,  and  made  a 
reputation  in  Vienna,  subsequently  following  his  brother  to  England,  where  he  died 
about  1700.  He  was  the  father  of  Maria  Verelst,  born  1680,  who  is  best  known  by 
her  small  oil  portraits ;  she  seems  to  have  been  much  occupied  also  as  a  copyist ;  the 
portraits  in  this  collection  are  assigned  to  her  on  the  authority  of  the  Catalogue  of  1 747. 

[Veronese,  Paolo  Caliari,  called  Paolo  Veronese. 

Bom  at  Verona,  1528;  died  in  Venice,  19  April,  1588.  He  was  the  son  of  a 
stone-carver,  and  studied  painting  under  his  uncle  Badile ;  he  had  been  previously 
taught  modelling  and  drawing  by  his  father.  On  leaving  Verona,  in  1551,  he 
undertook  some  frescoes  in  the  Villa  Soranzo,  at  Castelfranco,  where  he  was  assisted 
by  Zelotti.  His  earliest  works  in  Venice  in  the  Church  of  S.  Sebastian  were  painted 
ill  1555  ;  many  years  later  he  finished  the  pictures  for  the  altar  and  choir,  which  are 
amongst  his  finest  works.  In  1561  he  was  chosen,  with  other  artists,  by  Titian  to 
decorate  the  great  hall  of  the  library  of  the  Ducal  Palace.  In  1562  he  was 
commissioned  to  paint  the  "  Marriage  of  Cana "  for  the  Refectory  of  S.  Giorgio 
Maggiore,  the  famous  picture  now  in  the  Louvre.  This  was  the  first  of  the  great 
banqueting  pictures;  "The  Feast  in  the  House  of  Simon"  is  also  in  the  Louvre. 
"The  Levite's  Feast,"  now  in  the  Venice  Academy,  occasioned  him  some  trouble 
with  the  Inquisition,  and  he  was  ordered  to  make  some  changes  in  it ;  he  defended 
himself  skilfully  from  the  charge  of  heresy,  but  was  not  so  happy  in  his  replies  to 
some  other  matters  to  which  objection  was  taken.  This  dangerous  encounter  obliged 
him  to  bestow  more  attention  to  the  outward  forms  and  ceremonies  of  his  religion,  and 
resulted  in  his  death  shortly  after  from  a  cold  caught  while  following  a  procession. 
He  married  a  daughter  of  Badile's  and  had  several  children ;  Gabriele  and  Carlo  both 
became  painters,  and  assisted  their  father,  in  company  with  their  uncle  Benedetto. 
After  Paolo's  death  they  completed  his  unfinished  pictures,  and  painted  a  few  pictures 
jointly.  Of  Gabriele's  capacity  nothing  is  known,  but  Carlo,  who  is  credited  with 
being  the  most  promising  of  the  family,  was  but  an  inferior  imitator  of  his  father,  and 
a  poor  colourist;  pictures  signed  by  him  are  in  the  Venice  Academy,  and  the  Uffizi 
Gallery,  Florence  ;  he  died  at  the  age  of  twenty-six,  but  had  he  possessed  any  original 
talent  it  would  have  been  visible  before  then.  Paolo  Veronese  is  well  represented  in 
the  National  Gallery. 

Vollevens,  Johannes,  the  Elder. 

Born  at  Geertruidenberg  in  1649;  died  at  the  Hague  in  1728.  He  was  the  pupil 
of  Nicolas  Maas  at  Dordrecht,  and  later  of  Jan  de  Baan  at  the  Hague,  where  he 
finally  settled.  He  was  patronised  by  the  Stadtholder  of  Friesland,  the  Prince  of 
Nassau,  and  the  Prince  of  Couriand.     He  had  a  son  born  at  the  Hague  in  1685,  also 


2o8  BIOGRAPHICAL   LIST 


named  Johannes,  who  followed  his  father's  profession.     He  was  Court  Painter  to 
the  Princess  Dowager  of  Holland,  and  Dean  of  his  Guild  in  1748.     He  died  1758. 

Vrancx,  Sebastian,  called  Francks,  or  Francken. 

Born  at  Antwerp,  1573  ;  died  there,  1647.  According  to  Van  Mander  he  studied 
under  Van  Noort.  He  was  distinguished  as  a  painter  of  conversation  pieces,  and  as  a 
battle-painter,  where  his  talent  for  painting  horses  was  notable ;  he  was  also  an  able 
landscape-painter.  A  picture  of  the  "  Works  of  Mercy "  is  noted  by  Decamps  as 
being  in  the  collection  of  the  Elector  Palatine,  and  a  "  Conversation  Piece."  His 
son,  Jan  Baptist,  sometimes  worked  with  his  father.  Sebastian  is  supposed  to  be  the 
elder  brother  of  Francois,  called  the  Younger,  Francks.  Sebastian's  portrait  is 
amongst  the  Van  Dyck  heads. 

West,  Sir  Benjamin,  P.R.A. 

Born  10  October,  1738,  in  Pennsylvania;  died  in  London,  11  March,  1820.  He 
was  descended  from  a  Quaker  family  of  Buckinghamshire,  who  emigrated  in  171 5. 
He  early  showed  a  bent  for  art ;  after  painting  some  portraits  in  New  York  he  was 
encouraged  by  his  friends  to  visit  Europe.  He  embarked  for  Italy  in  1760,  and  spent 
three  years  there,  arriving  in  London  in  1763,  where  he  determined  to  settle.  He 
shortly  after  married  a  young  girl  of  Philadelphia,  to  whom  he  was  engaged  before 
leaving  America.  In  1765  he  joined  the  Incorporated  Society,  and  exhibited  his 
picture  of  "  Orestes  and  Pylades,"  now  in  the  National  Gallery.  He  was  introduced 
to  George  III.  by  the  Archbishop  of  York.  In  1772  the  King  appointed  him  his 
Historical  Painter.  In  1 792,  on  the  death  of  Reynolds,  he  was  elected  President  of  the 
Academy,  of  which  he  was  one  of  the  first  members.  His  most  popular  pictures  were 
the  "  Death  of  Wolfe,"  "  Penn's  Treaty  with  the  Indians,"  and  the  "  Battle  of  La 
Hogue."  It  is  to  his  credit  that  he  had  the  courage  to  adopt  modern  costume  in  his 
historical  pictures  ;  his  acknowledged  success  produced  a  revolution  in  art.  He  received 
large  prices  for  his  works  in  his  lifetime.  He  died  in  Newman  Street,  in  his  eighty- 
second  year,  and  was  buried  in  St.  Paul's.  He  had  a  son,  Richard  Lamar  West,  a 
little  known  painter,  who  died  in  1850. 

WissiNG,  William. 

Born  at  Amsterdam,  1656;  died  at  Burleigh,  10  September,  1687.  He  studied 
at  the  Hague ;  after  leaving  there  he  went  to  Paris,  and  came  to  England  shortly 
before  the  death  of  Lely  in  1680.  He  worked  for  Lely  for  awhile,  and  his  pictures 
are  mostly  attributed  to  that  master.  On  Lely's  death,  he  was  for  a  short  time  the 
most  fashionable  portrait  painter,  and  the  rival  of  Kneller.  James  II.  appointed  him 
his  Principal  Painter,  and  sent  him  to  Holland  to  paint  the  portraits  of  the  Prince  and 


OF  PAINTERS.  209 


Princess  of  Orange.  On  his  return  he  went  to  Burleigh  to  paint  the  Earl  of  Exeter ; 
he  was  taken  ill  and  died  there  in  the  thirty-second  year  of  his  age,  and  was  buried 
at  Stamford. 

WooTTON,  John. 

The  date  of  his  birth  is  unknown,  but  he  was  probably  a  good  age  when  he  died 
in  London,  January,  1 765.  He  was  the  pupil  of  John  Wyck,  and  first  became  known 
for  his  pictures  of  famous  horses,  later  as  a  landscape  painter  with  hunting  scenes. 
His  works  are  numerous  at  Longleat,  Althorp,  Dytchley,  and  Blenheim,  but  he  is 
probably  nowhere  better  represented  than  in  the  present  collection.  Like  most  of  the 
fashionable  painters  of  his  time,  he  made  a  collection  of  works  of  art,  which  were 
dispersed  in  1761,  when  his  eyesight  failed.  He  made  the  designs  for  the  first  edition 
of  Gay's  Fables,  published  in  1727. 

WOUVERMANS,    PhILIP. 

Born  at  Haarlem,  1619  ;  died  there,  May,  1668.  His  father,  Paul,  a  little  known 
history  painter,  gave  him  his  first  lessons  in  art ;  he  studied  subsequently  under 
Wynants.  According  to  some  accounts  he  passed  the  greater  part  of  his  life  in 
comparative  poverty,  much  in  the  hands  of  a  picture  dealer  named  De  Witte. 
Possibly  his  early  marriage  (he  eloped  at  the  age  of  nineteen),  may  have  had  much  to 
do  with  his  embarrassment,  but  it  is  argued,  from  the  expense  of  his  funeral,  that  he 
was  in  fairly  easy  circumstances  towards  the  close  of  his  life,  if  not  earlier.  He  had 
two  brothers,  Pieter  and  Jan,  both  of  whom  became  painters.  Pieter  is  often 
confounded  with  Philip  :  there  are  two  pictures  by  him  at  Dulwich.  Jan  died  young : 
a  picture,  signed  with  his  initials,  is  at  Rotterdam. 

Wright,  Joseph  Michael. 

Born  in  Scotland,  where  he  studied  under  Jamieson.  When  still  a  youth  he 
came  to  London ;  later,  he  went  to  Italy,  and  was  elected  a  member  of  the  Academy 
of  St.  Luke  in  1648.  He  is  best  known  by  his  portraits;  he  painted  Prince  Rupert 
in  1662,  and  the  Judges  for  the  Corporation  of  London;  a  portrait  by  him  is  at 
Hampton  Court.  In  1686  he  accompanied  the  mission  of  the  Earl  of  Castlemaine  to 
Italy  as  Steward  of  the  Household,  and  wrote  an  account  of  the  Embassy  on  his 
return.  He  died  about  1700  at  St.  James's  Street,  Covent  Garden,  and  was  buried 
at  the  adjacent  church.  While  in  Rome  he  signed  himself,  "Michael  Ritus,"  on 
another  occasion  he  calls  himself  "  King's  Painter  to  Charles  II.,"  and,  indifferently, 
"Scotus"  and  "  Anglicanus."  He  is  mentioned  by  Pepys.  A  nephew  of  the  same 
name  was  educated  in  Rome,  who  afterwards  settled  in  Ireland,  where  he  made  a 
reputation  as  a  portrait  painter. 

E  E 


2IO  BIOGRAPHICAL   LIST   OF   PAINTERS. 

Wyck,  John, 

Born  at  Haarlem,  1640;  died  at  Mortlake,  1702.  He  studied  under  his  father, 
Thomas  Wyck,  who  was  a  marine  painter,  and  came  with  him  to  England.  He  is 
best  known  as  a  battle  painter,  but  he  also  painted  landscapes.  He  made  the 
drawings  for  a  book  of  "  Hunting  and  Hawking."  His  "  Battle  of  the  Boyne"  and 
the  "  Siege  of  Namur  "  were  engraved  by  Faber.     He  married  in  England. 

Zeeman,  Enoch,  the  Younger. 

Born  1694;  died  in  England,  1744.  He  was  the  son  of  a  portrait  painter  of 
Dantzic,  named  Isaac,  who  brought  him  to  England.  His  brother  Isaac,  died  1751, 
and  his  son  Paul,  were  both  portrait  painters. 

ZlESENIS,    JoHANN    GeORG. 

Born  at  Copenhagen,  1716;  died  at  Hanover,  1777.  He  studied  under  his 
father.  He  became  Court  Painter  to  the  Elector  of  Hanover.  In  1768  he  went 
to  the  Hague  and  painted  the  portraits  of  William  V.,  the  Stadtholder,  and  his  wife, 
and  joined  the  Pictura  Society  there.  He  painted  more  than  one  picture  of  the  Hero 
of  Minden,  whose  portrait  was  in  great  request,  and  several  contemporary  engravings 
exist. 

Zucchero,  Federigo. 

Born  about  1543,  at  S.  Angelo  in  Vado,  in  the  Duchy  of  Urbino ;  died  at 
Ancona,  1609.  He  was  the  younger  brother  of  Taddeo  Zucchero,  whose  studio  he 
entered  when  very  young,  and  assisted  him  with  his  work  for  Pope  Pius  IV.  in  the 
Vatican  and  at  Caprarola ;  later  he  was  invited  to  Florence  to  complete  the  frescoes 
of  the  dome  of  the  Cathedral,  left  unfinished  by  Vasari.  On  the  death  of  his  brother 
Taddeo,  in  1566,  he  was  engaged  by  the  Pope  to  paint  the  vault  of  the  Pauline  Chapel, 
but  owing  to  a  disagreement  with  some  of  the  officials,  he  left  Rome,  and  went  to 
France;  thence  he  wandered  to  Antwerp  and  Amsterdam,  and  in  1574  arrived 
in  England.  Most  of  the  portraits  ascribed  to  him  are  apocryphal,  but  there  is  no  doubt 
that  he  painted  a  number  of  pictures  here  of  the  nobility,  Lord  Nottingham  and  Sir 
Francis  Walsingham  being  mentioned  amongst  others.  On  his  return  to  Italy  he 
stayed  some  time  in  Venice,  finally  returning  to  Rome,  where  he  finished  his  work  in 
the  Pauline  Chapel.  In  1586  he  went  to  Spain,  but  failed  to  give  satisfaction  to 
Philip  II.  On  his  return  to  Rome  he  assisted  in  founding  the  Academy  of  S.  Luke, 
to  which  he  left  the  whole  of  his  property  at  his  death. 


INDEX    TO    THE    COLLECTION    OF 

PORTRAITS. 


INDEX  TO  THE   COLLECTION  OF  PORTRAITS. 


Thomas 
Alethea 


ARY   TALBOT,  wife  of  Sir.  Wm.  AIRMYNE,  Bt.,  495. 
Christopher  Monk,  2nd  Duke  of  ALBEMARLE  (d.  1687),  414,  417. 
Elizabeth   Cavendish,   wife  of  2nd  Duke  of  ALBEMARLE  (1638- 

1734).  123,  415. 
ANNE  of  Austria,  Queen  of  Louis  XIIL  (1601-2 — 1666),  550. 
Queen  ANNE  (1664 — 1702 — 1714),  372,  469  ? 
Howard,  Earl  of  ARUNDEL  (1586— 1646),  520. 
Talbot,  wife  of  Thos.,  Earl  of  ARUNDEL,  521. 


B. 
Madame  du  BARRY  (1746 — 1793),  261,  284. 
Elizabeth  BASSETT,  v.  Newcastle. 
Rachel  Noel,  Duchess  of  BEAUFORT,  154. 
Lucy  Harrington,  Countess  of  BEDFORD  (d.  1627),  334. 
Lt-Genl.  Arthur  Cavendish  BENTINCK,  39. 
Augusta  Mary  Elizabeth,  Baroness  Bolsover,  2nd  wife  of  Lieut.-Genl.  Arthur  Cavendish 

BENTINCK  (d.  1893),  40. 
Honble.  Charles  Ferdinand  BENTINCK,  27. 
Charlotte  BENTINCK,  Lady  Greville,  v.  Greville. 
Charlotte  BENTINCK,  Lady  Milnes,  v.  Milnes. 
Lord  Edward  BENTINCK  (d.  1819),  286  ?,  347. 

Elizabeth  Cumberland,  wife  of  Lord  Edward  BENTINCK  (1782— 1837),  147. 
Lord  George  BENTINCK,  2nd  son  of  ist  Duke  of  Portland  (1715— 1759),  iS^- 
Lord  George  Frederick  Cavendish  BENTINCK  (1802— 1848),  38. 
Henry  BENTINCK,  ist  Duke  of  Portland,  v.  Portland. 
Rev.  John  BENTINCK  (d.  1804),  24. 
Count  John  Albert  BENTINCK  (1737— 1775),  20. 
Mary  BENTINCK,  Countess  of  Essex,  v.  ESSEX. 
Lady  Mary  BENTINCK,  youngest  daughter  of  3rd  Duke  of  Portland  (d.  1843),  34. 


214  ^  INDEX   TO   THE 

Renira,  Countess  BENTINCK,  21. 

William  BENTINCK,  ist  Earl  of  Portland,  v.  Portland. 

William  BENTINCK,  2nd  Duke  of  Portland,  v.  Portland. 

William  BENTINCK,  Vice-Admiral  R.N.  (1764— 1813),  23. 

Wm.  Henry  Cavendish  BENTINCK,  3rd  Duke  of  Portland,  v.  Portland. 

Lt.-Genl.  Lord  William  Henry  BENTINCK,  2nd  son  of  3rd  Duke  of  Portland  (1774— 

1839).  31.  373- 
Mary,  2nd  daughter  of  Earl  of  Gosford,  wifeof  Lord  Wm.  Henry  BENTINCK  (d.  1843),  32. 
Wm.  Henry  Cavendish  Scott  BENTINCK,  4th  Duke  of  Portland,  v.  Portland. 
Wm.  Henry  BENTINCK,  Marquess  of  Titchfield,  v.  Titchfield. 
Wm.  John  Scott  Cavendish  BENTINCK,  5th  Duke  of  Portland,  v.  Portland. 
Wm.  John  Arthur  Chas.  Jas.  Cavendish  BENTINCK,  Duke  of  Portland,  v.  Portland. 
Wm.  Ponsonby,  2nd  Earl  of  BESSBOROUGH  (1704— 1793),  366. 
Marshal  BIRON  ?   116. 
Madlle.  de  BLOIS,  v.  Condd. 

Frances  Cavendish,  wife  of  Oliver  St.  John,  Earl  of  BOLINGBROKE,  441. 
Marie  Adelaide  de  Savoie,  Duchesse  de  BOURGOGNE,  v.  Marie. 
Marie  Frangoise  Perdrigeon,  Madame  BOUCHER  (1717 — 1734),  219. 
John  Egerton,  2nd  Earl  of  BRIDGEWATER  (d.  1686),  430. 
Elizabeth  Cavendish,  wife  of  John,  2nd  Earl  of  BRIDGEWATER,  430. 
Charles,  Duke  of  BRUNSWICK-WOLFENBUTTEL  (1735— 1806),  349. 
Ferdinand,  Prince  of  BRUNSWICK-WOLFENBUTTEL  (1721— 1792),  348. 
Catherine  Darnley,  Duchess  of  BUCKINGHAM,  499. 
Edmund,  son  of  Catherine  Darnley,  last  Duke  of  BUCKINGHAM,  499. 
Catherine  Greville,  Duchess  of  BUCKINGHAM,  155,  474. 
George  Villiers,  ist  Duke  of  BUCKINGHAM  (1592— 1628),  331. 

C. 

Frances  Spencer,  wife  of  Henry  Howard,  4th  Earl  of  CARLISLE,  134. 

Lucy  Percy,  Countess  of  CARLISLE,  435. 

CATHERINE  II.,  Empress  of  Russia  (1729 — 1796),  141. 

CAVENDISH,  167. 

Alice,  wife  of  Thomas  CAVENDISH,  191. 

Elizabeth  Hardwick,  wife  of  Sir  Wm.  CAVENDISH,  536. 

William  CAVENDISH,  ist  Earl  of  Devonshire,  v.  Devonshire. 

William  CAVENDISH,  2nd  Earl  of  Devonshire,  v.  Devonshire. 

Sir  Charles  CAVENDISH  (d.  161 7),  358. 

Catherine,  Baroness  Ogle,  wife  of  Sir  Charles  CAVENDISH,  165,  360. 

Mary  CAVENDISH,  wife  of  Gilbert,  7th  Earl  of  Shrewsbury,  v.  Shrewsbury. 

Sir  Charles  CAVENDISH  II.  (d.  1653),  362. 


COLLECTION    OF   PORTRAITS.  215 


William  CAVENDISH,  ist  Duke  of  Newcastle,  v.  Newcastle. 

Charles  CAVENDISH,  Lord  Mansfield,  eldest  son  of  William,  Duke  of  Newcastle,  v. 

Mansfield. 
Henry  CAVENDISH,  2nd  son  of  William,  Duke  of  Newcastle,  2nd  Duke  of  Newcastle, 

V.  Newcastle, 
Jane  CAVENDISH,  eldest  daughter  of  William,  Duke  of  Newcastle,  wife  of  Charles 

Cheney,  Viscount  Newhaven,  v.  Newhaven. 
Frances  CAVENDISH,  2nd  daughter  of  William,  Duke  of  Newcasde,  v.  BoHngbroke. 
Elizabeth  CAVENDISH,  3rd  daughter  of  William,  Duke  of  Newcasde,  wife  of  John 

Egerton,  2nd  Earl  of  Bridgewater,  v.  Bridgewater. 
Henry  CAVENDISH,  Lord  Ogle,  only  son  of  Henry,  2nd  Duke  of  Newcastle,  v.  Ogle. 
Elizabeth  CAVENDISH,  eldest  daughter  of  Henry,  2nd  Duke  of  Newcasde,  wife  of 

Christopher  Monk,  Duke  of  Albemarle,  v.  Albemarle. 
Frances  CAVENDISH,  2nd  daughter  of  Henry,  2nd  Duke  of  Newcastle,  wife  of  Charles 

Campbell,  Lord  Glenorchy,  v.  Glenorchy. 
Margaret   CAVENDISH,   3rd   daughter  of  Henry,   2nd  Duke  of  Newcastle,   wife  of 

John  Holies,  Duke  of  Newcastle,  v.  Newcastle. 
Catherine   CAVENDISH,   4th   daughter  of   Henry,  2nd   Duke  of  Newcastle,  wife  of 

Thomas  Tufton,  Earl  of  Thanet,  v.  Thanet. 
Arabella   CAVENDISH,    5th   daughter   of   Henry,  2nd  Duke   of  Newcastle,   wife  of 

Charles,  Lord  Spencer,  v.  Spencer. 
Lord  Richard  CAVENDISH  (1752— 1781),  133. 

Dorothy  CAVENDISH,  wife  of  William  Henry,  3rd  Duke  of  Portland,  v.  Portland. 
Robert  CECIL,  ist  Earl  of  Salisbury,  v.  Salisbury. 
CHARLES  I.  (1600— 1625— 1649),  97,  166,  229,  255,  397,  538. 
CHARLES  II.  (1630— 1660— 1685),  98,  286*,  479. 
Duchesse  de  CHATEAUROUX  (1717— 1744),  253,  257. 
Charles  CHENEY,  ist  Viscount  Newhaven,  v.  Newhaven. 
Elizabeth  CHENEY,  Mrs.  Monson,  v.  Monson. 
Gertrude  Pierrepoint,  Mrs.  CHENEY,  313. 
John  Holies,  ist  Earl  of  CLARE  (1564 — 1637),  312,  490. 
John  Holies,  2nd  Earl  of  CLARE  (d.  1665),  458,  504. 
Elizabeth  Vere,  wife  of  John,  2nd  Earl  of  CLARE,  318. 
Gilbert  Holies,  3rd  Earl  of  CLARE,  314. 
Grace  Pierrepoint,  wife  of  Gilbert,  3rd  Earl  of  CLARE,  506. 
John  Holies,  4th  Earl  of  CLARE,  v.  Newcastle. 

Margaret  Cavendish,  wife  of  John,  4th  Earl  of  CLARE,  v.  Newcasde. 
Edward  Hyde,  3rd  Earl  of  CLARENDON  (d.  1723),  345. 

Catherine  O'Brien,  Baroness  Clifton,  wife  of  Edward,  3rd  Earl  of  CLARENDON,  345. 
John  CLEAVER,  or  CLEEVER,  400. 


2i6  INDEX  TO   THE 


JeanBaptiste  COLBERT  {1619— 1683),  277. 

Frangoise  Marie  de  Bourbon  (Madlle.  de  Blois),  Princesse  de  CONDE  (1677— 1749),  262. 
Zaccaria  CONTARINI,  392. 
Edward  Hyde,  Lord  CORN  BURY,  v.  Clarendon. 
Elizabeth  CUMBERLAND,  v.  Bentinck. 
Wm.  Augustus,  Duke  of  CUMBERLAND  (1721— 1765),  115,  180. 

D. 

William  Cavendish,  ist  Earl  of  DEVONSHIRE  (d.  1625),  190. 

William  Cavendish,  2nd  Earl  of  DEVONSHIRE  (d.  1628),  498. 

Sir  Kenelm  DIGBY  (1603— 1655),  374. 

Venetia,  wife  of  Sir  Kenelm  DIGBY  (1600— 1633),  374. 

Frances  Cranfield,  Countess  of  DORSET,  403. 

Lady  DOUNE,  or  DOWN,  140. 

Sir  Frances  DRAKE  ?  8. 

E. 

EDWARD  VI.  (1537— 1547— 1553).  121. 

Queen  ELIZABETH  (i533— 1558— 1603),  122. 

ELIZABETH,  Queen  of  Bohemia  (1596— 1662),  173,  175,  515. 

ELIZABETH  Christina,  Queen  of  Bohemia,  486. 

Grace  Dalrymple,  Mrs.  ELLIOTT  (1756?— 1823  ?),  544. 

Mary  Bentinck,  Countess  of  ESSEX,  153. 

Frances  Howard,  Countess  of  ESSEX  and  Somerset,  v.  Somerset. 


F. 

Thomas,  Lord  FAIRFAX  (1611  — 1671),  437. 

Ann,  daughter  of  Horace,  Lord  Vere,  wife  of  Thos.,  Lord  FAIRFAX,  477. 

Sir  William  FARMOR  of  Easton  Neston,  516. 

John  FLETCHER  (1576— 1625),  247. 

Cardinal  FLEURY  (1653 — 1743),  509. 

FREDERICK  Henry,  Prince  of  Orange,  3rd  son  of  William  the  Silent,  95. 

G. 

Elizabeth  Wriothesley,  Lady  Noel,  Countess  GAINSBORO',  431. 
Frances  Cavendish,  wife  of  John  Campbell,  Lord  GLENORCHY,  321,  497. 
Charlotte  Bentinck,  Lady  GREVILLE  (1775 — 1862),  22. 
Margaret  Wootton,  wife  of  Sir  Thos.  GREY,  K.G.,  496. 


COLLECTION   OF    PORTRAITS.  217 


H. 
Gertrude  Pierrepoint,  Marchioness  of  HALIFAX,  323. 
Elizabeth  HARDWICK,  v.  Cavendish. 
Thomas  HARLEY,  502. 
Sir  Robert  HARLEY,  535. 
Sir  Edward  HARLEY,  K.B.  (d.  1700),  178,  429. 
Abigail  Stephens,  2nd  wife  of  Sir  Edwd.  HARLEY,  463. 
Honble.  Edward  (Auditor)  HARLEY  (d.  1735),  451. 
Robert  HARLEY,  ist  Earl  of  Oxford  and  Mortimer,  v.  Oxford. 

Brilliana  HARLEY,  daughter  of  Robert,  ist  Earlof  Oxford,  wife  of  James  Stanley,  v.  Stanley. 
Edward  HARLEY,  2nd  Earl  of  Oxford  and  Mortimer,  v.  Oxford. 
Henrietta  Cavendish  Holies,  wife  of  Edward  HARLEY,  2nd  Earl  of  Oxford,  v.  Oxford. 
Margaret  Cavendish  HARLEY,  daughter  of  Edward,  2nd  Earl  of  Oxford,  wife  of  Wm., 

2nd  Duke  of  Portland,  v.  Portland. 
Lucy  HARRINGTON,  Countess  of  Bedford,  v.  Bedford. 
HENRIETTA  Maria,  Queen  of  Charles  I.  (1609 — 1669),  109,  255,  539. 
HENRY  VII.  (1457-1485-1509),  Z2,7- 

HENRY,  Prince  of  Wales,  eldest  son  of  James  I.  (1594 — 1612),  326. 
Denzil  HOLLES  (1539— 1590),  488. 
Frescheville  HOLLES  (d.  1630),  491. 
John  HOLLES,  ist  Earl  of  Clare,  v.  Clare. 
Francis  HOLLES  {1576 — 1656),  489. 
Francis,  Lord  HOLLES,  Baron  of  Ifield,  421. 
Lucy  Carr  of  Sleeford,  wife  of  Francis,  Lord  HOLLES,  512. 
Anne  Pile,  2nd  wife  of  Francis,  Lord  HOLLES  (1640 — 1681),  13,  510. 
Denzil  HOLLES,  Baron  of  Ifield  (1597 — 1677),  420,  466. 
Francis  HOLLES  (1604 — 1622),  476,  492. 
Gervase  HOLLES  (1606 — 1665  ?),  4,  464. 
John  HOLLES,  2nd  Earl  of  Clare,  v.  Clare. 
Gilbert  HOLLES,  3rd  Earl  of  Clare,  v.  Clare. 
John  HOLLES,  4th  Earl  of  Clare,  v.  Newcastle. 
Henrietta  Cavendish  HOLLES,  v.  Oxford. 

Frances  HOWARD,  Countess  of  Essex  and  Somerset,  v.  Somerset. 
Frances  HOWARD,  wife  of  Sir  Edward  Villiers,  v.  Villiers. 
Thomas  HOWARD,  Earl  of  Arundel,  v.  Arundel. 
Edward  HYDE,  Lord  Cornbury,  v.  Clarendon. 

L 

Pope  INNOCENT  XI.  (1676— 1689),  480. 
General  IRETON  (1610 — 1651),  245. 

FF 


2x8  INDEX   TO   THE 


J- 
JAMES  I.  (1566— 1603— 1625),  325. 
JAMES  II.  (1633— 1685— 1701),  413,  439?  461. 
Ben  JONSON  (i573— 1637).  3- 

K. 

Adelaide  KEMBLE  (Mrs.  Sartoris),  367. 

Sir  Thomas  KILLIGREW  (161 1— 1682),  393. 

Sir  Godfrey  KNELLER  (1646— 1723),  5. 

L. 

Archbishop  LAUD  (1573 — 1645),  107. 

Elizabeth  (or  Frances)  LEIGH,  2nd  wife  of  Thos.,  4th  Earl  of  Southampton,  v.  South- 
ampton. 
Antonio  de  LEVE  or  LEW  A  (?),  'j']. 
LOUIS  XIII.  (1601— 1643),  457. 
LOUIS  XIV.  (1638— 1715),  260,  279. 

LOUIS  Dauphin,  eldest  son  of  Louis  XIV.  (1661 — 1711),  259,  278. 
LOUIS  Alexandre  de  Bourbon,  Comte  de  Toulouse  (1678 — 1737),  548. 
LOUIS,  Duke  d'  Orleans,  son  of  the  Regent  (1703 — 1752),  351. 
LOUIS  XV.  (1710— 1774),  416. 
LOUIS  XVII.  as  Dauphin  (?),  281. 

LOUISE  Henriette  de  Bourbon-Conti,  Duchesse  d'Orleans  (1726 — 1759),  547. 
Margaret  LUCAS,  2nd  wife  of  Wm.,  ist  Duke  of  Newcastle,  v.  Newcastle. 

M. 

Francis  MANNERS,  Earl  of  Rutland,  v.  Rutland. 

Charles  Cavendish,  Lord  MANSFIELD,  eldest  son  of  Wm.  Duke  of  Newcastle,  163,  404. 

Elizabeth  Rogers,  wife  of  Chas.,  Lord  MANSFIELD,  164. 

MARIE  de'  Medici  (1573— 1642),  142. 

MARIE  Adelaide  de  Savoie,  Duchesse  de  Bourgogne  (1685 — 1712),  249. 

MARIE  Addaide  Clotilde,  sister  of  Louis  XVI.  (1759— 1802),  551. 

MARIE  Josephe  de  Saxe,  second  wife  of  the  Dauphin  (?)  (1731 — 1767),  256. 

MARIE  Th^rese  d'Autriche,  wife  of  Louis  XIV.  (1638— 1683),  248. 

MARY,  Queen  of  Scots  (1542 — 1587),  161,  537. 

MARY  of  Modena,  Queen  of  James  II.  (1658— 1718),  438. 

MARY,  Queen  of  William  III.  (1662— 1689— 1694),  460. 

MAURICE,  Prince  of  Nassau  (1567— 1625),  218,  423  (?). 

Charlotte  Bentinck,  Lady  MILNES,  19. 

Jean  Baptiste  Poquelin  de  MOLIERE  (1622— 1673),  239. 


COLLECTION    OF   PORTRAITS.  219 


Christopher  MONK,  Duke  of  Albemarle,  v.  Albemarle. 

Elizabeth  Cheney,  wife  of  Henry  MONSON,  319. 

Madame  de  MONTESPAN  (1641— 1707),  18,  251  ? 

Mdle.  Anne  Marie  Louise  d'Orldans,  Duchesse  de  MONTPENSIER  (1627— 1693),  250. 

Edmund  Sheffield,  Earl  of  MULGRAVE  (d.  1646),  322. 

Sir  Hugh  MYDDELTON  (1555— 1631),  99. 

N. 
NAPOLEON  I.  (1769— 1821),  132. 

William  Cavendish,  ist  Duke  of  NEWCASTLE  (1592— 1676),  36,  94,  168,  316. 
Elizabeth  Bassett,  ist  wife  of  Wm.,  Duke  of  NEWCASTLE  (1599— 1643),  364. 
Margaret  Lucas,  2nd  wife  of  Wm.  Duke  of  NEWCASTLE  (d.  1673),  37. 
Henry  Cavendish,  2nd  Duke  of  NEWCASTLE,  169,  404,  405. 
Frances  Pierrepoint,  wife  of  Henry,  2nd  Duke  of  NEWCASTLE,  170,  467. 
John  Holies,  4th  Eari  of  Clare,  Duke  of  NEWCASTLE  (1662— 171 1),  29. 
Margaret  Cavendish,  3rd  daughter  of  Henry,  Duke  of  Newcastle,  wife  of  John  Holies,  Duke 

of  NEWCASTLE  (1661— 1716  ? ),  30. 
Charles  Cheney,  ist  Viscount  NEWHAVEN,  i. 
Jane  Cavendish,  wife  of  Charles,  ist  Viscount  NEWHAVEN,  2,  433. 
Elizabeth  NOEL,  wife  of  Henry,  ist  Duke  of  Portland,  v.  Portland. 
Elizabeth  Wriothesley,  Countess  of  NORTHUMBERLAND,  youngest  daughter  of  Thos., 

4th  Earl  of  Southampton  (?),  462. 

o. 

Catherine,  Baroness  OGLE,  wife  of  Sir  Chas.  Cavendish,  v.  Cavendish. 
Henry  Cavendish,  Lord  OGLE  (d.  1680),  171,  542. 
Elizabeth  Percy,  wife  of  Lord  OGLE,  172,  543. 
Prince  of  ORANGE,  100. 

Anne  Marie  Louise  d'ORLEANS,  v.  Montpensier. 
Louis,  Duke  d'ORLEANS,  v.  Louis. 

Louise  Henriette  de  Bourbon,  Duchesse  d'ORLEANS,  v.  Louise. 
Count  Alfred  d'ORSAY,  545. 

Edward  Vere,  17th  Earl  of  OXFORD  (1550 — 1604),  522. 
Henry  de  Vere,  Earl  of  OXFORD  (d.  1625),  309. 
Aubrey  de  Vere,  Earl  of  OXFORD,  448. 

Robert  Harley,  ist  Earl  of  OXFORD  and  Mortimer  (1661 — 1724),  44,  160,  324. 
Elizabeth  Foley,  ist  wife  of  Robt.,  ist  Earl  of  OXFORD  and  Mortimer,  501. 
Edward  Harley,  2nd  Earl  of  OXFORD  and  Mortimer  (d.  1741),  419,  447. 
Henrietta  Cavendish  Holies,  daughter  of  John,  Duke  of  Newcastle,  wife  of  Edward,  2nd 
Earl  of  OXFORD  and  Mortimer,  35,  62,  280,  295,  296,  454. 


220  INDEX    TO   THE 


P. 
Elizabeth  PERCY,  wife  of  Lord  Ogle,  v.  Ogle. 
Lucy  PERCY,  Countess  of  Carlisle,  v.  Carlisle. 
Fran9oise  PERDRIGEON,  Madame  Boucher,  v.  Boucher. 
Philip  Herbert,  Earl  of  PEMBROKE  and  Montgomery  ?,    loi. 
Frances  PIERREPOINT,  wife  of  Henry,  2nd  Duke  of  Newcastle,  v.  Newcastle. 
Gertrude  PIERREPOINT,  Mrs.  Cheney,  v.  Cheney. 
Gertrude  PIERREPOINT,  Marchioness  of  Halifax,  v.  Halifax. 
Grace  PIERREPOINT,  wife  of  Gilbert  Holies,  3rd  Earl  of  Clare,  v.  Clare. 
William  PIERREPOINT,  of  Thoresby,  465. 
Ann  PILE,  2nd  wife  of  Francis  Lord  Holies,  v.  Holies. 
Madame  de  POMPADOUR  (1721  — 1764),  254,  552. 
William,  ist  Earl  of  PORTLAND  (1649— 1709),  148,  151,  246,  361. 
Anne  Villiers,  ist  wife  of  Wm.,  ist  Earl  of  PORTLAND,  152. 
Henry,  2nd  Earl  and  ist  Duke  of  PORTLAND  (d.  1726),  149,  177  ?,  541. 
Elizabeth  Noel,  wife  of  Henry,  ist  Duke  of  PORTLAND,  201. 
William,  2nd  Duke  of  PORTLAND  (d.  1762),  42,  157. 
Margaret  Cavendish  Harley,  wife  of  2nd  Duke  of  PORTLAND  (d.  1785),  41,  150,  200, 

265,  452. 
William  Henry,  3rd  Duke  of  PORTLAND  (1738— 1809),  33,  286  ?,  347,  395  ? 
Dorothy  Cavendish,  wife  of  3rd  Duke  of  PORTLAND,  355,  396. 
William  Henry,  4th  Duke  of  PORTLAND  (1768— 1854),  43,  240,  365,  540. 
Henrietta  Scott,  wife  of  4th  Duke  of  PORTLAND  (d.  1844),  46,  546. 
William  John,  5th  Duke  of  PORTLAND  {1800— 1879),  368. 
William  John  Arthur,  Duke  of  PORTLAND,  25. 
Winifred  Anna,  Duchess  of  PORTLAND,  131. 

Louise  de  Queroualle,  Duchess  of  PORTSMOUTH  (1650  ?— 1734),  555. 
Matthew  PRIOR  (1664— 172 1),  237,  450. 

R. 

REMBRANDT  van  Ryn  (1606— 1669),  6. 

RICHARD    III.  (1452— 1483-1485),  212. 

Sir  Peter  Paul  RUBENS  (1577—1640),  212. 

Francis  Manners,  6th  Earl  of  RUTLAND  (d.  1632),  ^^t,. 

Rachel  RUVIGNY,  Countess  of  Southampton,  v.  Southampton. 

Admiral  Michiel  Adriaensz  de  RUYTER  (1607— 1676),  518. 

S. 

Robert  Cecil,  ist  Earl  of  SALISBURY  (1550— 1612),  527. 
David  SCOTT  of  Scotstarvit,  449. 


COLLECTION    OF    PORTRAITS.  221 


Mrs.  SCOTT,  wife  of  Genl.  Scott  of  Balcomie,  46. 

Henrietta  SCOTT,  wife  of  4th  Duke  of  Portland,  v.  Portland. 

George  Talbot,  6th  Eari  of  SHREWSBURY  (1522— 1590),  519. 

Gilbert  Talbot,  7th  Earl  of  SHREWSBURY,  317. 

Mary  Cavendish,  wife  of  Gilbert,  7th  Earl  of  SHREWSBURY,  332. 

Dorothy  SIDNEY,  Countess  of  Sunderland,  v.  Sunderland. 

Frances  Howard,  Countess  of  Essex  and  SOMERSET  (d.  1632),  330. 

Henry  Wriothesley,  3rd  Eari  of  SOUTHAMPTON  (1573— 1624),  328,  500. 

Elizabeth  Vernon,  wife  of  Henry,  3rd  Eari  of  SOUTHAMPTON,  399. 

Thomas  Wriothesley,  4th  Eari  of  SOUTHAMPTON,  363. 

Rachael  Ruvigny,  ist  wife  of  Thos.,  4th  Eari  of  SOUTHAMPTON,  346. 

Elizabeth  Leigh,  2nd  wife  of  Thos.  4th  Eari  of  SOUTHAMPTON,  462  ? 

Frances  Seymour,  3rd  wife  of  Thos.  4th  Earl  of  SOUTHAMPTON,  363,  401. 

Lady  SOUTHAMPTON,  215. 

Frances  SPENCER,  wife  of  Henry,  4th  Earl  of  Carlisle,  v.  Carlisle. 

Arabella  Cavendish,  wife  of  Charles  Lord  SPENCER,  137,  310. 

Thomas  STANHOPE,  of  Shelford  (d.  1596),  472. 

Brilliana  Harley,  wife  of  James  STANLEY,  442. 

Thomas  Wentworth,  Earl  of  STRAFFORD  (1593 — 1641),  93,  184,  311,  320. 

William  Wentworth,  2nd  Eari  of  STRAFFORD,  402. 

Lady  Arabella  STUART  (1671  — 1515),  187  ?  327. 

Dorothy  Sidney,  Countess  of  SUNDERLAND  (1617— 1684),  556. 

Lady  SUNDON,  (d.  1742),  352. 

SYLVIA,  Actrice,  258. 

T. 
Alethea  TALBOT,  Countess  of  Arundel,  v.  Arundel. 
Francis,  last  Lord  TALBOT,  528. 

George  TALBOT,  6th  Earl  of  Shrewsbury,  v.  Shrewsbury. 
Gilbert  TALBOT,  7th  Eari  of  Shrewsbury,  v.  Shrewsbury. 
Mary  TALBOT,  wife  of  Sir  Wm.  Airmyne,  v.  Airmyne. 
Catherine  Cavendish,  Countess  of  THANET,  188. 

William  Henry  Bentinck,  Marquess  of  TITCHFIELD  (1794 — 1821),  468. 
Louis  Alexandre  de  Bourbon,  Comte  de  TOULOUSE,  v.  Louis. 

U. 

Unknown,  7,  9,  10,  12,  14,  15,  yy,  85,  87,  92,  96,  100,  103,  106,  108,  167,  174,  176,  181, 
182,  183,  187,  189,  196,  202,  216,  217,  220,  227,  234,  252,  256,  264,  266,  283,  285,  329, 
335.  338?  339,  340.  341.  342,  343.  344,  350-  353,  354-  356,  357,  369,  423,  424,  432,  434, 
453,  455>  475-  478,  481,  493,  503-  505,  508,  533-  553- 


222  INDEX   TO   THE   COLLECTION    OF   PORTRAITS. 

V. 
Mdlle.  de  la  VALLIERE  (1644— 1710),  252  ?,  554. 
Edward  VERE,  17th  Earl  of  Oxford,  v.  Oxford. 
Sir  Francis  VERE  {1554 — 1608),  470. 
Henry  de  VERE,  Earl  of  Oxford,  v.  Oxford. 
Horace  Lord  VERE  of  Tilbury  (1565 — 1635),  315,  513. 
Aubrey  de  VERE,  20th  Earl  of  Oxford,  v.  Oxford. 
Elizabeth  VERE,  wife  of  John,  2nd  Earl  of  Clare,  v.  Clare. 
Elizabeth  VERNON,  Countess  of  Southampton,  v.  Southampton. 
Madame  VICTOIRE,  daughter  of  Louis  XV.  (1733 — 1799),  549. 
Anne  VILLIERS,  ist  wife  of  Wm.  ist  Earl  of  Portland,  v.  Portland. 
Frances  Howard,  wife  of  Sir  Edward  VILLIERS,  440. 
George  VILLIERS,  Duke  of  Buckingham,  v.  Buckingham. 

W. 

Henry,  Prince  of  WALES,  eldest  son  of  James  I.  (1594 — 1612),  326. 

Princess  of  WALES,  263. 

Admiral  Sir  James  Hawkins  WHITSHED,  G.C.B.,  28. 

Lady  Hawkins  WHITSHED,  16. 

WILLIAM  III.  (1650— 1689— 1702),  156,  179,  228,  459. 

Lord  WOODSTOCK  (Henry,  ist  Duke  of  Portland  ?),  177,  v.  Portland. 

Margaret  WOOTTON,  wife  of  Sir.  Thos.  Grey,  v.  Grey. 

Sir  Christopher  WREN  ?,  473. 

Henry  WRIOTHESLEY,  v.  Southampton. 

Thos.  WRIOTHESLEY,  v.  Southampton. 


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CHISWICK    PRESS  : — CHARLES   WHITTINGHAM   AND   CO. 
TOOKS   COURT,    CHANCERY   LANE,    LONDON. 


No.  92.    Vandyck. 

"SENATOR   OF   ANTWERP." 


No.    122.      GhEERAEDTS. 
QUEEN   ELIZABETH. 


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No.  216.    Rembrandt. 

PORTRAIT  OF  A  BOY. 


No.  262.    Drouais. 

MADLLE.   DE   BLOIS,   PRINCESSE   DE  CONDfi. 


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No.  327. 

LADY  ARABELLA  STUART. 


No.  328. 

HENRY  WRIOTHESLEY,   3RD   EARL  OF  SOUTHAMPTON. 


No.  334- 
LUCY   HARRINGTON,  COUNTESS  OF  BEDFORD. 


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