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The  Connoisseur 

An  Illustrated  Magazine 
For  Collectors 


Edited   by  J.  T.  Herbert  Baily 


Vol.  XXXIV. 

(SEPTEMBER     DECEMBER,    1912) 


LONDON 

Published   by   OTTO    LIMITED,  at  the 

Editorial   and   Advertisement   Offices   of  The   Connoisseur, 

at    Hanover    Buildings,  35-39,  Maddox   Street,    W. 

1912 


a 


PRINTED    BY 

HEMROSE   AND   SONS    LTD. 
DERBY    AND    LONDON 


8M631 


M 


INDEX 


An-v.  •  rs  to  Co  indents 


.   131,   205, 
Heraldic)     68     132,   206 

\M)     NOTES. 

Brownware    and     Sto         <  \    Collection    of 

English.      1  G     Hewlett  

Continental     Base     M   tal     S] ns      Some.      By 

Charles  C.   J.    Port 

Embroidered  Pictures,  Ancient  and  Modern.     By 
Mi>.   Delves   Broughton 
;lish  Pictures  in    Vmei  ii  a    Soim     Modern.     By 
Brinkley    Pope 
Fine    Arts   in    Ireland,     I  h  .      Bj    the   late   Win. 
Vine  Cronin   ... 

Frick's,   Mr.    II-   C         oi    Pictures.     By 

W.    Roberts 

Furniture         Robert      VI. tm.     Hepplewhite,      and 

Sheraton      "  English     Furniture     of     the 

Eighti    11'1      O  ntury  "     Reviewed).         By 

1    cil  Boyi 

Liverpool  and  its  Plate,     |  h.    1  it)    of.     Part  II. 

B     1    onard   Willoughby     

Mansion  House  Plat      ["he.      B.   G   1      Mai  lean... 
Marchesi's   Collection,    Madame     Blanche.        By 

d  orgi    Cei  il  .-■ 
Mezzotint    Portraits,    Mr.    Fritz    Reiss's.     By   C. 

Reginald   Grundy.     Fart  1.  

Part    M 

1  'api  1  Work   ... 

Plumbagos.     By  Weymei    Mills 

"  Pottery  and   Porcelain."     By   Frederick  Litch- 

n  M.      Reviewed 
Spanish   Armada,   Some   Relics  of.     By   Wilfred 

Mark  Webb,   F.Z.S.,    1    R  M.S 

Taylor  Collection,  The 

Van  Home'-.  Sir  William.  Coll  1  tion  ol  Japanese 

Pottery  

Wall  Tablets,  Old.      rheFireMark.     Parti.     By 
B.  Chamberlain 
N    ' 
Apprentice's  "Bible,"  The 
Bonbonnieres  and  Snuff-boxes 
Burne-Jones  at  the   rate   Callers  ... 

Cabinet  ot  Mai  5   '  }m  en   oi  Scots 

ii  ■  Hi  nt  Sali  1  ii.,  1  athedral        

I  audle   Flask  

Pipe-burner 

1    ilniir  Plate  Notes 5  S.    '  "'     '  N" 

Connoisseur  Bookshelf      123.   197, 

Current   Art  Notes 57.    133.   l87. 


'AGE 
284 


I'H 

235 

17 

24' 

95 

'  1: 


39 
1  J9 


/■  ,  >m  i  i    I  Mm. 1  1  I- 


7i 

209 

io8 

3 

227 

23 

29 

9 
167 

iSj 

115 

133 
256 

IS, 

[85 

I 

260 

273 
263 


Articles   AND   Notes — Soles — continued. 
Doorwaj    oi    1  laa  I  hurch,  Hallingdal 
In  the  Sale  Room 

(_iuel.ee   1 1, ill  Collection    ...  

Lac    maker's  Stool  ... 

"  Lady  and  two  Children  of  the  Lomellini  Famil)  . 

\         r.      Van  Dyck  

Mantelpiece,    Fifteenth-century  Stone      

Notes  and   Queries    ...  ■■•  ■••     4s.   "-■   l7$ 

Portrait    Bu  t.     By   Joseph  Wilton  

Sailors'   Love    I   ikens 
Stay-busks 

Stockbroker's   token  01    1  la  

Stuart   Relics 

Snuff-boxes    ... 

Snuffers 

Walking  sticks,   Curious        

\i    I  MORS. 

Boyce,  Cecil.     Robert   Adam.   Hepplewhiti     and 

Sheraton     ("  English     Furniture     of     the 

:  1   hteenth  Century  "  Reviewed) 
Broughton,    Mrs.    Delves.      Ancient    and   Mo 

1  mbroidered  Futures 
Cecil,    '."■■     Madame     Blanche     Marchesi's 

Collection 
Chamberlain.    B.     Old    Wall    rablets.      He     Fire 

Mark.      Fart  I.     H\    I '■    1  hamberlain 
Cronin     I  ate   Wm.   Vine.      Fine  Arc  in   Ireland, 

1  he      

( .runilv,  C.  Reginald. 

Mr.  Fritz  Reiss's  Mezzotint  Portraits.     Fart  I. 

Part    II 
Hewlett,  S.  G.     Collection  of  English  Brownwan 

and  Stoneware 
Mi,  lean    G    1  .      Mansion   House  Plate,   I  he 
Mills,  Weymer.     Plumbagos 
Pope,  Brinkley.     Some  Modem   I  ngli  h   Pictures 

in   America     ... 
Port,  Charles  C.  J.     Some  Contini  ntal  Base  Metal 

Spoons 
Roberts,    W.      Mr.    II.    C.    I'm  k's   Collei  tion    oi 

F11  tares 
W.bb,  Willed  M.,  F.Z.S.,  F.K.Ms.     Some  1: 

oi   the  Spanish  Armada       

Willoughby,  Leonard.     City  of  Liver] 1  and  its 

Plate.      Fart    II 

Architec  11 

Stone  Mantelpiece,  Fifteenth  Century     


[82 

54 

136 

is, 

256 
250 

1S1 

1  1 

110 
255 
1 1 ; 

11'. 
52 


H.I 

17 

85 

hi; 
95 

n 

209 

IOI 

139 

3 
241 

235 

147 

23 

39 

256 


Index 


Books  Received 


PAGE 

120,   186,  260 


Books   Ri  vn  wed. 

I               il   s."      Illustrated   by  Arthur  Rack- 
ham     _       •■•     27° 

Vntiqu        and     Curios    in    our    Homes."     By 

G    M    Valloi 2°2 

"Arabic   Spain."     Bj     Bernhard    and    Ellen    M. 

Win-haw         ..'.  276 

■•   \n    •     B\    Auguste  Rodin.     Bv  Mrs.   Komilly 

l    dd'en  2°2 

"  Battl  .'i  Bloreheath    ["he."     By  Francis  Randle 

l  « emlow       ...         •••         •••         •••         ••■     I25 

Us   and  ntli-  r  Poems,    I  hi  ."     Illustrated   by 

Edmund  Dulac         27» 

■   1  i  ophie,  Countess  Bentinck  :    Her  Life 

and  Times."     By  Mrs.  Aubrey  Le  Blond...     202 
"  Child's  Visions,  A."     By  Daphne  Allen  ...     126 

"Chrysanthemums."     By  T.  Stevenson 197 

olour  in  the  Home."     By  Edward  J.  Duveen     2S0 
"  Early  Christian  and    Byzantine  Architecture." 

'By   Edith   A.    Browne  2»i 

"  English  Furniture  of  the  Eighteenth  Century." 

Vol.    III.      By  Herbert  Cescinsky 161 

"  Famous  Paintings  "         ••■  •••  ■■•  ••■     277 

"  Fine  Books."      By  Alfred  W.  Pollard 274 

"  First  Annual  Volume  of  the  Walpole  Society  "     282 
"  Footsteps  ot   Autumn,  and  other  Poems."      By 

Edward  H.    Blakeney  201 

"  Great  Engravers  :  Rembrandt.  Holbein,  Marc- 

antonio."     Edited  by  A.  M.   Hind  ...      279 

•    Grei  n  Willow,  and  other  Japanese  Fairy  Tales." 

Illustrated  by  Warwick  Coble       203 

"  History    of    English    Glass-Painting,    A."      By 

Maurice  Drake  ...  ...  ■•■  •••      280 

"  Illuminated  Manuscripts."      By  J.  A.  Herbert       128 
"  Les   Dessins  de    Jacopo   Bellini   an   Louvre   et 

British  Museum  "     ...  •••  •••  •••      127 

"  Magic  World.  The."      By  E.  Ncsbit     276 

"  Many  Cargoes."     Illustrated  by  Maurice  Greiffen- 

hagen  ...  ...  ...  ••■  •••  •••     276 

"  Mary,    the   Mother   of   Jesus."     Illustrated    by 

R.  Anning  Bell         282 

'•  Mediaval  Art."      By  W.    R.  Lethaby 281 

■'  Memories."      By  Sir  F.  Wedmore  198 

"  Memories    of    James    McNeill    Whistler."      By 

1.   R.    Way 124 

"  Military  Architecture " 126 

"  Nature  in  Italian  Art."      By  -Miss  E.   Salter  ...      126 
"  Old  Clock  Book."     By  X.   Hudson  Moore      ...      277 
"  One   Hundred    Masterpieci  s  of  Painting."      By 

John  La  Farge  ...  ...  ...  ...      274 

Perugino."     By  Selwyn  Brinton  ...  ...     204 

Petei     Pan    in     Kensington    Gardens."     Illus- 
trated by  A.  Rackham         ...  ...  ...      203 

"  Pictures  ot  tlv     Panama  Canal."     By   Joseph 

1    nnell  198 

"  Picturesque  Nepal."     By  Percy  Brown  ...      282 

"  Poesic   Volgari."     Bv  Lorenzo  de  Medici        ...     27S 
"  Position     of     Landscape     in     Art,     The."      By 

Cosmos"     ...         ■■■         ••■         •■•         •••     198 
"  Potterv  and   Porcelain."      Bv  Frederick  Litch- 
field      '     227 

"Practical    Cabinet-making    and     Draughting." 

Bj   J.  II.    Rudd        204 

'•  Print-!  -     ctoi       1  [andl I      I  lie."      By   Whit- 
man  and   Salaman    ...  ...  ...  ...      274 


Books  Reviewed — continued. 

"  Rembrandt  Etchings."      By  A.  M.  Hind  ...      125 

"Rodin."     By  Muriel  Ciolkowska  128 

"  Royal  and  Ancient  Game  of  Golf.  The."   Edited 

by  Harold  H.  Hilton  and  Garden  G.  Smith      128 
"  Thoughts    of    the    Emperor   Marcus    Aurelius." 

Illustrated  by  W.  Russell  Flint     203 

"  Tragedy   of   the   Reformation,   A."    By   David 

Cu'thbertson 201 

Trapnell    Collection.      Illustrated    Supplement   to 

the  Catalogue  2S1 

"  Uffizi  Gallery  The."  By  Paul  G.  Konody  ■••  27S 
"  Watteau  et  son  Ecole."  By  Edmond  pilon...  12; 
"  White-Ear    and    Peter."      Illustrated    by  Cecil 

Aldin 276 

With  Rod  and  Gun."      Illustrated  by  G.  Den- 
holm  Armour...  ...  ...  •••  •••      197 

"  Wood    Family    of   Burskm,    The."      By    Frank 

Falkner  273 

Coins,  etc. 

"Stockbroker's  Token    or  Badge     "9 

Collections. 

Frick's,  Mr.   H.  C      Pictures          147 

Liverpool    and  its  Plate.      Part  II.            39 

Mansion  House  Plate.  The 139 

Marchesi's,    Madame  Blanche         ...          ...          •••  S5 

Mezzotint  Portraits,   Mr.   Fritz  Reiss's     ...          71.  209 

Taylor  Collection.    The        29 

Van  Home's.  Sir  William.  Collection  ot   Japanese 

Pottery             •••  9 


Engravings. 

Mezzotint  Portraits,  Mr.   Fritz  Reiss's      ... 
Exhibitions. 

Arts  and  Handicrafts  at  Maddox  Street  Galleries 

Connell  Gallery.      Etchings  

Dayne,  Mr.  Alan.      Scenes  in  the  New  Forest.  by- 
Mr.   Hugh  Wilkinson 
Dore  Galleries.      Pictures  by  Chevalier  G.  Cupone, 
Junr..  and  Reproductions  of  Great  Masters 

Dowdeswell  Galleries.     Etchings 

Edinburgh. 

Doig.  Wilson,  and  Wheatley.  Messrs 

Royal  Scottish  Society   of   Painters  in   Water- 
Colours 

Scottish  Gallery 

Fine  Art  Society. 

Marine    Pictures    by    late    Chevalier    Edouardo 
cle   Martino,   and   Royal  Gardens  by  Cyril 

Ward 

Pictures  by  the  late  H.   G.  Moon,  and  Water- 
Colours  by  T.  Stirling  Lee  and  H.  Dawson 
Barkas 
Grafton  Gallery.      Post- Impressionist    Exhibition 
Grosvenor  Gallery     ■•• 

Leicester  Galleries.     Paintings  and   Drawings  by 
G.  Clausen  ;    Drawings  by  Phil  May  ;    and 
Drawings    illustrating    "  .Esop's    Fables," 
by  Arthur  Rackham 
Liverpool  Art  Gallery 
London  Salon 
Manchester  Art  Gallery 

Manchester  Whitworth   Institute.     Water-Colour 
Exhibition 


1,  209 

258 

65 

L36 

65 
65 

1S8 

267 
188 


2s8 


193 
l8S 

102 


270 

195 

63 

135 

I  ,; 


Index 


Exhibitions — continued. 
Medii  i  Portrait    Medals  oi    the   Italian 

Renaissance    ...         ...         •••         •••         •■•     '  '- 

Mendoza  Galleries.     "Scotland   ana    Dartmoor," 

by  C.  E.  Brittan  ;  and  I  tomes  of 

,n.l."  by  A.   R.  Quinton        64 

Middlesbrough  Congress.      Eccl    ia  deal  Ari 
Modern  Gallerj       Pictures,  Drawings,  and  Minia- 

1  ures  In    Miss  M.    H.   Carlisle  65 

National  Competition,    ["he...  ...  ...  •••        $7 

New  National  Gallerj    oi   Scotland  i;i 

Roya  x36 

Royal    Pho  Societ)    and    London   Salon 

of  Photography         ...         ■•■         •••         ••-     '  >; 

Royal  School  ol    \n   Needlework 10: 

R03  ,1   Society  of  British  Artists 263 

Royal    5oci   b    "i    Painters  in   Water-Colour      ...     264 
Shepherd's  Gallery,  Messrs.     Old  Masters  ...     266 

Tate  Gallery. 

Burne-Jone     Works  of    ...         ...         ...         ••■     r33 

Legros,  Works  of   Alphonse  ...  ...  ...        63 

Whistler,    Works  oi    J.  McNeill 6l 

Tooth's.  Messrs.,  Summer  Exhibition      ...  ...       64 

Victoria     Galleries.     "  Modern     Mezzotints    in 

Colour"  269 

Furniture. 

\  i  mi.  Hepplewhite,  and  Sheraton  t6l 

Cabinet  of  Mary  Queen  oi   Scots 

Marchesi's    Madame   Blanche    Collection 85 

\SS. 
Sailors'    Love    Tokens  ...  ...  ...  •••      181 

Gold,  Silver,  and  Plated  Ware. 

Liverpool  and  its  Plate.     Pari    II.  ;< 

Mansion   House   Plate,    The...  ...  ...  ...       1  JQ 


Ikon-    \\u  \1i  i\i    Ware — continued. 

1  itinental   Base  M               ons     235 

Snuffers          '"' 

Wall    Cablets.      ["he  Fire  Mark       i"7 

.  \  !•    \  1  1  DLEWORK. 

Embroidered    Pictures,    Vncienf   and  Modern      ...  17 

Lace-maker's  Stool  ...         ••■         •••         ••■         •••  1M 

Objeci     01     \i;t. 

1  li  mboi n     and   '--nun  boxi  s      115 

Paper-work ",s 

l"|i    u   lily 

English  Pictures  in  America    Some  Modern       ...  241 

Fine   Arts  in   Ireland           •••         •■•         •■•         •••  95 

Frick's,  Mr.  H.  C,  Collection        '17 

"  Lady  and  twoChildren  of  tin  Lomellini  Family, 

\        I'-.    \  in   1)-.,  u 187 

Plumbagos     ...         •••         •■■         •••         •••         •••  3 

Pottery  and  Porcelain. 

1  audle  Flask            [85 

1  trow  nv\  are  and   Stoneware          toi 

Japanese     Pottery,    Sir     William     Van     Home's 

1  ollection  of 9 

"Pottery  and   Porcelain."     By   Frederick    Litch 

field      "7 

SCULPTURl      IND   Si  MTUARY. 

Doorway  oi   Flaa  Church,  Hallingdal       (82 

Cancelli  oi  Salerno 184 

Portrait    Busi    by    Joseph  Wilton    ...                         ...  259 

Silver,   see  undei   Gold,   1  C( . 

Spanish   Armada.   Some    Relics   of      23 

Staj   busks         "7 

Stuart   Relics     255 


Ikon    anti   METAl     \\  VR] 
Apprentice's   "   Bibl 
Clav  Pipe-burner 


182 

IS; 


Taylor  Collei  tion,  The 
Walking-sticks,  Curious 


29 

s2 


ILLUSTRATIONS 


PAGE 
I83 


Apprentice's  "Bible"... 
Architecture. 

Entrance   to   the   Durbar  al    Patan 

Mantelpiece,   Fifteenth  Century     ... 

Tomb  of    rheodorii     Ravenna 
Artists. 

Aiken.     II.      Holyhead    and    Cluster    Mails.      By 

R.   Havell       Decembei   Cover 

Bell,  R.  Anning.      Adoration  oi  the  Shepherds...     261 

Bertrand,    N.      Napoleon    and    Marie    Louise 

Blooteling,  A.     William  Henry,  Prince  of  Wales. 
Alter   Sir    P.    Lelv      ...  '        

Bosio.  F.   J.     Nymph  Salmacis     ... 

Bovi.  M.      Reaper's  Child.  The.      Alter  R.  Westall 


277 
256 

270 


[89 

73 

93 

233 


Artists — continued. 

Bronzino,  Anjiolo.      Portrait  of  a  Young  Man   yi\ 

Carriera   Rosalba.      Pastel  Portrait  

Constable.  J.     Salisbury  Cathedral  

(  nop.  r.   Al.  s.indei.     Shepherdess,    A        

Coppier,  C.     Lady  Peel.     After  Sir  T.   1  awreno 
Corot,   J.    B.  C.     Le  Matin:    Lac  de  ('.aide 
Cote,,  F     Mrs.  Agneta  Yorke.     Bj    V.  (.men   .. 
Cousins.    S.      La   Surprise.      After    C.    M.    Dubuffi 


35 


150 

215 


1 1  (obi  1   Cover 


Cuyp,  A. 

Dutch  Golfing  Girl 
Sunrise   on    the    Maas 

Dean,    I-      Miss  Crockett. 


After   J.    1  hippie  1 


154 
212 


Index 


Si 


Artists  —continued. 

I  ie  Ki  5  \      Lad}     \ s 

Dii  kinson,  W. 
Ladj   i  Spencer.     After  Sir  J.   Reynolds     121 

Lady  CI  axlott<     Bertie.      \it.  1    Peters "i 

Stephenson.      Ml.  1    Rev.  M.  \V.  Peters...     179 
Mrs.  Matthews.     After  Sir  J.  Reynolds  ...     211 

.Mrs.    Pelham    feeding   Chickens.     After   Sir    J. 

Reynolds        -ln 

Mrs.   Sheridan  as   "St.   Cecilia."     After  Sir  J. 

Reynolds        --1 

Dixon,  J. 

Marj      Duchess    of    Ancaster.     Alter    Sir    J 
Reynolds 
Dubourg,   M. 

,    ,rgi     III.    returning    from    Hunting.     Alter 

Pollard  ...  Presentation   Plate  December 

Royal    Hunt   in   Windsor    Park.      After   Pollard 

Presentation   Plate,  Dea  ml  1  1 

Dubuffe,   C.    M.      Pa   Surprise.      By  S.   Cousins   ... 

October  ( 

Dunkarton,  W.      Sylvia  Rising.      Alter  Peters   ...  223 
East.  Sir  Alfred.   A.R.A 

Gleam   before  the  Storm.  A       249 

In  Shakespeare's  Country             ...           •••           ■■•  242 

(lid    Durham            241 

Returning  from  Church  ...          ...          •••          •••  24; 

Wings  of  the  Morning     ...          ■••          ■••          •••  24^ 

Ellys.  John.     Mr.  Walker  as  "  Captain  Macheath." 

By   J.   Faber,   Jun.    ...          ...          •••          ■••  74 

Eves,   R.  G.     Viscountess  Churchill         265 

Faber,    J. 

Earl  of  Athlone 6 

Queen  Mary            ...          ...          •••          ••-          •••  5 

Faber.     John.     Jun.      Mr.     Walker    as    "  Captain 

Macheath."     After   John   Ellys      74 

Faithorne.      Nathaniel   I.e.               ...          ...          ...  6 

Falconet.  P. 

Miss   Moore.      By    J.    Watson      219 

Mrs.  Valentine  Green  and  Child.     By  V.  Green  217 
Gainsborough,  T.      Lady  Douglas.      By  A.  Jamas 

November  Cover 
Gardner,   Daniel. 

Lady  Rushout  and  Children.      By  T.  Watson...  209 

Mrs.    Ballack          15 

Green.   Valentine. 

Mi-,     Vjueta  Yorke.      Alter   E.   Cotes 215 

Mrs.     Valentine    Green    and    Child.     After    P. 

Falconet           217 

Hals,    Franz.      Portrait  of  an   Artist           146 

llavell.   R.      Holyhead  and  Chester  Mails.      After 

II.   Aiken        ...  ...  ...         Decembei    Cover 

Hill,  T.      Catherine   Wilkinson.      By   J.   Smith    ...  73 

Hoare,  Wm.     Miss  Hannah  Russell         ...         ...  J7 

Hodgi       C.      Mrs.    William    Hope.     After   Sir    J. 

Iv  j  nolds        ...         ...         •••         ■••         •■■  210 

Hoppner,  J. 

Catherine,  Viscountess  Hampden.     By  J.  Young  226 

Miss  Crockett.     By  J.   Dean     212 

Mrs.    John     Vlberl    I!  ntinck         201 

Richard.      Miss   Harriet   Powell.      After 

Read         ...         ...         ■••         ■•■  75 

Howarth,  A.   1-:.      Prior's  Doorway,   Ely 66 

Hudson,     I.     Mary,    Duchess     ii     Ancaster.      By 

J.      Ml     Udell /6 


PAGE 

Artists — continued. 

Hutin,  C.      Portrait  of  a  Man.      After  Van  Dyck      120 
Jamas,   A.      Lady   Douglas.      After  Sir  T.   Gains- 
borough ...  ■■•  ■••       November  Cover 
Jones,    John.      Mrs.    Tollcmache    as    "  Miranda." 

Alter  Sir   J.    Reynolds  82 

Keenan,   J.     Portrait  of  a  Lady 269 

Kneller.  Sir  G.      William.  Marquis  of  Annandale. 

By  J.  Smith 72 

Law  rence,   Sir  T. 

Caroline  01   Brunswick     ...  ...  ...  ...      20S 

Lady  Peel i?7 

Lady  Peel.      By  C.   Coppier        7° 

Marquise  de  Blaizel  ...  ...  ...  ...       49 

Washington   Irving  ...  ...  ...  ••■  6 

Lelv,   Sir   P.      William   Henry.   Prince  of  Orange. 

By  A.   Blooteling       ..'.  75 

Lens,   Bernard,   the   Second.      Peg   Woffington    ...  5 

Loggan.  David.     Cardinal  Mazarin  ...  ...  3 

McArdell,   James. 

David  Garrick  as  "  Hamlet."      After  Benjamin 

Wilson  ...  ...  •■■  •••  ••■        7§ 

Mary,  Duchess  of  Ancaster.      After  T.   Hudson        76 

Mrs.   Bonfoy.      After  Sir  J.   Reynolds 76 

Middleton,   Horace.     Little  Diver,  The 267 

Nutter,    W.      George    Washington.      After    C.    G. 

Stuart  ...  ...  ...        September  Cover 

Ostade,    J.   van.      Halt  at  the   Inn.   The 154 

Paton.      Sir  Leoline  Jenkins 
Peters,    Rev.   M.   W. 
Cremonese  Lady,  A.     By  J.  R.  Smith 
Lady  Charlotte   Bertie.      By  W.   Dickinson 
Miss  Harriet  Powell.      By   J.   R.   Smith 
Miss  Stephenson.     By  W.  Dickinson   ... 
Parmesan  Lady.   A.      By  J.   R.   Smith... 
Sylvia  Rising.      By  W.  Dunkarton 
Pollard. 

George    III.    returning    from    Hunting, 

Dubourg  ...  Presentation   Plat, 

Royal  Hunt  in  Windsor  Park.     By  M.  Dubourg 

Presentation   Plate.   December 

Primaticcio.      Portrait  of  a  Woman  19° 

Racburn.   Sir  H.      Miss   De  Vism.es  138 

Read,    Catherine.      Miss    Harriet   Powell.      By    R. 

Houston  ...  ...  ...  •••  ■••        75 

Rembrandt. 

Landscape  with  a  Milkman        ...  ...  ...      123 

Portrait  of  a  Young  Cavalier     ...  ...  ...      150 

Quacksalver,   The  ...  ...  ...  ■■•      123 

Woman  Reading   ... 
Reynolds,    Sir   J. 

Hon.  Mrs.   Stanhope.      By  J.   R.  Smith 

Lady  Charles  Spencer.      By  W.  Dickinson      ... 

Mary,   Duchess  of  Ancaster.      By   J.   Dixon    ... 

Miss  Green  way.      By  J.   Watson  

Mrs.   Bonfoy.      By   J.   McArdell 

Mrs.   Matthews.      By   W.    Dickinson      

Mrs.  Pelham  feeding  Chickens.      By  W.  Dickin- 
son 

Mrs.     Sheridan     as     "  St.     Cecilia."         By     W. 
Dickinson 

Mrs.  Tollemache.      By  J.  Joins 

Mrs.   William   Hope.      By  C.   Hodges 

Portrait  of  Himself 


225 

22; 
221 1 
179 
22; 
223 


By   M. 

December 


124 

221 

121 

Si 

219 

77 
211 

210 


221 

82 

216 

7 


Index 


Artists — continued.  PAG 

Reynolds,  S.  W. 
David   Garrick   as   "   \l»  1    Drugger."      \tt<  r   J. 

Zoffany  79 

Rigaud       F.         A.     I  arlini,     1        Bai  tolozzi,    and 

(,.  B.  Cipriani.     Bj    J.   R.   Smith 21  8 

R  din,   Augu  I 

Faun  and  Nymph  

1. 'Amour  qui   |  I27 

Romnej  ,  G. 

Hon.   Mrs   North.      By    J.    R.    Smith 214 

Mi      Cumberland.     By  J.  R.  Smith     149 

Mrs     Carwardine  and  Child.     By   J.   K.   Smith       S3 

Rousseau,  T.     Villaj '•    quign)         

Rubens    Peter  Paul.     Portrait  of  Himseli         ...     275 
Rupert,   Prince.     "  Littli        Exei  utiom  1     1  he   ...       71 

51     Vubin,  Auguste.     Man-     Antoinette 

Smith,   John. 

Catherine  Wilkinson.     After   1.  Hill     73 

William,  Marquis  oi  Annandale.     After  Sir  G. 

Kneller  ...         ...         •■•         ••■         •■■       7- 

Smith,  J.   R. 

\    Carlini,  F.  Bartolozzi,  and    G.    B.  Cipriani. 

Vfter  F.    Rigaud       218 

Cremonese   Lady,   A.     Aft  1    Peters     22; 

Hon.   Mrs.   North.       After  G.   Romney 214 

Hon.  Mrs.  Stanhope.      Vftei  Sir  J.  Reynolds...     253 

Miss  Cumberland.      Mt.  1   G.    Romney 1  (.9 

Miss   Haunt    Powell.      After   M.    W.    Peters   ...     220 
Mrs.  Carwardine  and  Child.      Vfter  G.  Romney       S3 

Parmesan  Lad}     \       Vfter  Peters        22; 

Watercress  Girl,    ["he.     After  J.  Zoffany         ...     213 

Solario.     D'Ambois     '  harles         12; 

Stuart      1       G      George     Washington.     By     W. 
Nut-  ...         ...         ...       Septembei   1 

Titian.      Pietro  Aretino       27 

Turner,  C.      Ralph  I. ami. ton.      After  J.   Ward   ...      1 
Turner,  J.  M.  W.     Antwerp  ;   Van  Goyen  looking 

for  .1  Subject 160 

Unknown.     Lady  Mary   Wortli  \    Montagu         ...         6 

Van  der  Banck.   J.     Elizabeth  Affleck 263 

\  .111    1  >vck. 

I   idy    and    Two    Children    of    the    Lomellini 

Family  ...         ■••         •••         •••         ••-     187 

Portrait  of  a  Man.      By  C.   llutm  121 

Van  Loo  (attributed  to).     Prince  Charles  Edward 

Stuart  2 

Velasquez.      Philip  IV.   of  Spain 153 

Vermeer  of  Delft,  Jan.  Music  Lesson,  I  he  ...  152 
Walker,  Wm.     St   James's  Pa  •••       61 

Walton  I  .  V.  U.S.A.  Briony  Wreath,  The  ...  268 
Ward,  Jas.  Ralph  Lambton.  By  C.  Turner  ...  1  1 
Watson,  J. 

Miss  Greenway.     After  Sir  J.   Reynolds         ...     219 

Miss  Moon.      After   P.   Falconet  21  , 

Watson,    I. 

Lady  Rushout  and  Children.     Alter  D.  Gardner     209 

Mis,  Kittj    Risii  JJ1 

Wi  stall.  R.     Reaper's  Child,    IThe.     By  M.  Bovi      233 

Wheatlej     F.     Little  Shepherdess,    t*he 169 

Williams.    Alyn.    P.R.M.S. 

Adelaide,  eldest  daughter  of  Waldo  N'cwcomen     248 

Gibbons,   HisEminenq    Cardinal         243 

Miss  Margari  t  Griffiss     ...         ...         ...         •••     247 


Artists — continued.  ' 

Williams,  Alyn,   P.R.M.S  ntinued. 

Miss   Patt)    Bri 

Mrs,    Vdams  Clark  

Mi-.   Nicholas  Longworth 
Willi, mi      Mi      Mi  redith.     "  G 
Wilson,  Benjamin.     David  Garrick  as  "  Hamlet." 

Mi   Udell  

\\  ilton    Josi  ph      Portrail   Bust     

Wouvermans    P.     Cavalry  Camp,    I  he     

Wrighl    K      Mi      Kittj  1  »n     in|        B     1 .  w 
Voun       I 

1  ,ii !,.  1  in-    \  1  1  ountess  Ham]   len  

Flov    r  1  rirl     rhe.      Vft  1    J.   Zoffany 

Zincke.      Kitty   Clive  

Zoffany,  J. 

David  Gar  Vbel  Drugger."     By  S.  W. 

Ri      in. Ids 

Flower  Girl,    h  B      |.  Y<  un  |         

Watercress  Girl,  The.     Bj    J.    R.  Smith 

Bronze. 

Audio. u     Venetian    Sixteenth  Century   (2) 

Figures. 

Andromeda.      By    Riccio 

Virtue  overcoming  Vi<  -  .      !'••.   B<  nvenuto  Cellini 
Inkstands.      By    Kiccio         3°. 


246 

270 

78 

2  7" 

15' 

224 

226 

21   j 

5 


79 
213 
213 


29 

3° 
30 
36 


By    J.   Mc  We  11 
Bv   J.   Dixon.  . 

By   J.   Smith. 


Coins  and  Tokens. 
Stockbrol    1       1  oken 

F.N  GRAVIS' 

Ancast  1     Mar}     1  »ucb  ss  of. 

aftei    1     Hud  on 
Ancaster,  Mary,  Duchess  of. 

Sir  J.   Reynolds 
Annandale,   William    Marqui     o) 

after  Sir  G.    Kneller... 
Bertie.  Lady  Charlotte.     By  W.  Dickinson    aftei 

Petei  

Bonfoy,     Mrs.      By     J.     McArdell,     alter    Sir     J. 

Reynolds 
1  arlini      Bartolozzi,     and     Cipriani.     By     J.     R. 

Smith,  after  F.   Rigaud       

Carwardine,    Mrs.,    and    Child.      By    J.    R.    Smith, 

alter  (',.  Romney 
Cremonese    Lady,    A.     Bv    J.     R.    Smith,    after 

Peters 
Crockett.  Miss.      Bv  J.  Dean,  after  J.  Hoppner... 
Cumberland,    Miss.      By    J.    R.    Smith,    after   G. 

Romney 
Executioner,  The  "  Little  Bj   Prince  Rupert- 

Flower  Girl,  The.     By  J.  Young    after  J.  Zoffany 
Garrick.  David,  as  "  Hamlet."      By   J.   Mi  Vrdell, 

aftei    Benjamin  Wilson       

Garrick,  David    a         Vbel   Dru r."     By  S.  W. 

Ui  \  mild     after  J.  Zoffany 

George    III.    returning    from    Hunting.      By    M. 

Dubourg,  after  Pollard        ...  Presentation  Plate, 

December 

Green.  Mrs.  Valentine,  and  Child.      By  V.  Green, 

after  P.   Falconet      

Greenway.    Miss.       By    1.    Watson,    alter    Sir    J. 

!  1  ,  ,',! 

Hampden   Catherine  Viscountess.      By  J.  Young 

after  J.   Hoppner 
Holyhead    and    Chester    Mails      By    R.     Ilavell, 

after    II.    Aiken  December  Cover 


72 

223 

77 
218 

83 

21--. 
21  2 

149 

71 

21? 

79 

79 


217 
219 

2  2'  < 


Index 


Plai 

ration  oi  the  Shepherds,  The.     By  R.  Anning 

Bell      -'" 

ro.     By  Titian  27 

Ballack,  Mrs.     By  1>.  Gardner     IS 

oline  of  Brunswick.      By  Sir    1.  Lawrence     ...      208 
Mrs.,   and   Child.     By   J.   R.   Smith. 
after  G.  Romney      ...  •■•  ••■  •■•       83 

Cumberland,    Mis-.     By    J.    R.    Smith,    after    G 

Romney  ...         ••■         ■••         •••         ■■■     J49 

De  Blaizel,  Marquise  de.      By  Sir  T.  Lawrence...       49 

Vismes,  Miss.      By  Sir  H.  Raeburn 138 

Douglas,     La.lv.     By     A.     Jamas,     after    Gains- 
borough ...  •-•  •••       Novembei    1 
Driving    ["andem       ...         •■•         ■••         ■■•         •••       59 

Dutch  Golfing  Girl,  A.     By  A.   Cuyp     105 

Georgi      HI      returning    from    Hunting.     By    M. 
Dubourg,   after   Pollard 

Presentation  Plate.  December 

ions,     His    Eminence    Cardinal...     Bv    Alyn 

Williams,  P.R.M.S 243 

Holyhead    and    Chester    Mails.     By    R.    Havell, 

after  H.    Aiken  D  Cover 

Lambton,    Ralph.      Bv    C.    Turner,    after    James 

Ward .  159 

La  Surprise.      By  S.  Cousins,  after  C.  M.  Dubufle 

October  Cover 

Napoleon  and  Marie  Louise.      Bv  Xoel  Bertram!      1S9 

Nymph  Salmacis.  The.      Bv  F.   J.  Bosio... 

Portrait     By  Rosalba  Camera     

1     Lady.      By   C.   Coppier,    after    Sir   T.    Law- 
rence   ... 

Portrait   of    a    Man.      Bv    C.     Hutin,    after    Van 
Dyck  ~ 

Portrait  of  a  Woman.      By  Primaticcio  ... 

Reapers    Child.    The.      Bv    M.     Bovi,     after    R. 

Westall  233 

Royal  Hunt  in  Windsor  Park.      By  M.  Dubourg, 

after  Pollard   ...         P>i  Plate,  December 

Russell.   Miss   Hannah.      By  W.    Hoare 37 

Shepherdess,   The  Little.      By   F.   Wheatley        ...      169 

Sheridan.  Mrs.,  as  "  St.  Cecilia."      By  W.  Dickin- 
son, after  Sir  J.   Reynolds 221 

Spencer,    f.adv.      Bv   W.   Dickinson,   after   Sir   J. 

Reynolds        121 

Stanhope,    Hon.    Mrs.      By    J.    R.    Smith,    after 

Sir   J.    Reynolds        ...  ...  ...  ...      2;; 

Stephenson.  Miss.      Bv  W.  Dickinson,  after  Rev. 

W.  M.   Peters..!  179 

Stuart,    Prince    Charles    Edward.      Attributed    to 

Van  Loo  ...  ...  •■•  •••  •-•  - 

Washington,  George.     Bv  W.  Nutter,  after  C.  G. 

Stuart  ...         ...  ...       September  Cover 

Pottery  and  Porcelain. 

Brownware  and   Stoneware. 

Bourne  Flask        i°7 

Fulham  Jug  102 

Mug  102 


92 
271 


129 
199 


Pottery  and  Porcelain — continued. 
Brownware    and   Stoneware — continued. 

Lambeth  Bottle,   Constable's  Staff        107 

Goblet 104 

J"S          104 

,.     Nelson       ...         ...         ...         ...  107 

Mugs      103 

Nottingham    Jug  ...          ...          ...          •••          •••  104 

Mug               101 

Buen   Retiio.      Pots  and   Covers   ...          ...          ...  228 

Caudle   Flask               185 

Chelsea   Vasi  -            229 

Chinese.      Vase.   Famille-Yerte.   Kang-he...          ...  31 

Gubbio  Dish 36 

Japanese  Pottery,  Examples  in  Sir  William   Van 

Home's   Collection    ...          ...          ...          ...  9_I4 

Longton  Hall  Vases 230 

Palissv  Dish.     From  the   Magniac    Collection    ...  227 

Salt  Glaze  Teapots 231 

Worcester   Vases        ...          ...          ...          ••■          •••  232 


Relii  s. 

Spanish  Armada,  Relics  of 23-26 

Stuart   Badge             ...          ...          ■••          ■•■  ■••     -5  5 

Snuff-box  made  from  Boscobel  oak  ...      255 


Sculpture  and  Statuary. 

Cancelli  of  Salerno   ...          ...          ■■■          •••          ■■•  lS4 

Doorway  of  Flaa  Church,  Halhngdal        1S4 

Faun  and  Nymph.      By  Rodin      203 

Francesco  da  Sangallo.      By  Himself        191 

"  Grief."     Mrs.   Meredith  Williams            270 

Head  in  Relief  in  Marble 57 

L' Amour  qui  passe.      By  Auguste   Rodin            ...  127 

Nymph  Salmacis.  The.      By  F.   J.  Bosio 93 

Portrait  Bust  of  Joseph  Wilton 259 

Seals. 

Cast  of  the  first  Mavoraltv  Seal  of  City  of  London, 

c.    1280             L59 

Cast  of  second  Mayoralty  Seal  oi  City  of  London, 

c.    1381         " L39 

Silver,  see  under  Gold,  Silver,  etc. 

Stav-busk,   Bone            "9 


Tapestry. 

Flemish,  Fifteenth  Century  Panel 32 

Wood-Carving. 

Coffret,  Carved.     By  Miss  A.  L.  Hitchcock       ...      1 33 

Italian  Rococo  Candlestick  92 

Walking-sticks,  Examples  of         52-  53 


Index 


l\    THE    SALE    ROOM 


GRAPHS. 

Byron,  Lord.     Letter  n    Shelley's   Death 

omwell,  Oliver.     Letter 

Elizabi  th      Queen.     Holograph     Lettei     to     Sir 

Nicholas    I  hrogmorton         

M,,.  of  Scots,  <  ommission  signed  Vy   ... 

Randolph,    T.       Letter    to     I  arl     ol      Leio 

annoum  Lng      appr  iai  hing       Mai  i  ia  ;e      of 
M.n\     Quei  n    ol     Scots 


and      Vi\ an<  :  ment    of 


B  lOKS. 

Bacon,     F.     Proficience 

Learning,    1605 
Beaufoy,    Mr.    11.    B.     Dispersal    ol    First    Folio 

Editions  ol  Shakespeare 
Burlington   Fine   Arts  Club  Catalogues. 

Ancient  Greek    \<<     1904 

Bookbindings,    1891 

English  Mezzotint  Portraits,   1902         

European   Enamels,    [897 

Faience  ol  Persia,   1908 

Illuminated   Manuscripts.    1908 

Iron  Work  of  European  Origin,  [900 

Pictures  l>v  Masters  ol  .  .  .  Schools  oi  Lombard) 

1899 

Silversmiths'  Work  ol  European  Origin    1901... 
Burney,  F. 

nulla,    1782  

1  .  1  ilia     1  782 

Evelina,   1778 

Wanderer,  The,   [814       

Burns,   R.     MS.   Poems       

Gould.  J.      Birds  of  Great  Britain.   1873 

Hooper,    late    Mr.    \V.    H.      Dispersal  ol    Library... 
Keats,     |.      I. anna  ;      Isabella;     and     The    Eve    of 

St.    Agnes,    and    other   Poems 
Kelmscott   Press   Publications". 

i        iv  ol   Reynard   the  Foxe,  1892 

Life  and    Death  ol   Jason,   1895 

News   from   Nowhere,    1892 

Well  at  the  World's  End,  1896 

Works  of  Chaucer,   1896... 
Milton,   J. 

Floweres  of  Sion.    1623     ... 

Paradise  Lost,    1667-68 

Morris.   W.     Note   on   his  aims  in   founding   the 

Kelmscott    Press.    1898  

Shakespeare. 

Folio  Editions,  First  Four 

Poems    written    by    Will    Shakespeare,    Gent. 
1640     ... 
Ycrnct,  ('.     Military    and  other  Costumes 

Coins  and  Tokens. 

American    Coins   and    Tokens 
Caldecott  Collection,  Dispersal  of... 

Charles  I.     Unite     

Commonwealth.      Shilling   and    Sixpence... 

Durban  Club  Tokens 

Elizabeth.      One,    two,    four,   and   eight   Reals   ... 


55 


54 


55 
55 
55 

55 
55 


53 

55 
54 


54 
55 
54 
55 
55 

55 
55 


54 


56 

56 
56 
56 
56 
56 


Coins  and  Tokens     continued. 

1  Iriquatow  n    I  0                      •••          •••          ••■          •••  56 

Guei  fi  ken 

Hong  Kon      Patt<  rn    Hollar           56 

India. 

1  1,1    .11111.1    1  'iece     ...         •■■         •■•         •••         ■••  5<5 

II, ill  rupee 56 

Patna   Pos1    rwo  Annas  ...          ...          ...          ...  56 

Rupee         56 

I  -I'     ol    Man. 

Pattern    Halfpi  nny           $6 

Penny       ...           ...           ...           ...           ...  56 

Peel  Castle  Hall  Crown 56 

Prooi  Halfpenny 56 

Java    Rupees             $6 

Jersey   Token...         ...         ...         ...         ...         ••■  56 

l'nbi  Penang. 

Half   Rupee           5" 

Rupee         ...         ...         •••         •••         ••■         •••  $6 

Shanghai    Pattei  n    I  ael       ...         ...         ...         ■••  ;6 

William   111.     Five-guinea  Piece 6 

William    l\.    and    Queen    Adelaide.     Coronation 

Metlal  ... 56 

Egyptian     Antiquities,      including      "  A      Funeral 

Feast,"   Painting  on   Stone...          ...          ...  56 

Engravings  and  Etchings. 

Arundel  Society.     Chromo-Lithographs  and    En- 
gravings            55 

Bartolozzi  and  Nutter.     Lecture  on  Gadding  and 

The   Moralist,      Alter  J.    R.   Smith 56 

Baxter.  G.     Launch  of  II.M.    Trafalgar  ...  55,   56 

Bone.    M. 

Building,    A              5°" 

Cambridge   Midsummer  Fair        ...           ...           ...  56 

Clare   Market           5" 

Culross   Roofs        ...          ...          ...          ...          •••  56 

Etchings  of  Glasgow       56 

Masts,  Lincoln,    The          56 

Brangwyn,   F.     London  Bridge     56 

Buck.    V 

Give   Me   a    Kiss.      By    Roberts  and    Stadkr    ...  56 

Sophia   Western.                 ,,                 ..               ■••  56 

Cameron,    D.    Y. 

Beauvais     •••         ...         ••■         •••         ■••         ••■  ;" 

Border    Tower,  A   ...           ...           ...           •••           •■•  5° 

I  lolyrood  in   1745...         •••         ■••         •••         •••  56 

Hotel  de   Sens        $6 

Meuse,   Dinant,  The         ...         ...         ■••         •••  56 

St.   Merri 5" 

Eddy.      Plains  of   Abraham            55 

Fitton,   Hedley. 

Burgo  S.    Jacopo,    Florence           ...           ...           ...  5$ 

Founder's    Tomb,   Winchester 55 

St.    Andrew's  Castle           55 

Haden,   Sir   I-'.   Seymour,     Sunset   in    Ireland,    A  56 

Hoppner,  J.     Mrs.  Jerningham.     By  H.  Meyer...  56 
Keating,  G.      Children  Playing  at   Soldiers.     After 

Morland          5*5 


^ 


'#©?? 


PRINCE    CHARLES    EDWARD    STUART 


i  *-      t  r\r~\ 


September,   1912. 


Pictured 


Plumbagos 


By    Weymer    Mills 


Miniatures  in  lead  pencil,  othei 
plumbagos,  have  received  only  scant  attention 
art  historians.     Although  examples  arc  to  be  met  with 
in  almost  all  the  famous  collections  of  likenesses  in 
little,  the  world  in  general  knows  nothing  of  them. 
That    this    ran      :  oi     portraiture    hud    it- 

rs  is  now  being  conceded.    The  dusty  plumbago 
in  its  worm-eaten  pi  rame,  often  looked  upon 

bv  the  uninformed  as  a  print,  is  climbing  upwards  in 


the  scale  of  appreciation.  Ask  at  nine  out  of  ten  old 
picture  shops  for  plumbagos,  and  they  will  gaze  at 
you    wanly   and    smile.      Yesterday    the    smile    m 

been  on.-  of  derision.     A  new  country  has 
opened    up    by   the    tireless    collector,    and  the  wily 
d  alers,    who   always    follow    in    a   pack   when    tin 
journeying  is  safe,  are  upon  his  shallow. 

The  great  plumbago  period  dates  from  the  1 
mencement  of  the  Commonwealth  to  the  accession 


wm 


CARDINAL     MA/AKIN  BY     DAVID     LOGGAN 

Vol.  XXXIV— No.   133.— a  3 

[Copyright  by  J.  T.  Herbert  Baily  in  the  United  States  of  America,  May,  1901] 


The    Connoisseur 


A     SHEPHERDESS 

of  Queen  Anne,  reaching  its  zenith  during  the  early 
years  of  the  reign  of  Charles  II.  Draw  back  the 
curtains  of  the  past  to  that  scented,  be-ribboned 
world  bursting  into  a  sudden  exotic  bloom  after  the 
"close  time"  of  the  Commonwealth,  and  we  find 
the  most  alluring  of  the  pencil  portraits  by  Loggan, 
Faithorne,  Paton,  and  their  followers.  Ladies  wear- 
ing the  fashionable  three  sets  of  curls,  "  favourites, 
heart-breakers,  and  confidents,"  and  gentlemen  in 
the  new  periwigs.  The  brush  of  Van  Dyck  never 
gave  more  lustre  to  silks  and  satins  than  the  humble 
lead  of  the  plumbago  artists.  Samuel  Pepys  saw  one 
done  by  "Faythorne"  of  Lady  Castlemaine,  and 
confided  to  his  diary  that  it  was  "  the  finest  thing  he 
ever  saw  in  his  life."  David  Loggan,  who  was  born 
in  Dantzig,  and  is  said  to  have  been  instructed  by 
Van  de  Pass  in  Denmark  before  he  journeyed  to 
London,  and  this  William  Faithorne,  who  studied 
under  the  famous  Nanteuil,  were  the  first  of  the 
seventeenth- century  favourites.  They  knew  all  that 
giddy  Whitehall.  For  a  moment  when  "Sweet-harts" 
paused  in  the  heated  masque  of  love  they  drew  them. 
of  the  parchments  have  come  down  to  us — all 
whispering  of  old  romance  and  the  days  when  a  gay 


BY     ALEXANDER     COOrER 


court  on  the  heels  of  its  sovereign  sought  Bucking- 
ham's elixir  vita?  in  its  own  mad  way. 

The  pen  of  Horace  Walpole  has  left  us  almost  all 
we  know  of  the  plumbago  artists  who  worked  in  Eng- 
land in  the  periods  preceding  him,  and  in  his  own 
day.  He  was  a  century  and  a  half  nearer  to  them 
than  we  are.  There  is  no  evidence  that  he  valued 
them  prodigiously,  nor  could  we  expect  him  to  when 
his  path  was  literally  strewn  with  a  goodly  portion  of 
the  finest  miniatures  in  existence.  At  long  intervals 
plumbagos  come  to  light,  each  with  a  few  tangible 
shreds  of  a  story  to  add  to  the  history  of  the  art. 
In  the  highly  coloured  eighteenth  century  the  rich 
virtuosos  probably  thought  them  depressing  things, 
and  associated  them  with  convents  and  monasteries 
— sad  piety  or  dull  learning.  One  century  often 
reverses  the  verdict  of  another.  Judged  by  all  the 
standards  of  portraiture,  does  anything  excel  a  Loggan 
done  from  life  in  that  brilliant  youthful  period  before 
the  artist's  eyesight  was  harmed  by  his  herculean 
labours  at  Oxford  and  Cambridge  drawing  the  colleges? 
His  inner  eyes  penetrated  to  the  souls  of  men.  Take, 
for  instance,  his  Lord  Rochester,  who  is  about  to  make 
a  cruel  bon  mot.     Sir  Greville  Verney  can  dance  the 


Plumbagos 


PEG     WOFFINGTON 
BV    BERNARD    LENS    Till     SECOND 


Faithome  portraits  are 
more  like  shadows  of 
I  ly.  The  rare  and 
(•harming  work  of  Paton 

in  elusive 
its  own.  1  [is  periwigs, 
which  are  miracles  of 
curls,  seem  to  give  to  the 
faces  of  stern,  weary  men 
an  ideality  halting  on 
the  steps  of  prettiness. 

One  of  the  finest 
Loggans  in  existence  is 
the  portrait  of  Cardinal 
Mazarin,  first  repro- 
duced with  this  article. 
It  was  found  in  Chelsea, 
and  is  said  to  have  been 
the  property  of  his 
niece,  the  once  radiant 
Hortense  Mancini, 
Duchesse  de  Mazarin, 
who  died  there  an  old 
squalid  woman  some- 
thing over  two  centuries 
ago.  The  pictured  lips 
of  the  great  Cardinal 
seem  to  want  to  tell  us 
many  a  tale  of  this 
madcap  daughter  of  his 
sister,  Jeromina.  1  lis 
likeness  done  in  1659, 
shortly  before  his  death, 
was  probably  brought  by 
her  to  England  in  1675, 
where  she  was  destined 
to  play  at  love  with  the 


■•  1  rench  Brawl"; 
but  for  all  his 
flaunting  apparel 
his   are    graver 

thoughts.  Ni  II 
I  '.  .\  \ -n  is  no 
Ellen,  as  she  was 
sometimes  called 
by  the  fulsome, 
but  simply  Nellie 
in  love  with  all  the 
love  in  the  world. 
Loggan  was  to 
the  lead  pencil 
what  Van  Dyck 
was    to  the  brush. 


king,  dimming  the 

n  of  the  b 
ties  Castlem 
and  Portsmouth, 
and  on  ing 

M  istress  Gwyn 
into  mourning 
attire  The  pi  n 
ni  the  Marquise 
de  Montespan  has 

rib  d  the  riot 
of  wealth  in  which 
Hortense  moved 
as  a  girl  while 
dwelling     with 

uncle.     II  ■ 


QUEEN    MARY 


1IY    J.    FABER 


i'     LEOLIN         IENKINS 
BY    I'ATON 

tempestuou  ■■  iffairs, 
always  in  an  elegant 
setting,  an  matters  of 
history  ;  but  somehovt 
one  always  think  1  ol  hei 
a  poverty-stricken 
woman  in  ( Chelsea  with 
dinnei  guests  leaving 
gold  pieces  under  th 
plates.  \\  hi  n  rhackeray 
and  his  friends  used  to 
ramble  through  Paradise 
Row,  a  portion  of  her 
garden  house,  where  she 
gave   music    parlies,  was 

still  standing.  Tradition 
says  she  was  fond  of 
curios  and  works  of  art, 
and  she  may  have  had 
a  fancy  for  the  work 
of  David  Loggan,  for, 
strange  to  relate,  another 
plumbago  1  >\  I ,( iggan  was 
found  in  the  street  where 
she  once  lived.  This  is 
ol  Mi  >.  Perwii  k,  a  sing- 
ing teacher,  who  was  her 
contemporary.  Loggan 
must  have  done  portraits 
of  the  king  soon  all.  1 
coming  to  England. 
When  the  drawing  ol  the 
cardinal  was  taki  tl  from 
the  frame,  the  vellum 
was  found  to  be  backed 
by  a  delicate  sketch  of 
Charles  II.  on  paper. 


NATHANIEL    LEE  BY    FAITHORNE 


LADY    MARY    WORTLEY  MONTAGU  ARTIST    UNKNOWN 


WASHINGTON    IRVING  BY    SIR    THOMAS    LAWRENCE 


EARL    OF    ATHLONE  BY    J.    FABER 


Plumbagos 


I 


I'.ach  collector 
of  plumbagos 
will  tell  you  that 
the  work  of  his 

favourite  arti>' 

the  most  difficult 

to  find.     Besi 

the  tin 

artists    m e  ra- 
tioned,   there    is 

a   Bellamy,    who 

did  Cromwell  in 

.  jxander 

per,   Faber, 

Robert  White,  a 

pupil  of  Loggan, 

Thomas  For 

whose  Duke  and 

1  >uchess  of  Marl- 
borough   repose 

at    the    South 

Kensington 

Museum,   Bern- 

ard   Lens  (the 
■nd), who  por- 
trayed Bonnie 

Prince  Charlie, 

Venue,  and  the 
■ph 

VV  e  r  n  e  r ,     w  h  o 

must  have  done 

wonders  with  that 

historic  mountain  crowning  le   -rand  Monarch.     On 

in  Georgian  days  we  find  sons  of  Faber  and  White, 

Jervas,  Windter,  who  did  George  11.  in  Hanover,  and 
later  came  to  England,  Thomas  Worlidge,  Zincke,  the 
Richardsons,  <  )zias  Humphrey,  the  Condes,  John 
1  lav.  and  a  few  others.  Many  of  the  plumbago  artists 
were  engravers  as  well,  and  most  of  them  tried  their 
hands  on  other  styles  of  portraiture.  "The  things 
are  impossible  to  find. "  said  a  famous  miniature  col- 
lector. Father  Time  laughs  at  such  laggards  who  ride 
by  in  chariots  with  Cnesus.  Only  the  other  day  he 
took  from  urn!       i  I   his  hoar  wings  an  unknown 

portrait  of  the  handsome  Nathaniel  Lee  by  Faithorne, 
who  left  Cambridge  under  the  patronage  of  the  Duke 
of  Buckingham  to  dance  into  one  of  the  most  madcap 
and  tragic  careers.  Pipe  up  shepherds  in  "  Lycidas," 
for  you  sang  for  his  youth.  Take  off  your  mask, 
Louise  de  Querouaille,  for  your  smiles  caused  him 
to  dedicate  two  of  his  plays  to  you.  Who  was  I 
asks  the  Modern,  for  the  fame  of  his  "  Rival  Queens" 
has  not  reached  this  age.  This  unknown  portrait 
shows  him  as  he  was  when  a  favourite  of  the  town. 


SIR     JOSHCA     REYNOLDS 


His  genius  burnt 

out  to  all  the 
m  o  s  t  wanton 
mu  1 1    tii at 

iart    court. 
But  through  the 

tl allies   he   n 
always    listening 
me    half 

di\  l 

on  love's  viol 

It  winds 

1  i  k  e  a    silver 
thread    in    I 
riotous  langui 

o  f    his    p  la  y  s. 

Faith ouie   I 

shown  him  as 
the  dreamer, 
h  a  picture  is 
worth  its  Wright 
in  ])  r  e  c  i  o  u  s 
stones  ;  but  the 
man  who  sold  it 
for  a  small  sum 
remarked  that 
his  customi  i  - 
only  cared  for  col- 
oured drawings. 

IntheGeoi 
period  a  pei 
of  considerable 
note  in  its  own  time  was  that  of  Jonathan  Richardson. 
Dr.  Johnson  said  that  he  was  better  known  by  his 
books  than  his  portraits,  but  I  fear  to-day  that  his 
ponderous  titles,  such  as  An  Essay  on  the  whole  Art 
of  Criticism  in  Relation  to  Painting,    l  Argu- 

ment on  behalf  of  the  Science  of  a  Connoisseur,  rather 
drive  us  in  the  direction  of  his  chaste  plumbagos. 
Win  never  I  pass  through  Queen's  Square,  which  is 
one  of  the  spots  in  London  where  eighteenth-century 
ghosts  would  surely  come  in  fal-lals  and  fripperies, 
I  think  it  the  wrong  place  for  the  pious  Richardson 
i\e  lived.  He  is  never  one  of  the  delightful 
figures  in  Hayes's  old  drawing  of  that  region.  One 
always  pictures  him  reciting  passages  from  the  Bible, 
or  the  poet  Milton,  to  his  near-sighted  son  and  a 
group  of  thin-visaged  toadies.  A  pencil  head  of 
\\  ton  with  his  signature  was  recently  sold  in  Li 
for  fifty  shillings.  I  have  seen  several  smug  pa 
done  by  him.  Of  course  he  had  one  of  his  anus 
linked  in  that  of  the  world,  for  he  painted  portraits 
of  many  celebrities.  That  he  was  considered  m\ 
erudite  of  the  first  rank  is  quite  evident  from  what  is 


BY     HIM 


The   Connoisseur 


known  of  his  circle.  In  the  National  Portrait  Gallery 
there  is  his  cold,  lustreless  painting  of  Anne  Oldficld, 
the  actress.  Alexander  Pope  engaged  him  to  do  a 
portrait  of  him  in  plumbago,  and  also  one  of  his 
mother.  No  pencil  drawing  by  any  of  these  masters 
of  the  art  can  be  said  to  be  in  the  least  common, 
hut  the  work  of  Richardson  is  met  with  oftener  than 
any  of  his  great  forerunners.  His  son  owned  port- 
folios of  his  sketches  which  were  dispersed  after 
his  d.ath.  The  town  flocked  to  the  post-mortem 
sales  of  the  Richardsons,  father  and  son.  We  can 
imagine  Horace  Walpole  frequenting  the  former  sur- 
rounded  by  a  do/en  cackling  "blues/'  At  the  terrible 
slaughter  of  Strawberry  Hill,  one  of  the  items  was  a 


fine  miniature  of  Thomas  Hoivard,  Duke  of  Norfolk, 
by  Sir  Antonio  More,  "formerly  the  property  of  the 
artist  Richardson." 

Plumbago  portraits  by  English  artists,  or  artists 
who  resided  here,  are  so  very  rare  that  it  seems  strange 
that  there  should  not  be  more  than  half-a-dozen 
well-known  collectors  of  them.  They  suggest  all  the 
pageantry  of  the  past  looked  at  in  some  far-away 
land  of  soft  shadows,  and  have  a  certain  strength 
and  knowledge  of  the  pale  master  that  colour  would 
kill.  Living  with  them  breeds  a  sense  of  peace  and 
philosophy.  From  their  smiling  or  stern  expressions 
one  gathers  knowledge.  They  are  the  still  friends 
who  open  the  highest  doors  of  the  imagination. 


BY    T.    DE    KEYSER  FORMERLY    IN    THE    COLLECTION    OF    LORD    RONALD    GOWER 


Sir  William  van   Home's 
Collection  of 
Japanese   Pottery 


Sir  William  van  Horne's  collection  of 
Japanese  pottery  is  the  most  important  of  all  his  art 
treasures,  apart  from  the  paintings,  because  of  its  com- 
pleteness. It  numbers  something  like  two  thousand 
objects,  and  covers  the  whole  range  of  the  ceramic  art 
of  Japan.      N'early  all  of  the  famous  kilns  and  gri  al 


potters  are  represented  by  numerous  examples.  The 
artistic  merit  of  the  various  pieces  has  been  the 
governing  consideration  in  bringing  them  together. 
The  merely  curious  or  quaint  have  been  excludi  d,  and 
an  extensive  and  long-continued  system  of  culling  and 
replacement   has    brought    the    collection    to   a   high 


SOME     EXAMPLES     OF     THE     WORK     OF     THE     EMINENT     JAPANESE     POTTER     KENZAN 

9 


The    Connoisseur 


r 


EXAMPLES     OF     THE       WORK     OF      NINSEI 


standard  oi  quality  and  art  interest.  Its  adequate 
representation  in  an  article  of  this  kind  would  be 
impracticable,  and  the  illustrations  have,  therefore, 
mostly  been  taken  from  the  Satsuma  section,  and  they 
will  perhaps  serve  to  give  an  idea  of  the  scope  and 
character  of  the  whole.  Somewhat  exceptional  oppor- 
tunities    and    a   wide   acquaintance   among    Japanese 


experts  and  amateurs  has  made  it  possible  to  bring 
together  this  collection,  the  duplication  of  which  would 
now  be  impossible,  and  recognizing  its  interest  to 
lovers  of  art,  the  owner  is  engaged  in  making  a 
somewhat  elaborate  catalogue,  illustrated  with  water- 
colour  drawings  of  his  own,  done  at  odd  moments 
of  leisure. 


EXAMPLES     FROM     Till      PROVINCE    OP     OM1 
IO 


OLD     IMARI 


A     GIFT     OF     THE     EMPEROR     OF     JAPAN 


EXAMPLES    OF     IHE     RAKU     FAMILY 


EXAMPLES    01      THE     WOKK    OF     KOYETSU     AND     KOYEMON 


'3 


EARLY  NINETEENTH  CENTURY 


A  CABINET  OF  TEA  JARS 


14 


MRS.    BALLACK 

BY    DANIEL    GARDNER 


Ancient    and    Modern    Embroidered    Pictures 
By    Mrs.  Delves    Broughton 


That  little  instrument  mentioned  bv  Iioctor 
Johnson  as  "  pointed  at  one  end  to  pierce  cloth,  and 
perforated  at  the  other  to  receive  thread,"  has  plied 
its  trade  from  prehistoric  ages  down  to  our  own  day, 
and  has  left  in  its  train  numerous  examples  from  the 
different  countries  and  the  various  dynasties  through 
which  it  has  passed.  Its  antiquity  is  undeniable  :  we 
its  existence  before  the  las)  glacial 
period  in  Britain,  and  early  historians  and  poets 
make  needlework  their  constant  theme.  Works  on 
the  subject  are    so  numerous   that   it  seems  almost 


impossible  to  find  anything  connected  with  the  needle 
which  has  escaped  notice;  and  yet  one  branch  of 
this  tree  of  knowledge  (dear  to  the  heart  of  the 
writer)  still  calls  for  further  description,  namely,  the 
reproductions  of  today,  and  their  prototypes,  the 
charming  figure  and  landscape  studies  embroidered 
on  silk  and  satin,  that  followed  and  supplanted 
ancient  tapestry  pictures.  The  fashion  of  their  i. 
remained  practically  unchanged  until  tin-  dazzling 
hues  of  Merlin  wool  and  the  coarse  foundation 
of  cotton   canvas   brought   back   a    1mm-    imitation  of 


NO.    I. OLD     EMBROIDERY 


WORKED     IN     LONG     AND     SHORT     STITCH     ONLY 
17 


The    Connoisseur 


NO.  II. — SUBJECT  AFTER  MORLAND 

tapestry,  and  flooded  the  country  with  grotesque 
representations  of  celebrated  pictures.  Fortunately 
this  Victorian  lapse  from  artistic  needlework  was  but 
transitory  ;  we  no  longer  see,  except  neglected  in  the 
corner  of  a  second-hand  furniture  shop,  the  pole- 
screen  with  its  carefully  framed  and  glazed  picture  of 
the  lover  and  his  lute  waiting  expectant  beneath  his 
lady's  window,  while  she,  with  an  unalterable  and  very 
vivid  blush,  is  about  to  drop  to  him  hsx  gage  d'amour, 
the  pure  white  lily  flower.  This  species  of  work, 
executed  entirely  in  cross-stitch— a  stitch  of  very 
ancient  origin  and  suitable  for  many  a  conventional 
pattern,  but  inappropriate  to  figure  studies — has  a 
kaleidoscope  effect  which  conveys  to  the  beholder  a 
sensation  of  giddiness,  comparable  only  to  that  pro- 
duced by  a  photograph  when  the  camera  has  been 
unwittingly  shaken  during  exposure.  Vet,  despite 
these  drawbacks,  it  is  not  unlikely  that  in  years  to 
come  our  descendants  to  the  third  and  fourth  genera- 
tion   may    seek  as  diligently    and    pay  as   highly  for 


WORKED     IN     LONG     AND     SHORT     STITCH 

these  now  despised  pictures  as  we  do  at  the  present 
moment  for  the  old  tapestry  representations  of  dis- 
proportioned  sheep  and  impossible  birds  and  flowers, 
works  of  art  in  which  perspective  finds  no  place.  It 
might,  indeed,  be  wise  while  there  is  yet  time,  and 
Berlin  wool  and  cross-stitch  are  at  a  discount,  to 
invest  for  the  benefit  of  our  children's  children,  hoping 
that  years,  aided  by  the  corruption  of  moth  and  dust, 
may  cast  a  halo  around  our  purchases,  and  thus 
increase  their  value  a  thousandfold. 

But  this  is  a  digression.  We  must  return  to  the 
embroidered  picture  which  we  have  chosen  for  our 
present  theme,  and  which  resembles  but  in  one  respect 
the  above-mentioned  atrocities,  in  that  it  also  was 
frequently  the  copy  of  a  celebrated  painting  or  print. 

The  allusion  to  picture  embroidery  by  Lady  Marian 
Alford  in  her  standard  book  on  needlework  is  but 
sketchy.  She  says,  "About  the  middle  of  the  last 
century  several  ladies  copied  pictures  in  worsted. 
Some  of  them  are  wonderfully  clever  and  even  pretty, 


Q   z 
Z  - 

<i 


5  5 


5  ■ 


?   « 


u 

z 

l-l 

o 

H 

Cfl 

tn 

c/> 

W 

H 

(/] 

X 

;/: 

o 

o 

K 

a. 

X 

U 

Q 

X 

z, 

H 

o 
Z 


"' 


TJie    Connoisseur 


NO.    V. — OLD    PICTURE  WORKED    IN    THE    LATTER    PART    OF    THE    EIGHTEENTH    OR    EARLY 

IN    THE    NINETEENTH    CENTURY.    IN    LONG    AND    SHORT    STITCH    AND    FRENCH    KNOTS 


but  they  are  rather  a  painful  effort  of  pictorial  art 
under  difficulties  than  legitimate  embroideries.  Some 
of  the  followers  of  this  school  produced  works  that 
are  shocking  to  all  artistic  sense,  especially  as  seen 
now,  when  the  moths  have  spoiled  them.  They  can 
only  be  classed  with  such  abortive  attempts  at  decora- 
tion as  glass  cases  filled  with  decayed  stuffed  birds, 
and  vases  of  faded  and  broken  wax  flowers."  This 
is  rather  a  sweeping  condemnation  of  needlework 
pictures,  and  one  in  which,  presumptuous  as  it  may 
seem,  we  cannot  agree.  No  doubt  many  of  them 
were  hopelessly  out  of  drawing  and  well  deserve  such 
severe  criticism,  but  in  no  branch  of  work  does  every 
specimen  reach  perfection.  "Even  pretty"  is  but 
faint  and  grudging  praise  to  bestow  upon  such  delight- 
ful pictures  as  are  here  illustrated,  and  we  must  only 
surmise  that  Lady  Marian  Alford,  in  her  search  for 
more  ancient  and  elaborate  needlework,  overlooked 
these  charming  little  silk  embroidered  productions. 


The  even  monotony  of  the  old  tapestry  tent-stitch 
gave  place  to  a  crowd  of  varieties,  not  new  in  them- 
selves, for  there  is  nothing  new  under  the  sun,  but 
new  in  picture-making.  As  early  as  the  sixteenth 
century  Taylor,  in  his  Praise  of  the  A'eedle,  gives  a 
curious  list  of  various  works  and  stitches,  showing 
that  of  the  latter  there  was  even  then  an  abundant 
supply.  He  tells  of  "  Tent-worke,  rais'd-worke,  laid- 
worke,  froste-worke,  net-worke,  most  curious  purles 
or  rare  Italian  cut-worke,  fine  feme-stitch,  finny- 
stitch,  new-stitch,  and  chain-stitch,  brave  bred-stitch, 
fisher-stitch,  Irish-stitch,  and  queen-stitch,  the  Spanish- 
stitch,  rosemary-stitch,  and  morose-stitch,  the  smart- 
ing whip-stitch,  back-stitch,  and  the  cross-stitch. 

"  All  these  are  good,  and  these  we  must  allow, 
And  these  are  everywhere  in  practise  now." 

The  "Opus  Plumarium  "  group  of  stitches,  com- 
prising satin,  stem,  and  long-and-short  stitches,  play 


Ancient  and  Modern   I  Embroidered  Pictures 


No.    VI. — LANDSCAPE 

an  important  part  in  these 
They  are  worked  Lengthways, 
like  the  plumage  of  a 
bird,  from  which  they 
derive  their  name.  Their 
utages  are  twofold, 
for  with  them  light  and 
shadow  can  be  depicted 
by  merely  altering  the 
lie  of  the  stitches  with- 
out changing  the  shade 
of  the  material  in  use ; 
while  in  the  variation  of 
their  length,  thicki 
and  closeness  to  each 
other  many  different 
i  obtained, 

and  the  design  inter- 
preted according  to  the 
taste  of  the  worker. 
Specimens  entirely  em- 
broidered in  long  and 
short  stitch  can  b 
in  Xos.  i.,  ii..  iii.  and  vi. 
French  knots  are  also 
popular  for  these  little 
pictures,  and  give  good 


PARTLY    WORKED    BY    MRS.    WALLACE 


MODERN    LONG    AND    SHORT    STITCH    WORK 


embroidered    pictures, 
overlapping  each  other, 


No.    VII.  —  LADY    RCSHOUT    AND    DAUGHTER 

WORKED    BY    MRS.    CRAIG  MODERN    WORK    IN    LONG 

AND    SHORT    STITCH    AND    FRENCH    KNOTS 


depth  to  masses  of  heavy  foliage.      They  are  shown 
to  advantage   in    No.  v.,  where    not    only  the  trees 

seem  to  stand  apart 
from  the  figure,  but  the 
bunch  of  flowers  held 
in  the  hand  looks  as 
in  nature,  raised  and 
separate  from  the  flesh 
beneath.  This  is  a 
delightful  sample  both 
in  the  excellence  of 
the  work  and  in  the 
softness  of  the  painting, 
the  effect  of  fair,  curling 
hair  and  the  muscles  in 
the  arm  bei  pe<  ially 

well  reproduced.  In 
No.  i.  the  work  is  still 
liner,  and  the  painting 
done  b)  a  master  hand. 
Its  framing,  tOO.and  thai 
of  its  companion, 
much  to  their  charm,  the 
graceful  gilt  bordering 
dividing  the  pictun 
from  the  surrounding 
black  glass,  giving  to 


21 


The    Connoisseur 


them  a  somewhat 
"Adams"  effect.  In  the 
remaining  illustrations 
French  knots  are  n 

or  less  visible,    but  the 
and  short  stitch  is 
still  paramount. 

The  interest  attached 
to  old  needlework  pic- 
tures has  enormously 
increased  of  late  years 
by  the  revival  of  this 
dainty  work,  and  "paint- 
ing with  the  needle,"  as 
it  has  been  called,  is 
again  a  popular 
occupation.  Judging  by 
theexampleshereshown, 
the  modern  specimens 
bid  fair  to  rival,  if  not 
excel,  their  predeces- 
sors.  In  No.  vi.  there 
is  nothing  left  to  be 
desired  either  in  artis- 
tic composition  or  fine 
execution  ;  the  colouring  is  subdued  and  the  effect 
entirely  charming.  Landscape  subjects  are  less  fre- 
quently met  with  in  these  productions  than  are  figure 
studies,  whose  flowing  garments,  picturesque  head- 
g  ar,  and  dress  ornamentation  lend  themselves  to 
the  glistening  softness  of  the  silks  in  which  they  are 
worked.  This  is  perhaps  more  noticeable  in  the 
older  examples,  our  ancestresses  seeming  to  care  less 
for  variety  than  their  descendants. 

Picture  embroidery  is  not  as  easy  of  accomplish- 
ment as  it  may  appear  at  first  sight,  not  that  the 
actual  stitchery  presents  insurmountable  difficulties, 
but  that  there  is  needed  to  secure  success  a  practised 
eye  for  colour,  and  an  artistic  temperament.  The 
work  not  being  of  a  mechanical  nature,  there  is  left 
plenty  of  scope  for  individual  talent,  both  in  the 
selection  of  subject  and  in  the  carrying  out  of  detail. 

In  case  these  illustrations  should  have  inspired  any 
who  have  not  yet  attempted  this  kind  of  embroidery 
to  take  up  their  needles  with  a  view  to  picture-making, 


No.  VIII.— i 

WORKED    BY    MRS.  WALLACE 
AND    SHORT    STITCH 


a  few  words  of  advice 
may  not  come  amiss. 
First  educate  the  eye  by 
studying  the  works  of 
great  painters,  "for  that 
which  breeds  art  is  art " ; 
note  well  the  composi- 
tion of  each  in  turn  ; 
attend  to  the  proper  re- 
presentations of  the  dif- 
ferent planes  which  give 
the  true  idea  of  separa- 
tion of  near  objects  from 
those  in  the  middle  and 
far  distance  ;  remember 
that  in  the  primary  ob- 
ject must  centre  the 
chief  interest,  its  sur- 
roundings but  taking 
secondary  place;  and, 
above  all,  strive  to  imi- 
tate the  perfect  lighting 
of  these  masterpieces 
and  their  rainbow-like 
shadings  melting  one 
into  the  other  almost  imperceptibly.  Aim  not  at 
variety,  but  unity,  in  point  of  colour.  We  have 
Ruskin's  authority  that  "a  patched  garment  of  many 
colours  is  by  no  means  so  agreeable  as  one  of  a 
single  and  continuous  hue.  The  splendid  colours  of 
many  birds  are  eminently  painful  from  their  violent 
separation  and  inordinate  variety,  while  the  pure 
and  colourless  swan  is,  under  certain  circumstances, 
the  most  beautiful  of  all  feathered  creatures.  It  is 
therefore  only  harmonious  and  chordal  variety,  that 
variety  which  is  necessary  to  secure  and  extend 
unity,  which  is  rightly  agreeable."  There  is  a  wise 
saying,  "  Read  yourself  full,  and  then  write  yourself 
empty,"  which  applies  to  art.  "  Knowledge  must 
first  be  accumulated  before  you  can  originate."  But 
having  the  mind  thus  educated,  it  will  be  found 
possible  with  the  needle,  as  with  the  brush,  to  ac- 
complish a  picture  worthy  greater  praise  than  that 
bestowed  by  Lady  Marian  Alford  on  the  old  pro- 
ductions of  two  centuries  ago. 


\NlV   subject 

modern  work  in  long 

AND    FRENCH     KNOTS 


Some    Relics  of   the    Spanish    Armada 
By   Wilfred    MarK   Webb,    F.Z.S.,    F.R.M. 


1 1 1: r k  and  there  in  museums  we  come  across 

the  Spanish  Armada,  the  great  fleet  which 

was  ntially  defeated  in  the  year  15SS.     Our 

present  object,  however,  is  not  so  much 

to  consider  all  the  remains  that  have  been 

d  from  wrecks,  but  rather  to 
;  recent  finds  and  the 
interesting  history  of  the  unfortunate 
■1  from  which  they  were  recovered. 
From  time  to  time  during  the  last  three 
hundred  years  attempts  have  been  made 
to  salve  the  supposed  treasure  that  went 
down  with  a  ship  in  Tobermory  Bay,  off 
the  coast  of  the    Isle  of  Mull. 

The  vessel  has  been  given  several 
names,  but  all  these  seem  to  have  a 
common  origin.  In  many  accounts  it  is 
called  the  "Florida";  in  another,  again, 
it  is  called  the  "Admiral  of  Florence.'' 
and  there  seems  little  doubt  that  it  is 
the  Florencia,  or  Florentine,  galleon, 
which  came  with  a  section  of  the 
Armada  from  the  Levant  and  joined  the 
invading  licet  at  Lisbon.  If  report  be 
true,  there  was  on  board  money  to  the 
extent  of  thirty  millions,  and  naturally 
considerable  interest  has  been  taken  in 
the  wreck.  In  the  year  1641  the  then 
Marquis  of  Argyll  had  possession  of  the 
ship  granted  to  him,  with  the  consent  of 
Charles  I.,  by  the  Great  Admiral  of  Scot- 
land, James  Duke  of  Lennox  and  Rich- 
mend.  A  number  of  salvage  contracts 
were  entered  into  upon  various  terms, 
and  in  an  account  of  an  attempt  to  re- 
cover something  from  the  wreck  dated 
1677,  reference  is  made  to  the  raising  of 
several  cannons.  Another  document  of 
the  same  date  says  that  the  wreck  lay  in 
ten  fathoms  at  high-  water  and  eight  at 
lew  tide:  that  the  fore  part  of  the  ship 
was  quite    burnt  and    nothing  was  found 


but  a  gi  al 
and  some 
recordi  d 


BRONZE  CANNON   AND 
POWDER  CHAMBER 


heap  o!  cannon  balls  about  the  niainii 
kettles    and    tankard  :  of  1  opper.       It    is 
that  in   idSS  the  <  \o  if  the  Isle  of 

Man.  by  name  Sacheverel,  fitted  up  diving 
bells,  and  it  was  currently  reported  that 
he  got  up  much  treasure.  Previously, 
two  brass  cannons  and  a  great  iron  gun 
had  been  raised,  and  in  1730  one  of 
bronze  was  recovered,  which  bore  the 
founder's  mark— R.  &  G.  Phillips,  1584 
— and  at  the  same  time  some  gold  and 
silver  coins  were  obtained.  This  gun  is 
now  to  be  seen  at  Inveraray  (  astle. 

An  attempt  to  bring  Up  treasure  was 
made  not  long  age  by  Captain  William 
Hums  on  behalf  of  the  Glasgow  Salvage 
Association,  by  permission  of  the  present 
Duke  of  Argyll.  Some  six  hundred 
pounds  was  spent  on  the  work,  and  a 
diver  was  employed,  as  well  as  a  si 
lighter  provided  with  a  sand-pump.  All 
the  treasure  recovered  consisted  of  some 
forty  silver  coins  and  a  gold  ring,  but 
various  other  objects  of  interest  were  ob- 
tained, all  of  which  were  sold  at  Stevens's 
and  realised  very  fair  prices.  We  will  first 
of  all  consider  the  subjects  el  our  illustra- 
tions. The  first  shows  a  well  preserved 
cannon  of  bronze,  4  feet  6  inches  in  length. 
It  is  a  breech-loader,  and  is  said  to  be  the 
only  one  of  its  kind  known 
from  the  Armada.  Il  is 
provided  with  a  separate 
powder  chamber,  which  still 
contains  traces  of  powder, 
while  the  shot  and  wad  re. 
main  in  the  gun.  On  both 
parts  a  monogram  is  in- 
scribed on  a  small  shieli  1, 
and  the  gun  apparently  bears  the  dale  el 
i563- 

lica!  Account  of  Scotland,  vol.  vii.,  p.  355. 


23 


The    Connoisseur 


Among  the  coins  were  thirty-three  "  pieces  of 
eight,"  or  pesos,  which  were  given  the  first  name 
owing  to  the  fact  that  they  were  worth  eight  duros. 
These  belong  to  the  reign  of  Philip  II.,  while  another 
similar  coin  of  the  reign  of  Ferdinand  and  Isabella 
and  the  time  of  Christopher  Columbus  was  obtained. 
A  tew  other  Spanish  coins,  apparently  two-duro  pieces, 
were  among  those  recovered  by  the  sand -pump. 
Some  of  the  coins  are    shown    spread    out   in    one 


be  mentioned  ;  to  wit,  several  cannon  balls  of  stone 
varying  in  diameter  from  6i  to  4§  inches,  and  two  of 
iron,  \\  inches  in  diameter.  Some  interesting  pieces 
of  planking,  with  portions  of  tackle  and  remnants  of 
various  weapons,  complete  the  list. 

It  may  not  be  amiss  at  this  point  to  say  something 
with  regard  to  the  loss  of  the  vessel.  A  plain  and 
unvarnished  tale  contained  in  a  letter  from  Ashley  to 
Walsingham,  dated   November  13th,    15S8,   says  that 


SPANISH      COINS 

illustration,  and  a  few  of  them  are  piled  up  in  the 
foreground  of  another.  With  the  latter  is  the  gold 
ring,  which  is  in  the  form  of  a  snake  with  two  heads. 
In  the  same  picture,  if  we  run  our  eye  from  left  to 
right,  we  may  see  a  small  porcelain  vase,  a  metal 
strainer,  a  mortar,  apparently  that  of  an  apothecary, 
and  an  old  sword  scabbard  with  a  coin  embedded  in 
the  encrustation.  The  first  three  of  these  were  taken 
by  the  diver  from  a  hole  ten  feet  deep  made  in  the 
sea  bottom  by  the  sand-pump.  In  the  upper  part  of 
the  picture  are  shown  two  pairs  of  compasses  or 
dividers,  probably  used  for  marking  off  distances  on 
charts.  These  are  very  neatly  made,  and  are  so 
ingeniously  constructed  that  pressure  on  the  upper 
part  of  the  limbs  causes  them  to  fall  apart  ready 
for  use. 

In  addition  to  these  relics,  a  number  of  others  may 


one  of  the  largest  ships  of  the  whole  Armada  drifted 
on  to  the  coast  of  Mull,  and  that  the  commander, 
who  was  a  Grandee  of  the  first  rank,  made  his  way 
into  a  kind  of  harbour,  where  he  was  safe  from  the 
elements.  The  reports  of  the  wealth  which  he  was 
said  to  have  with  him  tempted  the  Irish  Scots  of  the 
Western  Isles,  and  they  fired  the  ship,  which  was 
burnt  with  almost  everyone  it  contained,  the  crew 
being  in  too  fainting  a  condition  to  defend  themselves. 
A  much  more  romantic  story  has  been  handed 
down  in  the  Clan  Maclean.  It  appears  that  in  the 
year  of  the  Armada,  the  head  of  the  house  was  Sir 
Lauchlan  Maclean,  who  had  made  trouble  with  the 
neighbouring  clans,  with  whom  he  had  been  mixed  up 
in  numerous  bloody  feuds.  As  a  result  he  had  been 
called  upon  to  appear  before  King  James,  but  having 
refused  to  answer  the  summons,  he  was  on  June  15th, 


24 


Some  Relics  of  the  Spanish  Armada 


.  denounced  as  a  rebel.     It  was  not  very  long 
after  this  occurrence  that  the  Armada  set  sail,  and 
the  "  Florida,"  or  "Florencia,"  made  its  a] 
off  the  Island  of  Mull.     Stress  of  weather  and  the 

.    of   provisions    led   the    captain,    Don    Fai 
to  anchor  in  Tobermory  Bay.      It   should   be   noted 
that  the  name  of  the  commander  of  the  Florentine 
galleon    is    spelt     Pereija.         The    Spaniards    sent    a 

nptory  demand    to    Duard    I  ordering  Sir 


ions  supplied  to  the  "  Florida."  With  his 
n  reinforcements  Sir  I.auehlan  Maclean  ravaged 
the  islands  belonging  to  the  Clan  Ranald  and  the 
Cl.m  Ian.  After  having  dune  this,  he  turned  Ins 
attention  to  the  mainland,  and  invested  the  castle 
of  Mingarry  belonging  to  Maclan,  at  the  same 
tating  the  lands  around  it.  While  he  was  enj 
in  this  congenial  task  he  received  two  messages,  one 
from  the  Spanish   captain  demanding  that  his  soldiers 


COINS,    GOLD    RING,    PORCELAIN    VASE,    MORTAR,    ETC. 

I.auehlan  Maclean  to  supply  such  provisions  as  the 
island  afforded.  To  this  no  reply  was  given,  and  the 
captain  then  threatened  to  enforce  his  request.  This 
time  he  received  an  answer  to  the  effect  that  he 
should  have  his  wants  supplied,  but  not  until  he  had 

given  a  lesson  in  courtesy.  He  wa 
invited  to  land  quickly,  as  his  needs  seemed  to  be 
urgent,  and  told  to  attempt  to  supply  his  wanl 
he  suggested,  so  that  the  lesson  might  be  given  as 
speedily  as  possible,  and  finally  he  was  informed  that 
it  was  not  the  custom  of  the  chief  of  the  Macleans 
'  rid  to  the  wants  of  threatening  beggars.  The 
Spanish  captain  thereupon  climbed  down,  and  pro- 
d  to  pay  for  what  he  required.  The  rebel 
Maclean  saw  an  opportunity  of  using  the  Spanish 
soldiers  in  his  own  quarrels,  and  arranged  to  a<  cepl 
the  use  of  a  hundred   marines  as  part  payment  for 


should  be  sent  back  at  once,  as  the  il  Florida  "  was 
about  to  set  sail,  while  the  sei  ond  was  from  his  own 
people,  telling  him  that  Don  Fareija  had  not  paid  for 
his  provisions.  Complaints  resulted  in  a  promise  of 
complete  payment,  and  on  the  strength  of  this  the 
marines  went  back  to  the  ship,  though  Sir  I.auehlan 
Maclean,  who  felt  a  bit  doubtful  about  the  m 
kept  three  Spanish  officers  as  host.i 

One  of  the  clan,  namely,  Donald  Glas  Maclean, 
was  deputed  to  receive  the  payment  due,  and  went  on 
board  the  Spanish  ship.  He  was  at  once  disarmed, 
and   oiden, 1   to    remain    in   a    cabin.      He,    how 

line  to  the  conclusion  that  the  Spaniards  intended 
to  go  off  without  settling  their  debt,  and  in  the 
night  he  laid  a  train  of  gunpowder  to  the  magazine, 
which  he  discovered  was  quite  close  to  where  he 
was  housed.     He  had  judged  rightly  from  the  sounds 


25 


The    Connoisseur 


that  he  had  heard,  and  early  next  morning  he  was 
sarcastically  taken  up  on  deck  to  bid  farewell  to 
hi--  native  place.  Donald  Glas  then  told  those  who 
had  accompanied  him  to  save  themselves  by  mak- 
ing for  the  land,  and  when  he  thought  that  they 
wen  .  he  went   below  with  every  appearance  of 

being  overwhelmed  with  grief  at  being  forced  to 
have  his  country.  As  a  matter  of  fact,  he  imme- 
diately set  fire  to  the  gunpowder,  and  blew  up  the 
ship  with  the  three  or  four  hundred  men  on  board. 
Of  these  only  two  escaped  alive,  and  it  is  said  that 
part  of  the  ship  with  two  or  three  men  was  carried 
ashore   by  the  force  of  the  explosion. 


A  well-known  tale  told  in  Mull  refers  to  a  dog 
which  swam  ashore  and  whose  plaintive  howls  had 
considerable  effect  on  the  superstitious  islanders. 
There  is  also  a  tradition  that  the  celebrated  ponies  of 
Mull  sprang  from  those  brought  over  by  the  vessel 
which  is  now  sunk  beneath  the  sand  in  Tobermory 
Bay.  The  fact  that  it  is  unlikely  that  further  attempts 
will  be  made  to  raise  its  remains  adds  additional 
interest  to  such  scant  relics  as  were  brought  up  last 
year.  In  conclusion,  we  may  say  that  the  cannon, 
specimens  of  the  stone  and  iron  cannon  balls,  the 
vase,  and  a  selection  of  the  coins  have  found  a  home 
in  the  Museum  of  the  Charterhouse. 


BRONZE    CANNON- 


ENLARGED    SECTION,    SHOWING    MONOGRAM    AND    DATE 


26 


BY  TITIAN 

In  A*  CoOtdton  of  Mr.  H.  C  Fttdk 


The    Connoisseur 


THE  TAYLOR 
COLLECTION 


VI  \i  HAN  ANDIRON.      IOTH  CENTURY 
ONE  OF  A  PAIR.         35  IN.  (,£9,660) 


l',r  1  for  ili>   political 
beliefs  of  the  late  John  Edward 
Taylor  -the  chi< 
the  Manchester  Guardian — his 
collecti'in    would    never    have 
appeared  in  the  auction    room. 
He  hail  made  a  will  leaving  it 
to  the  nation,  but  on  account  of 
-approval  of  the  English 
at    the   outbreak   of 
the    South    African    war, 
ed  1  lad  he 

consummated  h 
intention,  the  nation  would 
leen  the  richer  by  an 
addition    to    its     trea 
even  mori 

its   scope    than   the 
ice  collection, 
and  superbly   1  epre- 
me   of 
the    finest    phases    of 
mediaeval  and  Renais- 
art.    The  twelve 
days'  ducted  by  Messrs.  Christie,  beginning  on 

Monday,   July    1st,  resulted  in  the   huge  aggregate  of 
£358.518   18s.— almost,  though  not  quite,  a  record  for  an 
h    auction,   the    Hamilton    Palace   collection,   sold 
in   1882,   n  total   of  .£397,562.     The  collection 

■  1  pictures  of 
high  merit,  a  remarkable 
series  of  water-colours  by 
Turner,  ood  spei  i- 

mens  of  classical  art,  Eastern 
and  Oriental   pottery,   and 
XV.  and    XVI.   furni- 
ture ;  but  the  chief  interest 
n^tituted    by  the  ex- 
amples of   Italian,    French, 
es,  carv- 
metal-work,    enamels, 
etc.,  of  the   1  5th  and   the 
1 6th  centuries. 

The  amount  realised  on  the 
opening   day  of  the  sale  was 

.  j  ;  3-.  6d.  I'- 
the  highest  price,  ,£9,660, 
1  ibtained  for  a  pair  of 
16th-century  Venetian  and- 
irons, 35  in.  high,  ascribed 
by  Dr.  Mode  to  Alessandro 
Vittoria,  purchased  at  the 
Spitzcr  sale  in  1 893  for 
£2.400.     The  illustration  of  Milanese,     circa 


VENETIAN  ANDIRON.     1'  Til  I  !  NTIKY 
ONE  OF  A  PAIR.       3?   IN.   (£9,660) 


these    renders    a    description 
unnecessary.     A   Paduan  early 

16th-century  copy  of  "'The 

Spinario"(in  the  Museum 
n.  high,  a-'  ribi 

the    school    of    I 

,£1,680;  another,  ascribed  t"  the 

same  school.  7  in.  high,  £l,575  ; 

a  pair  of  Venetian  16th-century 

candlesticks,    formed    as 

nude  figures  of  1 

li\   Sansovino,  10  in.  high, 

£1,365;  a  la 

Paduan  bun    -  of"!  'a\  id," 
irtqlommeo    Bellano, 

10   in.  high,   £1.94;    lOS.  : 

and  a  Florentine  1  51I1- 

century  candlestick, 

designed  as  a    nude 

figure  of  a   you  th, 

s<  hool    ol 

\2\  111.  high,  £i,575- 

Three  inkstands  real- 
ised the   rem. 11 

total  of  £10,395  ;  a  figure  of  Andnn ted,  with  a 

conch  shell,  circa   1500,  9  in.  high,  by  Riccio,  bringing 

£3,885;  while  £3,255  was  attained  by  each  of  the  Othi  1 

two — a  Paduan  triangular  inkstand,  the  three  faces  !>. 

of  plaquettes    by   Moderno,    depicting   classical    si  - 
9f  in.  high,  by  Riccio, 
1500  (which  realised   only 
£204    15s.   in  the  Burghley 
lection,  188;- 

an    i  nksta  ml    of  th. 
school,   period,  and   artist, 

.1  celestial  sphere 

supported  by  Atlas,  and  sur- 

mounted  by  a  Inude    I 

i         ioy,  13!   in.  high    this 

d  £700  at  the  S 

sale,   1893  .     A   Iknvenuto 

Cellini  group  of  "Virtue 

Vice,"    10]    m. 

high,  nearly  similar  to  th.it 

which   surmount^    the    Bor- 

ghese    Cellini    inkstand, 

brought    £3,255:    and     .111 

equestrian  grou  n.  high. 

Milanese.  16th  centur; 

Li  irdo  da 
Vinci  for  the  proposed 
Francesco Strozzi  monument, 
£3,465.  A  pair  of  groups 
representing  "  Mercury  and 


GOLD    AND    ENAMEL    MORSE 

).       5    IN.    DIAM.    (£4,410) 


29 


The    Connoisseur 


Prometheus  "  and  "  Apollo  and 
Marsyas,"  17  ir«  and  24  in.  high, 
by  Bernini,  brought  ,£1,890;  a 
statuette   of   "Ceres    searching 
for  Proserpine, ,:  by  Michel  An- 
guier,  2\\  in.  high,  £1,627   10s. 
1  this  brought  ,£320  in  the  Spitzer 
sale   :  and   a   pair  of  Venetian 
statuettes,  late  16th  cen- 
tury,   of    "Mars   and 
Bellona,"    21    in.   high, 
.£1,050.      Among    the 
more   important  of   the 
enamels  were  an  oblong 
plaque  of  copper-gilt  and 
champleve  enamel, 
3I  in.  high,  5  in.  wide, 
bv  Friedericus  of 


ANDROMEDA.         BY  R1CCIO 

LATE  I3TH  OR  EARLY  IbTH  CENTURY 

9  IN.  HIGH    (£3,885) 

Cologne,  12th  century,  representing 
Saint  Paul,  £1,365  ;  and  a  Limoges 
plaque,  13th  century  (probably  the 
cover  of  a  missal),  of  wood  over- 
laid with  the  same,  representing 
"The  Crucifixion,"  7^  in.  wide, 
£999 10s.  A  Milanese  ivory  diptych, 


the  latter,  a  Caffaggiolo,  or  Siena 
dish,  decorated  with  a   design   of 
Cupid  and  various  figures,  etc., 
gl   in.  diam.,  which  had  brought 
£560   at   the   Spitzer  sale,   now 
advanced  to  £735  ;  a  Gub- 
bio  plaque,  11  in.  by  9  in., 
in  carved  Florentine  frame 
of  the  1 6th  century,  brought 
£6S2  1  os.  ;  and  a  pharmacy 
jar  (probably  Faenza)  of 
thecloseof  the  15th  century, 
14I  in.  high,  £945. 
The  earliest  of  all 
European  porce- 
lains —  the   rare 
Medici   ware — was 
represented  by  two 
finespeci- 
mens,  the 
first  be- 
ing of  un- 
u  s  u  a 
size  ;  thi 


INKSTAND.  BY  RICCIO.  LATE  I  jTH  OR  (* 

EARLY  16TH  CENTURY.       I3J  IN.  HIGH  (£3.255) 

was  a  water  vessel  shaped  as  an  oviform 
vase  and  decorated  with  representations 
of  flowers,  etc.,  11+  in.  high,  and  bearing 
the  mark  "  F  "  and  the  Cathedral  of 
Florence,  painted  in  blue  under- 
neath the  vessel  —  it  brought 
£1,995  ;  the  other  example,  an  egg- 
shaped  ewer,  8  in.  high,  decorated 


INKSTAND.  BY    RICCIO.  CIRCA 

9J   IN.    HIGH    (£3,255) 


LIGNEUSE.        TERRA- 
COTTA FIGURE  BY  FALCONET 
iyh  IN.  HIGH  (£3.150) 


circa  1400,  in  intarsia  frame, 
opening  15  in.  wide,  10  in. 
high,  each  wing  divided 
into  six  compartments, 
carved  with  scenes  from  the 
life  of  Christ,  £3,675  (this 
brought  £399  at  the  Field 
sale  in  1893).  Among  the 
ecclesiastical  objects,  an 
Italian  14th-century  cibor- 
ium  of  silver-gilt  and  trans- 
lucent enamel,  shaped  as  a 
hexagonal  casket,  on  a  tall 
stem,  and  decorated  with 
scenes  from  the  life  of 
Christ,  15}  in.  high,  7  in. 
diam.  at  foot,  brought 
£1,417   10s. 

The  second  day's  sale 
was  largely  devoted  to  ex- 
amples of  Limoges  enamel 
and   Italian  majolica.      Of 


with  flowers  and  figures, 
and  similarly  marked, 
brought  £1,312  i°s-    Tlie 
Limoges   enamels  in- 
cluded a   Jean   Courtois 
candlestick,    signed    with 
initials,  113  in.  high,  8  in. 
diam.  of  base,  and  deco- 
rated with   12  classica 
subjects  painted  in  trans- 
lucent colour  on  a  ground 
of  gold  scroll-work, 
which     realised 
-£4o°5,  against 
only   £294   at 
the    Magniac 
collection, 
1892  ;  a  pair 
of  oval  salt- 
cellars,    b  y 
Penicaud  III., 
3!  in.  high, 


VIRTUE  OVERCOMING  VICE.      BY  BENVENUTO 
CELLINI.        IO^  IN.   HIGH  (£3.255) 


The    Taylor   Collection 


4!  in.  wide,  £546;  a 
triptych,  by  Pierre 
Raymond,  sig  ned 
with  initials 
dated  I  5 38,  the 
re  panel  paint- 
ed with  A  Pie/a, 
after  Raphael, ; 
by  6J  in.,  and  the 
wings  painted  with 
1  laniel  and  an  aged 
saint,  eai  h  7  |  in.  by 
2;  in.,  in  brinj 
,£1,565,  showed 
only  a  very  small 
advance  on  the 
,£1,2  iS  it  realised 
at  the  Hamilton 
Palace  sale,  1882  ; 
a  portrait  plaque 
of  Henri  d'Albret, 
King  of  Navarre, 
by  Leonard  Limou- 
sin, 3I  in.  by  2  in., 
which  b rough  t 
£378  in  the  Mag- 
niac  collection, 
now  advanced  to 
£1,732  ios.;a  plate 
by  the  same,  signed 
with  initials,  7  \  in. 
(ham.,  and  painted 
with  "Joseph 
making  himself 
known  to  hi-  brethren,"  .£756  ;  and  a  large  oval  dish, 
by  Jean  Courtois,  signed  with  initials,  20  in.  wide,  and 
painted  with  "  Feast  of  <  tfter  Raphael,  .£966. 

A  fine  pair  of  alabaster  groups  of  the  14th  century. 


N'ott:'  irought 

£1,417     ios.      These    were 
26J  in.  and  22t  in.  high,  and 
represented    the   "  V  i  rg  i  n 
supported  bj  Si.  Join. 
"  Peter  the  Hermit  pi 
ing   the  Crusade." 
came  from  the   Collegiate 
Church  of  Huy,  Belgium. 
The  thud   day's   sale 
ed   £51,614  17s.     To 
thi    total  a  panel  of  Flemish 
15th-century  tap' 
5   in.   high,  66   in. 
contributed    no    less    than 
£8,190,    a    substantial    in- 
crease  on   the    £2,800   it 
ipitzer  sale, 
1893.     1  t   was   wove  n   in 
coloured   silks    and   gold 
threads,     representing     the 
••  Repose  in  Egj  pi,"  with  a 
floral    border.     A   number 
of  ecclesiastii  al    0  bjects 


FAMII  I.K-VI   KT1      VASE,     KAN'.    HI 
19    IN.    HIGH    (£7,245) 


CANDLESTICK,    LIMOGES    ENAMEL.        BV    JEAN    COURTOIS 
I  I  J    IN.    IlIc.H     I       (.,  (0    I 

brought   very    high    prices,    no    less  than   £4,410  being 
realised  by  a  gold  and  enamel  morse,  5  in.  diam.,  circa 
1500.  attributed  to  Caradossa,  and  bearing  a  repre- 
sentation of  the  Holy  Trinity.     This  was  said  to  have 


BY    IMBERT    l'aINE 


LOUIS     XV.     MARBLE     AND    ORMOLU     VASES    AND    LOUIS    XVI.    CLOCK. 

VASES.     17  J    IN.     HIGH    (£l,050)  CLOCK,     19    IN.    HIGH    U  I  .°50) 

31 


The    Connoisseur 


belonged  to  Roderic 
Borgia,  I'ope  Alexan- 
der VI.  A  French  14th- 
century  diptych  of  silver- 
gilt  and  translucent 
enamel,  opening  3|  in. 
by  2t  in.,  the  panels  of 
the  interior  chased  with 
'•The  Annunciation" 
anil  "The  Nativity." 
and  the  exterior  illus- 
trated with  "  The  Cruci- 
fi  xi  on"  and  "The 
Resurrection,"  brought 
•  1,785  ;  a  North  Italian 
diptych  of  translucent 
<  namel  on  silver,  open- 
ing  5i  in.  by  8]  in., 
circa  1500,  composed  of 
two  plaques  enamelled 
with  "The  Nativity" 
and  "The  Adoration  of 
the  Magi,"  reached  the 
enormous  price  of 
^6,930;  a  German  15th- 
century  miniature  book 
of  gold  and  translucent 
enamel,  only  it  in.  by 
\\  in.,  the  cover  and 
three  leaves  delicately 
engraved  with  ten  scenes 


FLEMISH  15TH-CENTURY  TAPESTRY  PANEL.       85  IN.  BY  66  IN.  (£S,IOO) 


from  the  life  of  Christ, brought 
,£1,050;  and  a  silver -gilt 
monstrance,  Italian  or  Span- 
ish 16th  century,  20J  in.  high, 
8  in.  diam.  of  foot,  £672.  The 
Italian  majolica  included  a 
Gubbio  dish,  14J  in.  diam., 
signed  with  initials,  anddated 


£735  ;  a  walnut-wood  table, 
28  in.  by  27  in.,  school  of 
Lyons,  16th  century,  £483. 
Of  the  same  wood  were  a 
serving  table,  46  in.  wide 
(school  of  Lyons),  16th  cen- 
tury, .£1,050;  a  coffer,  65  in. 
wide,  French,  temp.  Fran- 
cois I.,  £567;  a  credence, 
e, 


1524,  painted  with  a 
shield-of-arms  and  land- 
scape  background, 
,£2,835;  a  Faenza  dish 
(Casa  Pirota),  iof  in. 
diam.,  dated  1520,  with 
a  design  of  Cupids, 
^1,470 — this  brought 
,£604  at  the  Spitzer  sale  ; 
a  Gubbio  saucer-dish, 
by  Maestro  Georgio, 
signed  with  initials, 
7!  in. diam.,  painted  with 
the  head  of  a  saint,  etc., 
£So2  ;  an  Urbino  circu- 
lar cistern,  13A  in.  high, 
21  in.  diam.,  the  exterior 
and  interior  painted  with 
classical  scenes,  ,£525  ; 
and  a  pair  of  Savona 
white  busts  of  children, 
6]  in.  high,  £430  10s. 
An  elaborately  carved 
walnut-wood  panel, 
42  in.  high,  21  in.  wide, 
He  -  de  -  France,  circa 
1  5  50,  brought  £44 1  ;  an- 
other, 21 1  in.  by  33  in.,  a 
little  earlier  in  date,  Ger- 
man, attributed  to  Til- 
man   Riemenschneider, 


D1NANDERIE    STATUETTE    OF    ST. 

LEONARD.    FLEMISH.   CIRCA  I4OO 

22  IN.  HIGH  (£l,3I2    IOS.) 


LIMOGES  ENAMEL  PYX.       I3TH  CENTURY 
7  IN.   HIGH  (£3,255) 


CIBORIUM,    SILVER-GILT  AND  ENAMEL; 
ITALIAN.        I4TH  CENTURY 
15  1    IN.    HIGH  (£1,417    IOS.) 


The    Taylor    Collection 


16th  century  ;  and  an  Italian  cassone 
of  walnut-wood.  2S  in.  high,  72  in. 
wide,  first  half  of  the  16th  century, 
.£1.890. 

Among  the  more  important  item-* 
which  helped  to  make  up  a  total 
of  -£'-o73  -Is-  f°r  tne  fourth 
day's  sale  the  well-known 
Gallo-  Roman  bronze,  17J  in. 
high,  representing  '"Her- 
cules "  as  a  bearded  man  with 
a  lion's  skin  over  his  head, 
which  realised  only  ,£105 
at  the  Wills  sale  in  1S94, 
now  brought  ,£1,627  10s.  A 
Hydria,  15J  in.  high,  Greek, 
circa  450  B.C.,  brought  ,£493  ; 
a  Satyr,  .; .  in.  high,  archaic 
Italo  Greek,  circa  490 
,£283  10s.  ;  and  "Aphrodite," 
1.  high  (Praxitilian  type). 
/2S3  10s.  Among  the  ex- 
amples of  Venetian  glass,  a 
15th-century  green  goblet, 
8  in.  high.  5 \  in.  diam.. 
brought  ,£304  105.  ;  while  a 
dark  blue  Spanish  15th- 
century  goblet,  yl  in.  high. 
brought  ^152   5s. 

The  fifth  day's  sale,  which 
realised  ,£54,583  14s.  6d., 
was  noteworthy  for  the  inclusion  of  many  fine  examples 
of  Oriental  china  and  French  furniture.  Among  the 
former  a  famille-verte,  square-shaped  vase  (Kang-he), 
19  in.  high,  enamelled  with  flowers  emblematical  of  the 


LOUIS  XV.   DWARF  PARQUETERIE  SECRETAIRE, 

BY  J.   F.  OEBEN,   AND    SET   OF   THREE    CHINESE 

PORCELAIN    VASES    WITH    ORMOLU    MOUNTS 

SECRETAIRE   (,£4,200)  VASES   (^3,i;o) 


four  seasons,  on  a  yellow  ground, 
fetched  the  prodigious  price  of 
,  5,  an  auction-room  record  for 
a  single  piece  of  china.  At  the 
Lyne-Stephens  sale  in  1S94  it  was 
priced  at  only  £351  15s.  A  pair 
of  oviform  jars  and  covers. 
--.  21',  in.  high  1  Nankin  .brought 
,£672,  and  a  fam  ille-ro-.e 
octagonal  vase  and  cover, 
3SJ  in.  high  (Kien- Lung), /4S5. 
The  French  decorative  objects 
included  the  following  pieces 
belonging  to  the  Louis  XVI. 
period  : — a  perfume-burner  of 
ormolu,  13  in.  high,  /~735  :  a 
pair  of  vases  and  covers,  7$  in. 
high,  of  turquoise  Sevres 
porcelain,  mounted  in  ormolu, 
£945  ;  a  pair  (it  vases  1  if  Sevres 
porcelain  and  ormolu,  17  in. 
high,  ,£945  ;  a  pair  of  \ 
of  Chinese  celadon  porcelain 
(Kang-he),  with  ormolu 
mounts,  9,  in.  high,  /S40  ;  a 
set  of  three  vases  of  :he  same, 
with  ormolu  mounts,  13  in. 
and  IOj  in.  high.  .£3, 150 ; 
a  clock,  by  Corniquet,  with 
a  bronze  figure  on  either 
side,  ,£714  ;  a  pair  of  oviform 
vases  and  covers,  striated  brown  marble  and  ormolu, 
17*  in.  high,  ,£1,050;  and  an  ormolu  clock,  by  Imbert 
L'aine,  19  in.  high,  .£1,050.  A  terra-cotta  figure.  "  La 
Baigneuse,"  by  Falconet,    I7i   in.    high,   representing  a 


The    Connoisseur 


ELIZABETHAN  TANKARD  AND    COVER.        12  OZ.   8  DWT.    L£l,850) 

gracefully  draped  girl  standing  on  a  rock,  brought  ,£3,  1 50. 
Of  Louis  XV.  furniture,  a  small  marqueterie  commode, 
27  in.  wide,  stamped  I.  Dubois,  ML,  mounted  with 
ormolu,  realised  ,£1,365  ;  a  pair  of  small  tables,  16  in. 
wide,  the  panels  inlaid  and  mounted  with  ormolu, 
,£1,522  10s.,  against  £215  at  the  Bentinck  sale  in  1S91  ; 
and  a  parqueterie  commode,  38  in.  wide,  stamped  D. 
de  Loose,  IVT£,  and  mounted  with  ormolu,  £997.  The 
chief  piece  of  Louis  XV.  furniture  was,  however,  a  dwarf 


ELIZABETHAN  TAZZA. 


14  DWT.   (,£1,450) 


parqueterie  secretaire,  stamped  J.  F.  Oeben,  the  front  and 
ends  inlaid  with  large  panels  of  rosettes  and  trellis-work 
on  satin-wood  grounds  with  tulip-wood  borders  and  with 
ormolu  mounts,  which  realised  ,£4,200,  against  ^682  at 
the  Clifden  sale  in  1895.  Even  this  high  price  was  sur- 
passed by  a  Louis  XVI.  commode,  59  in.  wide,  stamped 
C.  C.  Saunier,  ^S,  of  oak  veneered  with  tulip-wood, 
mounted  with  ormolu,  which  brought  .£5,040.  Other 
pieces  of  the  same  reign  included  a  parqueterie  commode, 


DIPTYCH    OF    TRANSLUCENT    ENAMEL    ON    SILVER.       ITALIAN. 

34 


I5TH    CENTURY. 


IN.    BY    S^    IN.    !,£'>  930) 


The    Taxlor    Collection 


PORTRAIT   OI     A    YOUNG    MAN.      BY    ANc'.IOI.O    BRONZINO 
:      in.   bv  33  IN.   (.£11,340) 

57  in.  wide,  stamped  M.  (',.  Cranmer,  MS,  similarly 
veneered  and  mounted,  £2,100;  a  writing-table,  64  in. 
wide,    the  borders   veneered   with   tulip-wood,   and  the 


PORTRAIT    OF    A    YOUNG    MAN.        BY    Wi.lOlO   DKONZ1NO 
32+    IN.     BY     26J     IN.     (,£6,000) 

panels  inlaid  with  zig-zag  lines  on  hare-wood  ground, 
and  mounted  with  ormolu,  .£3,780;  and  six  fauteuils,  of 
carved  gilt  wood,  covered  with  Beauvais  tapestry,  ^2,310. 


IVORY    DII'TYi  II    IN     "INTARSIA"    FRAMI 


M  I  I    ( 


CIRCA     I4OO  15     IN.    BY     10    IN.    (/ 


35 


The    Connoisseur 


GUBBIO    DISH.        I4t 


A  Persian  silk  rug,  S  ft.  by 
5  ft.  5  in.,  realised  .£5,250  to- 
wards the  total  of£  1 4, 194  19s. 
for  the  sixth  day  of  the  sale. 
This  price  is  a  record  for 
England,  though  it  has  been 
exceeded  in  America.  The 
nig  was  on  a  red  and  yellow- 
ground  with  striped  borders, 
and  with  a  green  diamond- 
shaped  panel  in  the  centre. 

The  pictures  in  the  Taylor 
collection,  with  the  exception 
of  the  Turner  drawings  and 
a  few  examples  of  the  Italian 
school,  were  not  specially 
noteworthy.  The  highest  in- 
dividual price  was  obtained 
for  the  Portrait  of  a  Young 
Man,  in  blacksilkdoublet(on 
panel.  45  in.  by  33  in.),  by 
Angiolo  Br  on  zi  no,  which 
brought  £1  1,340;  another 
Portrait  of  a  Young  A/an,  wearing  a  dark  purple  dress 
and  a  blue  cape  over  his  shoulders  (on  panel,  325  in.  by 
26i  in.),  by  the  same,  brought  £6,090.  Other  works  in- 
cluded Fra  Angelico,  The  Annunciation,  in  two  panels, 
12  in.  by  9I  in.,  £1,785,  against  £1,312  at  the  Hamilton 
sale.  1S82:  Ciacomo  Bellini,  Saint  Dominic  restoring 
to  life  the  Young  Lord  Napoleon,  on  panel,  13  '"•  by 
i6j  in.,  £1,365  ;  Cima  da  Conegliano,  The  Virgin  and 
Child,  with  St.  Francis  and  St.  Anthony  of  Padua,  a 
lunette,  on  panel,  16  in.  by  22J  in.,  £2,100; 
Francesco  Francia,  The  Madonna  and  Child, with 
Saints,  on  panel,  29  in.  by  22  in.,  £4,725  !  Andrea 
Mantegna,  Judith  and  Dido,  a  pair  (grisaille 
heightened  with  gold),  in  tempera  on  linen, 
25  in.  by  Ilf  in.  each.  £1,627  '°5-  ;  Francesco 
Salviati,  Portrait  of  a  Gentleman,  46*  in.  by 
35j  in-,  £3.780;  Titian,  The  Lace-Maker,  31  in. 
by  26  in.,  £3,780  ;  and  Hans  Memling,  Portrait 
of  a  Young  Gentleman.  13  in.  by  9  in.,  £3,990. 

The  Turner  drawings  were  generally  of  high 
quality,  many  of  them  having 
passed  through  noteworthy 
collections,  and  a  large  pro- 
portion of  them  being  well 
known  by  their  reproductions. 
The  Longship's  Lighthouse, 
Land's  End,  li{-  in.  by 
17J  in.  (engraved  by  W.  R. 
Smith),  brought  £1,680; 
Derwentwater,  or  Keswick 
Lake,  10J  in.  by  17  in.  (en- 
graved by  \V.  Kadclyffe), 
£2,310;  Can's brook  L 
\\h  in.  by  i6i  in.  (engraved 
by  C.  Westwood),  £l,995  ; 
Off  Beachy  Head,  1 5+  in.  by 


IN.     DIAM.    (£2,835; 

by  13  in.,  £2,625 


27  in.,  £892   10s.  ;   The  Rigi 


INKSTAND.       BY    RICCIO.       9J    IN.    HIGH    (£3,25 


at  Sunrise :  Lake  of  Lucerne 

{Blue  Rigi},  1 1 J  in.  by  1 7J  in., 
£2.S35,  against  £310  16s.  at 
the  Bicknell  sale,  1863  ;   The 
Rigi  at  Sunset :   Lake  of 
Lucerne  (Red  Rigi),    12    in. 
by    18  in.,   £2.100,  against 
£661  10s.  at  the  Munro  sale, 
1S77;  I. la nt ho ny  Abbey, 
1  1  j  in.  by  i6|  in.   (engraved 
by  J.  T.  Willmore),  £2,100; 
A  Lonely  Dell  near  Wharfe- 
.  1 1  in.  by  15J  in.,  £504  ; 
Falls  of  the    Tees:    High 
Force,  n  in.  by  15A  in.   (en- 
graved  by   E.    Goodall), 
£630;  Sisteron,  Basses Alpes, 
7A   in.  by   11    in.,  £1.050  ; 
]  'ork,  20  in.  by  281  in.,  £945  ; 
Elirenbreitstein  and  Coblenz, 
9  in.  by  \\\  in.,  £1,312  105.; 
Mainz,  8 J  in.  by   14   in., 
£1,207  1 05.  ;  Lausanne,  9  in. 
Genoa,  vignette,  about  4f  in.  by  8  in. 
(engraved  by  E.  Finden),  £735  ;  Aosla,  g|  in.  by  10}  in., 
£1,470  ;  Lausanne,  9  in.  by   13  in.,  £1,732  ;  The  Grand 
Canal,  Venice,  8f  in.  by  12  J  in.,  £3,780  ;  Lausanne,  qh  in. 
by    12    in.,   £735;    Venice:  Sunset,    8}   in.    by    12J  in., 
£1,365;   Thun,  9  in.   by  11J  in.,  £1,417   10s.  ;   View  on 
the  Rhine,  9J  in.   by   14  in.,  £1,365  ;  Brienz,  9J  in.  by 
14J   in.,    £1,417    105.  ;    A     Seapiece,    with    Gurnets,    on 
brown  paper,  Si  in.  by  11J  in.,  £546;  Calais  Harbour. 
vignette,  about  6  in.  by   5  in.     engraved  by  J. 
Horsburgh),  £588  ;  Andemach,  9  in.  by  nf  in., 
£1,575;   Sunset,   Sf  in.   by   nJ  in.,  £714;   The 
Rainbow,   <)\  in.  by   nf  in.,  £609;  An  Alpine 
Valley,  ~\  in.  by  10J  in.,  £1,417    10s. ;    and  A 
Mountainous  Landscape,  9|  in.  by  iof  in.,  £1,155. 
The  silver  included  the  following  Elizabethan 
examples  : — a  silver-gilt  tazza,  5J  in.  high,  y\  in. 
diam.  of  bowl,  1564  (maker's  mark,  A.),  weight 
20  oz.  14  dwt.,  brought  £1,450;  another,  5^  in. 
high,  r  j  in.  diam.,  1565  (makers  mark,  A.  ,  weight 

16  oz.  6  dwt..  £1.200; 
fruit  basket,  of  circular 
shape,   1 597,    weight   20  oz. 

1 7  dwt.,  £700  ;  a  tankard  and 
cover,  with  nearly  cylindrical 
barrel,  6 J  in.  high,  1572 
(makers  mark,  H.  S.,  with 
pellet  below  ,  weight   12  oz. 

8  dwt..  £1.850  ;  and  a  silver- 
gilt  goblet  with  V-shaped 
bowl,  6i  in.  high,  1  598 
(maker's  mark,  T.  F.,  with 
pellet  below),  weight  8  oz. 

9  dwt.,  £600. 
The  engravings  and  books 

are  treated  in  the  ordinary 
sale  notes  pages. 


36 


M'SS    HANNAH    RUSSELL 
ATTRIBUTED    TO    WILLIAM     HOARE 


•^^^I'  '   •    .TIF1      '''- 


And    its    Plate  Part    II. 

Written    and    Illustrated   by    Leonard   Willoughby 


In  continuation  of  my  brief  remarks  on  the 
history  i  ool  and  its  almost   incessant 

uidc-,  it  is  well  known  that  the  fifteenth  century 

was  a  period  of  steady  decay  as  far  as  this  citj 

rned.     This,  in  a  great  measure,  was  owing  to 

the   anxiety   which    resulted    from    the    Wars   of   the 
5,  for  the  burgesses  were  neither  numerous  nor 

strong  enough  to  shut  their  gates  upon  the  combatants 

as  other  towns  were  able  to  do.     It  was,  however,  in 

this  century    that    the 

municipal    authorities 

were  for  the    first  time 

able  to   boast   of  the 

possession    of    a    town 

hall.      It  came  about 

in  the  following  way: — 

In   1 5  15  the  Rev.  John 

( ' rosse,   vicar  ol    St. 

Nicholas -in -the -Sham- 
bles, in  London,  made 

over   all   his   property 

in    Liverpool   for  the 

endowment  of  a  charity, 

the  priest  of  which  was 

to   pray  for  the    souls 

of  all   members  of  the 

Crosse    family,    and    to 

keep  a  grammar  school 

to   which  all  poor  boys 

and  all  boys   of  the 
of    Crosse 
mined  without 

payment.     The    priest 

and  teacher  were  to  be 

appointed  by  the  mayor. 


SILVER    TOBACCO-BOX,    NOW    USED   AS    A    SNUFF-BOX 
MADE    FROM    TWO    SILVER    CUPS    IN    Till      POSSESSION 

OF    THE   COUNCIL    IN    1690 
LONDON    HALL-MARK,   1690  MAKER'S    MASK,   P.   P. 

39 


At  the  same   time   the   benefactor   presented   to    the 
borough    the    "New     House,''    called    ''Our    Lady's 
.    to   keep   their   courts   and    such   business   as 
they  shall   think   most  expedient."     This  Town   Hall 
in  High  Street  on  part  of  the  site  of  the  Liver- 
pool, London  and  Globe  Insurance  offices,  and  was  a 
hed  building.     Shortly  alter  this  date  unfortunate 
quarrels    arose    between    the    burgesses   and   Sir    R. 
Molyneux— who  had  obtained  the  fee-farm  lease  of 

the  town — over  the 
collection  of  dues  and 
holding  of  courts.  This 
lasted  for  some  J 
but  owing  to  the 
offices  of  I  '  id  Stl 
eldest  son  of  the  Earl 
of  Derby,  the  burgesses 
again  obtained  their 
rights.  Prosperity  was 
not  experienced  again 
until  the  end  of  the 
sixteenth  century.  The 
population  in  15O5  was 
only  seven  hundred, 
and  in  is<^o  about  one 
thousand  —  and  less 
than  it  was  two  hun- 
dred years  previo 
In  1557  Liver] 
owned  thirteen  vessels, 
and  at  the  end  ol  the 
century  twenty,  yet 
it  was  now  that  the 
borough  was  really 
commencing  to  ad\ 


The    Connoisseur 


As  a  result  of 
the  endless 
troubles  which 
had  afflicted  the 
burgesses  during 
the  century,  a 
great  change  in 
the  government 
of  the  borough 
came  about.  In 
1580  the  mayor, 
who  informed 
the  assembly 
that  the  m  i  s- 
fortunes  of  the 
borough  were 
due  to  that  body 
not  being  com- 
posed of  the 
most  discreet  or 
substantial  of 
the  burgesses, 
proposed  that 
a  council  of 
twenty-four  ordinary  members  and  twelve  aldermen 
be  appointed  and  empowered  to  administer  all  borough 
business  without  reference  to  the  assembly.  Thus  the 
town  council  was  first  established,  and  continued  till 
1835,  when  the  Municipal  Reform  Act  was  passed. 
This  very  definite  epoch  in  the  history  of  Liverpool 
had  one  result,  for  the  mayor  became  at  once  a 
much  less  important  person,  and  instead  of  being  a 


SILVER    FLAGON,   INSCRIBED  : 
TOWNE    OF    LIVERPOOLE"' 


THE 

6i 


dictator  and  not 
capable  of  being 
called  to  account 
whilst  holding 
office,  he  was 
henceforth  mere- 
1  y  the  m  o  u  t  h- 
piece  of  the 
town  council. 

From  first  to 
last  the  borough 
has  been  granted 
some  twenty 
charters  between 
1207  and  1893. 
Of  these,  that  of 
Charles  I .  i  n 
i626declaredthe 
borough  hence- 
forth an  incor- 
porated borough 
whether  it  had 
been  so  or  not 
before.  The 
burgesses  were  to  enjoy  all  the  rights  and  privileges 
which  they  then  exercised,  whether  they  had  obtained 
them  by  definite  grant  or  usurpation.  The  charter  of 
Charles  II.,  1676,  raised  the  number  of  the  council 
from  forty  to  sixty,  and  granted  the  right  of  the  council 
to  elect  the  mayor  and  bailiffs,  hitherto  the  sole  relic 
of  power  of  the  assembly.  The  charter  of  James  II. 
contained  a  clause  whereby  the  Crown  could  at  any 


GIFT    OF    MARGERY    FORMBY    TO    THE 
IN.    HIGH  HALL-MARK,     1682 


SILVER     HALF-PINT     TANKARDS 

40 


HALL-MARK,     1 773 


a  x 


4' 


The    Connoisseur 


time  remove 
any  of  the 
boron  gh  offi- 
cers as  mem- 
bers of  the 
town  council. 
This  clause 
was  intensely 
unpopular,  as 
hitherto  those 
elected  to  the 
council  were 
members  for 
life.  In  1695 
William  III. 
g  1  a  n  t  e  d  a 
charter  which 
confirmed  that 
of  Charles  I., 
and  under  it 
the  town  was 
g  0  v  e  rn  e  d  by 
a  common  council  of  forty-one  honest  and  discreet 
burgesses,  including  a  mayor,  deputy  mayor,  two 
bailiffs,  two  sub-bailiffs,  a  recorder,  common  clerk, 
and  an  indefinite  number  of  aldermen,  being  all  who 
had  filled  the  office  of  mayor.  Among  the  officers 
of  the  corporation  not  named  in  the  charter  were 
a  sergeant-at-mace,  a  water-bailiff,  and  deputy  water- 
bailiff.  This  charter  continued  till  1835.  The 
business  of  the  council  had  been,  since  1673,  con- 
ducted in  a  new  Town  Hall  facing  Castle  Street.  It 
was  raised  on  a  colonnade  of  arches,  open  to  the  air, 
which  was  used  as  an  exchange,  the  council  chamber 
and  banqueting  hall  being  on  the  first  floor. 

In  1  748  a  new  Town  Hall  and  Exchange  were  built, 
planned  by  Woods,  who  did  so  much  to  beautify 
Bath.     This  Town  Hall  was  burnt  on  January  18th, 


SILVER     EPERGNE 


1795,  but  was 
reconstructed 
as  it  now  stands. 
Had  I  attempt- 
ed to  follow 
up  the  remark- 
able history  of 
Liverpool  in 
detail,  and  all 
the  doings  of 
the  Corpora- 
tion up  to  the 
time  when 
Queen  Victoria 
in  1880  granted 
a  charter, 
creating  the 
borough  a  city, 
and  in  1893  its 
chief  magis- 
trate the  title 
of  the  Rt.  Hon. 
the  Lord  Mayor,  I  should  require  many  pages  and 
chapters.  I  have  only,  therefore,  led  up  to  a  few 
early  facts  and  reasons  why  this  originally  little  bere- 
wick  became  gradually  a  town,  and  then  a  mighty 
city,  throbbing  with  busy  life.  The  reasons  why  this 
has  eventually  come  about  is,  firstly,  due  to  Liver- 
pool's situation,  for  the  city  is  as  nearly  as  possible 
in  the  centre  of  the  British  Isles.  It  is  placed 
overlooking  on  one  side  the  sheltered  estuary  which 
leads  to  the  open  waters — the  high-road  to  all  the 
world.  On  the  other  side  the  plain  of  Cheshire 
stretches  between  the  Derbyshire  and  Welsh  hills, 
where  the  Romans  ran  their  roads  west  and  north. 
This  wide  plain  to-day  has  in  addition  railways  and 
canals  all  converging  upon  Liverpool,  thus  making  it 
the  channel  of  communication  between  the  Midlands 


HALL-MARK, 


SILVER    TANKARDS 


CENTRE    8i    IN. 


OTHERS    l\    IN. 


HALL-MARK,     I766 


4-' 


The    City  of  Liverpool 


K      FRUIT-DISHES 


\  [  RE-PIECE,       I  862 


and  Southern  England.  It  is  also  tin-  central  port  ot 
the  British  Isles.  Liverpool's  greatness  commenced 
only  when  she  reached  in  later  years  beyond  the  trade 


SIDI      DISH! 

important    counties    in    England,   being    isolated   by 

mountains    on    the    east   and    marshes  on   the    south. 
Chester  for  centuries  was  her  most  serious  rival  in 


SILVER      BREAD-BASKETS 


HALT  -MARKS,       I772      AND       1 77  fi 


ot"  the  waters  of  the  Irish  Sea,  and  when  the  trade  of 
Africa  and  America  was  captured,  and  she  became 
the  gateway  of  Europe.  But  up  to  the  middle  of  the 
eighteenth  century  Lancashire   was   one   of  the  least 


both  the  trade  of  Ireland  and  in  commanding  the 
northern  roads  into  Wales.  It  was  also  a  city  of 
great  military  importance.  However,  the  great  ener- 
gies   of    Liverpool's   citizens   overcame   all  obstacles, 


SILVER      FRUIT-DISHES 


HALL-MARK,      1 860 

43 


Tlie    Connoisseur 


politically  and  otherwise,  which 
i  rded  her 
advancement.  Despite  the 
that  the  surrounding 
country  also  was  poor  and 
thinly  populated,  that  the  town 
itself  was  isolated  and  had  a 
lack  of  natural  waterways,  and 
above  all  had  a  great  rival  in 
Chester,  still  the  obi 
gradually  disappeared,  and 
Liverpool  blossomed  forth 
\  ntuallv  into  the  second  city 
oi  the  Empire.  To  sum  up, 
therefore,  in  brief  as  to  the  real 
cause  of  all  this  :  it  was  first  of 
all  the  discovery  of  America 
and  the  transference  of  the 
main  English  trade  routes  from 

North  Sea  to  the  Atlantic  ; 
then  came  the  cotton  industry, 
which  was  rapidly  developed 
by  the  great  inventions  of  the 
eighteenth  century  ;  the  mak- 
ing of  roads  over  the  marshes 
by  the  citizens,  canals,  the 
deepening  of  shallow  streams, 
building  railways,  and  creating 
safe  harbourage  in  the  first 
docks  ever  built  in  England — 
it  was  all  these  combined 
which  helped  to  make  the 
city  a  successful  rival  over  other 
ports,  such  even  as  Bristol.  Though  these  enterprises 
ivere,  it  is  true,  only  comparatively  modern  ones, 
still  by  following  on  struggles  which  for  years  had 
existed,  it  was  these  that  taught  the  townspeople 
self-reliance  and  vigour. 

As  to  whether  a  tithe  of  the  enormous  population 

iverpool  to-day  are  acquainted  even  in  the  vaguest 
way  with  all   that  in  the  past  has  led  up  to  the  city's 


SILVER    TEA-CRN,    WITH    LIVERPOOL  S    CREST 
ON    SUMMIT 


present-day  greatness  and  im- 
portance, I  cannot  surmise. 
Unfortunately,  experience 
teaches  me  more  and  more  of 
the  extreme  apathy  of  the 
majority  of  city  fathers  and 
citizens  generally  of  anything 
which  occurred  before  they 
themselves  happened  to  be  born. 
But  if  Liverpool  is  an  exception 
in  this  respect,  which  I  hope  it 
is,  and  the  story  of  the  city  is 
a  familiar  one  —  one  which  is 
taught  in  schools,  and  to  the 
entiling  generation,  as  it  should 
be — I  am  confident,  then,  the 
present-day  inhabitants  will 
agree  with  me  that  the  struggles 
against  adversity  of  its  early 
inhabitants  were  heroic.  Also 
that  the  late,  though  then 
steady,  rise  of  the  city  to  im- 
portance was  quite  remarkable, 
outpacing  all  other  cities  of  the 
kingdom  in  their  stride  in 
obtaining  commerce  and  im- 
portance. To  the  humble  and 
nameless  townsmen  —  all  now 
sleeping  their  long  sleep — who 
fought  so  long  for  freedom  in 
the  dim  past,  the  citizens  of  to- 
day owe  much,  aye  everything, 
for  it  was  to  their  vigour  and 
stern  resolution  to  conquer  all  difficulties  that  victory 
■ — so  well  earned,  so  glorious — came  at  last. 

For  many  centuries  it  has  always  been  the  custom 
of  corporations  to  provide  the   mayors  for  the  time 


** 


SILVER     FRUIT-DISHES 


HAM  -MARKs       [86]     AND     ^62 
44 


12  J     IN.    DIAM. 


4J     IN.    HIGH 


The    City  of  Liverpool 


being  with  a  suitab  of  plate  m herewith  to 

make  such  proper  display  when  dispensing  hospitality 
inseparable  from  his  office  as  was  thought  to  be 
consistent  with   the  dignity  and   importance  of  the 


SILVER    SAUCE-BO 

are  only   two   pieces — one   at    King's    Lynn 
teenth -century    enamelled    standing   cup  —  and   the 
other  the  "Bodkin"  cup  at  Portsmouth.    Much  n 
form  d    which    to-day   would    have    been,   of 


^C 


SILVER    SUGAR-CASTERS 


DATE    LETTER,     E 821  ' 


MUSTARD    AND    SALTS,     l8l7 


city  or  town.     The   inventories   of  these   services  of 

silver    have    in    most    cases    been    handed    down    in 

corporations,  and  by  the        .       ee  how  little  now  is 

if  any  prior  to  Elizabeth's  reign.      In  fact,  there 


course,  of  untold  value.  But  a  good  deal  got  worn  out 
and  damaged,  more  was  sold  for  various  reasons,  some 
was  misappropriated,  whilst  a  considerable  amount 
was    considered    old-fashioned   (sic),   and    exchanged 


SHEFFIELD    PLATE    W1NE-COOLKR    (ONE    OF    EIGHT)    AND    TWO    SAUCE-BOWLS 


45 


7  lie    Connoisseur 


SILVER     SALVER 


or  converted  into  new  plate  of  questionable  beauty. 
A  good  deal  of  the  old  plate  has  been  gilt,  probably 
more  to  save  the  necessity  of  frequent  cleaning,  and 
to  make  a  great  show.  It  is  thus  that  plate  is  so 
often  described  to-day  and  mistakably  thought  to  be 
solid  gold,  which  it  certainly  is  not.  As  a  matter  of 
fact,  there  are  only  three  pieces  of  solid  gold  plate 
belonging  to  the  corporations  of  the  kingdom,  one — ■ 
the  oldest — being  a  small  cup  or  goblet  weighing 
26i  oz.,  made  in  1672  by  a  York  goldsmith,  and  given 
to   thai    corporation  ;    one,    a    plain   gold    porringer 


iS    IN.    DIAM. 

weighing  44  oz.,  made  in  London,  1 680-1,  and  given 
to  the  city  of  Oxford  by  the  second  Duke  of  Bucking- 
ham, 1669  ;  and  one  a  gold  snuff-box  belonging  to 
the  corporation  of  Chichester,  made  in  London,  1  756. 
Liverpool,  like  other  cities  and  towns,  had,  and  has, 
a  considerable  collection  of  silver  and  silver-gilt  plate. 
The  majority  of  it,  however,  is  modern.  There  are, 
however,  some  interesting  old  tankards,  a  tobacco 
box,  a  monteith  and  ladle,  and  a  large  quantity  of  silver 
knives  and  forks  dated  1733.  Practically  all  the  plate 
has  the  London  hall-mark,  as  has  most  of  the  plate 


SILVER    CENTRE-PIECE    PRESENTED    TO    THE    CORPORATION    OF    LIVERPOOL    BY    LOUIS    SAMUEL    COHEN, 

LORD    MAYOR    I899-I9OO 

46 


The    City  of  Liverpool 


SILVER      SHIELD 


HALI.-MARK,     1852 


of  other  corporations.  I  herewith  give  illustrations 
of  the  most  interesting  and  valuable  of  Liverpool's 
collection,  and  such  information  about  each  piece  as 
is  procurable. 

It    will    thus    be    seen   that  though   most   of  it  is 


DESIGNED     BV     JOHN      MAYER,     F.S.A. 

modem,  still  it  is  of  considerable  value  and  beauty, 
and  calculated  to  make  a  brave  show  at  banquets,  one 
worthy  of  the  city's  dignity  and  importance,  and  one 
which  will  compare  favourably  with  those  of  most 
cities  and  towns  in   the  kingdom. 


SILVER     ROSE-BOWL  13    IN.    DIAM.  7    IN.    HIGH 


47 


ffpTEs 


QUERieJ 


{The  Editor  invites  the  assistance  of  readers  of  The  Connoisseur  who  may  be  able  to  impart  the 
information  required  by   Correspondents?^ 


Unidentified  Portrait  (i). 

Dear   Sir, — I  should  be  glad  to  know  if  any  of 

your  readers  can  assist  me  in  discovering  the  painter 

of  the  portrait  of  which  I  send  photo,  and  also  the 

person  portrayed. 

Yours  faithfully,   M.   B. 


Painting,  "The  Charity  of  St.  Charles." 
1  iear   Sir, — I    have    a   very   fine   old   oil-painting 
which     I     believe     represents    St.    Charles    (Carlos) 

Boromeo  presenting  a  silver  censor  to  a  haggard  old 
peasant    woman. 

There  are  two 

other  figures,  the 

latter's  husband 
.  in  the  right  back- 
ground, and   an 

acolyte  in  the 

centre  b  a  c  k- 

ground.  There  is 

also  chalice,  gob- 
let,  and   crozier 

on  the  left.     I 

believe   the   ori- 
ginal   picture 

is   called    The 

Charity  of  St. 

Charles,  and  was 

painted  by  Velas- 
quez.    Can  you 

inform    me    if 

there  is  such  an 

original     picture 

in    existence? 

Where  it  is?  Can 

a  reproduction 

be   procured? 

Also, where  might 

I    i     a  complete 

list   of  paintings 

by  Vela  squ  ez  ? 

Thanking  you  unident.fied   portrait    (i) 

48 


for    your    previous    kind    replies    to    enquiries,    and 
anticipating  further   favours, 

Believe  me,  yours  faithfully,  J.   Streeter. 

Engraving  after  Fuseli  (July  Number). 
Dear  Sir, — In  answer  to  J.  W.  W.,  I  beg  to  say 
that  the  picture  he  has  the  engraving  of  is  No.  20 
in  Vol.  I.  of  Boydell's  Shakespeare.  It  is  engraved 
by  I.  P.  Simon,  after  H.  Fuseli,  R.A.,  and  was 
published  September  29th,  1796.  If  J.  YV.  \V. 
wishes,  I  can  give  him  the  full  inscription. 

Yours  truly, 
Randle  \V. 
Mathews. 


Re  "Engraving 
after  Fuseli  " 
(July  Number). 
Dear  Sik, — 
Re  above  query, 
I  beg  to  say  that 
I  have  a  similar 
engraving  f r  o  m 
Mi  d  s  u  in  m  e  r 
Night's  Dream, 
and  the  name  of 
the  engraver  is 
"  Peter  Simon." 
I  find  he  also 
engraved  the 
works  of  Peters, 
H  a  m  i  1  t  0  n , 
Smirke,  Kirk, 
Wheatley,  West- 
all,  Downman, 
Gainsborough, 
Opie,  Reynolds, 
etc.  The  en- 
graver was  born 
in  London, 1750; 
died  about  1810 
(see    B r y a n s ). 


1 1 1 


PORTRAIT  OF  THE  MARQUISE  DU  BLAIZEL 

BY  SIR  THOMAS  LAWKENCB,  P.R-A. 
In  (be  Colltctton  cf  Mr.  H.  C.  F*ick 


Notes   and   Queries 


UNIDENTIFIED      MINIATURE 

Shall   be   pleased   to   supply   further   information    if 

1.  W.  W.  requi 

ir  truly,  J.  Si  i;i  i  n  r. 

UN  1  DENTl  FI  ED     PAI NT1 NG. 

Dear  Sir,— I  should  be  glad  to  know  the  name 

of  the    painter    of   the    old    oil-painting  of  which   I 

^e  photo. 

Yours  faithfully,   ( '.  K.  llm  HI  «>CK. 

Unidentified  Miniati 
Dear  Sir,  — I  enclose  herewith  a  photograph  of  an 
unidentified   miniature,  and  wonder  if  you    would   be 
kind  enough  to  reproduce  it?     It  represents  a  man 

in  a  grey  wig,  white  cravat,  and  black  coat.  It  is  well 
painted,  something  in  the  manner  of  John  Smart. 
From  its  associations.  I  think  it  may  bi  i  nber  of 
Aalpole  family.  Possibly  some  ol  your  readers 
may  be  able  to  identify  the  man. 

Yours  sincerely,  C.  Clarkson  Shaw. 

Unidentified  Portrait  (2). 
Dear  Sir, — Herewith  I  em  a  portrait 


lady.     1  shall  !»■  glad  if  you  >.\n  identify  ihi 

i     ol  the  .mist.     The  dimensions  of  the 

is  are  50  in.  by  42  in.,  in  Ilea  d  English 

Frami  -      I  hi   lady  1-  wearing 

her  neck,  but  thi>  1  do  not  think  show  nelly 

in  the  photograph.     I  trust  tl  .ill  do  your  very 

on. 
Yours  truly,  J.  C.  Smij  11. 


K*v  ~~  1 

Si  1 

IT    ^ 

K* 

^^3 

^*  ^Jw^^^^Hfl 

\  il 

UNIDENTIFIED     poktk.ut 


unidentified    painting 

51 


A  phase  of  collecting  which  has  not  as  yet  many 

adherents    is    the    acquisition    of    old    and    curious 

walking-sticks,    and   that    they  are 

,„,Ur.'.OUS    o  .  .        to  be  found   in  sufficient  variety  to 
Walking-Sticks  .  -     ,  ,       .       . 

satisfy  the  most  enthusiastic  amateur 

is  proved  by  the  examples  which  we   are  enabled  to 

illustrate    through    the    courtesy    of    Mr.    P.    Berney 

Ficklin,  of  Tasburgh  Hall.     All  but  three— Nos.  13, 

16  and  17 — are  in   Mr.  Berney  Ficklins  collection, 

the    exceptions   being   owned   by   Mrs.   Harman,   of 

Norwich.     The   first   three  are  all  of  ivory.     No.    1 

has  a  thin  layer  of  ebony  between  the  head  and  neck, 

No.  2  has  an  ebony  head,  and  No.  3  has  the  base  of 


the   handle   carved   to   represent   hearts. 
originally  belonged  to  Bishop  Blomfield. 


The  latter 


The  silver-mounted  bamboo  cane.  No.  4.  is  4  ft.  6  in.  long, 
and  has  its  carved  ivory  head  surmounted  by  ivory  '"Turk's  head  ' 
knot.  No.  5  is  of  bamboo,  with  ivory  head  and  silver-mounted 
hole  for  tassel,  and  No.  6  is  a  silver-mounted  ebony  stick,  ivory- 
handle  in  the  form  of  a  ram's  head  with  blue  glass  eyes.  The 
Malacca  cane,  No.  7,  has  a  silver  band,  and  hole  for  tassel, 
ivory  head  inlaid  with  gold.  No.  8  is  also  cane,  with  corrugated 
ivory  crook  handle  and  base  silver  mount ;  and  No.  9,  a  silver- 
mounted  hickory  stick,  has  an  ivory  head  in  the  form  of  a  fist, 
engraved  E.M.T.  No.  IO,  as  will  be  seen  from  the  illustration, 
is  a  brass-mounted  cane  sword-stick,  ebony  "  fist "  head  and 
brass  band,  engraved  "The  gift  cf  the  Hon.   G.   H.  Nevill  to 


> 

I 

> 

! 


CL'KIOL'S     U  ALKING-STICKS 


4  5 

(NOS.      t     xo     8) 


Notes 


9  : 

Cl'RIOL'S     WALKlNci-sTICKS 


9   to    17) 


•Mr   Hanson  Berney."     No.  11  is  a  clouded  Malacca  cane  with 

r  cap.      No.  I-',   a  narwhal   tusk,  ebony  and  ivory 

neck.  Dresden  china  handle  representing  a  female  head,  painted 

Bowers,  and   No.  13.    a  silver-mounted   ebony   stick,    Dn 

china  head,  with  painted  Bowers,  silver  land  engraved  "C.H.T. 

to  G.  R.  Hannan,  Norwich."    Thi  No.    [4  has  a   Derby 

spa  neck,  base  silver  cap.     No.  15  is  a  hazel  stick,  with  twisted 

shaft  (grown  purposely  in  this  form),  domed   ivory  head,  brass 

holi    for  tassel.     The  grotesque  pimento  wood 

,       a  handle   in   tin-   form  lingo's  head, 

and   frogs,   snake,   and   lizai  the  shaft.       The   holly 

stick,  No.  17,   in  the  form  ol  a   sword   with  hand  guard,   was 

iound    whilst   pulling  down   a   house    in   Wych  Street,    Strand, 

many  years  ago,  hanging  on  a  wall  which  had  been  bricked  up. 


Portrait  0)   Prina    Charles    I     ■  ird  Stuart, 

the   younger    "Prel  attributed   to   Van   Loo, 

hangs  in  the  drawin  I  'burgh 

Hall.    Norwich,   the   residence  ol    Mr. 

Berney  Ficklin,  whose   inl  Stuart 

relics   have   been   described  in  Thi    Connoisseur, 

VI.,  p.  225,  Vol.  MX.,  p.  165,  .iml  Vol.  XXIII., 

.;.     In   th'       tm     collection  is  the   Portrait  of 

Miss    Hannah    Russell,   1  and    co-heiress  of 

Thomas  Russell,  of  Barningham  Hall,  Norfolk.    This 

always  been  attributed  to  Gainsborough  by  the 

family,   but   its   present   owner   is    inclined   to   believe 


Our  Plates 


thai    it    is    more    probably    by    William    Hoare.       Miss 

Russell  w.is  born  in  172(1, and  married  John!  hi ■ 

Recorder  of  Norwich,  in  1744,  about  which  date  thi 
picture  is  supposed  to  have  been  painted.  She  died 
May  19th,  1700,  in  her  thirty-fourth  year,  and  was 
buried  at  Honing  <  hurch,  Norfolk.  Another  English 
work  of  a  slightly  later  period  is  the  characteristic 
pastel  of  Mrs.  liallack,  by  Daniel  Gardner,  whosi 
career  has  been  recently  recalled  in  these  columns. 
This  lady's  husband,  Mr.  ll.mwav  Ballack,  was  nephew 
of  Joseph  Hanway,  the  well  known  philanthropist, 
who  established  the  Foundling  Hospital,  and  Inst 
introduced  the  umbrella  to  England.  Mi.  Ballack, 
on  the  death  of  his  uncle,  assumed  the  name  ol 
Hanway.  The  portraits  of  Pietro  Aretino,  by  I  itian, 
.,n.l   oi    lie      Marquise  de    Blaizel,  by   Lawn 

in  the  well-known   Frick  collection,  which, 
as   ai  in  last    month's    CONNOISSl  1  R,  will    be 

fully  described  shortly.  The  last-named  work  is  a 
line  example  of  the  artist's  later  period.  It  was 
painted  In    Lav  Paris   in   1825  I    tirxn 

tb    l     m  h  cap  tal,  at 

h,  wa  ei  id  ..  tCnighl  -1'ii'  Legion  of  1  [onour  by 
King  Charles.  H  1  portrait  ol  Washington  i-  from 
an  engraving  in  colours,  alter  the  well-known  picture, 
by   Gilbert    Stuart. 


53 


The  Taylor  Sale,  to  which  a  separate  article  is  devoted, 
constituted  the   great   event  of  the  month.      A  sale  of 

pictures  from  various 
sources  and  belonging 
to  various  schools 
which  was  held  by 
Messrs.  Christie  on 
July  i  2  th,  included 
some  noteworthy 
items,  Raeburn  espe- 
cially being  well  re- 
presented. His  fine 
Portrait  of  Lord 
Newton,  49A  in.  by  39*  in.,  brought  ,£7,140,  the  highest 
price  so  far  realised  at  auction  for  a  male  subject  by  this 
artist.  From  the  same  brush  were  the  following  por- 
traits -.—Miss  Agnes  Law,  afterwards  wife  of  Captain 
George  Makgill,  35  in.  by  26A  in.,  ,£4,095  ;  the  companion 
work,  Captain  Makgill,  £787  10s.  ;  Miss  Macartney, 
29  in.  by  24  in.,  ,£3,360  ;  Miss  Janet  Law,  afterwards 
Mrs.  Berry,  of  Tayfield,  Fife,  34A  in.  by  26i  in.,  .£5,040; 
Mrs.  Human,  nee  Catherine  Melville,  295  in.  by  24!  in., 
.£3,360;  A  Lady,  in  black  dress  and  dark  shawl,  seated 
•on  a  sofa,  49^  in.  by  39i  in.,  ,£3,990;  Kirkman  Finlay, 
M.P.,  34!  in.  by  26*  in.,  ,£8S2  ;  Lady  Isabella  Sinclair, 
49V  in.  by  39.J  in.,  £2,940 ;  Count  Horace  Saint  Paul, 
29  in.  by  245  in.,  £567  ;  John  IVauchope,  28  in.  by  24  in., 
,£210;  and  Mrs.  Kerr,  30  in.  by  25  in.,  £525.  Other 
English  pictures  included  the  following : — Hoppner, 
Portrait  of  Miss  Home,  30  in.  by  25  in.,  ,£693  ;  Morland, 
Portrait  of  Hubert  Day,  £304  ;  Gainsborough,  Portrait 
■of  Charles  Bourchier,  29J  in.  by  24A  in.,  £567  ;  Reynolds, 
portraits  of  the  Rev.  Zachariah  Mudge,  29!  in.  by  24^  in., 
£735  ;  and  Miss  Anne  de  Crespigny,  29J  in.  by  24*  in., 
£682  ;  P.  Nasmyth,  Near  Fast  Gt  instead,  Sussex,  on 
panel,  11J  in.  by  15;  in.,  .£336  ;  and  A  Forest  Scene  in 
Sussex,  also  on  panel  and  the  same  size,  ^"294  ;  Gains- 
borough, Portrait  of  Sir  Paul  Pechell,  Bart.,  .£4, 620 ; 
Lawrence,  Portrait  of  the  Countess  of  Surrey,  29J  in. 
by  24  in.,  Z  1,995  !  and  Hoppner,  Portrait  0/  a  Gentle- 
man, in  naval  uniform,  holding  .1  spaniel  under  his  right 
arm.  ,{,693.  The  following  were  by  foreign  artists  : — 
J.  L.  Mosnier,  Portrait  of  Mrs.  William  Beckett,  30  in. 
by  24J  in.,  ,£714  ;  Hans  Holbein,  Portrait  of  Sit 
Anthony  H'ingfield,  Lord  Chamberlain  to  Hetiry  VIII., 
on  panel,  34  in.  by  27 J  in.,  Z  1,071  ;  Jan  de  Mabuse,  Saint 


Catherine  of  Alexandra  and  Saint  Barbara,  the  wings 
of  a  triptych,  on  panel,  each  xxi  in.  by  \l\  in.,  arched 
tops,  .£1,365  ;  N.  Elias,  Portraits  of  a  Gentleman  and  a 
Lady,  both  in  black,  with  large  white  ruffs  and  lace 
cuffs,  each  on  panel,  47  in.  by  35  in.,  £1,995  i  S.  Van 
Ruysdael,  A  View  on  the  Rhine,  signed  and  dated  1652, 
28  in.  by  432  in.,  £1,365;  Rembrandt,  Portrait  of  the 
Artist's  Brother  Adriaen,  $0$  in.  by  25!  in.,  ,£6,090  ; 
and  Hobbema,  A  River  Scene,  13  in.  by  165  in.,  ,£651. 
In  a  sale  by  the  same  firm  on  July  19th  a  drawing  by 
John  Downman,  1785,  of  Miss  Elizabeth  Ford,  who 
married  Lord  Colville  of  Culross  1790,  oval,  14^-  in.  by 
10  in.,  brought  ,£735. 

THE  most  noteworthy  occurrence  in  the  book  world 
during    the    month   was  the  disposal   of  the  "  Beaufoy 

S  h  a  k  e  s  p  e  a  r  e  s  "  by 
Messrs.  Christie  on 
July  16th.  These  con- 
sisted of  the  first  four 
folio  editions  of 
Shakespe are  which 
formerly  belonged  to 
Henry  B.  H.  Beaufoy, 
Esq.  The  first  and 
second  folios  were 
bound  by  Roger 
Payne,  and  his  original  bill,  amounting  to  £4  13s.  9d., 
was  included  with  the  volume.  The  first  folio  had  a 
perfect  pedigree.  It  descended  to  the  Watkin  Williams 
Wynn  family  from  the  Shakerley  family  of  Cheshire, 
who  owned  it  in  the  17th  century,  and  remained  in  the 
former's  possession  until  purchased  by  James  Beaufoy, 
grandfather  of  the  present  owner,  for  ,£141  10s.,  Feb.  28th, 
1S51.  The  four  folios,  which  were  sold  in  one  lot,  were 
all  good  copies,  though  not  of  exceptional  height.  The 
amount  realised  for  them,  £3,500,  was  a  good  deal  less 
than  had  been  anticipated. 

The  sale  of  the  library  of  the  late  William  Harcourt 
Hooper,  Esq.,  which  was  held  at  Messrs.  Sotheby's  on 
July  15th,  included  a  number  of  presentation  copies  of 
the  Kelmscott  Press  publications,  each  with  an  auto- 
graph inscription  by  William  Morris.  These  included 
the  following  : — News  from  Nowhere,  1st  ed.,  one  of  10 
copies  printed  on  vellum,  sm.  4to,  1S92,  £18  15s.;  His- 
tory of  Reynard  the  Foxe,  vellum,  uncut,  sm.  folio,  1892, 


54 


///    the   Sale    Room 


£7   ios.  ;   The  Life  and  Death  of  Jason,  vellum,  uncut, 
,lio,  189;,  £7  5«.  :   7  World's  End. 

vellum,  uncut,  sm.  folii 

-,   uncut,  large  folio.   1S96,  £%\  :  and  W.    M 
'e  on  his  Aims  in  Founding  the  Kelmscott  . 
with  several  trial  en)  "  W.  M., 

At  the  sale  by  the 
y  16th  and  17th,  the  I  llustrated 

catalogues  of  the  exhibitions  at  the    [ 
Club  v  I   io--  !    Euro- 

pean  Enamels, 
the  Milanese  una  . .' 

<i  and  Embossea  n  Work  Oj 

European  Origin,  1900,  £.\  Work 

uropean    Origin,     1901,    £3     17s.     6d.  ;    English 

tint  Portraits  from  '  9°2» 

£$   10-.;  Ancient  Creek  Art,   1904,  £4  4*-  ;  Faien 

>.  1908,  £2  25.,  and  Illuminated  Manuscripts,  1908, 

Messrs.  Sotheby  also  held  a  sale  on  July  31st 

and  August  1st  and  2nd,  which  include.  of  the 

5th   issue  of   the   tirst  edition  of  Paradise   Lost    a   tew 

defective).  1667-1668,  £82  ;  and  F 

,  1st  e  '         105. 

Am  ing  the  items  in  Messrs.  Puttick's  -ale  on  July  25th 
and  26th  were  a  collection  of  over  one  hundred  of  the 
Arundel  Society's  Chromo-lithographs  and   E 

[ohn  Kea;  S    Agm  - 

uncut,  with  the 

four  leaves  of  advertisements  at  end,  1820:  Poems  written 

hakespeare,  Gent,  portrait  by   Mar-hall     lower 

portion  of  inscription  beneath  in  facsimile;,   1st  edit.,  sm. 

stamped  cf.,  1640,^126;  F.  Burney,  Evelina,  3 

.  Cecilia,  5  vols.,  1782  :    Camilla,  5  vols.,  1796,  The 

Wanderer,  5  vols..  1S14.  all  first  editions  uniformly  bound, 

full  mor.  ex.,  gilt  tops.  £50;  Charles  Dickens.  Sketches  by 

n  the  orig.  20  part-,  wrappers,  some  missing,  1837-39, 

^20;   Bacon's  Proficience  and  Advancement  of  Learn- 

1st  ed.  in  orig.  parchment,  1605,  ,£30;  John  Gould, 

The  Birds  of  Great  Britain,  5  vols.,  impl.  folio,  mor.  ex., 

leaves,   an   original    subscribers  copy,   1873.   £43! 

and  C.  Vernet,  Military  and  other  Costumes,  half  mor., 

In  the  important  sale  of  autograph  letters  and  docu- 
ments, held  by  Messrs.  Sotheby  on  July  29th  and  30th, 
high   prices   were    realised.     A    commission    from 
Mary   Queen   of  Scots,   granting  the   Captaincy   of    the 
■■  of  Wassy  to  the  Sieur  de  la   Montaigne,  signed, 
brought  £205  ;  a  holograph  letter  from  Queen  Elizibeth 
r  Nicholas  Throgmorton,  dated  23rd  July  (1563?  , 
A  p.  fol..  £215  ;  another  from  1  imwell,  signed  in 

:  p.  folio,  January.  1643,  £310:  raph  letter, 

d,  from  Thomas  Randolph  to  the  Earl  of  Leicester, 
h  3 1  st.  1563.  from  Edinburgh,  ij  pp.  folio,  an- 
nouncing the  approaching  marriage  of  Mary  1 
of  Scots,  £300;  and  an  autograph  letter  from  Byron 
to  Captain  Roberts  re  Shelley's  Death,  1  p. 
dated  Pisa,  July  2 1st,  1822,  realised  £25;.  the  highest 
price  ever  attained  for  a  Byron  letter.  Of  several 
autograph  MS.  poems  by  Burns  the  most  important 
specimen  was  a  sonnet  of  14  lines,  which  brought  £190. 


Tin  engravings  and  books  belonging  to  the  late 
Edward  Taylor  1  >nded  in  importance 

with  the  other  portions  of  his 
Engravings  The  librai  '  im- 

of  the  engraving-  the  only 
orthy  item-  weie  the  very  fine  collection 
of  Turn  Studiorui 

■  the  71  published  plates,  all  in 
I  published  state.  1  [20  :  while 

-   of  the  -  bjects  brought  large 

lefore 
the  -a  Studiorum,    £54   1  2s.  ;  Jason,  two  un- 

finishi  Mount  St.   Gothard, 

th  Turner's  instruction-  to  the  engi 
£131    .  ame,  untouched,   £52   10s.  :  Ships  in  a 

.touched  engraver's  proof,  signed  by  C.  Turner, 
£63:  Dunstanborough  Castle,  the  etching  and 
proof,  with  Turners  remarks,  /162    15s.  ;  lake  of  Thun, 
re  the  title,  touched  by  Turner,  and  with  long 
in    his   handwriting.  £99    15s.;   Morpeth, 
Northumberland,  the  etching,  and  a  touched  proof,  with 
rial  note  by  Turner,  £52  10;.  ;  London  from  Green- 
lof,    touched    by   Turner,  and  w  th 
£68    •;-.  :    Inverary  Pier,  Loch   Fyne  : 
Morning,  early  state,   before   the   bird   over  the   water, 
another,    with    Inverary    Pier,    in    scratched 
letters,  £50  8-.  ;  The  Mild/nay  Sea-Piece,  £7;   '■  2-.  ;  The 
Bridge  and  Goats,  £7$   '  5s-  i  Calm,  soft  ground  et.  1 
unique  state,  and  second  and  three  subsequi 

TheRiver  Wye,  with  Chepstow  Castle  in  scratched 
"       .  touched  proof,  £110  5s. ; 
in  Castle,  before  all   letters.  £65  2-.  ;  Bonneville, 
-.£-.(}  14-  and  Hespcrie,  £89  5s. ;  ( 

hurst,  Sussex,  jf  1  36  10s.  ;  Stonchenge  at  Daybreak,  before 
all   letters  (only   three  known,   £7%   15s.  ;   Tht    / 
before  all  letters,  £99  13s.  ;  The  Stork  and  the  Aqueduct, 
before  all  letters,  only  four  known,  £136  10s.  :  A'a> 
and  Echo,  original  soft  ground  etching,  £52  ios.  :  Sand- 
bank with  Gipsies,   soft  ground  etching,  and  anoth 
the  si  £68  5s.  (only  one  other  impress 

this  subject  is  known) ;  and  Moonlight  on  the  Medway 
at  Chatham,  original  engraver's  proof,  only  four  known. 
£99  15s.  Nine  of  the  unpublished  plates,  including  two 
duplicates,  known  as  the  Sequels  to  the  Liber  Studiorum. 
brought  £189,  and  a  set  of  the  fourteen  plates  by  Sir 
F.  Sli  the  unpublished  portion,  with  the  etchings 

of  ten  of  the  subjects,  £94  ios. 

On  July  1 2th  and  15th  Messi      I  k's  held  a  sale  of 

old  and  modern  engravings  from  various  source-,  which 
included   several    items   of   interest.      The   rare    I 
print  of  The  Launch  of  H.M.  7  brought  £  ! 

Coursing,  by  Reeve,  after  Wolstenholme,  a  set  ol 
aquatints  in  colour,  £\i :  Macdonough's  Victory  on  Lake 
Champlain,  1814.  by  Tanner,  £29  8s. ;  an  artist's  proof 
•  Young  Duke,  by  Laguillermie,  at  irdson, 

£8  8s.;    and    7  of  Abraham,  ,  1       Ltinl   in 

colours,  by  Eddy,  £13  21.  6d.     The  sa 
and  modern  etchings  by  Messrs.  Chri-tie,  on  July  24th, 
included  a  proof  set  of  the  works  of  Sir  Joshua  Reynolds, 
by  S.  W.  Reynolds,  1820-36,  £52  10s.  :  and  the  following 


55 


The    Connoisseur 


etchings  :  London  Bridge  No.  _>.  by  F.  Brangwyn,  ,£10  10s. ; 
Burgo  S.   facopo,   Florence,  £20;    The  Founder's  Tomb, 

Winchester,  £\%;  and  St.  Andrew's  Castle,  £\6  16s.  ; 
all  by  Hedlcy  Fitton.  By  Muirhead  Bone,  Etchings 
of  Glasgojv,  a  set  of  five,  £90;  The  Masts,  Lincoln, 
£$S  ;  and  Cambridge  Midsummer  Fair,  £z\.  By  D.  V. 
Cameron,  St.  Mcrri,  ,£24  3s.  ;  Hotel  de  Sens,  £29  Ss. ; 
The  Meuse,  Dinant,  £73  ;  and  A  Border  Tower,  £y)  8s. ; 
and  by  Sir  F.  Seymour  Haden,  A  Sunset  in  Ireland, 
£y\  8s.  The  older  plates  included:  Children  Playing  at 
Soldiers,  by  Keating,  after  Morland  (in  colours),  ,£84  ; 
A  Lecture  on  Gadding,  and  The  Moralist,  after  J.  R. 
Smith,  by  Bartolozzi  and  Nutter,  .£136  10s.  At  Messrs. 
Sotheby's,  on  July  25th,  the  following  were  among  the 
highest-priced  lots:  The  Launch  of  the  Trafalgar,  by 
Baxter,  ,£45  ;  Morning,  or  The  Higglers  preparing  for 
Market,  and  Evening,  or  The  Post  Boy's  Return,  by  D. 
Orme,  after  Morland,  in  colours,  .£128.  The  sale  by  the 
same  firm  on  July  22nd  and  23rd  included  a  pair  of  pre- 
sentation prints  by  Muirhead  Bone  of  Clare  Market,  £66  ; 
and  A  Building,  £71  ;  and  the  same  etcher's  Culross 
Poofs,  £43  ;  and  U.  V.  Cameron's  Holyrood  in  1J43,  £29, 
and  Beauvais,  {.36;  and  Tom  f ones  taking  Molly  Seagrim 
from  the  Cons/able,  by  E.  Scott,  after  Morland,  in  colours, 
,£93  ;  while  in  another  sale  on  July  29th,  also  at  Messrs. 
Sotheby's,  Sophia  Western  and  Give  me  a  Kiss,  by 
P.  Roberts  and  J.  C.  Stadler,  after  Adam  Buck,  and 
printed  in  colours,  brought  ,£So and  £30 respectively;  Mrs. 
Jerningkam,  by  H.  Meyer,  after  Hoppner  (in  colours), 
,£70;  and    The  Windmill  (11.  233),  by  Rembrandt,  £81. 

The  collection  of  old  Chinese  and  European  porcelain 
of  the  late  Colonel  Home  Drummond,  which  was  dis- 
persed by  Messrs.  Christie  on  July  17th 
and  iSth,  contained  some  very  important 
items.  Among  these  was  a  Tournay 
dinner  and  dessert  service  of  192  pieces,  painted  with 
fruit  and  flowers,  and  with  dark  blue  borders,  gilt. 
This  brought  ,£1,134.  Other  high-priced  lots  included 
a  set  of  five  Kang-He  powdered-blue  vases,  enamelled 
in  famille-verte  with  floral  designs — 9\  in.,  8  in.,  and 
7]  in.  high,  .£399;  a  famille-verte  pear-shaped  bottle, 
enamelled  with  kylins  with  a  ball,  and  with  a  floral 
design,  \~\  in.  high  (Kang-He),  ,£131  ,s.  ;  and  six 
Delft  plates,  painted  with  scenes  from  "  The  Passion," 
in  blue,  £1 57   10s. 

At  the  sale  of  the  collection  of  old  silver  plate,  etc.,  held 
by  Messrs.  Christie  on  July  22nd  and  23rd,  a  Henry  VII. 
slip-top  spoon,  the  slip  engraved  with  a  black  letter 
M-i5o6,  maker's  mark,  a  bird's  head,  brought  ,£120. 
This  is  believed  to  be  the  earliest  slip-top  spoon  bear- 
ing the  London  hall-mark.  An  Elizabethan  cocoanut 
cup  and  cover,  in  silver  gilt,  11  in.  high,  1590  and 
1591,  maker's  mark  I.G.,  monogram  in  shaped  shield, 
lit  ,£700. 

-rs.  Sotheby  held  a  four  days'  sale  of  Egyptian 
antiquities  beginning  on  July  16th,  which  realised 
,£5,220  195.  6d.,  the  most  important  item  being  a  paint- 
ing on  stone  of  A  Funeral  Feast,  18J  in.  by  7\  in.,  of 
the  XVIIIth  dynasty,  which  brought  ,£1,071. 


Porcelain, 
Silver,  etc. 


THE  sales  for  June  have  been  few,  but  the  Calde- 

cott  collection   of  coins  of  the  British   Possessions  and 

„   .     „   ,  Colonies,  dispersed  by  Messrs.  Sothebv 

Coin  Sales  ,  '       ,  ,  ,  . 

on  the   11th,   1 2th,  and   13th  of  June,  is 

particulaily  worthy  of  note.  The  ormation  was  begun 
twenty-five  years  ago;  and  it  included  many  rarities. 
Of  the  Isle  of  Man,  the  pattern  penny  of  1723,  in  silver, 
realised  /S  5s.  :  the  pattern  halfpenny,  en  suite,  £7  10s. ; 
a  pattern  penny,  1732,  in  copper,  ,£9  10s.  ;  and  a  Peel 
Castle  half-crown,  181  1,  £S  10s.  A  penny  token  ot 
Jersey,  1S13,  brought  £$  17s.  6d.  ;  a  five-shilling  token 
of  Guernsey,  £14.  India  was  represented  by  a  very 
rare  rupee  of  1672  from  General  Hyde's  collection  and 
the  Montagu  and  Murdoch  cabinets,  which  brought 
,£23  ;  a  Bombay  rupee,  reading  MONETA:  bo.mbaiensis, 
.£14  10s.  ;  a  half-rupee,  similar,  ,£10  ;  and  another 
rupee,  reading  MONETA,  very  fine,  £\6  10s.  In  the 
Bengal  series  the  lots  most  worthy  of  note  were  a  pattern 
rupee,  1784,  from  the  Montagu  and  Murdoch  collections, 
£7  js.  ;  a  mohur  bearing  the  name  of  Alamgis  II., 
£5  2s.  6d.  ;  a  pattern  Calcutta  rupee,  £5  12s.  6d.  ;  a 
Patna  Post  two  annas,  1774,  copper,  £$  5s.  ;  a  one- 
anna  piece,  similar,  £6  5s.  A  double  mohur  of 
William  IV.  went  for  £6 ;  a  portcullis-piece  of  eight 
reals,  of  Queen  Elizabeth  (one  of  the  best  specimens 
known),  .£14;  four  reals,  £8  5s.  ;  two  reals,  £2  us. 
(very  poor  one  side) ;  one  real,  ,£5  5s.  A  rupee  of 
Pulu  Penang,  1788,  brought  £7  17s.  6d.,  and  a  half- 
rupee,  similar,  £6  17s.  6d.  Rupees  of  Java  under  the 
English  occupation,  in  gold,  of  1S14,  1815,  and  1816, 
went  for  ,£8  10s.,  ,£9  10s.,  and  £9  15s.  respectively.  A 
pattern  dollar  for  Hong  Kong  struck  in  copper  fell  at 
,£9  5s.,  and  a  Shanghai  pattern  tael  at  £7  2s.  6d.  Two 
Durban  club  sixpenny  tokens,  i860,  in  white  metal, 
reached  the  high  figure  of  £9  17s.  6d.  The  Griqua- 
town  tenpenny  and  fivepenny  tokens,  silver,  were  bid  up 
to  £7    12s.   6d.  and  ^1  1    10s.  respectively. 

The  third  day  of  this  important  sale  was  one  of  high 
prices  throughout.  The  Hog-money  shilling,  sixpence, 
and  twopence,  copper,  realised  ,£28  10s.,  £16  10s.,  and 
,£15  respectively;  early  American  New  England  shilling, 
,£10  5s.  ;  Willow  Tree  sixpence,  £15  10s.  ;  Maryland 
sixpence,  £9  15s.  ;  Carolina  halfpenny,  1694,  ;£i2  15s.  ; 
pattern  "Rosa  Americana"  twopence,  1724,^49  10s.  ; 
proof  in  steel  of  the  obverse  of  the  pattern  twopence, 
1723,  .£15.  Of  later  North-American  pieces,  a  North- 
west Company  token,  1820,  brought  ,£17  5s.  ;  a  "  Side 
View"  Montreal  halfpenny,  1S38,  ,£7  15s.  ;  another 
variety,  £7  15s.:  a  penny  of  1839,  ,£11;  a  pattern 
fiftieth-of-a-dollar,  1823,  ^13  15s.  ;  a  pattern  hundredth- 
of-a-dollar,  £9   12s.   6d. 

A  sale  took  place  at  Messrs.  Glendining  &  Co.'sonthe 
27th.  The  following  are  the  more  interesting  items  : 
a  five-guinea  piece  of  William  III.,  1701,  j£6  2s.  6d.  ; 
72  seventeenth-century  tokens,  £4  10s.  ;  a  unite  of 
Charles  I.,  ;£l  Js.  ;  a  half-unite  and  Britain  crown  to- 
gether, £1  7s.  ;  a  shilling  and  sixpence  of  the  Common- 
wealth, 1658,  £1  is.  ;  a  silver  proof  halfpenny  of  the  Isle 
ot  Man,  1733,  £1  19s.  ;  and  a  gold  coronation  medal  of 
William  IV.  and  Queen  Adelaide,  1831,  £3   12s.  6d. 


56 


URREfW  ART 


The,  efforts  of  the  British  Government   to  foster  art 
remind  one  of  the  fable  of  the  well-intentioned  elephant 
who  tried  to  assist  a  hen  in  hatching 
The  National         a  brood  of  eggs.      He  sat  on  them  as 
Competition  gently   as   possible,    but    his   impact 

Exhibition  effectively  put  an  end  to  any  hopes  of 

chickens.      In  the  same  way  the  ponderous  01 

South  Ken-  ^^^^^^^^^^^^^^^^^^^^^ 
sington  is  nicely 
calculated  to 
crush  out  the 
initiative  and 
originality  of  the 

students     con-  ~*- 

nected  with  it, 
while  it  encour- 
ages those  who, 
not  possessing 
these  qualities, 
are  incapable  of 
becoming  artists, 
to  adopt  an 
artistic  career  as 
a  means  of  liveli- 
hood. One  can 
see  a  portion  ot 
the  results  in  the 

National  Compe- 
tition   Exhibition 

for   I  9  I  2,   now 

being  held  in  the 

galvanized  iron 
sheds  behind  the 

Natural     History 

Museum,  South 

Kensington.     It 

maintains    the 

standard  of  form- 
er years,  perhaps 

betters  it,  but  it 

still  remains  for 

the  most  part  a 

monument     of 

misapplied  in- 
dustry.    Despite 

the  efforts  of  the 


— 


IN     RELIEF     IN     MARBLE 
GOLD     MEDAL.     NATIONAI 


examiners  to  direct  students  to  works  of  utility,  a  large 
proportion  of  the  exhibits  can  have  no  practical  outcome  : 
while  practically  none  reveals  in  its  style  or  feeling  any 
influence  of  local  tradition. 

It  is  noteworthy  that  no  less  than  nine  out  of  twehe 
gold  medals  have  fallen  to  the  share  of  lady  students. 
01  the  competitors  reci  this  award  Miss  Winifred 

E.  Fitch  (Horn- 
sey)  shows  con- 
siderable origin- 
alityinherdi 
for  mural  decora- 
tion, though  their 
execution  hardly 
equals  their  con- 
ception. The 
book  illustrations 
of  Mr.  Leonard 
R.  Squirrel 
wich)  are  note- 
worthy for  their 
well  balanced 
arrangements  of 
form  and  lighting, 
firm  draughts- 
man-hip, and  fine 
tonal  quality. 
The  virile  line  and 
originality  which 
distinguishes 
similar  work  by 
Miss  Noel  L. 
NisbetfClapham. 
is  rather  marred 
by  faulty  execu- 
tion. (  me  of  the 
most  p  e  r  f e  c  1 1  y 
satisfying  pieces 
of  work  shown  is 
the  tine  head  in 
relief  wrought  in 
marble  by  M;s- 
Jessie  M.  Riding 
[Liverpool).  In 
this  the  sculptor 
has  escaped  the 


BY      |ESS 
COMPETITION,     1912 


57 


The    Connoisseur 


failing  common  to  students  of  making  her  rendering 
merely  an  imitative  reproduction  of  nature,  showing  a 
knowledge  of  the  limitations  of  her  medium,  and  pro- 
ducing a  beautiful  and  effective  composition.  Another 
mg  piece  of  sculpture,  if  on  a  less  exacting  plane, 
is  the  modelled  designs  based  on  a  wild  rose,  by  Miss 
Winifred  Wright  (Holborn).  These  are  well  conceived, 
and  entirely  suitable  for  the  purposes  for  which  they 
are  intended.  This  is  not  always  the  case  ;  one  feels, 
for  instance,  a  little  doubtful  about  the  strength  of  the 
slender  links  intended  by  Miss  Dorothy  Munro  to  attach 
the  cloak  clasp  to  the  garment  it  is  meant  to  secure. 
With  the  clasp  itself,  executed  in  silver  set  with  topaz, 
little  fault  can  be  found.  The  design,  without  being 
ostentatious,  is  ornate,  showing  up  the  beauty  of  the 
stones  and  the  exquisite  quality  of  the  silver  work  to 
great  advantage.  An  infant's  shoe  in  needle-point  lace, 
executed  by  Miss  Florence  A.  Davy  (Hammersmith),  is 
to  be  welcomed  as  proving  it  is  possible  to  produce  fine 
work  in  this  old-time  handicraft,  without  being  entirely 
dependent  on  the  old  designs.  Miss  Davy  well  deserved 
the  gold  medal  awarded  her,  and  one  only  regrets  that 
there  are  not  a  larger  number  of  subjects  in  the  same 
class  submitted  for  competition.  Mr.  Ernest  J.  Holling- 
wortlr's  design  for  machine-made  lace  curtains  is  also 
excellent ;  while  Miss  Margaret  Clarke,  who,  like  the 
former,  belongs  to  Nottingham,  shows  a  well-spaced  and 
appropriately  modelled  design  for  an  overmantel.  Of 
the  utility  of  the  stained  wood  box  for  playing  cards, 
executed  by  Miss  Esther  N.  Brown  (St.  Marylebone), 
one  must  entertain  grave  doubts.  An  object  like  this, 
exposed  to  constant  handling,  is  hardly  suitable  for 
decoration  in  a  medium  which  is  liable  to  damage  by 
dust  and  easily  worn  off.  The  design  itself,  an  illustra- 
tion of  the  legend  of  the  Knave  of  Heart-,  is  well  drawn 
and  coloured,  and  perfectly  appropriate  in  its  character 
for  the  use  intended.  A  fine  specimen  of  wood  carving 
is  the  coffret  by  Miss  Alice  L.  Hitchcock  (Kensington). 
The  design,  of  conventional  floriation  with  figures,  is 
bold,  striking  and  original,  and  the  workmanship  shows 
a  thorough  knowledge  of  the  limitations  and  capabilities 
of  the  material.  Miss  Hitchcock  would  do  well  to  turn 
her  attention  to  metal  work,  in  which  one  would  imagine 
she  would  find  greater  scope  for  her  talent. 

It  will  be  noticed  that  the  gold  medals  were  generally 
awarded  for  designs  which  are  of  practical  utility — a  wise 
policy  on  the  part  of  the  examiners.  The  students 
generally  seem  to  linger  far  too  long  at  merely  educa- 
tional exercises,  such  as  drawing  or  painting  from  the 
cast.  Many — perhaps  the  majority — of  such  exercises 
sent  in  by  competitors  are  marked  in  the  age  column  as 
being  by  adults,  that  is  by  individuals  over  twenty-one, 
while  one  contributor  who  has  not  concealed  his  age 
owns  to  being  thirty.  Clearly  a  man  who  has  then 
attained  only  the  grammar  of  art  has  evidently  mistaken 
his  vocation,  and  should  not  be  encouraged  to  proceed 
further. 

Turning  to  the  works  rewarded  by  silver  medals,  one 
finds  that  the  examiners  have  largely  pursued  the  same 
policy  as  with  the  higher  honours.     A  large  number  of 


the  designs  distinguished  are  those  for  textile  fabrics. 
Among  the  latter  are  a  group  of  effective  designs  for 
lace,  contributed  by  Messrs.  Leslie  Mears,  H.  H.  and 
Alfred  P.  Page,  Herbert  Tomlinson,  G.  T.  Willcox,  and 
11.  W.  Yorke,  of  Nottingham.  These  are  all  thoroughly 
practicable,  and  conceived  in  admirable  taste,  that  of 
Mr.  H.  W.  Yorke  being  particularly  distinguished  for 
its  boldness.  The  level  excellence  of  these  works 
reflects  high  credit  on  the  tuition  at  the  Nottingham 
School  of  Art.  The  modelled  figure  from  the  nude,  by 
Mr.  \V.  H.  Wright,  of  the  same  institution,  though  well 
drawn,  is  hardly  treated  with  sufficient  reserve.  Better 
in  this  respect  is  the  figure  by  George  A.  Brown,  of 
Liverpool.  Of  other  studies  from  the  nude,  an  oil 
painting  by  Mr.  E.  H.  Glasbey,  of  Sheffield,  shows 
goid  colour  and  brushwork.  Another,  by  Miss  Edith  S. 
Bessell  (Wandsworth),  is  firm  in  its  draughtsmanship, 
while  a  crayon  drawing  by  Mr.  Leonard  J.  Fuller, 
of  the  same  school,  is  noteworthy  for  its  feeling  and 
quality.  At  the  same  time  may  be  mentioned  the 
refined  sketches  of  Mr.  William  Davis  (Margarek 
Street,  Birmingham'!,  executed  with  much  delicacy,  which 
would  have  merited  a  higher  reward  than  a  bronze 
medal  had  they  been  set  down  with  greater  precision. 
From  the  same  school  emanated  a  delightful  little 
enamelled  trinket  casket  in  blue  and  gold,  con- 
tributed by  Mr.  Frederick  Freeman,  an  elaborate 
leather  box  in  black  and  red  by  Mr.  Wallace  E. 
Crowther,  and  an  effectively  bold  design  for  a  cast 
brass  salver  by  Mr.  Lewis  Wright.  Miss  Madeline  M. 
Hutchins  contributed  a  tasteful  design  for  a  necklace 
and  pendant  in  gold  and  stones,  and  the  same  adjective 
might  be  applied  to  similar  pieces  of  jewellery  sent 
from  Vittoria  Street  School  of  the  Midland  city,  by 
Messrs.  Cornelius  W.  Exton  and  Bernard  Instone, 
and  the  cne  by  Miss  Mary  A.  Gilfillan,  of  Islington. 
These  are  of  similar  type,  the  effects  being  gained  by 
harmonizing  the  colours  of  the  jewels,  enamels,  and 
metals  employed,  rather  than  by  contrasting  them. 
In  each  there  is  a  tendency  to  over-elaboration,  many 
of  the  exquisite  details  of  the  workmanship  requiting 
close  examination  to  be  appreciated.  While  such  un- 
ostentatious and  artistic  craftsmanship  is  to  be  admired, 
there  is  a  danger  of  its  exponents  forgetting  that  the 
real  end  of  jewellery  is  to  compel  attention,  and  that 
vigour  of  design  and  brilliancy  of  colouration  are  more 
effective  for  this  purpose  than  delicacy.  In  dress  fabrics 
other  ideals  must  be  sought,  more  especially  in  those 
intended  for  every-day  wear;  and  thus  Mr.  Walter  S. 
Giimshaw  well  deserved  the  silver  medal  awarded  for 
the  neat  and  attractive  floral  pattern  for  cotton  prints. 
A  design  in  outline  with  tinted  ground  for  printed 
material  by  Miss  Jane  Kellett,  Ashton-under-Lyne,  is 
marked  by  good  arrangement  and  spacing.  One  for 
silk  brocade  by  Mr.  Harry  T.  Bambrick  (Coventry)  is 
boldly  treated  with  considerable  richness  of  colour  ; 
another  for  woven  tapestry  hanging  by  Mr.  Frank 
Billington  (Macclesfield)  is  also  very  successful,  though 
the  introduction  of  fishes  in  a  conventionally  arranged 
decoration  of  birds  and  foliage  is  not  altogether  apposite. 


58 


*   ,       1 

X 

(  urrent  Art   Notes 


A    heraldic   design    for     stent  b 

Beatrice    M.    Gower    (Willesden     Polytechnii      is    well 
arranged,  though  th<  e  of  the  parallel  lines  in 

the    composition    is    perhaps    too    marked  :    while   the 
ns  for  printed  silk  fabrics  by  Miss   I  Fildes 

Morecambe  .  if  running  too  much  to  deta  I, are  efl 
and  highl)  o  the  material,     i 

for   stained   gla  which    Mr.    Hairy   Clarke 

(Dublin  was  deservedly 
awarded  a  gold  medal 
are  the  most  successful,  and 
k  a  pronounced  ad- 
vance on  his  previous  work. 
His  colouration  is  remark- 
ably rich,  and  the  arrange- 
ment of  the  inter  i 
lines  highly  effective.  ( »ther 
Dublin  competitoi 
sent  in  good  work  included 
L.  M.  Hamilton,  who 
contributed  a  fine  enamel- 
led panel  ingreen  am 
Miss  olive  M  .  11  unter, 
whose  lace  bertha  shows 
bold  patterning;  and  Mr. 
Jame 

modelled  figure  of  a  child 
ismarked  by  good  anatomy. 
Besides  the  desig 
jewellery   already  noted, 
Birmingham   studen' 
represented  by  good  ex- 
amples of  metal  work  ;  one 
of  the  most   successful 
being  that  of  Mr.  G 
M.    Frank  in),    for 

a  crozier,   which,  as   the 

Lminers  state,  "is  well  conceived,  original  and  freely 
ated";  while  the  simplicity  of  the  lines  of  the  fruit  dish 
'  arrie  Copson  (Vittoria  Street)  is  highly  to  be 
commended,  the  modelling  of  the  figures  round  the  stem 
is  excellent,  but  the  base  appears  somewhat  clumsy. 
The  designs  for  various  articles  based  on  plant-forms 
are  numerous  and  generally  good,  though  there  is  a 
tendency  to  over-conventionalize  the  treatment.  Among 
the  best  are  those  of  Mr.  l'erceval  S.  Symonds  (Exeter), 
Miss  Persis    L.  Green   (Dover.    M  \   eril    M.  Picot 

(Holborn),  which  included  one  for  a  lace  collar,  in  which 
the  picturesque  form  of  the  long-rooted  hawkweed  was 
very  effectively  adapted  to  decoration,  and  Miss 
Margaret  A.  Boothby  (Royal  Leamington  Spa),  and 
Mr.  Ralph  \V.  Dale  (Leek).  Among  the  studies  from 
still-life,  those  of  Mr.  A.  C.  Barrett  Bradford)  are  well 
drawn  and  clearly  enunciated,  if  somewhat  garish  in 
colour;  the  water-colour  of  fruit,  etc.,  by  Mr.  Harold 
ley  (Derby),  is  distinguished  by  the  clever  painting 
lie  reflected  lights  on  a  metal  bowl  which  forms 
part  of  the  group  ;  the  cherries  of  Miss  Muriel  R. 
Williams  (Sidcup)  are  marked  by  strong  direct  brush- 
work,  if  somewhat    wanting    in  feeling  ;    the  admirable 


&m 


ST.  JAMES'S    PA1    : 

WAI  KIH    AT    MESSRS. 


tinting  of  gold  fish,  a  lamp,  etc.,  by   Mr.  Stanley 
would  be  enhanced  by  greater  variety  of  colour ; 
and  a  highly-wrought  group  by  Miss  Grace  C    B.  SI 

ide  of  too  great   straining   for 
prettiness  of  effect.      The  ton  going  all   recei 

i   award   «  due  to   Mr.    Cli 

Gilbei  tson,  of  Livi  ol    the  bronze  mi 

given,  for  his  still  life  group,  which,  though  o 

colour,  has  attained    fini 
tonal  quality,     i  '  t  her  in- 
stances in  which  the  higher 
award  see  med  justi  tied 
included  the  modelled  I 
ure  in  the  nu  de  by   M 

1  i  B.  With. im  I  I  I 
which  was  well  composed 
and  showed  true  sculp- 
ue  feeling  if  not 
sufficiently  searchi  n 
regards  anatomy  ;  and  the 
originally  treat' 

Helen  S. 
Oliver  (Leeds).  Other 
competi  tors  «  ho  hould 
be  mentioned  are  Miss 
Blanche  E.  Funnel  (Lei 
whose  design  for  an  illumin- 
ate,! address,  while  inspired 
bj  old  model ;, was unstereo- 

in   treatment  ;     M 
Ethel   M.   Osborne  (Ips- 
wich), a  de  i  g  n  foi  painted 

panel  ;   M  r.   I  larold   i 

(Lincoln),  stained  glass; 
Mr.CharlesK.Howe  Kept- 
ford),  wdiose  effort-  in  litho- 
graphy were  t  ree,  tluent, 
and atmospherii  :  Miss  Helen  L.  Stebbing  (Wandsworth  , 
design  for  an  embroidered  scarf ;  Mr.i  yril  G. 
Tuxford  (Sheffield),  modelled  design  for  cruets,  classic  in 
feeling,  though  a  little  heavy  in  form  ;  Mr.  Reginald  H. 
Austen,  shaded  studies  of  plants,  beautifully  executed 
though  rather  crowded  in  composition;  Mr.  Fred  C. 
Jones  (Bradford),  etchings  ;  Mis,  Margaret  P.  Shillinglav 
(Hornsey),  a  well-spaced  design  for  a  manuscript  bo 
Miss  Elizabeth  R.  Gibb  (Ipswich),  a  pretty  and  effei 

ii  for  a  fan;  Miss  Violet  K.  Hawkes  (Liverpool  .  a 
design  for  a  manuscript  book,  distinguished  by  its  bi 
ful   and    well-formed    lettering;    Mr.    Arthur   B.    H 
St.  Mai  ylcbone),  designs  for  book  illustrations;  and  Mr. 
Arthur  Mason    Margaret  Street,  Birmingham  .  a  study 
from  the  nude  marked  by  considerable  refinement. 

ONI     can  never   visit  the  Tate  Gallery  without  feeling 
keenly  conscious  that  its  pern 
The  "Whistlers"    contents  are  the  accumulation  of  a 
at  the  National  mQre  Qr  ](.       promi  cuous 

„   .   Cr,y  °  donations,   rather  than  the  result  of 

British   Art  _  , 

ti  unitized  effort.       1  he  majority 

of  the  works  gathered  there  are  good  examples  by  second 


ETCHING    BY    WILLIAM 
connell's   GALLERY 


6i 


Tlie    Connoisseur 


and  third-rate  artists.  The  best  men,  with  a  few  note- 
worthy exceptions,  are  either  unrepresented  or  repre- 
sented inadequately.  Whistler,  the  most  original  artistic 
personality  of  the  second  half  of  the  nineteenth  century, 
comes  under  the  latter  category.  The  shortcomings  of 
the  gallery  in  respect  to  this  artist  are  emphasized  at 
the  present  moment  by  the  loan  collection  of  his  work, 
which  has  been  gathered  together  through  the  enterprise 
of  Mr.  Charles  Aitken.  It  is  far  from  being  the  least 
interesting  of  the  interesting  series  of  exhibitions  with 
which  the  last-named  has  already  distinguished  his  short 
regime  of  office.  Though  by  no  means  exhaustive,  the 
display  gives  an  adequate  representation  of  all  the  more 
prominent  phases  of  Whistler's  art;  and  its  quality  may 
be  gauged  by  the  fact  that  not  one  of  the  examples  shown 
but  would  be  a  welcome  addition  to  the  permanent 
collection.  Earliest  of  all  the  works  included  is  At 
the  Piano — Whistler's  first  picture  to  be  hung  at  the 
Royal  Academy,  though  not  his  earliest  contribution, 
the  picture  exhibited  in  i860  being  antedated  by  two 
etchings  shown  in  1859.  In  the  tight  of  the  twentieth- 
century  canons,  it  is  amusing  to  learn  that  this  work  was 
stigmatized  by  "  The  Athenaeum  "  as  being  marked  by 
"  a  recklessly  bold  manner  and  sketchiness  of  the  wildest 
and  roughest  kind."  Either  we  have  vastly  improved 
or  retrograded  in  our  taste.  Judged  by  the  standard  of 
to-day,  it  is  highly  finished.  Whence  the  difference  of 
opinion  ?  One  must  put  it  down  to  a  difference  of 
outlook.  That  of  mid- Victorian  art  was  literary  and 
diffusive  ;  Whistler's  the  same  as  the  moderns — natural- 
istic and  collective.  He  observed  detail  with  as  great 
or  greater  accuracy  than  his  contemporaries  ;  but  whereas 
he  saw  his  pictures  as  a  whole,  with  all  their  parts  in 
tonal  relation,  theirs  were  accumulations  of  separately 
observed  fragments  arranged  in  relation  to  their  dramatic 
interest.  At  the  Piano  contains  no  dramatic  interest. 
A  lady  in  black — the  artist's  sister,  Lady  Seymour  Haden 
— is  seated  at  a  full-sized  grand  piano  with  her  daughter, 
a  little  girl  in  white,  standing  by  its  side.  The  surround- 
ings are  Victorian  and  commonplace,  the  lower  portions 
of  three  glazed  and  heavily-framed  pictures  showing  on 
the  wall  behind,  and  some  violin  cases  under  the  piano. 
This  is  not  Whistler's  greatest  picture,  yet  one  wonders 
if  any  other  example  so  completely  suggests  the  range 
of  his  powers.  The  handling  is  tighter  and  more  solid 
than  in  his  later  work  ;  the  outlook  realistic  rather  than 
decorative ;  but  the  possibilities  which  lay  in  him — 
possibilities  which  he  was  to  develop  into  actualities — 
are  all  revealed.  His  wonderful  command  of  pigment 
is  shown  in  his  handling  of  the  blacks  and  whites  of  the 
two  dresses.  They  tell  out  as  unbroken  masses  domina- 
ting the  rest  of  the  picture,  yet  are  alive  with  lustrous 
and  limpid  colour.  The  flat  tones  of  the  carpet  and 
wall  should  be  monotonous,  but  Whistler  has  made  them 
interesting,  as  he  has  made  interesting  the  ugly  square- 
ness of  the  picture  frames,  the  ungainly  piano,  and  the 
prosaic  violin  cases,  by  making  them  all  parts  of  a 
beautiful  composition  which  would  lose  some  of  its 
essential  charm  were  a  single  article  omitted.  The  com- 
position, in  its  use  of  straight  lines  in   the  background 


and  the  pose  of  the  figure  of  Lady  Seymour  Haden 
almost  silhouetted  against  the  background,  anticipated 
the  pictures  of  The  Artist's  Mother  and  Carlyle.  There 
is  the  same  leading  idea,  but  in  the  later  works  it  was 
simplified  to  the  point  of  decoration.  The  quartette 
here  exhibited — At  the  Piano,  painted  1859;  The  Little 
White  Girl  (Symphony  in  White  No.  2)  uf  1864;  The 
Two  Little  White  Girls  (Symphony  in  White  No.  3)  of 
1867  ;  and  the  Miss  Alexander  of  1872 — are  the  way- 
marks  of  the  artist's  progress.  The  last  picture  is  the 
most  exquisite  bloom  of  Whistler's  art.  It  is  perfect  in 
its  way — the  most  perfect  picture  of  its  kind  in  the  world. 
Yet  this  consummation  is  not  attained  without  loss.  It 
is  to  ordinary  art  what  Shelley's  poetry  is  to  ordinary 
poetry — perfect  in  its  form  and  utterance,  delighting  the 
senses  with  its  melody,  yet  failing  to  grip  ^he  feelings 
because  of  its  remoteness  from  humanity.  Nominally 
the  picture  is  a  portrait ;  actually  it  is  a  superb  piece  of 
harmonic  decoration.  For  portraiture — true  portraiture 
— cannot  be  achieved  without  sympathy,  and  Whistler 
had  obviously  no  special  sympathy  with  his  subject.  He 
realised  her  with  the  same  interest  as  he  did  the 
remainder  of  the  work,  but  with  no  greater.  The  picture 
is  not  a  portrait  in  the  true  sense  of  the  word,  but  a 
patterned  arrangement  of  line  and  colour,  of  which  Miss 
Alexander's  figure  forms  the  principal  portion.  In  this 
sense,  and  in  this  sense  only,  it  is  the  world's  greatest 
masterpiece.  The  two  Symphonies  are  not  so  com- 
pletely decorative.  In  them  Whistler  is  more  imitative 
and  less  eclectic;  omitting  scarcely  any  detail,  though 
much  of  it  is  suggested  rather  than  expressed.  In  the 
exquisite  tones  of  the  white  drapery,  and  the  subtle 
tenderness  with  which  the  flesh-tones  of  the  arms  of 
The  Little  White  Girl  are  suggested  under  the  semi- 
transparent  muslin,  Whistler  shows  a  mastery  of  tone 
and  brushwork  which  none  of  his  contemporaries  could 
equal.  As  a  merely  technical  achievement  the  picture 
will  hold  its  own  with  any  of  the  permanent  works  in 
the  Tate  Gallery.  The  Two  Little  White  Girls  is 
hardly  so  spontaneous;  the  draperies  are  marvels  of 
soft  purity,  but  the  faces,  especially  one  of  them,  show 
hesitation  in  their  handling,  as  though  the  painter  was 
not  completely  satisfied,  but  feared  to  alter  lest  he 
should  mar  what  he  had  already  achieved.  None  of 
the  other  figure  subjects  exhibited  are  of  the  same 
importance  as  these  four,  though  some,  among  them  a 
small  anonymous  portrait,  show  with  how  artistic  a  vision 
could  Whistler  transcribe  modern  male  attire ;  The 
Little  While  Sofa  is  a  delicate  harmony  in  white,  blue 
and  pale  yellow,  on  a  canvas  about  twice  the  size  of  a 
playing  card;  while  the  transcripts  from  the  nude,  lent 
by  Miss  R.  Birnie  Philip — one  hesitates  to  call  them 
pictures  because  of  their  slightness,  and  they  are  not 
studies  as  each  is  completely  realized — are  superb  in 
their  flowing,  supple  execution,  and  their  wonderful 
economy  of  effort.  Of  the  landscapes,  the  finest  is  the 
Old  Battersea  Bridge  belonging  to  the  permanent  collec- 
tion of  the  gallery,  and  the  Valparaiso  an  exquisite  ex- 
pression of  truthful  tone  and  feeling;  but  the  forms  of  the 
ships  seem  clumsy — an  intrusion  of  the  prosaic  into  the 


62 


Current  Art   Notes 


realms  of  romance.     The  Battersea  Bridge     Brown  and 

■■■  is  superbly  composed,  its  translucent  and  tender 
brillance  is  suggestive  of  an  ethcrcalized  Van  Goyen  ;  the 
Nocturne  in  Blue  an.i  Gold  Cremome  Lights  is  delicate 
and  dreamlike  ;  but  for  perfect  expression  of  the 
mysterious  glamour  of  night,  for  sustained  harmony  of 
colour,  beauty  of  tone  and  rhythmic  arrangement  of  line. 
one  turns  again  to  the  Old  P  fridge.     Though 

any  of  the  landscapes  shown  would  be  welcome  additions 
to  the  permanent  collection  at  the  Tale  Gallery,  the 
need  for  a  second  example  of  these  phase?  of  Whistler's 
art  is  not  imperative.  With  the  figure  subjects  it  is 
otherwise.  The  Miss  Alexander,  if  it  ever  comes  into 
the  market,  should  be  secured  at  almost  any  cost.  One 
would  rather  have  it  than  any  of  half  a  dozen  can 
for  which  huge  sums  have  been  given — the  Adoration  of 
the  Magi  by  Jean  M abuse,  for  instance.  This  is  a 
work,  but  neither  unique  nor  by  an  English  artist,  and 
Whistler's  picture,  despite  his  American  origin,  is  both. 
With  it  one  would  like  to  have  a  specimen  of  the  painter's 
earliest  style;  either  the  first  of  the  Symphonies  in 
White,  or  At  the  Piano,  and  one  of  Miss  Philip's  dainty 
figure  examples,  the  Blue  and  I'iolel  for  choice.  With 
these  additions  to  the  Old  Battersea  Bridge,  the  art  of 
the  most  original  painter  of  the  nineteenth  century 
would  be  adequately,  though  not  extravagantly,  repre- 
sented in  the  National  Gallery  of  his  adopted  country. 
Is  it  too  much  to  be  hoped  that  steps  may  be  taken  to 
realize  at  least  a  part  of  such  a  programme  ? 


The  loan   collection  of  works  by  Alphonse   Legros, 
also  shown  at  the  Tate  Gallery,  was  a  complete  epitome 

of  hi- ait.     No  man  worked  with  such 
The   Works  of  ., 

.  T  uniform  accomplishment  in  so  nianv 

Alphonse  Legros  ,.  ,         ,         .  ,  ,  ,  .' 

mediums,  but  the  wide  range  of  his 

i  prevented  him  from  attaining  the  highest  excel- 
lence in  any  single  department.  One  is  inclined  to  think 
that  posterity  will  best  remember  him  by  his  etchings. 
Of  these  a  full  collection  was  shown,  but  this  phase  of 
his  art  has  already  been  treated  upon.  His  sculpture 
was  seen  at  its  best  in  his  designs  for  medals,  which 
seldom  failed  to  attain  distinction.  His  pictures  showed 
a  wide  range  of  manner,  observation  and  feeling.  It  is 
curious  how  often  the  dead  artist  used  prayer  as  the 
leading  motif  of  his  pictures.  The  Pilgrimage,  lent  from 
the  Walker  Art  Gallery,  Liverpool,  and  one  of  the  finest 
of  his  works,  and  another,  Femmes  en  Priere,  belonging 
to  the  Tate  Gallery,  were  only  two  among  twenty  or 
thirty  examples  of  this  class  of  subject.  Though  seven- 
teen years  separated  their  production — the  first-named 
being  dated  1871,  and  the  second  1888 — there  was  little 
difference  in  the  painter's  vision  or  his  method  of  realiz- 
ing it,  both  canvases  being  distinguished  by  close 
observation,  firm  draughtsmanship,  and  strong  but  res- 
trained colour.  The  portrait  of  Carlyle  was  interesting 
as  a  record  of  physiognomy,  but  it  did  not  penetrate 
beneath  the  surface.  The  historian  looked  bored  and 
querulous,  and  less  a  sage  than  a  Scottish  peasant 
farmer.    Better  than  this  were  some  of  the  portrait  studies, 


The  London 
Salon 


which  in  their  perceptive  insight  and  fluent,  virile  brush- 
work  attained  qualities  which  the-  more  laboured  work 
lacked. 

THE  unexpected  too  seldom  happens  in  art.  I 
enters  an  orthodox  exhibition  with  foreknowledge  of  its 
contents,  their  artists,  and  the  lar 
methods  ;  so  that  what  should  be 
its  most  immediate  charm  —  that  of 
novelty — is  absent.  The  annual  display  of  the  London 
Salon,  at  the  Albert  Hall,  like  its  immediate  predeces- 
sors, offered  an  honourable  exception  to  this  rule.  Under 
no  other  single  roof  in  England  has  there  been  gathered 
together  a  more  catholic  representation  of  all  current 
phases  of  art.  whether  native  or  foreign.  A  visitor  might 
fail  to  admire  much  of  what  he  saw,  but  could  not  fail  to 
be  interested,  for  the  unexpected  cropped  up  in  -. 
corner  ;  occasionally  in  beautiful  guise.  Compared  with 
former  years  the  exhibition  was  smaller,  but  of  higher 
general  quality.  In  sculpture  alone  was  there  retrogres- 
sion, fewer  works  being  sent  in,  and  these  chiefly  small, 
a  fact  to  be  the  more  regretted  as  the  Albert  Hall  is  an 
ideal  building  for  the  display  of  heroic  statuary.  The 
advanced  phases  of  art  were  strongly  represented,  form- 
ing a  piquant  contrast  to  the  more  orthodox  elements. 
These  were  fascinating  enigmas  to  the  student  who 
attempted  to  locate  their  artistic  biology,  for  though 
superficially  similar  in  their  departure  from  conventional 
lines,  they  represented  not  s0  much  a  new  phase  in  art 
as  an  extreme  development  of  existing  phases.  Mr. 
Alfred  Wolmark's  Fisherman  makes  a  good  starting- 
point  in  an  attempted  classification.  One  would  hazard 
the  guess  that  this  artist's  ideals  are  not  dissimilar  from 
those  of  Gainsborough,  and  if  he  had  lived  a  hundred 
and  forty  years  ago  he  would  have  shocked  the  suscepti- 
bilities of  Sir  Joshua  Reynolds  by  adopting  the  methods 
of  the  Bath  revolutionary  rather  than  the  academical 
ones  of  the  President  of  the  Royal  Academy.  Gains- 
borough sought  beauty  in  colour  quality,  that  is  in  the 
power  of  expressing  and  harmonizing  a  single  tint  in  all 
its  variations  of  light  and  shade,  and  in  this,  coupled 
with  his  superb  brushmanship,  are  the  salient  charac- 
teristic's of  his  art.  Mr.  Wolmark  follows  on  the  same 
lines  ;  but  whereas  the  great  portrait  painter  applied  the 
principles  to  objects  which  were  in  themselves  interesting 
and  beautiful,  and  executed  his  work  with  sufficient  deli- 
cacy to  satisfy  the  vision  a  short  distance  away,  Mr. 
Wolmark  labours  to  evolve  beauty  from  ugliness,  and  to 
form  of  it  decorative  schemes  conceived  on  a  largeness  01 
scale  which  demands  distant  vision.  Let  me  confess  to  in- 
finitely preferring  Gainsborough's  method  for  the  orthodox 
room  or  picture  gallery  :  but  for  decoration  on  a  large 
scale  one  would  hesitate.  Supposing  that  the  Albert 
Hall  is  ever  decorated  as  it  should  be  decorated,  out  of 
Mr.  Wolmark's  almost  uncouth  force  of  line, and  broadly 
treated  masses  of  colour,  an  almost  ideal  scheme  might 
be  evolved.  Miss  Ethel  Wright,  like  Mr.  Wolmark. 
in  her  Trust  came  under  the  definition  of  a  decora- 
tive artist.  There  was  less  quality  but  more  poignant 
contrast  in  her  colour.     On  the  other  hand,  Mr.  Roger 


63 


The    Connoisseur 


Fry's   Landscape — a   sandy    river  spanned    by   a   many 
arched    bridge,    backed    by    undulating    landscape    and 
flanked  by  a  much  windowed  building— must  be  classed 
as  realistic.     The  principal  feature   of  the    theme— the 
bridge— was  impressive  in  its  unaffected  simplicity,  from 
which  the  wilful  omission  of  tonal  quality  in  the  back- 
ground failed  to  detract,  but  the  windows  in  the  house 
on  the  left  were  unduly  emphasized,  and  caught  the  eye 
with  irritating  persistence.      Their   modification    would 
much  assist  the  general  effect  of  the  work.     Symbolism 
was  exemplified  in  the  Creation  of  Mr.  Percy  Wyndham 
Lewis,  and  the  Constructive  Cartoon  of  Mr.   H.   Phelan 
Gibb  ;   both  paintings  were  vaguely  suggestive,  and  pos- 
sessed a  decorative  quality  which  might  have  fitted  them 
as  adornments   for   a    Mahomedan   mosque,   where    no 
representations  of  the  human  form  are  permitted.     Mr. 
Jacob    Epstein's    massive    piece    of    sculpture,    entitled 
Maternity,   might  also   have  very  nearly  escaped   con- 
demnation   under   the    Mahomedan   law,  for  there  was 
little  feeling  of  humanity  in  the  figure,  while  Mr.  David 
Edstrom's  Sphinx  Head  was  weirdly  horrible.     These 
new  phases  of  art  may  contain   valuable  elements,   but 
the  wilful  limitations  with  which  its  exponents  circum- 
scribe their  work  narrow  both  its  appeal  and  impressive- 
ness  ;  what  power  of  attraction  it  possesses  is  by  reason 
of  its  grotesqueness  rather  than  its  beauty.     Turning  to 
the  more  orthodox  art,  one  can  congratulate  Mr.  Edward 
Chappell  on  the  increased  virility  and  more  naturalistic 
observation  of  his  landscapes.     Mr.  Mervyn  Lawrence's 
Shanganagh  was  an  effective  and  broadly  treated  land- 
scape ;   The  Prodigal  Son   of    Mr.    Charles    Polowctski 
was    impressive,  and   Mr.  Tennyson  Cole's   Portrait  of 
Mrs.  John  Dennis  gracefully  posed.     In  the  main  gallery 
Mr.  Bemhard  Sickert's  landscapes  were  distinguished  by 
pleasant  colour   and  feeling;  Miss   Bettia   Schebsman's 
portrait    of    Anne   Millhoff,    if  aggressive   in   tone,  was 
undeniably  powerful;     Mr.  J.   Hamilton   Hay's  roughly 
handled  Moonlit  Seapiece  showed  good  colour,  and  Mr. 
C.  K.  Merrison's  At  Studland,  Dorset,  despite  its  woolly 
clouds,  was  a  piece  of  true  and  unaffected  observation. 
The  last   criticism  would  also  apply  to   the   Tol  Pedn, 
Penwith,   of  Mr.  James  Towers,  a  happy  rendering  of 
nature  in  a  sunny  aspect,  in  which  the  forms  and  colours 
of  the  rocks  were  realized  with  an  almost  pre-Raphaelite 
wealth  of  detail. 

THE  new  Mendoza  Galleries,  which  are  now  located  at 
13,  Old  Bond  Street,  were  inaugurated  with  exhibitions 
of  water-colour  drawings  of  Scotland 
"Scotland  and         alh/  Dai /moor,   by   Mr.   Charles   E. 
Dartmoor,"  by  Brittan,  and  Cot/age  Homes  of  Eng- 

Charles  E.  ia„^  by  Mr    A    r    Quinton.      Mr. 

Brittan,  and  Brittan's  popular  and  facile  work  is 

"  C°»^e  Homes      Well  known.     His  present  exhibition 
of  England,"  by       ^  ^  t,     dissimilar  from   the 

A.  R.  Quinton  .         r       ,         ,    ,,   ■ 

series  of  others  held  in  past  years, 

belonging    to    a    style    of   art    which    is    effective    and 

picturesque  without  penetrating  much  below  the  surface 

of  things.      The  Cottage  Scenes  of  Mr.  Quinton  were 

of  the  same  order.     The  artist,  however,  showed  a  more 


intimate  feeling  for  locality.  He  pictured  in  pleasant 
fresh  colour,  and  with  precision  and  delicacy,  beauty 
spots  like  Selworthy  Green,  Duns/cr,  Boat  Lane, 
Welford-on-Avon,  Harrington  near  Evesham,  and 
other  typical  English  rural  scenes,  as  seen  under  the 
most  favourable  auspices.  The  exhibition  would  have 
gained  as  a  whole  by  more  variety  of  aspect,  but  in- 
dividually each  of  the  drawings  shown  formed  a  very 
pleasant  reminiscence  of   the  place  it  depicted. 

Brii.liaxi   and  sumptuous  colouring  was  the  salient 
characteristic   of  Miss    Mary   Helen    Carlisle's   present- 
ments of  scenes  in  the  Sunny  South 
Pictures,  Draw-       of  the    North   American  Continent, 
ings  and  shown  at  the  Modem    Gallery    (61, 

Miniatures  by  Ngw  Bond  Street)       Her  wJld-nower 

Miss  M.  H.  landscapes,   where   huge    masses   of 

gorgeous  blooms  were  arranged 
against  skies  of  limpid  blue,  or  in  some  instances,  as  in 
Lupin  in  Early  Spring,  without  any  aerial  background, 
were  effectively  harmonized  and  contrasted.  The  last- 
named  picture,  the  Marsh  Plant,  Evening  at  Holtister, 
California,  and  A  Meadow  in  Spring,  Eschscholtizia 
(California  Poppy  .  Cream  Cup  and  Lupin,  were  among 
the  best  of  what  may  be  termed  the  artist's  flower 
panoramas.  In  her  garden  scenes,  Miss  Carlisle  treated 
the  equally  beautiful  but  far  smaller  masses  of  blossom 
with  delicacy  and  refinement,  and,  where  architecture 
was  introduced,  it  was  both  well  drawn  and  set  down 
with  a  keen  sense  of  the  picturesque.  A  further  proof 
of  the  artist's  versatility  was  furnished  by  a  selection  of 
miniatures,  which  were  distinguished  by  firm  draughts- 
manship and  happy  characterisation.  Among  these  was 
one  of  the  late  Queen  Victoria,  painted  by  Miss  Carlisle 
in  1897,  and  now  shown  to  the  public  for  the  first  time, 
H.M.  Queen  Alexandra  kindly  lending  it  for  exhibition. 


The  most  noteworthy  feature  of  the  Summer  Exhibi- 
tion at  Messrs.  Tooth's  Galleries  (155,  New  Bond  Street) 
is    perhaps    afforded    by    the    small 
Messrs.  Tooth's        but    fine     serjes    0f    examples    by 
Summer  L   Lnermitte.     An  important  picture 

Exhibition  by  ^-g  art;st  wnich  does  not  appear 

in  the  catalogue  shows  a  spring-time  scene,  with  fruit 
trees  covered  with  blossom  on  a  descending  hill-slope 
backed  by  a  far-spreading  hill-slope.  The  figures  of 
a  pair  of  lovers  in  the  foreground  introduce  a  touch 
of  sentiment  happily  appropriate  to  the  season,  but 
the  charm  of  the  picture  is  in  its  atmospheric  quality 
and  the  tender  delicacy  of  its  opalescent  colouring.  Two 
pastels  by  the  same  artist,  Le  Tisserand  and  Les 
Dentillicres,  show  a  couple  of  interiors,  low  in  colour, 
but  with  their  sombreness  relieved  by  the  exquisite 
luminosity  of  their  grey  atmosphere.  The  figure  of  the 
mother  making  lace— a  living  machine,— her  face  and 
arms  attenuated  by  work,  formed  a  poignant  contrast 
to  the  chubby  forms  of  her  two  children.  The  large 
pastel  of  Le  Pclerinage,  though  showing  some  beautiful 
passages,  has  its  interest  too  exclusively  confined  to  the 


64 


Current  Art    Notes 


■icground  of  the  picture  to  be  successful 
as  a  whole.  I.e  Bord  (Tunc  Riviere  is  a  beautiful 
example  of  II.  Harpignies  .it  his  best;  Les  Collines  tie 
Montmartre,  by  G.  Michel,  is  marked  by  an  impressive 

mi-,  i  .mil  treatment, 
tin  features  of  the  landscape  being  fully  realized  in  all 
their  parts  without  impairing  the  breadth  and  dignity 
of  the  general  conception.  Among  other  fine  worl 
this  interesting  exhibition  are  Mother  and  Childly  li.  I. 
Bloomers  ;  (  Hd  Farm  House  at  Leiden,  by  Th.  de  Bo<  k, 
and  characterise  examples  by  Israels  and  li" 


At   the   Dore  Galleries  the  landscapes  by  (  hevaliei 

Gaetano  '    ipone,jun.,  were  bright  in  colour,  but  showed 

that  deficiency  in  tone  and  quality 

which   is  a  chai  v  of  much 


of  the  modern  Italian  work.   Better 
were   some  of  his    figure   stud 


Chevalier  Gaetano 

Capone,  jun.,  and 

Reproductions  of  ,         _,     _        ,     .      . 

.   r_  „„  such  as  The  Revolutionist,  a  clever 

the  Great  Masters  '       . 

character   sketch;  A  Friendly 

Smile,  an  attractive  study  of  a  girl's  head.  Among  the 
other  works  shown  was  a  clever  little  panel  ol  Two 
ting  Cocks  and  Hens,  by  E.  I..  Couturier.  In 
another  gallery  were  shown  a  series  ol  reproductions  of 
the  great  masters  by  the  Mortimer  Menpes  process. 
These  are  certainly  among  the  best  colour  work  of 
modern  times,  attaining  the  colour  feeling  and  brush- 
work  of  the  originals  with  great  exactitude.  Their 
failing  is  that  they  have  .1  tendency  to  undue  sombre 
ness  of  tone,  a  fault  which  is  more  apparent  in  the 
smaller  examples  than  the  large.  Among  the  latter  the 
reproductions  of  the  Portrait  of  Capt.  Borro,  by  Velas- 
quez ;  .-/  Boy  and  a  Girl,  by  Peters;  and  Raeburn's  Boy 
with  a  Rabbit,  were  strikingly  successful. 


It  may  be  questioned  whether  any  country  at  any 
period  of  art  has  given  birth  to  a  more  accomplished 
and  versatile  body  of  etchers  than 
exi  i  in  England  at  the  present 
moment.  There  have  been  as  great 
or  greater  individual  artists  in  the 
medium  in  former  times  Rembrandt, 
for  instance,  will  never  be  surpassed  ;  Whistler,  Meryon, 
and  others  has  each  in  his  own  sphere  attained  effects 
which  posterity  can  only  emulate — but  there  has  never 
nib  a  wealth  "I  good  etching  produced,  or  a  time 
in  modern  history  when  so  many  examples  by  living  men 
vied  with  the  greatest  examples  of  dead  masters.  What 
may  be  termed  this  prolificness  of  excellence  is  exempli- 
fied in  the  exhibitions  now  being  held  at  the  Dowdeswell 
Galleries  160,  New  Bond  Street),  and  those  of  Messrs. 
Connell  (47,  Old  Bond  Street).  In  both  instances  the 
etchers  represented  are  not  among  those  whose  work 
has  so  far  realized  phenomenal  prices  at  auction,  yet 
each  contains  examples  which  in  certain  directions 
verge  on  the  limits  of  possible  achievement.  About 
half  of  Messrs.  Dowdeswell's  exhibition  is  constituted 
by  the  plates  of  Messrs.  Albany  E.  Howarth  and  Ernest 


Etchings  at 
the  Dowdeswell 
and  Connell 
Galleries 


S.  Lumsden.  The  former's  fifty-one  examples  are  almost 
fully  representative  of  his  work,  though  among   tl  - 

e  of  1  I      -    -  •        One  1 

perceive  in  Mr.  Howarth's  work  a  dual  tendency  towards 
to  -   and  colour  and  sentient  lim  -     necessarily 

antagonistic,  but  which  rarelj  can  be  exemplified  to  the 
full  in  the  same  work.  In  his  earliei  plates  the  desire 
for  tl  -  ■  nt  of  the  first  quality  is  u]    ien 

the  line  work  is  to  some  degree  sacrificed.  The  result  is 
not  altogether  satisfactory.     These  -  itmo 

:  bul    the    atmosphere  1     murky,  and  there  is  a 
want  oi  'ii  pness  and  definition  in  the  rei  of  form. 

An  exi  eption  must  be  made  in  the  in  t; ■  "l  .1    Dutch 

Mill  nt  Dordrecht,  where  strong  chiaroscuro  and  fin< 
tonal  quality  is  achieved  almost  wholl)  l>\  fluent  and 
virile  line-work.  In  the  Stirling  Castle,  [907,  a  fine 
effeel  is  realized  by  similar  means,  though  in  this,  to 
preserve  the  balance  of  the  composition,  the  blackne  ol 
the  -  loud  "ii  tin-  lefl  has  been  accentuated  to  a  greater 
ee  than  it  would  tppear  in  nature.  The  Old  House i 
Rouen,  1908,  is  .1  strong  rendering  of  a  picturesque  piece 
"I  architecture  noteworthy  for  its  effective  massing  ol 
lighl  and  -hade,  and  po  ie  sing  a  clarity  of  definition 
that  is  somewhat  wanting  in  the  atmospheric  and  well 
iposed  Abbeville,  1910.  The  crispness  and  spon- 
taneity of  the  Windmills,  near  Abbeville,  of  the  ime 
year,  is  very  delightful,  while  thi  Gate,  A  vcastle, 
of  191  1,  is  a  powerful  piece  of  work.  Mine  purely 
architectural  in  their  appeal  are  the  Prior's  Doorwaya.nd 
Interior  of  Durham  Cathedral,  both  1911.  The  former 
makes   its   appeal    by   its  simplicity  of  arrangement  and 

beautiful  express t  architectural  detail;  the  latter  in 

its  line  balanced  composition  and  the  arrangement  of 
the  lighting,  which,  while  permitting  all  the  glory  of 
Norman  arch,  richly  moulded  pillar,  and  exquisite 
tracery  of  window  and  rood-screen  to  be  uggi  ted,  in 
no  instance  permits  any  portion  of  it  to  intrude  from  its 
atmospheric  environment.  Mr.  Howarth's  latest  work, 
the  great  doorway  of  Peterborough  Cathedral,  shows 
qualities  in  the  refinement  of  its  line  and  its  delicacy  of 
treatment  which  do  not  appear  in  the  same  degree  in 
any  of  his  previous  efforts,  and  which  give  promise  of  a 
further  advance  in  art.  Mr.  Lumsden's  work  is  at  once 
more  limited  in  its  range  and  more  individual  than  Mr. 
Howarth's.  It  is  less  studied  in  its  appearance,  always 
retaining  the  vivid  freshness  of  a  transcript  from  nature. 
Some  beautiful  line-work  is  shown  in  the  Paris  in  Construc- 
tion, No.  1,  where  the  houses  in  the  background,  flanked 
on  the  left  with  a  huge  erection  of  scaffolding,  and  the 
horses  struggling  with  a  heavy  load,  are  expressed  with 
a  minimum  of  effort  and  a  maximum  "I  effeel  that  is 
fascinating.  The  m  <  p  ng  -  urvi  oi  Loch  Shieldag,  and 
the  little  vista  of  Les  /failles,  the  decorative  limplicity 
of  the  two  trees  in  Loch  Torridon,  and  the  architectural 
elaboration  of  North  Bridge,  Julinbord,  are  all  rendered 
with  sympathetic  appreciation  of  their  special  beauties, 
the  hand  expressing  with  consummate  dexterity  the  vision 
of  the  eye  and  mind.  Space  does  not  permit  more  than 
a  passing  mention  of  the  other  painter-etchers  repre- 
sented in  the  exhibition— Mr.  Mortimer  Menpes,  versatile 


65 


The    Connoisseur 


and  accomplished  ;  Mr.  Frank  Mason,  seen  at  his  best 
in  Mont  St.  Michael ;  Mr.  A.  P.Thomson,  Mr.  Martin, 
and  the  Hon.  Walter  James. 

The  exhibition  at  Messrs.  ConnelPs,  which  was  con- 
fined to  recent  views  of  London  by  living  etchers,  showed 
how  many  picturesque  phases  of  the  metropolis  escape 
the  ordinary  observer.  The  fine  gatehouse  of  St.  James's 
Palace,  one  of  the  four  surviving  specimens  in  London, 
is,  of  course,  well  known,  and  Mr.  William  Walker's 
artistic  presentment  of  it,  though  it  might  impress  a 
spectator  with  a  keener  sense  of  its  fine  architectural 
proportions,  would  not  add  a  fresh  item  to  his  repertoire. 
The  same  artist's  dainty  sketches  of  such  pieces  of  sculp- 
ture as  The  Lions  of  the  Institute  or  the  Piccadilly 
Foundation  might,  however — in  the  former  case  espe- 
cially—call his  attention  to  beauties  he  had  overlooked  ; 
and  Mr.  Johnstone  Baird's  vista  of  St.  Paul's  from 
Charing  Cross,  as  seen  through  one  of  the  arches  of 
Hungerford  Bridge,  and  his  Blackfriars  Bridge  seen 
nearly  end  on  and  framed  in  similar  fashion,  were 
revelations  of  the  picturesque.  The  Horn  Store  of  Mr. 
Macbeth  Raeburn  took  one  to  purely  commercial 
regions,  yet  with  its  fine  arrangement  of  light  and 
shade  it  was  not  less  pleasing  than  the  artist's  rendering 
of  the  far-famed  view  of  the  Thames  from  Richmond. 
Lambeth  Bridge  from  different  view-points  afforded  an 
effective  theme  to  both  Messrs.  Nathaniel  Sparkes 
and  E.  M.  Synge.  In  the  latter's  version  the  bridge 
itself  was  the  principal  feature,  in  the  former's  the 
buildings  abutting  it.  Views  of  most  of  London's 
principal  buildings,  and  many  a  quaint  nook  and  corner, 
formed   the  residue  of  a  highly  interesting  exhibition. 


Probably  few  writers  have  done  more  to  establish  the 
ground-work  for  other  explorers  in  English  art  than  Mr. 


A  New 
Publication 


Algernon  Graves,  whose  laboriously 
compiled  dictionaries  of  the  exhibits 
in  the  Royal  Academy  and  other  of 
the  older  artistic  institutions,  and  his  exhaustive  Cata- 
logue Raisonne  of  the  Works  of  Sir  Joshua  Reynolds, 
have  earned  him  the  undying  gratitude  of  all  those 
concerned  in  the  commerce  or  criticism  of  art.  An 
important  addition  to  his  list  of  works  is  now  announced 
in  an  index  to  all  the  pictures  and  their  owners  mentioned 
by  Dr.  Waagen  in  the  two  editions  of  his  well-known 
book,  Treasures^ of  Art  in  Great  Britain.  The  value 
of  such  a  compilation  may  perhaps  not  at  once  appeal 
to  the  uninitiated,  but  its  utility  will  be  apparent  to  all 
those  who  have  had  occasion  to  search  the  Doctor's 
work  in  an  attempt  to  find  the  history  or  establish  the 
pedigree  of  some  now  well-known  picture.  Waagen 
travelled  the  length  and  breadth  of  England  viewing 
practically  all  the  important  collections,  public  and 
private,  and  describing  their  contents.  His  criticisms 
have  now  been  largely  superseded,  but  his  books  con- 
stitute a  nearly  complete  record  ot  the  English  art 
treasures  of  the  period — a  record  which  has  hitherto 
been  of  little  use  owing  to  its  imperfect  indexing.  Mr. 
Graves's  labours  will  now  place  this  important  record 
containing  the  descriptions  of  many  thousand  works  of 
art  of  the  highest  class  at  the  disposal  of  the  connoisseur. 
Mr.  Graves's  Index  is  dedicated  by  special  permission 
to  His  Majesty  the  King.  An  edition  not  exceeding  a 
hundred  and  twenty-five  copies,  at,£io  ios.  each,  is  to 
be  issued  shortly  by  the  author. 


PRIOR  S    DOORWAY,    ELY  ETCHING    BY 

HOWARTH    AT    MESSRS.    DOW  DESWELL's    GALLERY 


66 


ORRESPONDENC 


gMM  SWAW  tgoa 


Special     Notice 

Enquiries  should  be  made  upon  the  coupon  which  will  be  found  in  the  advertisement  pages.  While, 
owing  to  our  enormous  correspondence  and  the  fact  that  every  number  ol  The  Connoisseur  Magazine  is 
printed  a  month  in  advance,  it  is  impossible  for  us  to  guarantee  in  every  case  a  prompt  reply  in  these  columns, 
an  immediate  reply  will  be  sent  by  post  to  all  readers  who  desire  it,  upon  payment  of  a  nominal  Fee.  Hxpert 
opinions  and  valuations  can  be  supplied  when  objects  are  sent  to  our  offices  for  inspection,  and,  wnere 
iary,  arrangements  can  be  made  for  an  expert  to  examine  single  objects  and  collections  in  the  country 
and  give  advice,  the  fee  in  all  cases  to  be  arranged  beforehand.  Objects  sent  to  us  may  be  insured  whilst 
they  are  in  our  possession,  at  a  moderate  cost.  All  communications  and  goods  should  be  addressed  to  the 
"  Managei   ol    Enquiry   Dept.,  The  Connoisseur,  35-39,  Maddox  Street,  W." 


ANSWERS    TO    CORRESPONDENTS 


Pewter. — A5,Se>4  (Kelvinside,  1  rlasgov,  |.  The  vessel  shown 
in  the  photograph  is  peculiai  and  tare  in  form,  bin  not  unique. 
We  have  seen  simil  r  01  ,  but  have  not  been  able  to  ascertain 
their  origin  or  use.  So  far  a-  we  are  aware,  they  are  not  shown 
in  any  1 1.  on  English  pewter.     They  may  be  French. 

Coins,  etc.— A5,8o7  (Mandalay,  Upper  Burma).— None  of 
ntioned  on  your  list  is  of  any  notable  value.  The 
!  I  vei  medal  is  very  common,  and  the  Lancaster  halfpenny  is 
not  a  rare  variety,  and,  moreover,  being  worn,  i-  valueless  from 
a  collector's  point  of  view.  Your  volume-  of  All  the  Year 
Round  axe  only  worth  a  few  -hillings. 

Chairs.  A5,8lO  (Whitby).— Your  chair-  are  more  probably 
Hepplewhite  than  Chippendale.  If  you  will  send  a  photograph, 
we  shall  be  pleased  to  -ay  definitely. 

Candelabra.  A5.N12  (Sevenoaks).— As  your  candelabra 
are  quite  modern,  their  interest  to  a  collector  of  metal-work  is 
practically  nil. 

Print.— A5.S27  (The  Hague).— We  believe  the  print  to 
which  you  refer  was  engraved  by  Colinet. 

"  Punch." — A5.S29  (Haling). — Your  volumes  of  Punch 
would  not  realise  more  than  is.  6d.  to  2s.  apiece. 

Cameo.  — A5,S;o  (Port  llopie,  Ont.).     W tvalueyour 

without  seeing  it.     We  should  say  that  your  assumption 
that  it  represents  Juno  is  correct. 

Byron's  Works.  —  .-^5,834  (Tooting).  -  Your  editio 
'  i's  works  is  of  little  value.     The  signed  letter  at  the    front 
is  not  an  original  but  a  lithographic  reproduction. 

Kruger   Coins.— A5, 840  (Elgin).— The  demand  foi  coins 
bearing    the  head   of    Paul    ECruger   is    now    very    limited,    and 
as  a  consequence  such   coins  are    now    only   worth    the:: 
value. 

Engravings.—  A 5,845  (Thornton  Heath).     Youi  two  legal 


portraits  would  certainly  net   realise  more  than  £\  apiece  even 
if  good  impressions. 

Books.— A5, 857  (Eastbourne).— As  your  editions  of  Dickens' 
Work   have  been  rebound,   their  value  has   been  considerably 

del ated    from  a  collector's  point   of  view.      We  cannot  put 

1     li  finite  value  on  each  book  without  examination. 

Van  Oelder.— A5.S76  (Piccadilly).— N.  Van  Geldei  wa 
an  animal-painter  of  the  Netherlands  who  flourished  about  1660. 
Several  ol  his  picture-  are  in  the  Vienna  Gallery,  and  there  is 
also  one  in  the  l-ii/.william  Museum  at  Cambridge.  His  work 
:  held  in  specially  high  repute  at  the  present  time. 
Books.— A5.879  (Sidcup).  As  a  whole,  your  books  are  of 
little  importance,  though  the  Prayer  Pool;  may  have  some  value 
if  in  good  condition.  It  would,  however,  have  to  be  seen 
before  placing  a  value  upon  it. 

Aquatints   by  Sandby.— A5,S8o.— Assuming  that  your 
foul  Aquatints  by  Sandby  are  fair  average  impressions,  we  sin  mid 
value  them  between  £ j  and  £$  for  the  four. 
Jug.— A5, 884  (Rondebosch,   S.A.).     Wi    regrel    it   is  im- 
ible  to  give  any  reliable  opinion  on  the  jug  bom  the  -mall 
and  indistinct  photograph  sent,  but  judging  from  youi  descrip- 
tion, it  is  apparently  of  modem  work,  and  therefore  it  has  no 
interest  to  a  collector. 
Prints  by  Cuitt.  — A.s.KNo  (Regent's  Park).     1  leorge  Cuitt, 
-raver  of  your  print-,  was  born  in  1779,  and  dad  111  1X54. 
His  work  consisted   almost  entirely  ol    representations  of  old 
buildings,   ruins,   abbeys,   etc.,  much   in   the  style  of    Piranesi. 
All  his  works  will  be  found  in  a  volume  published  in  1S4S  under 
the  titli  "i   Wanderingi  and  Pencilling!  amongst  Ruins  of  the 
Olden   Time. 

"History  of  Staffordshire."  — .^5,898  (Burton-on- 
Trent).  —  Your  History  of  Staffordshire  is  of  no  particular 
interest  or  value  to  a  collector. 


67 


HE  CONNOISSEVR. 

GENEALOGICAL  AND 

ffC  DEPARTMENT 


Special    Notice 

Readers  of  The  Connoisseur  who  desire  to 
take  advantage  of  the  opportunities  offered  herein 
should  address  all  letters  on  the  subject  to  the 
Manager  of  the  Heraldic  Department,  Hanover 
Buildings,    35-39,    Maddox    Street,    W. 

Only  replies  that  may  be  considered  to  be  of 
general  interest  will  be  published  in  these  columns. 
Those  of  a  directly  personal  character,  or  in  cases 
where  the  applicant  may  prefer  a  private  answer,  will 
be  dealt  with  by  post. 

Readers  who  desire  to  have  pedigrees  traced,  the 
accuracy  of  armorial  bearings  enquired  into,  or  other- 
wise to  make  use  of  the  department,  will  be  charged 
fees  according  to  the  amount  of  work  involved 
Particulars  will  be  supplied   on  application. 

When  asking  information  respecting  genealogy  01 
heraldry,  it  is  desirable  that  the  fullest  details,  so  fai 
as  they  may  lie  already  known  to  the  applicant,  should 
be  set  forth. 


BEALE. — What  is  known  oi  the  ancestry  and  immediate 
family  of  Sir  John  Beale,   Bait.  ? 

We  advise  you,  and  all  students  interested  in  this  old  family, 
to  communicate  with  Mr.  G.  F.  Tracy  Beale,  J. P.  (we  shall  be 
pleased  to  forward  any  letters),  who  is  compiling  a  very  exhaus- 
tive account  of  the  Beales  from  the  beginning  of  the  thirteenth 
century  to  the  present  lime. 

The  family  being  a  large  one,  Mr.  Beale  has  adopted  a  sys- 
tem which  in  such  cases  we  should  like  to  see  more  generally 
used,  viz.,  dividing  the  work  into  parts,  according  to  counties, 
each  part  forming  a  complete  account  of  the  branch  belonging 
to  a  certain  county.  In  this  manner,  those  interested  in,  say, 
the  Beales  of  Kent,  need  only  purchase  the  part  or  parts  dealing 
with  thai  line. 

Numerous  coloured  coats  of  arms  will  be  inserted,  and  a  lac- 
simile   of   the   unique    Beale    brass,   dating    from    1399,   in    the 


parish  church  at  Maidstone,  will  also  be  included.  A  reproduc- 
tion of  the  latter  (a  copy  of  which  now  lies  before  us)  may  be 
obtained  for  the  moderate  figure  of  one  shilling. 

The  price  of  this  work  is  very  low,  and  those  who  subscribe 
to  all  parts  can  take  advantage  of  a  very  generous  discount. 
After  publication,  however,  the  price  will  be  raised.  There  is 
also  10  be  an  edition  de  luxe,  which  will  be  issued  to  subscribers 

only. 

Mr.  Beale  will  be  grateful  for  photographs  of  any  Beale 
portraits,  autographs,  seals,  bookplates,  etc.,  or  in  fact  any 
information  relating  in  any  way  to  the  family  ;  and  also  will  be 
glad  to  get  into  communication  with  any  bearing  this  lime- 
honoured  name. 


JULIUS. — Whether  the  arms  on  an  old  flagon,  dated  15SS,  are 
those  of  Sir  Amias  Poulett,  of  Forde  Abbey,  co.  Dorset. 

From  your  description  it  is  impossible  to  trace  the  family 
bearing  the  arms  you  mention,  but  they  are  certainly  not  those 
of  the  Poulett  family. 

We  should  advise  you  to  try  to  take  a  rubbing  01  the  arms, 
as  you  say  they  are  in  relief;  or,  better  still,  let  us  sec  the  flagon 
— we  could  then  also  advise  you  as  to  value.  (See  the  special 
notice  on  the  Correspondence  page.) 


DESBOROUGH. — Has  any  account  of  the  Desboroughs  ever 
been  published  ? 

No  general  account  of  this  old  family  has  yet  been  published, 
but  a  work  is  now  being  contemplated,  particulars  ot  which  we 
can  obtain  for  you  if  you  like.  There  is,  however,  a  short 
account  of  General  John  Desborough  and  Samuel  Desborough, 
Chancellor  of  Scotland  under  Cromwell,  in  Mark  Noble's  House 
of  Cromwell  (portraits  of  both  appear  in  our  April  number): 
also  several  Desborough  wills  appear  in  Waters'  Genealogical 
Gleanings  hi  England. 


Pico. — Is  anything  known  of  the  Rev.  Thomas  Maddock, 
Rector  of  Holy  Trinity,  Chester? 

The  Rev.  Thomas  Maddock  was  the  elder  surviving  son  and 
heir  of  the  Rev.  Thomas  Maddock,  Rector  of  Liverpool,  by 
his  second  wife.  Margaret  Damme,  widow  of  James  Woodcock, 
of  Berkhampstead,  co.  Herts.  He  was  born  at  Liverpool  28th 
January,  and  baptized  there  22nd  February,  1762.  Matriculated 
14th  January,  1780,  of  Brasenose  College,  Oxford;  B.A.  261I1 
November,  1783;  M.A.  8th  July,  1786;  Rector  of  Holy- 
Trinity,  Chester,  17S6:  Prebendary  of  Chester,  1S03  ;  Rector 
of  Coddington,  co.  Chester,  1S06-9,  and  of  Northenden  in  the 
same  county,  25th  May,  1S09.  lie  died  at  Chester  I2lh 
I  .  1  nary,  and  was  buried  in  the  Cathedral  there  191I1  February, 
1825.  His  wife.  Emma  Anne,  second  daughter  and  co-heir  ol 
Rokeby  Scott,  of  Chester,  Lieut.  R.N.,  survived  him. 

There  is  a  printed  pedigree  showing  all  his  descendants. 


68 


■  I 


MHHHMHMBa 


LADY    PEEL 

BY    C.    COPPIKR 

AFTER    SIR    THOMAS    LAWRENCE,    P.R.A. 


October,    191  j. 


Mr.  Fritz    Reiss's    Mezzotint    Portraits 
By    C.  Reginald    Grundy 


Part    I. 


The  secret  of  successful  collecting  i-  the 
purchase  of  the  unfashionable.  Though  Mr.  Fritz 
Reiss  started  on  these  lines,  he  has  not  been  a 

nue,  for  fashion  has  laggingly  followed  along  the 

path  of  his  own  special  predilection — that  for  mezzo- 
tint portraits — and  where  once  he  trod  almost  alone 
he  is  now  elbowed  on  every  side  by  rival  collectors. 


For  the  past  two  decadi  -  fine  proofs  of  the  early  and 
great  periods  of  mezzotint  roughly  speaking,  from 
ast  thirty  years  of  the  seventeenth  century  to  the 
end  of  the  tirst  quarter  of  the  nineteenth— have  been 
sought  for  with  evei  ividity.     In   the  late 

'•sixties,"  when  Mr.  Reiss  commenced  to  accumulate 
the  live  or  six  hundred  choice  examples  now  housed 


THE     "  LITTLE"     EXECUTIONER 

Vol.  XXXIV.— No.   134— e 

[Copyright  by  J.  T.  Herbert  Baily  in  th.  United  States  of  America,  May.  1901] 


BY     PRINCE     RUPERT 


hiut.-nr  ^f.-'<\/!n\\\{..'^wuuvn. 
ii  Sun-art prin.-ip.il '  afu  Sttn   ■ 
'■^ru,d.-i'i.-  cfJcctland.One  .; 


,  flu 


ti£ 


WILLIAM    MARQUIS    OF    ANNANDALE 

BY    JOHN    SMITH    (17O3).     AFTER    SIR    GODFREY    KNELIER 


FIRST    STATE  PORTRAIT    IN    MEZZOTINT 

BORDER    IN    LINE 


\ 

( 

\ 

)      a 

>  - 

1 

■J  x 


The    Connoisseur 


■IK' .-,-■//.  m  '/>  Stint, 

/.  ,  .   »*/  ,t  r/t,-  /..;.. 'i.     /'..■■■■■■ 


W   Walker 
in  ihe  Charai  fei  of 
Cap.Macheafh 


,   Mio/t,l     <:•>/  /■{':ou/  rj  /'.in, 
// 


WALKER      AS 


CAPTAIN      MACHEATH 
AFTER     JOHN     ELLYS 


in  his  London  residence,  they  were  still  a  drug  in  the 
market.  Curiously  enough,  his  first  purchase  was 
made  at  the  sale  of  the  collection  of  my  grandfather, 
the  late  John  Clowes  Grundy,  of  Manchester.  How 
little  mezzotints  were  then  apprized  may  be  seen  from 
the  distribution  of  the  items  in  the  catalogue,  sonie 
hundreds  of  representative  examples  by  the  best 
engravers  being  divided  into  lots  of  five  or  six  or 
even  more.  A  characteristic  instance  is  afforded  by 
a  single  lot  which  comprised  a  proof  of  Lady  Pelham 
Clinton  feeding  Chickens — single  impressions  of  which 
have  individually  realised  over  ^500  —  two  proofs 
of  Miss  Homeck,  and  "  ten  others."  This  portion  of 
the  catalogue  is  unfortunately  unmarked,  but  some 
gauge  of  the  relative  esteem  in  which  engravings  after 
the  old  English  portrait  painters  and  those  from 
works   by  contemporary  artists  were   then  held,  may 


BY    JOHN    FABER      JUN.     (I72S) 
FIRST     STATE 

be  derived  from  another  catalogue  of  the  period,  in 
which  it  is  recorded  that  while  a  proof  from  Sant:s 
Little  Samuel,  by  Cousins,  brought  ^5  5s.,  proots 
of  the  same  engraver's  now  valuable  plates  of  Lady 
Dover  and  Child  and  Mrs.  Wolff  realised  together 
only  four  shillings. 

In  forming  his  collection  Mr.  Reiss  has  not  made 
any  attempt  to  fully  exemplify  any  particular  period  or 
engraver,  or  to  secure  a  systematic  representation  of 
the  whole  range  of  mezzotint  portraiture.  One  would 
say  that  his  chief  endeavour  has  been  to  accumulate 
choice  impressions  by  good  masters,  limiting  his  selec- 
tion to  early  states — in  nearly  every  instance  the  first 
— from  characteristic  plates.  Thus  some  engravers  are 
more  lavishly  represented  than  others,  while  several 
worthy  of  inclusion  are  altogether  omitted.  The  collec- 
tion as  a  whole,  however,  adequately  illustrates  every 


Mr.   Fritz   Reiss's  Mezzotint  Portraits 


MISS      HARRIET     POWELL 


BV      RICHARD      HOUSTON,      AFTER     CATHERINE     READ 


period  of  the  art,  ami  the  work  of  all  the  greater 
masters  from  the  time  of  Prince  Rupert  to  that  of 
Samuel  Cousins.  It  is  especially  rich  in  examples 
of  the  great  epoch  when  Mc Udell,  Valentine  Green, 
Thomas  and  James  Watson,  J.  R.  Smith,  and  their 
contemporaries  added  to  the  vigour  and  dire  I 
of  their  forerunners,  a  refinement,  subtlety,  and 
brilliancy  which  made  their  productions  reach  a  high- 
water  mark  of  accomplishment  that  has  never  been 
eded. 
Tracing  effect  to  its  primal  cause,  it  may  be  said 
that  English  supremacy  in  mezzotint  originated  through 
the  success  of  the  great  rebellion.  Had  Prince  Rupert 
remained  a  distinguished  member  of  the  English 
court,  it  is  probable  that  he  might  never  have  heard 
of  the  discovery  of  the  process  by  Ludwig  von  Siegen, 
certain  that  he  would  have  had  less  leisure  to  practise 
it  than  when  in  unemployed  exile  on  the  Continent ; 
and  it  is  to  Prince  Rupert  that  we  owe,  not,  indeed, 
the  invention  of  the  method  as  at  one  time  claimed, 


but  its  introduction  to  this  country,  and  its  early 
popularity  with  English  engravers.  As  an  exponent 
of  mezzotint,  the  Prince  possesses  the  virtues  and 
vices  of  an  amateur — using  the  last  much-ab 
term  in  its  legitimate  sense-  of  one  who  works  for 
love  instead  of  money.  lb-  was  artist  rather  than 
craftsman,  and  in  the  dozen  or  so  plates  which  he 
wrought  he  shows  little  technical  appreciation  of  the 
method — then,  of  course,  in  its  infancy — its  limitations 
and  possibilities  both  equally  unexplored.  What 
Prince  Rupert  lacked  in  technical  accomplishment 
he  made  up  for  by  unborn  artistry.  In  his  better 
work,  such  as  is  exemplified  in  The  Standard  Bearer, 
after  Giorgione — a  fine  impression  of  which  is  con- 
tained in  Mr.  Reiss's  collection  —  he  realises  his 
subject  with  a  directness  and  force  which  recalls  the 
fiery  vehemence  of  bis  cavalry  charges.  One  must 
not  linger  over  this  plate,  for  it  has  already  been 
described  and  illustrated  in  Tin.  Con 
Of  equal  interest,  however,  is  the  one  known  as   The 


7  5 


MARY    DUCHESS    OF    ANCASTER  BY    JAMES    McARDELL,    AFTER    THOMAS    HUDSON  FIRST    STATE 


76 


MRS.    BONFOY 


BY    JAMES    M.  ARDELL,    AFTER    SIR    JOSHUA    REYNOLDS 


FIRST   STATE 


77 


The    Connoisseur 


DAVID    GARRICK    AS 


BY    JAMES    Ml'ARDELL,    AFTER    BENJAMIN    WILSON 


TOUCHED    PROOF 


" Little''  Executioner,  to  distinguish  it  from  the  larger 
version  of  the  same  subject,  after  Ribera.  The  latter 
represents  a  man  in  torn  dress,  and  with  a  white 
cloth  round  his  head,  holding  at  arm's  length  the 
newly  severed  head  of  John  the  Baptist.  The  smaller 
version  contains  only  the  head  of  the  executioner. 
It  has  the  distinction  of  being  certainly  the  first 
mezzotint  published  in  England,  and  possibly  the 
first  one  engraved  here,  for  whether  the  copper  was 
worked  by  Prince  Rupert  after  his  return  to  this 
country,  or  belongs  to  the  earlier  period  when  he 
was  in  exile  on  the  Continent,  is  a  subject  of  con- 
troversy. The  dispute  hinges  on  the  interpretation 
of  an  entry  in  John  Evelyn's  Diary  under  the  date 
of  March  13th,  1661  :  "This  afternoon  Prince  Rupert 
showed  me  with  his  own  hands  the  new  way  of 
graving  called  mezzo  Unto,  which  afterwards,  by  his 
permission,  I  published  in  •cay  History  of  Chalcography. 
This  set  so  many  artists  on  work  that  they  soon 
arrived  to  the  perfection  it  has  since  come  to." 


That  the  specimen  of  the  Prince's  work  shown  to 
Evelyn  was  The  "  Little  "  Executioner  is  undeniable, 
for  the  plate  was  issued  for  the  first  time  in  his  book, 
of  which  it  forms  the  more  valuable  portion  ;  but 
its  high  finish  precludes  the  possibility  of  it  being 
executed  during  Evelyn's  visit,  as  would  be  inferred 
by  a  literal  interpretation  of  the  sentence  :  and  if  this 
is  the  case,  Evelyn's  record  may  only  mean  that  the 
Prince  illustrated  the  method  with  his  tools,  and 
presented  the  diarist  with  a  plate  he  happened  to 
have  by  him.  A  quaintly  spelt  inscription,  probably 
written  nearly  a  couple  of  hundred  of  years  ago, 
testifies  that  "  this  print  (was)  don  by  Prince 
Rupert,"  a  fact  which  is  also  borne  out  by  the 
characteristic  monogram  of  the  engraver — the  initials 
R.  P.  f.  (i.e.,  Rupertus  Princeps  fecit)  surmounted  by 
an  electorial  coronet — scraped  on  the  upper  right-hand 
corner  of  the  work.  Would-be  collectors,  however, 
should  be  wary  of  accepting  such  evidence  without 
corroboration,   as  the   plate  has  several  times  been 


78 


Mr.  Fritz   Reiss's  Mezzotint  Portraits 


DAVID    '.ARRIl  K    AS         ABEL    DRUGGER 


BY    SAMUEL    WILLIAM    REYNOLDS,    AFTER    JOHN    ZOFFANY 


PROOF    WITH    UNCLEANED    MARGIN 


'luced   in   close   facsimile  to   the  original,   some 
of  these  imitations  being  almost  contemporaneous. 

Of  Prince  Rupert's  immediate  successors,  Mr.  Reiss 
possesses  a  number  of  specimens,  among  them  the 
Moor's  Head,  ascribed  to  Sir  Christopher  Wren — 
the  only  plate  claimed  for  him — and  examples  by 
Wallerant  Vaillant  and  Abraham  Blooteling  and  his 
pupil,  Gerard  Valck.  Of  these  Blooteling  (1634- 
1695  ?),  to  whom  is  generally  credited  the  invention 
of  the  rocker,  is  the  chief,  and  his  plate,  William 
Henry  /'rime  of  Orange,  may  be  taken  as  a  thoroughly 
typical  work.  'The  engraver,  though  less  of  an  artist, 
shows  himself  a  far  more  accomplished  craftsman 
than  Prince  Rupert.  His  ground  is  better  worked, 
and  his  modulations  of  tone  more  subtle.  While  the 
effects  gained  by  Prince  Rupert  might  be  attained 
with  almost  equal  success  in  etching,  Blooteling's 
plate    shows    that    he    had    gone    far   to   master   the 


peculiar  properties  of  his  medium,  which  in  his  hands 
attains  a  richness,  delicacy  and  suavity  which  were  to 
be  developed  in  the  finer  productions  of  the  following 
century  to  a  pitch  of  unsurpassed  excellence. 

Blooteling  was  one  of  the  earliest  of  those  Dutch 
111  izzotinters  who  until  the  time  of  McArdell  rivalled 
thr  efforts  of  the  best  English  engravers.  These 
early  native  exponents  of    the  art  are  adequately,   if 

nut  profusely,  represented   in   Mr.  Reiss's  colle 

Among  them  one  may  mention  Isaac  Beckett,  Geor| 
White,  and  last,  but  by  no  means  least,  John  Smith 
(1652-1742).  Smith  was  a  master  craftsman,  who 
even  now  has  barely  come  into  his  full  deserts.  His 
posthumous  reputation  suffered  from  the  Boydells 
and  other  later  publishers  purchasing  his  plates  after 
his  death  and  working  them  until  they  were  almost 
worn  to  shadows.  The  weak,  spiritless  impressions 
so  produced  give  quite  an  erroneous  idea  of  Smith's 


79 


The    Connoisseur 


powers,  for  his  grounds  are  delicate,  and  it  is  only  in 
the  early  states  of  his  plates  that  he  can  be  seen  to 
advantage.  Something,  too,  must  be  allowed  for  the 
Fact  that  the  painters  whom  he  chiefly  reproduced — 
Sir  Godfrey  Kneller  and  his  followers — were  so 
mannered  and  conventional  in  their  style  that  their 
work  offers  hut  little  scope  to  the  translator.  One  of 
his  most  attractive  plates  is  that  from  the  portrait  by 
Thomas  Hill  of  Catherine  Wilkinson,  a  lady  of  whom 
nothing  is  known  save  what  is  set  forth  in  the  inscrip- 
tion. Another  is  that  of  the  Marquis  of  Annandale, 
after  Kneller,  noteworthy  for  it  being  enclosed  in  an 
elaborate  border  in  line — one  of  the  few  instances  of 
such  a  combination  of  the  two  methods.  This  im- 
pression is  in  the  rare  first  state,  of  which  only  five 
copies  were  known  to  Chaloner  Smith.  The  second 
state  of  the  plate  is  shown  by  an  alteration  in  the 
inscription,  the  Marquis  being  created  Lord  Privy 
Seal  and  Knight  of  the  Thistle  in  1704,  and  these 
new  dignities  were  added  to  the  long  list  already 
appended  to  his  name. 

Owing  much  to  the  inspiration  of  Smith  was  that 
prolific  engraver,  John  Faber,  jun.  (1695-1756),  whose 
five  hundred  plates  offer  an  unrivalled  epitome  of 
contemporary  art,  and  have  rescued  the  names  of 
many  painters  from  practical  oblivion.  Among  such 
may  be  numbered  John  Ellys,  from  whose  works 
Faber  scraped  a  dozen  plates,  none  of  which  are 
more  interesting  than  the  rendering  of  Mr.  Thomas 
Walker  in  the  character  of  "  Captain  Machea/h" — a 
role  which  made  his  fame  but  indirectly  marred  his 
fortunes,  the  success  leading  him  into  dissipated 
habits,  which  ultimately  ruined  him.  Mr.  Reiss's 
impression  belongs  to  the  rare  first  state,  only  four 
copies  of  which  have  been  recorded. 

The  first  flight  of  English  engravers  owed  much  to 
the  work  of  their  Dutch  contemporaries:  those  of  the 
next  generation  were  to  derive  their  chief  inspiration 
from  Ireland,  John  Brooks,  a  clever  but  worthless 
fellow,  being  the  original  source.  Brooks's  own 
mezzotints  are  of  no  particular  value,  but  his  pupils, 
James  McArdell,  Richard  Houston,  and  Richard 
Purcell — the  first-named  more  especially — gave  the 
British  school  its  pre-eminence  in  the  art.  Of 
McArdell's  plates  Mr.  Reiss  possesses  a  varied 
selection.  Some  of  the  subjects,  however,  have  already 
been  reproduced  in  The  Connoisseur.  From  the 
remainder  I  have  selected  a  typical  trio,  all  first  states, 
and  all  choice  impressions.  One  will  take  the  Mrs. 
Bonfoy,  by  Reynolds — first  though  not  earliest  in 
point  of  chronology — for  McArdell  owes  not  a  little 
of  his  posthumous  reputation  to  that  artist's  testi- 
monial, that  his  own  fame  would  be  preserved  by  the 
engraver's   renderings   of  his  pictures  long  after  the 


originals  had  faded.  It  is  a  magnificent  tribute  to 
McArdell's  powers  :  but  his  early  death  deprived  him 
of  full  opportunity  to  justify  it.  The  best  work  of 
the  first  president  of  the  Academy  was  produced  later, 
and  it  is  through  the  translations  of  the  succeeding 
generation  of  mezzotinters  that  the  great  artist  is 
revealed  in  his  ripe  perfection.  One  may  see  that 
Reynolds  in  his  early  period  did  not  unduly  dwarf 
his  predecessors  by  comparing  his  portrait  of  Mary 
Duchess  of  Ancaster,  painted  in  1759,  with  that  of 
the  same  lady  painted  two  years  earlier  by  his  master, 
Thomas  Hudson.  For  the  purpose  of  comparison, 
Tohn  Dixon's  version  of  the  former  work  has  been  intro- 
duced somewhat  out  of  its  due  order,  though  Dixon 
as  an  Irishman,  and  only  eleven  years  McArdell's 
junior,  falls  naturally  into  the  same  group  of  engravers. 
The  plate  from  the  Hudson  portrait  is  by  McArdell 
himself,  and  one  of  his  most  brilliant  efforts.  Had 
Hudson  produced  nothing  else  than  the  original  of 
this,  it  should  serve  to  confound  the  harsh  criticisms 
too  freely  bestowed  on  his  work  by  those  biographers 
of  Reynolds  who  thought  to  enhance  the  reputation 
of  the  pupil  by  decrying  that  of  the  master.  The 
elder  painter's  version  is  the  less  learned  and  dignified, 
but  one  instinctively  gives  it  the  palm  as  the  better 
likeness,  and  more  characteristic  of  the  country  and 
period  to  which  it  belongs.  The  vivacity  and  charm 
of  the  duchess  as  revealed  by  him  gives  a  more 
plausible  explanation  as  to  how  the  Duke  of  Ancaster 
was  captivated  by  this  poorly  born  girl — Walpole 
unkindly  describes  her  as  the  "  natural  daughter  of 
(Thomas)  Panton,  a  disreputable  horse-jockey  of 
Newmarket  " — than  does  the  air  of  dignified  grace 
with  which  Reynolds  has  invested  her.  Something, 
perhaps,  Hudson  owes  to  the  greater  virility  of 
McArdell's  work,  for  Dixon's  mezzotints,  though  well 
drawn  and  impressively  rich  in  tone,  are  less  sponta- 
neous in  their  feeling.  The  third  example  of  McArdell 
is  taken  from  a  portrait  of  the  much  painted  David 
Garrick  as  "  Hamlet,"  by  Benjamin  Wilson,  and  here 
one  bridges  over  fifty  years  to  introduce  another 
portrait  of  the  celebrated  actor — as  "  Abel  Drugger  " — 
after  Zoffany,  by  S.  W.  Reynolds,  an  engraver  whose 
work  belongs  almost  wholly  to  the  nineteenth  century. 
Both  the  impressions  offer  special  considerations  of 
interest,  the  former  being  touched,  probably  by  the 
artist,  and  the  latter  in  the  early  state  before  the 
margin  of  the  plate  was  cleaned.  Wilson,  it  may  be 
recalled,  was  associated  with  Garrick  in  the  theatrical 
world.  He  acted  as  prompter  at  a  private  theatre 
initiated  for  amateur  peiformances  by  the  Duke  of 
York  in  a  private  house  in  Pimlico,  and  artist  and 
actor  collaborated  in  a  short  after-piece  which  was 
given  here.    Zoffany,  too,  was  associated  with  Wilson, 


80 


MARY     DUCHESS     OF     ANCASTER  BY     JOHN     DIXON,     AFTER     SIR     JOSHUA     REYNOLDS 


The    Connoisseur 


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MRS.  TOLLEMACHE  AS       MIRANDA 


BY  JOHN  JONES  (17S3),  AFTER  SIR  JOSHUA  REYNOLDS  FIRST  STATE 


for  he  is  credited  with  having  painted  the  draperies 
in  the  hitter's  pictures. 

Of  McArdell's  fellow-pupil,  Richard  Houston,  a 
single  example  from  Mr.  Reiss's  collection  must 
suffice — the  more  appropriate  for  introduction  at  this 
juncture,  as  it  is  a  portrait  of  another  theatrical  cele- 
brity— Miss  Harriet  Poivell  tuning  a  Guitar,  from 
the  picture  by  Catherine  Read.  The  proof  does 
adequate  justice  to  the  good  looks  of  this  much- 
portrayed  lady,  whose  charms  gained  her  the  hand 
of  Kenneth  Mackenzie,  the  future  Viscount  Fortrose. 


Lastly,  to  give  a  foretaste  of  the  greater  Reynolds 
engravers,  whose  work  will  be  considered  in  the  next 
article,  I  have  included  the  rendering  by  John  Jones 
of  Mrs.  Tolkmache  as  "  Miranda,"  after  that  artist. 
There  are  other  subjects  by  this  engraver  in  Mr. 
Reiss's  collection  which  are  perhaps  more  worthy  of 
reproduction,  but  illustrations  of  these  have  already 
appeared  in  The  Connoisseur,  and  the  plate 
adequately  shows  the  artistic  quality  of  this  engraver's 
scraping — almost  unique  of  its  period  in  its  power  of 
suggesting  the  brushwork  of  the  original  pictures. 


82 


MRS.    CARWARDINE   AND   CHILD 

PAINTED     BY    GEORGE    ROMNEY 
ENGRAVED     BY    J.    R.     SMITH 


W  COLLECTIONS 
VISITED 


Madame    Blanche    Marchesi's   Collection 


By  George  Cecil 


It  generally  follows — as  the  nigl  ay — 

that  those  who  are  interested  in  music  are  fascinated 

by  the   sister    art-,    and    that    the   collector  Of  pictures 

is  a  connoisseur  in  other  directions.     Old   furniture, 

designed  in  an  age  when  the  craftsman,  takir 
pride  in  his  work,  put  individuality  into  it,  armour, 
rare  glass,  quaint  bibelots,  early  editions,  pewter,  brass, 
and  many  another  fascinating  "  find."  usually  make  a 
strong  appeal  to  the  musician.  Amongst  the  last- 
named  i-  Mad. inn-  Blanche  Marchesi,  who.  in  the 
•  of  her  career,  lias  got  tog  collection 

which  is  both  valuable  and  uncommon. 

I  hiving  lived  a  great  deal  abroad,  Madame  Marchesi 
has    happened    upon    many  a    piece   which   does  not 


the  way  of  those  who  confine  their  activities 
—no  matter  how  well  diffused  they  ma)  he  — to 
their    name    country.      Thus    France    has    yielded 

her  some  particular!}  characteristic  examples  of  the 
handsome  furniture  which  was  made  in  the  time  of 
Louis  XVI.,  the  hunting,  lock-making  king,  when 
(in  addition  to  mahogany  l  satinwood,  tulip  and 
sycamore,  and    various  coloured   wood--  for  inlaying 

purposes,  were  Used  with  such  consummate  skill. 
Amongst  the  Louis  XVI.  specimens  which  adorn 
lii"  enviable  collection  are  a  rosewood  bureau,  a 
chiffonier-bureau  of  the  same  profoundly  interesting 
period,  a  sculptured  gilt  wall-mirror,  a  chaise  longue, 
and  an  authentic  portrait  of  Marie  Antoinette,  which 


The    Connoisseur 


probably  is  by  Auguste  St.  Aubin.  These  are  shown 
respectively  in  Nos.  i.,  ii.,  iii.,  iv.  and  v.  The  bureau, 
which,  it  will  be  seen,  is  furnished  with  three  small" 
upper  drawers  in  addition  to  the  five  lower  ones, 
combines  dignity  with  beauty,  while  the  legs  bear 
a  marked  resemblance  to  those  which 
caught  Sheraton's  roving  fancy  some  years 
after  Andre  Charles  Boulle,  the  eminent 
French  cabinet-maker,  had  first  set  the  seal 


:ar         piec 

\ 


of  his  approval  upon  them.  No  less  precious  to  the 
fortunate  owner  is  the  chiffonier-bureau,  with  its 
decorative  gilt  key-holes,  the  large  centre  panel 
having  a  basket  of  flowers  in  marqueterie.  The 
piece,  which  is  an  exceptionally  fine  example,  and 
in  absolutely  perfect  condition,  originally 
belonged  to  the  Comtesse  de  Vivcrotte, 
having  come  from  her  chateau  near  Ver- 
sailles.   The  mirror,  which  may  have  reflected 


86 


Madame  Blanc  he  Marchesi's  Collection 


the  carefully-prepared 

charms   of   Marie 

nette  herself,  is 

.i  particular!)    ornate 

e  x  a  m  pie  of  the 
Louis    XVI.    p 
the   intricate  detail 
of  the  decoration 

ruing  apparent 
upon  close  exami 
nation.  The  chaise 
variety 
known  as  Jo r m e 
chapeau)  is  in  two 
.  so  that  the 
lovely  ladies  who 
used  it  could  sit  or 
recline,  thus  display- 
ing their  fairy  forms, 
or  resting,  in  t  he 
in  a  n  n  e  r  w  h  i  c  li 
seemed  bust  to  them. 
As  to  the  Marie 
Antoinette  portrait, 
it  has  an  almost  in- 
describable fascina- 
tion, while  the  bead- 
ed  gilt  frame,  which 

ely  balanced  by 
its  upper  and  lower 
adornment,  bears  the 


NO.     111. — MARIE     ANTOINETTE 
ATTRIBUTED     TO     AUGUSTE     ST.    AUBIN 


following   inscription 

at  thi    ' 

"  Mar    :    Antoin    : 
Reine  de   Fram 
Archid   :  d'Autriche. 

N        1755-" 

I  of  the 

w  ith 
rue  ht  i    trim- 

ming ol  tin)  pink 
roses  :  the  bow  on 
the   bodice  is. of  a 

:   blue, 
and   the    orna 
surmounting    the 
drawn -up   powd 

com] i 

of  fori  riots  and 

h  may  al 
noted  that  the  ear- 
Mi  far  as  shape 
and  design  an 
cei  ned,  scan  ely  dif- 
fer from  those  which 
find  favour  to-day. 

Austria,   too,  has 

contributed    to 

Madame   Mao  hesi's 

:i  thin,   being 

sented  by  the 


NO.      IV.  —  LOUIS      XVI.      CHAISE      LOM.t    I 


The    Connoisseur 


sixteenth-century  marqueterie  chest  of  drawers  (or 
sideboard — it  is  difficult  to  classify  it)  reproduced  in 
No.  viii.,  and  the  seventeenth-century  marqueterie 
"regulator"  clock  illustrated  in  No.  vi.  The  first- 
named,  which  bears  the  date  "1625,"  has  a  view  of 


legs  terminating  in  the  "  claw-and-ball "  foot,  the 
embellishment  on  the  knees  being  thoroughly  in 
keeping  with  the  character  of  the  table.  Its  measure- 
ments are:  length,  5  ft.  10  in.;  width,  3  ft.  10  in. ; 
and  height,  2  ft.  4  in.     Equally  to  be  coveted  is  the 


NO.     V.  —  LOUIS      XVI.      CARVED      WALL      MIRROR 


an  old  German  town  (the  name  of  which  cannot  be 
ascertained)  on  either  panel,  the  drawers  and  other 
portions  of  the  piece  being  boldly  decorative.  It 
is  doubtful  if  there  is  another  private  collection  in 
the  world  containing  anything  like  it,  and  Madame 
Marchesi  is  indeed  to  be  congratulated  upon  her 
acquisition.  The  clock,  the  case  of  which  is  curiously 
shaped,  is  an  ornate  and  beautifully  proportioned 
specimen  of  its  kind,  and,  withal,  a  rare  one,  the 
wood   employed  being  walnut. 

The  fascinating,  dignified  art  of  Chippendale,  who, 
in  many  ways,  was  the  greatest  of  all  cabinet-makers, 
has  a  spe<  ial  attraction  for  Madame  Marchesi — and 
very  properly  too.  The  dining-table  reproduced  in 
No.  ix.  is  provided  with  no  fewer  than  eight  cabriole 


imposing  Chippendale  armchair  illustrated  in  No.  xi., 
made  long  before  the  mid-Georgian  craze  for  the 
Gothic  had  a  somewhat  detrimental  effect  upon 
English  furniture.  The  chair  is  remarkable  for  its 
splendid  proportions,  and  for  the  gracefulness  and 
dignity  of  the  back.  The  sturdy  legs,  it  will  be  seen, 
are  square  and  straight,  forming  a  marked  contrast  to 
the  curved  arms.  Interesting,  too,  is  the  bell-topped 
bracket  clock,  of  which  No.  xiv.  is  a  reproduction,  the 
case — a  plain  Chippendale  one — being  of  mahogany, 
and  the  richly  decorative  upper  spandrels  (in  the 
centre  of  which  are  a  self-satisfied  and  an  angry- 
looking  cherub)  of  brass,  a  floral  pattern  filling  the 
spaces  above  and  below  the  dial.  The  clock,  which 
must  have  been  made  between  1780  and  1800,  bears 


88 


Madame  Blanche  MarchesVs  Collection 


1 


the  inscription,  "Wm.  Wilson,  Southampton  Street, 
Strand,"  and   it  is  furnished  with  an  attachment   1>\ 

ns  of  which  the  striking  apparatus  may  be  put  out 

.1  .1-  lion.  The  hraeket  clock,  l>y  the  way,  is  so-called 
because  it  was  conspicuously 
placed  on  a  bra<  ket,  so  that 
the  room  might  be  ado 
by  its  presence.  To  this  end 
the  bracket  was  often  an 
elaborate  affair,  the  carving 
showing  evidi  n<  of  the 
highest   skill. 

1  lepplewhite  also  has  a  place 
in  the  representative  co 
t  ion,  the  quaint  mahogany 
table  reproduced  in  No.  vii. 
being  an  excellent  and  un- 
common example  of  his 
gant  handiwork,  while  the  odd 
manner  in  which  the  eight 
legs  are  joined  makes  it  well 
worth  possessing.  The  table, 
which  can  be  made  smaller  at 
will,  is  freakish  rather  than 
symmetrical,  but  none  the  less 
desirable  from  the  collector's 
point  of  view.  Madame  Mar- 
chesi  possesses  a  Hepplewhite 
lyre-shaped    music-stand   pro-  {V \ 

vided  with  the  same  raising 
and  lowering  adjustment  which 
survives  to-day,  the  upper  part 
having  the  usual  inlay  to  which 

Hepplewhite  was  so  partial. 
The  reader  who  is  interested 
in  music  may  conjure  up  a 
vision  of  the  use  to  which  the 

stand  was  put.      In   Hepple- 

white's  time,  when  public  taste 

was   fed  on  Mozart,  Gliick, 

who    was    singing-master    to 

Marie  Antoinette,  Mehul,  and 

other  "  immortals,"  and  when 

performances   in   the   theatre 

and  the  concert-hall  were  not 

so  common  as   now,   the 

musical   members  of  the  im- 

providently    huge   families   of 

the  period  had  to  furnish  such 

entertainment  as   their  elders 

and  betters,  in  the  intervals  of 

playing   cards   and  chicken 

hazard  and  toasting  each  other  N       v[ 

in  the  fruitiest  of  old  port,  clock 


< 


might  demand.    One  can   imagine  the  violin  pan  ol 
an  early  Mi  i  violin  and  harpsichord,  oi 

having  resti  d  against  it. 

Madami     \l.  n 
hap  ol   innum 

able  coloured    "  squib 
ca  ri<  atun  s,  sui 
many  a  mocking 
the    era    of    the    first    lour 
Georgi       when    humoui    was 

COai  ii  it  is  in  the  present 

\ear  of  enlightenment.     Valu 

ol 
old  opera  scores,  amongst 
tin  in    being   no   fewer    thi 
elevi  n  original  1  landel  manu- 
scripts. She  also  has  happem  d 
on  a  I'  u-  i  wi  aii  ii  by  1  [aydn's 
copyist  and  confident 
of   business,    relating  to  tli 
last  days  and  dying  moments 
of  the  -       tii'     nth-century 
composer,    who,    by   the   way, 
has   bee n    t  e  r  iii  e  d    "  i  h  e 

father   of    the    sy  mphon  \ 
Indeed.  Beethoven's  nine  great 
symphonies  owe  somethint  ti 
Haydn,  for  "the  mouthpiece 
of  the  thunder  "  (as  some  fool- 
ish   poet    has    termed    Beeth- 
oven)  was   his   pupil.     Nor 
mu>t  one  omit  to  mention  the 
miscellaneous  objects,  su<  h  as 
a  number  of  sixteenth-century 
French    and    Spanish    rapiers 
.md   swords,   a    i|  uanlity    i  I 
unique    coloured   and    blai  k 
and-white  prints  depicting 
prime  donne  from  tin 
commencement  of  opei       ii 
eluding  Bonnart's  seventeenth- 
century    The  Italian   Comedy, 
and  a   pair  of  polychrome 
Italian  candlesticks  of  the 
rococo    period.       Thi 

n, 'd   ai  e  reproduced  in 

Nos.  xii.  .•md  xiii.,  and  they 
are  thoroughly  characteristic 
in  every  di  tail,  while  No.  x. 
shows  an  oak  Windsor  chair. 
It  may  be  noted  that  the 
.  i  ntre  spindles  were  some- 
times extended  so  as  to  form 


MARQUETERIE     REGULATOR 
SEVENTEENTH      CENTURY 


89 


NO.     VII.  —  HEPPI.EVVH1TE      TABLE 


NO.     VIII. SIXTEENTH-CENTURY      MARQUETER1E      CHEST 


90 


// 


NO.     IX— CHIPPENDALE      DINING      TABLE 


NO.     X.  —  OAK      WINDSOR      CHAIR 


XO.      XI. — CHIPPENDALE      ARMCHAIR 


91 


The    Connoisseur 


No.    XII. ITALIAN     ROCOCO 

CANDLESTICK 


a  head-^est,  the  projection  giving 
to  the  chair  the  name  "comb- 
back."  In  America,  where  the 
Windsor  chair  was  popular  early 
in  the  eighteenth  century,  the 
fashion  was  to  paint  them  green. 
It  is  greatly  to  the  credit  of 
George  III.  that  he  would  not 
allow  the  "Windsors"  which 
had  been  specially  made  for  his 
own  use  to  be  disfigured  in  this 
unsightly  manner. 

During  her  wanderings 
Madame  Marchesi  has  also 
picked  up  a  fifteenth  -  century 
Saint  Sebastian  in  carved  wood, 
a  twelfth  -  century  triptych  in 
leather  and  wood  —  from  the 
Tyrol — and  various  examples  of 
fifteenth  and  sixteenth  century 
enluminures.  In  a  word,  the 
collection  is  calculated  to  make 
the  less  fortunate  connoisseur 
exceeding  envious  ! 


NO.-    XIII. — ITALIAN    ROCOCO 
CANDLESTICK 


NO.      XIV.  -CHIPPENDALE      BRACKET      CLOCK 


92 


THE   NYMPH    SALMACIS 

BY    F.    J.    BOSIO 
Iii  the  Louvre 


Photo  Braun  <_'-  Co. 


j*Nl 


Jfe> 


The  Fine  Arts  in   Ireland  Foundation  of   the  Irish 

School  of    Miniature   Painting,  with  Notes  on  some  of   its 
distinguished   Members  By   the  late   Wm.  Vine   Cronin 


The  celebrity  Ireland  had  in  the  fine  arts 
is  referred  to  by  CogitOSUS,  a  writer  of  the  seventh 
century  ;  he  speaks  of  the  painted  pictures  which 
decorated  the  Church  of  St.  Bridget  at  Kildare. 
The  most  ancient  frescoes  to  be  found  at  present 
are  those  of  the  choir  of  Cormac's  chape]  at 
Cashel.  Such  examples  are  rare,  and  the  chief 
purpose  to  which  the 
painter  direct)  '1 
his  skill  was  in  the 
illumination  of 
religious  books. 
Giraldus  Cambrensis 
writes  in  terms  of 
astonishment  and 
admiration  of  the 
•  opy  "l  the  Fou i 
G  Is  which  he  saw 

at  Kildare,  that  was 
supposed  to  have 
been  dictated  by  an 
angel  to  a  scribe  in 
the  presence  of  St. 
Bi  idget,  and  for  her 
use.  After  dilating 
on  the  variety  of  the 
designs,  the  delicacy 
of  the  execution,  and 
the  richness  of  the 
colouring  in  the 
embellishment  of  this 


book,  he  adds  that  they  appeared  rather  to  be  the 
work  of  an  angel  than  a  man.  St.  Bridget's  bunk  is, 
unfortunately,  not  to  be  found,  but  there  are  some 
works  nearly  of  the  same  period  from  whi<  h 
may  learn  the  charactei  of  art  that  had  been  worthy 
of  such  enthusiastic  approbation,  exemplified  in 
copy  of  the  Four  Gospels  written  by  St.  <  olumbkille, 

still  preserved  in  the 
'!'  i  i  n  i  t  v  Col  lege 
1  .iluary. 

I:  ! «-i  en  the  eighth 
and  twelfth  centuries 
the  fine  arts  lan- 
gui sh ed,  principally 
ow  ing  to  i 
t i inn  (1  w.nl. in:  against 
the  I  lanes,  in  which 
the  people  were 
strenuous!) 
In  tin/  latter  period  a 
history 
of  tin-  fine  a 

throughout     I. 

h  impulse 
to   tli'  i   long 

in  abeyani 

Ireland    be< 
deeply  influenced  bv 
the    ii  '       '.    and 

tiem  '  d  the 

building  of  castles  of 


95 


The    Connoisseur 


MRS.    HAMILTON  BY     J.    COMERFORD 

IN     THE     POSSESSION     OF     MRS.    DE  ANE-FREEM  AN 

unusual  magnitude  ;  Gothic  churches,  chapels,  and 
monasteries  of  great  splendour;  and  produced  fresco 
painting,  of  which  some  examples  still  exist ;  stone 
crosses,  picturesque  in  form  and  elaborate  in  design, 
and  pieces  of  jewellery,  in  which  the  highest  ex- 
cellence was  attained.  This  perfection  was  reached 
mainly  through  the  influence  and  manipulation  of 
the  monastic  institutions. 

Portrait  painting  appears  to  have  been  practised 
in  Ireland  as  early  as  the  reign  of  Henry  VIII.  The 
galleries  of  the  Duke  of  Leinster  and  some  others  of 
our  ancient  nobility  furnish  examples  of  that  period; 
and  miniature  painting  of  Queen  Elizabeth's  time  is 
not  uncommon.  Any  pictures  to  be  found  possessed 
of  merit  were  probably  painted  in  England  or  abroad. 
There  are  some  portraits  that  might  be  the  work  of 
Holbein,  and  miniatures  that  are  unquestionably  from 
the  delicate  hand  of  Isaac  Oliver.  Horace  Walpole 
Nays,  "  In  a  sale  here  of  pictures  brought  from  Ireland 
was  a  large  oval  head  of  Lucy  Harrington,  Countess 
of  Bedford,  and  The  Marriage  of  Canaan,  by  Isaac 
Oliv. 

The  prestige  of  the  fine  arts  was  maintained  up  to 
the  sixteenth  century  ;  but,  strange  to  record,  there  is 
no  memorial  in  existence  of  a  single  Irish  painter  in 
the  seventeenth  century.  Any  pictures  produced  were 
the  work  of  strangers.  James  Gandy,  an  Englishman, 
who  was  a  pupil  of  Van  Dyck,  and  an  excellent  por- 
trait painter,  was  brought  over  from  Exeter  by  the  old 
Duke  of  Ormond,  and   retained  in  his  service  up  to 


the  artist's  death  in  1689.  Towards  the  close  of  the 
century  another  portrait  painter  named  Wright  settled 
in  Kilkenny,  and  was  so  successful  that,  working  at 
^ioa  head,  his  first  year's  income  was  ^900.  He 
was  the  nephew  of  Michael  Wright,  a  Scotsman,  who 
practised  in  London.  The  celebrated  John  Van 
Wyck,  who  is  supposed  to  have  come  into  Ireland  at 
this  period  in  the  train  of  William  III.,  and  painted 
the  Battle  of  the  Boyne,  which  he  made  a  favourite 
subject,  worked  in  the  style  of  Philip  Wouverman  ; 
he  also  painted  several  views  in  Scotland  and  Jersey, 
and  made  the  designs  for  a  book  on  hunting  and 
hawking. 

The  art  of  miniature  painting  in  Ireland  dates  back 
to  the  seventeenth  century,  in  the  person  of  Simon 
Digby,  Bishop  of  Elphin,  a  distinguished  amateur, 
who  painted  miniature  portraits  with  the  hand  of  a 
master.  He  was  of  the  family  of  Lord  Digby,  and 
the  son  of  Essex  Digby,  Bishop  of  Dromoie.  He 
succeeded  to  the  See  of  Limerick  in  1678,  and  was 
translated  to  Elphin  in  1691,  where  he  died  in  1720. 
His  love  for  painting  must  have  been  enthusiastic, 
for  there  are  about  thirty  known  portraits  from  his 
hand.  They  are  chiefly  of  his  own  family,  or  dis- 
tinguished personages  with  whom  he  was  intimate, 
as  among  the  first  are  two  of  his  father,  and  among 
the  latter,  Sandcroft,  Archbishop  of  Canterbury  : 
Tillo'.son  ;  HofT,  Bishop  of  Winchester ;  Narcissus 
Marsh,  the  Duke  of  Tyrconnell,  Lord  Capel,  etc.,  etc. ; 
they  were  in  the  keeping  of  the  Dean  of  St.  Patrick's, 
whose   memory  is  held  in   grateful  remembrance  for 


ARCHBISHOI'     TII.LOTSON 


bV     SIMON     DIGBY 


96 


The  Fine  Arts  in  Ireland 


his    appreciation    of    the    delightful    arl 
miniature  painting.     After  the  death  of  the 
Dean — the   Rev.    I  >r.    Dawson — his   efl 
including  his  miniatures,  wen  d  b) 

auction,    and    the    portrait    of    Archbishop 
Tillotson    was    purchased    for  thi 
and  Art  Museum,    1  Dublin. 

I'l  D1GREE   OF    THE    BlSHOP  OF    Kl.IMIlN. — 

linn.    Letitia    Fitzgerald,    only   daughter  ol 
G       d  Lord  Offaly,  who  died  in  the  lifel 
of   his    father,    the     i  ith    Ear!    oi     Ki 
married  Sir  Robert  Digby,  Knt.,  of  Coleshill, 
in  Warwickshire,  and  had  several  sons,  from 
whom  descended  the  Earl  Digby,  the  1  >i 
of  Landenstown,  and  the  Rev.  John  Digby, 
probably  the  prei  of  the  Irish  Bishops 

Sir  Robert  died  in  t6l8,  and  two  years  lati  I 
His  widow  was  created  Baroness  Offaly  for 
life.      Her  ladyship  died   in    1658,  when   the 

-  ame  extinct.      The  title  of  <  ' 
dates  hack  to  Gerald   Fitzmaurice,   who  re- 

.  id  a  summons  to  parliament  as  Baron 
Offaly  in  1205,  and  died  the  -.ttn  year. 
His   son,    Maurice,   took    the    name    of   his 

mdfather,  Fitzgerald,  became  the  second 
Baron,  and  was  the  gallant  companion  of  Strongbow, 
a   pious   Roman   Catholic,   who  showed    considerable 
ability  as    Lord  Justice  of  Ireland. 

|.iiin    Blomfield.  —  Born    in    Dublin:    pupil    of 


BY     SAMUEL     LOVER 


Robert  West  in  the  Dublin  Society's  School:  became 
first  master  of  the  Historical  Department  of  the 
National  Gallery,  Dublin,  for  designs.  He  excelled 
in  depicting  the  human  figure  in  chalk  and  crayons. 
Richard  Bull.  -Admitted  to  the  Dublin 
Society's  Schools  in  1770.  There  is  a  miniature 
by  him  of  Emilia  Olivia,  Duchess  of  Leinster, 
at  Carton.     Signed  and  dated  1794. 

Sir  Frederick  \V.  Birton. — Born  in  1816 
in  ( lorofin  1  louse,  [nchiquin  Lake,  Countyt  Ian  . 
Ireland.  His  father  removed  the  family  to 
Dublin  to  complete  their  education.  Frederick, 
wishing  to  become  an  artist,  was  placed  under 
the  brothers  Brocas  to  study  art,  and  mad.-  such 
progress  that  in  1837  he  was  able  to  comm 
practice  by  painting  miniatun  and  portraits  in 
water-colours.  In  1839  he  was  hill  member  of 
the  Royal  Hibernian  Academy,  and  in  1S40  he 
produced  The  Blind  Girl  at  the  Hoi)  Well,  in 
iN|i  The  Arian  Fisherman's  drowned  Child — - 
beautiful  pictures  in  water-colours,  full  ol  tender, 
sympathetii  1  1  ling,  that  established  his  reputa- 
tion.   Tin  se  were  followed  by  similai 

at   the  same  time    1 ntinued    his   miniature 

and  portrait  wank.  His  sitters  were  numerous, 
and  comprised  the  llite  of  Dublin  society. 
In  1857  he  went  to  Germany  to  study  art 
and  the  literature  in  which  it  was  recorded. 
Proceeding  to  Munich,  he  remained  there  five 


97 


The    Connoisseur 


years.  His  studies  took  a  wide  range,  so  that  when 
he  returned  to  London  to  resume  practice  he  was  a 
man  of  extensive  and  profound  knowledge  in  every 
phase  of  pictorial  art.  In  1874  he  became  director 
of  the  National  Gallery,  an  appointment  which  created 
much  astonishment  in  artistic  circles.  Then  he  gave 
up  practice  and  devoted  himself  assiduously  to  his 
duties  up  to  his  retirement  in  1894.  His  death  took 
place  in  1900.  He  was  a  man  of  prepossessing  per- 
sonality as  well  as  distinction  of  manner,  and  among 
his  friends  were  the  most  distinguished  representatives 
of  science,  literature,  and  art. 

Exhibits  at  the  Art  Gallery  of  the  Corporation 
of  London,  1904. 

Lady  Gore  Booth  and  Daughters. 

A   Woman  Knitting. 

Connemar.i  Valley. 

Honor  Henry  Benoyle. 

A  Connemara  Stream. 

Three  Gahvay  Children. 

Alice  Joyce. 

Sergeant  Gould. 

Lady  Gore  Booth. 

Sir  Robert  Gore  Booth,   Bart. 

Mrs.   Moore,   wife  ol  the   Poet,  Thomas  Moore. 

George  Chinnery,  R.H.A. — In  1798  he  worked 
in  Dublin  and  became  a  member  of  the  Irish 
Academy.  He  exhibited  in  the  Royal  Academy 
from  1  791  to  1846.  He  spent  many  years  abroad  in 
the  practice  of  his  art,  which  comprised  various  styles, 
and  died  at  Macao. 

Guildhall,  1904. 

Winian   Mahaffy. 

A  Boy  in  white  in  a  Landscape. 

A  I  lentleman. 

A  Chinese  Lady. 

John  Comerford. — Born  in  Kilkenny;  came  to 
Dublin,  and  studied  in  the  schools  there.  He  adopted 
miniature  painting,  in  which  he  had  a  very  remunera- 
tive practice.  His  miniatures  are  characterised  by 
great  freedom  and  boldness  of  pencil.  They  are  full 
of  character  and  expression.  Besides,  he  executed 
numerous  sketch  portraits,  which,  though  slight,  were 
effective  and  highly  popular,  and,  done  in  very  short 
sittings  at  good  prices,  were  a  profitable  branch  of  his 
professional  occupation.  Among  his  works  is  an 
admirable  likeness  of  Lord  Manners,  Lord  Chancellor 
nl  Ireland,  engraved  by  Heath,  and  an  admirable 
sketch  of  Mr.  Gandon,  also  engraved.  He  amassed 
a  fortune  of  ,£16,000,  delighted  in  the  society  of 
many  friends,  which  included  all  the  distinguished 
artists  of  the   day,   and   kept   in   touch   with   the   wit 


and  intellect  of  his  time.     He  died  of  apoplexy  in  his 
sixtieth  year. 

Guii.dhali.,  1904. 
A  Member  of  the  Comerford  Family. 
Mrs.   Tighe. 

Mrs.   Hamilton  (born  Tisdall). 
An  Old  Lady. 

Lord  Downes,  Chief  Justice  of  Ireland. 
The  Countess  of  Koden. 
The  Mendicant. 
Maria   Lady  Shaw. 
A  Boy. 

Mrs.   William  Dix. 
Simon  Digby. 
Bishop  of  Elphin. 
See  Introduction. 

John    Dunn. — A    pupil    of  the    Dublin  Society's 
School,  1768.     Exhibited  in  Dublin  1801-1804. 

Guildhall,  1904. 
Alexander  Fleming. 
Lady  Gore  Booth. 
Hon.   Mrs.   Peter  La  Touche. 
Right  Hon.  Sir  Frederick  Shaw,  M.P. 

Hugh  Douglas  Hamilton,  R.H.A.  —  Born  in 
Dublin,  1734.  Studied  the  elementary  principles 
and  practice  of  his  art  at  the  Academy  House  in 
Grafton  Street,  where  the  Dublin  Society  had  first 
established  drawing  schools  in  1744  for  rudimental 
instruction  in  the  fine  arts.  Mr.  Hamilton  com- 
menced his  career  as  a  crayon  painter — his  likenesses 
were  faithful  and  pleasing.  He  removed  to  London 
and  soon  secured  a  good  practice,  being  distinguished 
by  the  highest  patronage,  that  of  George  III.  and  his 
Queen.  His  next  movement  was  to  Italy,  where  he 
remained  twelve  years,  and  there  he  adopted  oil-paint- 
ing at  the  instigation  of  Flaxman.  Having  mastered 
the  difficulties  of  a  new  vehicle,  he  then  practised  oil- 
painting  with  great  success  both  in  hibtorical  subjects 
and  portraiture.      He  died  in  the  year  1S06. 

t  .1    11  I'll  AIL,     1904. 

Mr.    Frederick  Trench. 
Mrs.   A.    11.   Trench. 
Rev.    Frederick  Trench. 
The  Fail  of  Farnham. 
The  Countess  of  Farnham. 
Mrs.   Mary  Stewart. 

Horace  Hone. — Eldest  son  of  Nathaniel  Hone  ; 
born  in  Dublin,  1756.  He  painted  in  miniature  and 
enamel,  and  his  practice  was  extensive  ;  in  fact,  he  had 
more  commissions  than  he  could  execute.  His  subjects 
were  amongst  the  elite  of  fashion,  and  at  this  period  he 
painted  all  the  distinguished  and  attractive  beauties 


98 


The  Fine  Arts  in  Ireland 


of  the  vice-regal 
court.  Whenthe 
Union  was  efl  i  I 
ed  person-'  ol 
rank  and  fortune 
came  to  reside 
in  London  or  go 
on  the  *  on 
tinent,  wh 
Hone  lost  his 
patronage,  so  he 
relinquished  his 
establishment  in 
1  lublin.  came  to 
London,  and 
took  a  house  in 
r  Street. 
Viscount  Lit/- 
w  i  1 1  i  a  m  w  a  s 
in  uch  atta<  hed 
to  him,  and  until 
his  demise  occu- 
pied apartments 

in  Mr.  Hone's  house.  Mr.  Hone's  death  took  place 
after  a  short  illness  in  1S25.  He  was  intimately  known, 
and  highly  esteemed. 

( .in  mi  u.i.,   1904. 

Abraham  Wilkinson. 

Group  of  Portraits  of  the   Hone  family. 

I'  utrait  of  a  Lady. 

Lord  Edward   Fitzgerald. 

Peg   Woffington  a»  Mary  Queen  "I   Scol  . 

Lady  in  a  hat  and  feather. 

\  1  ienlleman. 

Peg  Woffington  (Enamel). 

Rev.  John   M 

Portrait  of  a  Lady  (Enamel). 

Samuel  Lover. — Painter  of  landscapes  in  oil  and 
water  -  colour,  miniaturist,  poet, 
elist,  lecturer,  musical  com- 
.  the  great  favourite 
of  his  time;  best  known  thi 
his  tender  and  sympathetic 
songs,  "The  Angels'  Whisper," 
•'The  Four-leaved  Shamrock," 
etc.,  etc.  Born  in  Dublin,  he 
commenced  art  at  an  early  age, 
which  developed  into  such 
excellent  miniature  painting 
that  he  had  an  extensive 
practice,  and  in  1S22  became  a 
member  of  the  Royal  Hiber- 
nian Academy.  He  removed 
to  London,  where  his  time 
was  principally  given  to  literature. 


HilDPCN,    ^>- 
BY 

CHARLES    ROBERTSON. 


He  visited  the 
United  Stati  , 
w  here  h  e 
led  ured,  and 
1  epeat  e<l  h  i  s 
"Irish  Even- 
ings "  that  had 
such    a    f  a  S 1 

n  foi  [1  ish 
a  u  d  i  c  in  e  S  , 
also  using  his 
p  mil  on 
drawings  ol 
the  Ohio  and 
Falls  of  t  h  e 
R  a  p  i  d  s  0  1 
N  a  n  s  f  0  r  d  . 
Returning  to 
I  on  d on ,  he 
w  as  granted 
/,  1  00  a  year 
11  the  Civil 
List.      rhi 

of  his  life  was  spent  at  Jersey,   where  he  died,  in 

1868. 

1  .1   11  DHAl  I  .    I9O4. 

The  Hon.   Mrs.   Dudli  .    1    1 
w  .: l!i s  ol   Di ishane. 
A  1  ientleman. 

Anne  M.  de  Mendoza,  Lady   Bellew. 
Patrick   Lord  Bellew. 
Maria    Lady  Shaw. 
Miss  Julia   1  >i\. 
William   lli\. 
Mr-.   Yates. 
Lord   Byron. 

Henry  Pelham.     Son  ol    Petei    Pelham,  the  en- 
graver,   who   emigrated    to    America     in     1726,    and 
prai  tised   there,   marrying,   as   his 
econd  \s  ife,  Mary  Copley,  « id<  >w 
of  Richard  Copley,  datightei 
John    Singleton,  ol    Quinville 
Abbe) ,  co.  <  Hare,  Ireland,  and 
bei    i  111  r   the   step  father  ol     \i     n 
Singleton  Copley,  R.A.,  Historical 
Painter.     He  had   a     1  in,   1  ferny 
Pelham,   w  hi  *  pa  inted  historical 
subjects  and  miniatun  s,     - 
which  wen  oi  iety 

1 J  Artists,  Dublin,  1 780.     He  also 
paim  irtrait  ol   the  old 

I  of  D  /ed  in 

aquatii  vi  rsatile  Nathaniel 

Gro    in,  of  Cork.    Later  on  he  went 
to  Kerry  to  practise  as  an  engineer, 


BV    SAMPSON    T.   ROCHE 

99 


The   Connoisseur 


and  became  agent  to  Lord  Lansdowne's  estate  there. 
He  was  accidentally  drowned  in  the  Kenmare  river  in 
1806.  The  first  picture  sent  by  Copley  to  London 
lor  exhibition  was  A  Boy  with  a  Squirrel,  a  portrait 
of  Henry  Pelham. 

Charles  Robertson. — Bom  in  Dublin,  1760,  and 
was  very  successful  there  as  a  miniature  painter  until 
1806,  when  he  came  to  London,  but  soon  returned  to 
his  native  city,  where  he  died  in  1S20.  His  miniatures, 
especially  of  female  portraits,  are  among  the  best 
produced  by  Irish  artists.  Exhibitor,  Royal  Academy, 
1  790  to  1810. 

Gill  DH  \1  1  .    1904. 
Peter  La  Touche. 
Portrait  of  a  Lady. 
Viscountess   Hawarden. 
Miss  Higgin-. 
Mrs.   Stephen   Moore. 

Clementina  Robertson. — Sister  of  the  brothers 
Walter  and  Charles  Robertson,  who  were  noted 
miniature  painters  in  Dublin  at  the  end  ol  the 
eighteenth  century.  Exhibited  in  Dublin  1819  to 
1S29.  Married  Mr.  John  Siree.  After  his  death  she 
resumed  practice  in   1847,  and  died   1868. 


Sampson  Towgood  Roch,  or  Roche. —  Member 
of  a  good  family  in  co.  Waterford,  which  still  exists. 
Born  deaf  and  dumb  ;  self  taught :  worked  in  Dublin 
1786  to  1792;  taken  or  removed  to  Bath,  where 
he  practised  his  profession.  One  of  his  sitters  was 
H.R.H.  the  Princess  Amelia,  youngest  daughter  of 
George  III.  The  death  of  Mr.  Roche  took  place  in 
1838,  aged  ninety. 

GUILDHAJ  1  ,    1904. 
Mrs.   William   Mossop. 
William   Mossop,  sculptor,  medallist. 
Mr.    Lee. 
A   Gentleman. 
A  Lady. 

The  exhibition  in  the  Guildhall,  1904,  comprised 
465  subjects,  of  which  139  were  miniatures,  old  and 
modern,  the  latter  of  good  quality:  326  repre- 
sented history,  allegory,  mythology,  themes  from 
Shakespeare,  portraiture,  and  landscape,  both  in 
oil  and  water-colour,  of  such  merit  and  charm 
that  the  old  prestige  is  very  fully  maintained  by 
a  body  of  Irish  artists  of  the  first  rank,  among 
whom  Mr.  John  Lavery,  R.S.A,  holds  a  conspicuous 
position. 


A     LADY  BY     EDWARD     HAYES,     R.H.A. 

IN     THE     POSSESSION     OF     GEORGE     PRESCOTT,     ESQ. 


Pottery  and 

Porcelai 


A   Collection   of    English    Brownware    and    Stoneware 
Described    and    Illustrated   by    S.  G.  Hewlett 


Ii   is  refreshing  in  these  days  of  high  | 

e  earlier  I      i  English  pottery  and 

porcelain   to   realise  that  there  are  still  one  or  two 
cults  within  reach  of  the  collector  who  is  not  inclined 
i  xorbitantly  tor  his  hobby. 

1  I  such  are  the  homely  brownware  and  - 
which,  if  they  cannot  in  most  instances  lay  claim  to 
the  antiquity  of  the  Tofts1  delightful  crudities  or  the 
classical  lines  or  ornamentation  of  the  Wedgwoods' 
productions,  vet  have  a  fascination  of  their  own  as 
throwing  many  valuable  sidelights  on  the  thought  and 
everyday  life  of  bygone  generations. 

It  is  true  that  the  greater  part  of  the  specimens  to 


m  i  with  to-day  -  ■    delled  between  iSooand 

1S50.  but  undoubted  pieces  of  the  eighteenth  century 

may    still    be    acqtii:  1 

■tent  hunter,  and  possibly  dated  examples  air 
ii2,  which  seem  to  be  the  earliest  recordei 

to  light. 

The  collection — numbering  nearly  three  hundred 
specimens— of  which  this  article  offers  a  limited 
scription,  belonged  t"  the  late  Struan  11.  Robei 
l  ,ol  Batheaston  Lodgi  .  Batheaston,  and  is  the  out- 
come of  some  seven  years'  careful  selection.  With  the 
highly-glazed  and  often  richly-mottli  d  brownware  fn  m 
the    potteries  of  Rockingham,   Swinton,   Swadlincote, 


NO.     I.  —  MUG 


4,    inches 
IOI 


NOTTINGHAM 


The    Connoisseur 


NO.    II. MUG 


5$    INCHES 


Cadborough,  and  elsewhere,  represented  by  frog-mugs 
with  one,  two,  three,  or  four  handles,  furniture-rests, 
jugs  of  various  forms,  money-boxes,  spirit-bottles,  mer- 
maids, and  many  other  types,  it  is  not  proposed  to 
deal  at  length,  as  their  individual  characteristics  call 
for  separate  treatment.  It  is  to  be  regretted  that 
the  stoneware,  which  forms  the  major  portion  of  the 
collection,  seems,  as  well  as  the  above-mentioned 
brownware,  to  possess  little,  if  any,  literature  proper 
to  itself,  and  is  apparently  referred  to  in  the  standard 
works  merely  for  the  purpose  of  illustrating  types, 
glaze,  or  dates,  although  it  presents  a  widely  interesting 
field  for  investigation  on  its  own  merits. 

For  the  most  part  grey  or  yellowish  in  colour,  with, 
in  many  cases,  an  irregular  band  of  dark  brown  glaze 
run  on  to  the  upper  portions  of  the  piece — it  was 
manufactured  to  a  considerable  extent  at  Lambeth, 
Fulham,  Nottingham,  the  Bournes  Potteries,  Derby- 
shire, and  in  many  other  localities.  Early  in  the 
eighteenth  century  the  factory  at  Fulham  produced 
tankards,  jug-.,  and  imitations  of  Bellarmines  under 
the  auspices  of  John  Dwight  and  his  daughter 
Margaret  in  partnership  with  Thomas  Warland,  an 
inscribed  mug,  dated  1721,  being  figured  by  Mi. 
|.  S.  Hodgkin  and  Miss  E.  Hodgkin  in  their  admir- 
able reproductions  of  Examples  of  Early  English 
Pollen-. 

Previously  to  this  a  ware,  brown  in  body  with  a 
slightly  metallic  lustre,  was  turned  out  at  Nottingham, 


a  posset-pot,  inscribed  and  dated    1700,  being  also 
described  in  the  before-mentioned  work. 

Later  on  in  the  century  came  puzzle-jugs,  goblets, 
mugs  of  different  sizes  —  one  in  Mr.  Robertson's 
collection  standing  10  inches  in  height,  with  diameter 
of  9  inches,  holds  two  gallons— harvesters,  jugs,  and 
other  vessels.  While  many  of  these  types  were  plain, 
or  inscribed  and  dated  under  the  glaze,  as  No.  i.,  a 
large  proportion  were  decorated  with  plaques  or 
figures  illustrating  sporting,  convivial,  or  farmyard 
scenes,  sheaves  of  corn  or  barley,  windmills,  etc.,  in 
more  or  less  high  relief,  of  which  Nos.  ii.  to  viii. 
furnish  representative  examples.  Of  these  perhaps 
the  most  noteworthy  are  No.  i.  with  its  quaint  script — 

"  William   Rawlins  July  The  30th   1756 
Come  Drink  a  Bout  and  lets  be  merry 
And  Drink  A  Health  to  Horniest  Hary  " ; 

No.  vi.  (a  somewhat  unusual  form),  which  holds  a 
quart  and  a  half,  and  possesses  an  almost  vitreous 
ring  ;  and  No.  vii.,  a  cyder  or  beer  flagon,  with 
capacity  of  two  gallons,  in  the  shape  of  a  drayman's 
head,  whose  cheery  features  are  pervaded  by  a 
perennial  and  most  infectious  smile. 

From  1750  to  1850  a  large  variety  of  forms  were 


No.    III. — JUG 


;l     INCHES 


A  Collection  of  English  Brownware  and  Stoneware 


No.     IV. — THREE-HANDLED     MUG 

evolved  by  the  cunning  artificers  of  the  day,  either  as 
ornaments  in  the  shape  of  animals,  cottages,  busts  of 
pri  lighters,  and  other  objects  of  common  interest, 
or  designed  for  a  specific  purpose,  as  tobacco-jars, 
jugs  commemorating  national  heroes  (No.  ix. ).  pipes, 
satyr-mugs,  loving-cups,  ink-pots,  spirit-flasks,  etc.,  etc. 
Spirit-bottles,  frequently  stamped  with  the  name  of  the 
maker  or  vendor,  or  both,  afford  in  themselves  a  wide 
range  of  subject,  from  the  east  window  of  a  church 
to  the  humble  potato,  the  latter  being  possibly  utilised 
for  the  furtive  introduction  of  contraband  to  inmates 


INCHES  LAMBETH 

of  the  workhouse.  Besides  these,  powder-flasks,  books, 
at  times,  be  it  noticed,  stamped  on  the  hark  with 
serious  if  not  religious  titles,  beer-barrels,  square- 
toed  boots,  fish  of  sundry  possible  and  impossible 
species,  as  No.  x..  and  a  whole  farrago  of  miscellane- 
ous models,  united  in  paying  tribute  to  the  moulds 
of  the  principal  potteries.  Political  and  national 
events  found  their  reflection  in  bottles  representing 
kings  and  queens,  who  appear  in  the  form  of  medal- 
lions, busts,  or  full  figures,  the  reformers  (No.  xi.  I,  01 
the  special  constable's  stall  I  No.  xii.  i,  vrhii  h,  -tamped 


NO.     V. TWO-HANDLED     MUG  6J     INCHES 

IO3 


NO.    VI. — GOBLET  y'i    INCHES  LAMBETH 


NO.    VIII. JUG  9*    INCHES  LAMBETH 


No.    VII. — JUG     OF     UNUSUAL    FORM 


NOTTINGHAM 


IO4 


A    GIRL   GOLFER 

REPRODUCED    FROM    THE    PICTURE    BY    A.    CUYP 

In  the  collection  of  the  late  Mr.    W.  James  of  West  Dean  Park 

From  "  The  Royal  and  Ancient  Game  of  Coif,"  published  by  the  London  and  Counties  Press    \ssociation 


A   Collection  of  English  Brownware  and  Stoneware 


with  the  name 
ol  Stephen 

:>..     Lam- 
beth,  t> 
the  Chartist 

As   might 
be  expected, 


No.    IX. — NELSON     i  U 
13     INCHES  LAMBETH 

humour  entered  into  keen  competition 
with  more  serious  subjects  in  adorning 
these  aids  to  conviviality.  Punch, 
grotesques,  Jim  Crow  —  the  original  in 
1836  of  the  one-time  popular 
"Jump,  Jim  Crow,"  who,  by  the  way, 
appears  to  be  the  only  American 
comedian  perpetuated  in  stoneware — the 
typical   Irishman  of  fiction,  and  favourite 


pei  5  in 

comic  literature, 
h  a v e    h  a nd ed 
down    their 
sentments  to  pos- 
terity among 

llycompanyof 
similar    character. 


N'O.  XII.  —  BOTTLE 

SPECIAL  CONSTABLE'S 

STAFF      I  I  INCHES 

LAMBETH 


NO.     XI. — FLASK  /     INCHES 

HOl'RNES  POTTERIES,  DERBYSHIRE 

As  a  final  instance  of  this  class  may 
be  cited  a  flask  of   fairly  common 
occurrence   which  bears  on  ti 
verse  an  apt  illustration  ol   Douglas 

d's    immortal    "Curtain   Lec- 
tures,'' while  the  revi  1       sid 

in  •'  Miss  Prettym  in 
hit  at  the  hideosities  of   feminine 
apparel  in  the  early  \  ii 


NO.      X.        FLASK 


INCHES 


o 


1 08 


ise£U£r*£ou$ 


Paper=work 

l)i  Vernon  instances  among  the  more 
feminine  accomplishments  she  had  discarded,  working 
cross-stitch,  and  enumerates  among  the  symbols  of 
orthodox  femininity,  "a  broken-backed  spinet,  a  lute 
with  three  strings,  rock-work,  shell-work.''  To  these 
trivial  and  feminine  employments  she  should  cer- 
tainly have  added  paper-work.  Paper-work  existed 
in  various  forms.  It  will  be  remembered  that 
Volumnia  I >edlock  "displayed  in  early  life  a  pretty 
talent  for  cutting  ornaments  out  of  coloured  paper." 
And  the  once  celebrated  Mrs.  Delany  made,  during 
the  last  ten  years  of  her  life,  a  collection  of  paper 
flowers,  her  "  Paper  Mosaick,"  as  she  called  it.  There 
is  something  absurd  about  the  accomplished  Mrs. 
D  lany's  life  and  works — the  "delusive  industries'' 
she  practised,  and  her  marriages.  Her  first  husband, 
Alexander  Pendarves,  of  Roscrow,  "nearer  sixty,  fat, 
snuffy,  sulky,"  was  described  by  her  later  as  "altogether 
a  person  more  disgusting  than  engaging."     When  she 


became  a  widow  she  made  a  second  match  with  a 
man  sixteen  years  her  senior,  Patrick  Delany.  Hei 
life  was  spent  in  a  correspondence  with  her  iriends 
that  never  rises  to  brilliance,  and  in  the  practice 
of  such  elegant  arts  as  shell-work,  needlework,  and 
paper-work  In  the  latter,  hei  method  was  to  cutout 
in  paper  coloured  drawings  oi  flowers,  and  mount 
them    against   a    black    background.       She    boasted 

tli.it    her  only  tools   wei rs  and  paste.     Mrs. 

1  )i  lany's  work  soon  became  a  topic  of  conversation  in 
fashionable  society,  and  among  her  greatest  admirers 
was  George  III.,  that  patron  of  the  arts,  who  "took 
delight  in  these  flowers,"  ordered  Opie  to  paint  a 
portrait  of  her  for  his  private  cabinet,  and  called  her 
his  "dearest  Mrs.  Delany."  To  the  Queen,  "with 
the  utmost  fearfulness  of  being  too  presumptuous," 
she  offered,  "  as  a  lowly  tribute  of  her  humble  duty 
and  earnest  gratitude,"  a  specimen  of  her  flower-work. 
It  was  praised  by  Erasmus  Darwin  in  his  Loves  oj 


No.     III. — TEA-CADDY 


CIRCA     I78O  IN     THE     POSSESSION     OF     MISS     VICARS 

IO9 


The    Connoisseur 


the  Plants,  who  added  a  pompous  note  to  correct  the 
inaccuracy  of  his  verse  description.  Between  1774, 
when  she  began,  and  1784,  when  her  eyesight  began 
to  fail,  she  finished  nearly  one  thousand  specimens. 


are  imitated  by  cutting  out  trees,  cottages,  or  figures 
in  coloured  paper,  and  pasting  them  on  to  a  sheet  of 
blue  cardboard  to  represent  the  sky."  Mary  Howitt, 
in  writing  of  her  childhood  (in  1809),  speaks  of  the 


X".     1Y. — TEA-CADDY     (I/S0-I79O) 


IN     THE     POSSESSION     OF     THE     REV.    FATHER     PURDON 


The  ten  volumes  that  contain  her  hortus  siccus  are 
preserved  in  the  British  Museum,  with  some  MS. 
verses,  in  which  the  aged  lady  trifles  with  the  muse: — 

"  Hail  to  the  happy  Hours  !  When  Fancy  led 
My  Pensive  Mind  this  flow'ry  Path  to  tread  ; 
And  gave  me  Emulation  to  presume. 
With  timid  art,  to  trace  fair  Nature's  bloom, 
To  view  with  awe  the  great  Creator's  Power, 
That  shines  confess'd  in  the  minutest  Flower." 

Very  similar  must  have  been  the  landscapes  of  an 
old  and  anonymous  lady  who  is  mentioned  in  George 
Paston's  Little  Memoirs  of  the  Eighteenth  Century  as 


"  elegant  arts "  of  the  day  at  a  Quaker  school  at 
Croydon — to  net,  to  weave  coloured  paper  into  baskets, 
to  plait  split  straw  into  patterns — "  We  soon  furnished 
ourselves  with  coloured  paper  for  plaiting,  and  straw 
to  split  and  weave  into  net,"  she  writes,  "and  I  shall 
never  forget  my  admiration  of  a  pattern  of  diamonds 
woven  with  strips  of  gold  paper  on  a  black  ground. 
It  was  my  first  attempt  at  artistic  needlework." 

Such  variations  upon  paper-work  of  the  early  nine- 
teenth century  were  produced  with  a  very  small 
amount  of  skill,  and  have  not  survived,  but  there  is 
an  earlier  type  of  rolled-paper  or  vellum-work,  dating 


NO.    Y. — TEA-CADDY 


CIRCA      IS20 


IN     THE     POSSESSION     OF     MRS.    LIVESAY 


practising  one  of  the  "  mock  arts  "  of  the  day.  "  In 
one  family  certain  weird  curiosities  are  preserved,  the 
work  of  an  ingenious  old  lady  whose  youth  fell  in  the 
end  of  the  eighteenth  century,  in  which  landscapes 


from  the  late  seventeenth  century,  that  is  not  without 
its  interest  to  collectors.  A  mirror,  dating  from  about 
1685,  is  framed  in  black  and  gold  lacquer,  the 
divisions  of  which  are  filled  with  representations  of 


Paper-work 


■*?. 


iS-Ca 


■\C-: 


baskets  of  flowers. 

i       top  panel  i 

tains  a  small  hi  mse, 

with  figures  looking 
the  windows, 

and  the  ornament  is 

composed  of  small 

rolls  of  stiff  | 

set    edgeways,   and 

gilt.      The  small 

flowers  are  repre- 
sent e  d  b  y  v  e  r  y 

minute  rolls,   and 

the  ingenuity  of  the 

work  is  remarkable, 

though  the  tasl 

the  design  is  child- 

i  sh.     T  ii  e  -  ma  1 1 

grotto  at  the  bottom 

is  ((imposed  of 

shells.      A  mirror 

with  a  lac  frame, dat- 
ing  from   the  reign 

of  <  harles   II.,  and 

formerly  in  the 

Wolseley  collection, 

shows  a  curious 

combination  of  wax- 
work and  spirals  of 

rolled   vellum,  used 

in  the  same  wa]    i 

paper.    The  border, 

which    is    divided 

into  eight  compart- 
ments, contains  wax 

figures,  a  castle  with  drawbridge,  and  other  ornaments 

in  rolls  of  vellum,  of  which  the  top  edge  is  gilt. 

Such  paper-work   was  done  both  in   England  and 

on   the  Continent,   in   convents  and   private   houses, 

during  the  eighteenth  century;   and  gilt  paper-rolls, 

forming  a  light  filigree  design,   were  frequentlj  a     d 

as  a  frame  for  prints,  Wedgwood  plaques,  or  paintings. 
Tea-caddies  and  screens  were  favourite  objects  for 
this  ornament.      No.  iii.  is  a  very  beautiful  specimen, 


"" 


.'  rf-.   -    .    .-.  >s-  -.-*■  ■: 


&&* 


\()    VI.— FIRE-SCREEN,    WITH    PAPER-WORK    ROUND    A    PAINTING    ON    SILK 
IN    THE    POSSESSION    OF    SIR    ANTHONY    COPE,   BART. 


and    in    excellent 

i  vation,  as  it 
ha>   always   b 

_ni.il 
d board  case — 
unlike   m<< 
work  boxes  and 
caddies,  which 

id  spoilt  b 
accumulation  ol 
dust  which  is  very 
difficult  to  get  rid 
,.  i .  The  light 
ground 
blue,  th 

warm  brown,  and 
the  gene i  al  01 
ment  gold,  crim- 
ln  this, 
and  in  the  three 
following  examples, 
the  coils  ,m  e 
fastened  with  a  dab 
of  glue  into  theii 
I  ila.)  es — unlike  th 
free  paper-w  oik. 
such  as  the  Royal 
Arms,  in  the  pos 
session  ol  M.  de 
Lafontaine, at  Athel- 
hampton.  lather 
I 'union's  beautiful 
little  box  (No.  iv.) 
has  been   a  little 

repaired.    It  i 
silver  key-plate,  handle,  and  hingi    .  and  in  the  in- 
wood  plaque  of  George   III.      Miss   Livi    ij 
example  dates  from  about  1820,  and  under  a  glass  is 
a  little  print.     The  lire-screen,  with    its  gold  spirals 
surrounding  a   painting,   is   in    the    possession    ol    Sir 
Anthony  (.'ope,  at  Bramshill.    The  art  has  few  to  prai 

to  day,  and  modi  rn   ipei  men  ,  with  theii  | 1 

and  scrambling  patterns,  compare  very  unfavourably 
with  the  delicacy  of  the  eighteenth-century  designs. 


"■'■'•- 


1  1  1 


OTErS 


[DUER1£§ 


[The  Editor  invites  the  assistance  of  readers  of  The  Connoisseur  who  may  be  able  to  impart  the 
information  required  by   Correspondents.] 


( 1 )     Painting  of  Venus. 
Dear  Sir, — As  a  subscriber  to  The  Connoisseur, 

1  take  leave  to  enclose  a  photograph  of  a  large  oil- 
painting  which  came  into  my  possession  many  years 
ago.  The  picture  is  called  Venus,  and  I  find  the  sub- 
ject depicted  in  the  painting  exactly  recalls  in  many 
respects  a  celebrated  picture  by  Titian  styled  Venus, 
and  described  in  the  Life  of  Titian,  by  Cavalcascelle, 

2  vols.  If  you  can  therefore  please  see  your  way  to 
have  a  block  inserted  in  your  well-known  magazine, 
with  a  view  to  some  of  your  numerous  readers 
identifying  it,  and  informing  me  the  name  of  the 
artist  and  the  period  when  it  was  painted,  it  would 
greatly  oblige  me. 

This  painting  was  exhibited  in  Bombay  and  Simla, 
and  attracted  considerable  attention ;  but  no  one 
could  trace  its  pedigree.  The  following  memoranda 
may  throw  some  light  on  its  origin  : — 

"  This  painting  Venus  is  a  copy  of  the  celebrated 
work  of  Titian  in  the  Darmstadt  Gallery,  description 
of  which  may  be  referred  to  in  the  Life  of  Titian, 


Vol.  II.,  by  Crowe  and  Cavalcascelle.  This  copy 
has  been  ascribed  by  an  expert  to  have  been  the 
work  of  the  English  artist,  William  Etty,  R.A.,  who 
had  copied  it  during  his  extensive  travels  and  study 
in  the  galleries  of  the  Continent  in  the  first  half  of 
the  last  century.  This  ideal  subject  is  unique  of  its 
kind,  at  least  in  India,  as  the  masterly  colouring  and 
the  style  well  and  clearly  testify.  When  it  was  exhibited 
at  the  Bombay  Fine  Art  Society's  nth  Exhibition 
in  1901,  the  art  critic  of  the  Times  of  Lndia  wrote 
that  it  would  be  interesting  to  trace  the  pedigree  of 
this  valuable  exhibit  styled  Venus.  Subsequently  a 
correspondent  in  the  Bombay  Gazette  under  date 
3rd  April,  1 90 1,  amongst  other  things  made  the 
following  remark  : — '  Further,  it  is  believed  that  this 
is  a  copy  after  the  celebrated  Venus  of  Titian  in  the 
Darmstadt  Gallery,  and  could  not  be  the  work  of  an 
ordinary  artist.  The  style  reminds  one  of  the  French 
School  of  painting,  and  those  who  have  been  familiar 
with  the  celebrated  Suzanne  an  Bain  in  the  Louvre 
by  J.  B.  Santerre  would  not  find  it  difficult  to  trace 


TAINTING      OF      VENUS 


Notes   and   Queries 


UNIDENTIFIED     PORTRAIT     (l) 

its  pedigree  to  that  eminent  painter.  This  picture 
lastly  belonged  to  the  property  and  effects  of  the 
third  Parsee  Baronet.  Sir  Jamsetjee  Jeejeebhoy,  and 
it  is  believed  to  have  formed  part  of  the  property  that 
was  bought  by  the  2nd  Parsee  Baronet  in  the  year 
1864,  when  he  purchased  the  Guneshkhind  House 
for  Rs.  1,20,000.' " 

The  picture  measures  6  ft.  by  4  ft.,  and  is  in  an 
excellent  state  of  preservation.  The  colours  are  also 
fresh. 

Yours  faithfully,    I.   E.  Saki  a  1  walla. 

Unidentified  Portrait  (i). 
I  Mar  Sir, — I  am  enclosing  the  photograph  of  a 
glass  portrait  which  I  should  be  so  glad  if  you  would 
reproduce  in  The  Connoisseur,  and  perhaps  some 
of  your  readers  might  be  able  to  tell  me  who  it 
represents,  and  also  the  probable  artist  and  date. 
The  head  is  almost  life-size,  and  the  colouring  very 
rich. 

I  am,   yours  truly.    Mary  S.  Noel   Hill. 

(3)     Unidentified  Portraits  (2  and  3). 

Dear  Sir, — The  owner  of  pictures  of  which  the 
enclosed  are  copies  received  a  report  as  follows  : — 
1 1  1  Standing  figure  of  a  man  in  peer's  robes,  apparently 
a  baron.  This  may  be  by  Sir  Geo.  Haytcr.  We  would 
suggest  that  it  be  reproduced  in  The  Connoisseur 


for  identification.    (2)   Portrait  of  a  man  with  a  ; 

A    very    striking     picture,    probably    of    the    French 

School,  and  possibly  by  Rigaud. 

W  think  the  suggestion  so  good  that  I  enclose  tin- 
photos  for  reproduction,  and  I  shall  esteem  it  a  favour 
if  your  readers  can  identify  either  or  both. 

irs  truly,   \V.   Si  1  vi 

(4)  PoRTRAH  01  Sir  John  Rainsford. 
Sir, — In  a  report  of  the  Historical  Manuscripts 
Commission,  mention  is  made  of  an  inventory  "at 
house  not  mentioned"  of  the  pictures  oi  the 
Dowager  Countess  of  Rivers.  Among  others  is. that 
of  a  Portrait  of  Sir  John  Rainsford.  ( Ob.  c.  152 1.) 
I  am  anxious  to  ascertain  the  whereabouts  of  this 
picture— if  still  in  existence  — and  have  thought  il  you 
would  kindly  insert  a  query  in     ["HI     '  1  R  to 

this  effect  it  might  produce  the  desired  information. 

With  apologies  for  troubling  you,  and  with  thanks 
in  anticipation, 

Yours  faithfully,  F.   Vine   Rainsfob 

(5)     Fuseli's  "  Midsi  mmi  r  Night's  Dri 
Dear  Sir, — I  should  be  glad  to  know  the  engraver 
of  the  above  painting  by  Fuseli. 

Yours  faithfully,  J.   W.   W. 


UNIDENTIFIED    PORTRAIT    (2) 


113 


,  TJie   Connoisseur 


(6)    Cosway's  Portrait 
of  Mrs.  Tickell. 
Dear  Sir, — Could  any 
of  your  readers  inform  me 
of  the  whereabouts  of  the 
original  of  Cosway's  pic- 
ture of    Mrs.  Tickell,  of 
Bath  ? 
Yours  faithfully,  T.  C.  T. 

(7)     Unidentified 

Painting. 
Dear  Sir, — I  enclose 
you  photograph  for 
insertion  in  "  Notes  and 
Queries."  The  size  of  the 
canvas  is  48  in.  by  38  in. 
It  has  been  in  the  posses- 
sion of  the  family  of  the 
owners  more  than  fifty 
years,  and  is  supposed  to 
have  been  painted  by  Jan 
Steen,  a  Dutch  artist. 
I  am,  faithfully  yours, 

John  McAudry. 


unidentified   portrait   (3) 


(8)     Painting  by  A.  Cuyp. 

Dear  Sir, — I  read  with  great  interest  the  article 
in  the  August  number  on  "  Pictures  of  Picture 
Galleries,"  by  John  Scarlett  Davis,  as  the  picture 
by  A.  Cuyp,  shown  in  the  right-hand  corner  of  your 
engraving  of  Davis's  picture,  is  in  my  possession  here. 
This  picture  was  left  to  me  years  ago  by  an  old 
relative,  a  collector,  and  I  have  no  means  of  ascer- 
taining how  this  picture  came  into  her  possession.  I 
should  be  grate- 
ful if  you  could 
inform  me  of  any 
history  of  the 
picture  (either 
No.  81  or  25  in 
Smith's  Cata- 
logue of  the  Ex- 
hibition of  1830) 
subsequent  to  the 
loanexhibitionin 
Davis's  time. 

Respectfully 

yours, 
Arthur 
Radford. 

Sir, — From  the 
facts  appended 
it   is    impossible  unidentifie 

1 


that  Mr.  Arthur  Radford's 
picture  can  be  either  the 
River  View  with  Cattle 
(No.  81,  lent  to  the  Brit- 
ish Institution  by  Mr. 
Abraham  W.  Rob  arts, 
M.P.),  or  Cattle  on  the 
Banks  of  a  River  (No. 
25,  lent  by  Sir  Simon  H. 
Clarke,  Bart.).  The  for- 
mer picture  is  still  in  the 
possession  of  the  owner's 
descendant,  Mr.  Abraham 
J.  Robarts,  J.P.,  D.L.,and 
is  No.  205  in  Dr.  Hofstede 
de  Groot's  Catalogue  of 
Dutch  Painters  (1909). 
The  latter,  at  the  sale  of 
Sir  Simon  H.  Clarke's 
collection  in  1S40,  was 
bought  by  the  Earl  of 
Norm  ant  on,  in  whose 
collection  it  remains 
(No.  723,  Hofstede  de 
Groot).  It  is  therefore 
clear  that  Mr.  Radford's  picture  is  either  a  replica  or 
early  copy,  if  it  is  not  a  later  copy  made  at  the 
British  Institution  about  the  year  1830.  It  was  the 
practice  of  owners  at  that  time  to  lend  their  Old 
Masters  to  be  copied  by  students  for  the  sake  of  the 
instruction  afforded. 

Yours  faithfully,   M.  H.  Spielmann. 

(9)     Painting  attributed  to  A.  Ostade 

(June 
Number). 
Sir, — In  a  col- 
lection o  f  etch- 
i  n  g s,  etc.,  by 
1  )avid  Deuchar, 
Edinburgh, 
1803,  is  the  pic- 
ture M.  Giles 
Whiting  seeks, 
and  "A.  Ostade" 
is  plainly  seen  in 
the  right-hand 
top  corner.  I 
imagine  the 
panel  is  copied 
from  it. 
Yours 

faithfully, 

D      PAINTING  C.  W.  SHICKEE. 

'4 


and 
Snuff-boxes 


The  luxurious  elegani  es  o)  French  aristocratic  life 
were  never  fashioned  in  a  more  beautiful  manner  than 
during  the  periods  of  the  three  Louis. 
Bonbonnicres  whose  reigns  preceded  the  French 
Revolution.  The  furniture  of  this 
epoch,  the  china,  and  such  personal 
trifles  as  bonbonnieres  and  snuff-boxes,  are  marvels 
of  ornate  design  wrought  with  consummate  artistry 
and  a  perfection  of  craftsmanship  that  has  seldom, 
i,  been  mii passed.  The  Wallace  collection  is 
espi  cially  rich  in  examples  of  this  epoch,  most  of 
them  being  pieces  of  exceptional  merit,  among  which 
must  be  counted  the  lour  specimens  illustrated.  The 
earliest  of  these  is  the  large  snuff-box  of  gold,  engraved 
and  decorated  with  translucent  enamels  of  many 
colours,  dating  from  the  commencement  oi  the  reign 


of  Louis  XV.  There  is  a  tradition,  unfortunately  un- 
substantiated, th;it  the  picture  in  enamels  of  Rinaldo 
and  Armida  on  the  cover  represents  Louis  \I\  .  and 
the  Marquise  de  Montespan,  but  there  is  nothing  in 
the  likenesses  to  warrant  this  assertion.  The  work 
itself  shows  the  influence  of  Charles  Antoine  Coypel  ; 
it  is  enclosed  in  an  elaborate  framework  of  diamonds. 
The  second  snuff-box  belongs  to  the  succeeding  reign, 
and  is  composed  of  plaques  of  turquoise  blue  and 
white  Sevres  porcelain  very  delicately  and  finely 
painted  with  cupids  and  conventional  designs,  the 
setting  being  of  gold  chased  and  engraved  in  a  Grei  k 
pattern.  The  two  other  pieces  illustrated  are  bon- 
bonnieres. The  circular  one,  executed  in  the  style 
and  period  of  Louis  XVI. ,  is  of  gold,  with  its  borders 
decorated   with   blue   and   green    translucent    enamel, 


NO.    I. — LOUIS    XV.    SNUFFBOX 


)LD    AND    TRANSLUCENT    ENAMF.LS,    WITH    FRAMI.WORK    OF    DIAMOND  • 

i'5 


The    Connoisseur 


NO.    III. CIRCULAR    GOLD    AND    ENAMEL    BONBONNIF.RE 

LOUIS    SEIZE    PERIOD 


and  pearls  of  white  enamel.  The 
centre  plaques  and  the  sides  are 
of  dark  blue  enamel  diapered 
with  an  imbricated  design  in 
green  and  gold.  The  last  piece, 
octagonal  in  shape,  belongs  to  the 
same  period,  and  is  also  of  gold, 
which  is  wrought,  chased,  and 
engraved  in  elaborate  patterning. 
Within  the  outer  gold  border  the 
box  is  covered  with  spaces  of 
emerald  green  translucent  enamel 
over  an  engine  -  turned  ground 
of  gold,  and  set  in  these  are 
medallions  painted  en  camieu gris 
on  a  dark  grey  ground,  the  one  on 
the  lid  representing  The  Festival 
of  the    Graces,  and   the   others 


Pygmalion  and  Galatea  and  other  classical  subjects. 
Though  precious  metals  and  gems  were  largely  em- 
ployed in  the  production  of  these  works,  it  is  not  to 
the  use  of  such  materials  that  they  owe  their  value, 
but  to  the  exquisite  proportion  of  their  designs,  their 
beauty  of  coloration  and  marvellous  craftsmanship. 

In  the  days  when  snuffers  were  in  constant  use,  a 
fine  field  was  open  for  the  ingenuity  of  the  makers. 
The  six  pairs  illustrated  show  different 
examples  of  their  art.  No.  i.  is  of 
Sheffield  plate,  finely  engraved.  At  the  opening  joint 
covered  by  the  boss  is  a  hidden  spring  that  closed 
and  kept  closed  the  snuffer  after  use,  so  preventing 
the  fumes  of  the  snuffed  wick  from  escaping  into  the 
air.     No.  ii.  has  a  shutter  that  rises  with  a  spring  when 


Snuffers 


No.   IV.- 


-GOLD    AND    ENAMEL    BONBONNIKRE 
LOUIS    SEIZE    PERIOD 


NO.    II. SEVRES    PORCELAIN    SNUFF-BOX    IN 

GOLD    SETTING 

you  open  the  snuffers,  and  falls  when  you  close  them, 
and  so  more  perfectly  confines  the  offensive  snuff. 
It  is  marked  "  Patent."  No.  iii.  is  barrel-shaped,  and 
has  a  rising  and  falling  shutter  somewhat  similar  to 
No.  ii.  No.  iv.  is  beautifully  made  ;  as  the  snuffer 
closes,  a  shutter  inside  worked  by  a  spring  sweeps 
round  and  conveys  the  snuff  into  an  inner  chamber. 
On  the  opposite  side  is  a  very  tricky  little  door  that 
works  with  a  spring  so  cleverly  made  that  it  was 
some  time  before  I  discovered  it.  Its  object  was  to 
facilitate  the  clearing  out  of  the  snuff.  "Upon  an 
improved  principle"  is  stamped  on  the  frame.  No.  v. 
is  very  substantially  made,  and  marked  "  Patent." 
There  is  a  strong  rising  and  falling  spring  shutter. 


116 


Notes 


NO.     I,  —  SHEFFIELD    PLATE    SNUFFI 


NO.    II. — SNUFFER    WITH    SPRING    SHUTTER 


SO.     III. BARREL-SHAPED     SNUFFER 


Underneath  the  body  is  a  small  sliding  door  for 
cleaning  purposes.  No.  vi.  is  marked  "Tubday's 
patent."  No  springs  arc-  used,  but  by  an  ingenious 
contrivance  a  shutter  rises  and  tails  as  you  open  and 
close  the  snuffers.  Much  skill  and  fine  workmanship 
urn'  evidently  shown  in  the-  manufacture  of  these 
articles  that  wire  a  few  years  back  in  almost  universal 
use  in  this  country,  but  have  now  become  things  oi 
the  past.  A  good  story  is  told  of  a  gentleman  who 
sent  a  pair  of  snuffers  to  a  native-  friend  in  Morocco. 
When  visiting  him  some  time  after,  tin  recipient  of 
the  present   said,   "I  find   them   most   useful.      What 


clever  people  you  English  are  !     Before  I  had  I 

snuffers  I  used  to  use  mv  fingers,  and  throw  thi 
on  the  floor,  where  it  made  a  nast)  smell  :  now  I  take 
it  off  with  my  fingers,  put  it  in  die  little  box,  and  shut 
il  away  quite  nice." 

In  vol.  ix.  of  the  Reliquary  will   be  found  an  inter- 
esting account  of  "Some  late  Survivals  of  Primitive 
Ornaments,"    by   the   late-  J.    Komilly 
Allen.      "Stay-busks"    are    included 
among  these  treasures.     The  one   here   illustrated    I 
have  re<  ently  added  to  my  collection.     It  is  of  bone, 


r  17 


The    Connoisseur 


NO.    IV. — SNUFFER    STAMPED    "UPON    AN    IMPROVED    PRINCIPLE' 


NO.     V. SNUFFER     MARKED     "PATENT' 


NO.    VI.- — SNUFFER    MARKED    "  TUBDAY'S    PATENT' 


12}  inches  long,  1  \  inches  broad,  and  about  one-tenth 
of  an  inch  in  thickness.  As  will  be  seen,  it  is  divided 
roughly  into  six  spaces,  a  simple  device  marking  off 
each.  A  heart  pierced  by  two  arrows  occupies  the 
fourth  space  from  the  top.  In  the  third  is  a  vase 
with  flowers.  In  the  other  divisions  are  floral  devices, 
presumably  representing  the  lily,  rose,  heartsease, 
forget-me-not,  etc.  Round  the  margin  an  ornament 
is  worked.  It  is  now  partly  obliterated,  leading  us  to 
believe  that  the  article  was  for  use,  and  not  mere 
display. 

Such  stay-busks  were  undoubtedly  "primitive  orna- 
ments "  carved  with  infinite  care  and  patience  by  some 
sailor  or  country  swain,  and  given  as  a  love-token  to 


his  sweetheart,  often  conveying  more  real  affection  than 
a  more  costly  gift. 

I  am  told  that  many  of  the  ladies  were  so  proud 
of  these  love-tokens  that  they  wore  them  on  their 
dresses,  and  not  hidden  away  upon  their  stays. 

The  writer  of  the  article  I  have  referred  to  con- 
cludes :  "  Hence  the  initials,  dates,  and  hearts  intro- 
duced into  the  decorations,  which  give  the  object  a 
peculiar  interest  they  would  not  otherwise  possess. 
Much  of  the  unconscious  charm  of  the  old  carved 
woodwork  may  be  attributed  to  the  symbolic  or 
heraldic  motives  that  underlie  what  at  first  sight 
appears  to  be  mere  ornament.  In  a  practical  age, 
which  believes  neither  in  religion,  blazonry,  nor  true 


118 


Notes 


.  wi    cannot  expect  the  arts  to 
be  other  than  futile."     And  hi 
in  a  foot-note  :  "  Imagine  a  □ 
of  to-day  laying  busk    .    .    . 

at   the   ungainly  feet   of  a  new 
woman.       Sin     would    probably 
i  golf  club  or  a   hockej 
stick.'' 

In    the   good    old    days    S 
brokers  hail  then  "  \\  .ilk  "  with  Other 
merchants  within 


Stockbroker's 
Token  or  Badge 


the  Royal  Ex- 
change, but  they 
made  such  an  abominable  noise 
that  they  had  to  be  banished  to  the 
surrounding  streets  and  alleys.  In 
1697  on  Act  was  passed  to  regulate 
the  doings  of  the  brokers.  !  1 
number  of  licensed  brokers  was 
limited  to  one  hundred,  and  each 
one  was  obliged  to  carry  a  silver 
medal  with  his  name  on.  Very- 
heavy  fines  were  enacted  for  break- 
ing the  laws  set  forth.  Anyone 
who  was  not  a  sworn  broker  and 
acted  as  such  was  liable  to  a  line 
°f  -£o0°  and  to  stand  three  times 
in  the  pillory.  One  of  these  silver 
tokens  is   here   illustrated.      It 

upon  one  iace  the  ! 
Arms,  and  on  the  other  the  City 
Arms;  the  name  of  the  owner, 
RICH0  MARTINDALE,  is  engraved 
below.  From  The  Story  of  the  Stock 
Exchange,  by  Charles  Duguid,  we 
gather  something  of  the  ways  ol 
stock-jobbers  in  former  days.  Noi 
content  with  ordinary  speculation, 
they  organised  a  gamble  in  guineas. 
A  number  of  them  "appeared  at 
the  Exchange  with  the  offer  of  any 
number  of  guineas,  not  exceeding 
1, coo,  at  the  price  of  27s.  each. 
This  did  not  a  little  damp  and 
lower  the  current  price:  but  a 
merchant,  taking  one  of  these  stock- 
jobbers at  his  price,  and  demand- 
ing where  the  guineas  were  de- 
posited, he  could  produce  no  more 
than  two  single  guineas  in  his 
pocket,  which  was  looked  upon  as 
a  plain  indication  of  their  sinister 
design,  upon  which  he  was  cudgelled 


r>£X 


i  * 


I  i 


m 


m 


BONE     STAY-BUSK 
II9 


Our  Plates 


uiong  the  merchants,  and  left 
by  the  mob.    .    . 
Another  ol  thi 

guineas  a  shilling  cheaper,  but  was 

.vift  pursuit   n  r  him 

by  the  mob,  who  drew  him  out  of 
the  sand  ighbouring 

tavern  and   hauled  him  to  th 
Mayor's,  but  his  lordship  not  being 
at    home,  thi  )    1  hreatened   to  do 

on  him  then 
ing   his  violent  humour  ol   avarice 
with  the  watery  element  of  a  neigh- 
bouring pump.    Upon  th., 
of  this  fallacy  of  the  stock-jobbers, 
guineas  began  to  advani 
customary   prii 

Three  of  the  greatest  English  por- 
trait  painters,   Lawrence,    Romney, 
I  olds, 

represented  in  the 
trio  of  plates— Lady  Peel  in  the  Park, 
Mi'-.  Carwardine  and  Child,  and 
Lady  Charles  Spencer.  The  first- 
named  is  taken  from  1  1  tint 
bj  C.  A.  ( loppier,  one  of  the  I'm 

mples  ol  the  modern  revival  of 
the  old  method  of  colour-printing 
now  so  much  in  vogue.  The  lady 
— the  wife  of  Sir  Robert  Peel  was 
twice  painted  by  Lawrence,  the 
other  and  earlier  example,  which  he 
produced  as  a  companion  to 
Rubens's  Chapeau  de  Paille,  being 
exhibited  .1!  tli-  Royal  Ai  ademj  in 
1825,  and  this  in  1S27.  Though  one 
of  the  popular  portrait  painter'sgreat- 
est  triumphs,  no  important  contem- 
porary engraving  was  made  from  it. 
The  reproductions  of  the  two  oli 
mezzotints  are  taken  from  pro. 
both  in  the  first  state,  belonging  to 
Mr.  Fritz  Reiss,  whose  collection  is 
now  forming  the  theme  ol"  a  series 
of  articles  in  The  Connoisseur. 
The  pi. lie  oi  Mrs.  Anne  Carwar- 
dine and  Child  was  engraved  by 
John  Raphael  Smith  from  the  picture 
by  Romney,  and  published  in  1781, 
and  beautifully  reproduces  the 
charming  and  touching  grace  of  the 
original  picture  —  a  work  in  which 


The    Connoisseur 


Romney  showed  that  he  could  rival  either  Reynolds 
ui  Gainsborough  in  their  representations  of  maternity 
and  childhood.  The  lady,  who  was  the  wife  of 
the  Rev.  Thomas  Carwardine,  of  Earls  Colne,  Essex, 
died  March,  1S17,  aged  sixty-five,  which  would 
make  her  a  little  under  thirty  when  the  picture  was 
painted.     Lady  Charles  Spencer  was  probably  a  few 


to  England  had  inspired  his  brush  with  a  more  facile 
grace,  but  had  robbed  it  of  something  of  its  vigour. 
In  works  like  this  he  attained  a  sentient  force  and 
power  of  characterisation  which  was  not  excelled  by 
Rembrandt.  A  Dutch  Golfing  Girl,  by  A.  Cuyp,  is 
reproduced  from  the  Royal  and  Ancient  Game  of  Golf, 
a  review  of  which  is  appearing  in  The  Connoisseur. 


stockbroker's   token    or   badge 


years  older  at  the  time  her  picture  was  painted,  lor 
she  was  born  in  1743,  and  the  engraving  by  William 
Dickinson  was  published  in  1776.  She  was  daughter 
of  Lord  Vere  of  Hanworth,  and  married  in  1762  Lord 
Charles  Spencer,  second  son  of  the  Duke  of  Marl- 
borough, dying  in  1812.  F.  J.  Bosio  (1769-1845) 
was  one  of  the  leading  sculptors  of  the  French  Empire 
and  the  Restoration,  a  follower  of  that  classical 
tradition  which,  though  it  inspired  many  beautiful 
works,  left  no  record  by  the  hands  of  its  followers 
of  contemporary  life  and  feeling.  His  La  Nymphe 
Salmacis,  which  represents  him  at  the  Louvre,  is  a 
typical  example  of  the  type  of  art  of  which  Canova 
was  the  chief  exponent,  and  is  characterised  by  grace, 
dignity,  and  beauty  of  conception.  A  spirited  copy 
of  a  characteristic  portrait  by  Van  Dyck,  by  C.  Hutin, 
shows  the  art  of  the  great  Flemish  master  in  one  of 
its  most  virile  and  masculine  phases,  before  his  visit 


Boohs    Received 

The  Sacred  Shrine,  by  Yrgc'j  Him,  14s.  net.      (Macmillan.) 
Memories,  by  Fredk.  Wedmore,  7s.  6d.  net  ;  Rodin,  by  Muriel 

Ciolkowska,  2s.  6d.  net.     (Meihuen.) 
Staircases  and  Garden  Steps,  by  Guy  Cadogan  Rothery,  65.  net. 

(T.  Werner  Laurie.) 
Biographical  Dictionary  of  Medallists,  Vol.  V.,  by  L.  Forrer. 

(Spink  &  Son.) 
Shutc's   First  and  Chief  Grounds  of  Architecture,  with  Intro- 
duction   by    Laurence   Weaver,   F.S.A.,    15s.     {Country 

Life.) 
A  Child's  Visions,  by  Daphne  Allen,  6s.  net.     (G.  Allen.) 
Les    Dessius    de  Jacopo    Bellini    ait    Louvre   ct    an    British 

Museum,  Part  I.,  by  Victor  Golonbew  ;   L'Art  Beige'  au 

XVII'  Steele,  Fas.  VI.     (G.  Van  Oest.) 
Military  Architecture  in  England  during  the  Middle  Ages,  by 

A.  Hamilton  Thompson,  F.S.A.,  7s.  6d.  net.     (Henry 

Frowde.) 
The  First  Annual  Volume  of  the   Walpole  Society,  1911-1912. 

(Horace  Hart,  University  I'ress.)'.' 


LADY    CHARLES    SPENCER 
PAINTED    BY    SIR    JOSHUA    REYNOLDS 
ENGRAVED    BY    WILLIAM    DICKINSON 


"  Rembrandt's 
Etchings,"  by 
A.  M.  kind 
(2  Vols. 
Methuen  &  Co. 
2ls.  net) 


When  .1  new  book  is  issued  on  a 
subject  already  so  exhaustively  treated 
as  R  e  m  b  ranch' s 
etchings,  the  publi- 
cation can  only  be 
untitled  either  b 
contributing  some 
fresh  facts  to  our 
stock  of  knowledge, 
or  putting  old  facts  in  a  new  and  more 
illuminative  light.  Mr.  A.  M.  Hind's 
latest  work  is  justified  by  both  these 
criterion*.  His  introductory  remarks, 
written  with  that  copiousness  of  infor- 
mation and  economy  of  language  so 
characteristic  of  this  authors  work,  give 
the  reader  not  only  the  gist  of  previous 
writers'  researches,  but  add  to  it  much 
fresh  and  valuable  matter  ;  while  the 
Catalogue  Raisonne  of  Rembrandt's 
plates  is  the  most  authoritative  and  best 
arranged  that  has  yet  been  produced. 
Its  chief  superiority  over  previous  com- 
pilations lies  in  the  fact  that  Mr.  Hind 
endeavours  to  set  down  the  works 
according    to    chronological    sequence. 


THE   QUACKSALVER  BY  REM- 

BRANDT        FROM   "  REMBRANDT 
ETCHINGS,"    BY  A.   M.   HIND 
(METHUEN) 


In  the  case  of  a  proline  artist  like  Rem- 
brandt, who  left  the  majoritj  oi  his 
plates  undated,  whose  manner  and 
meth  i !  not  in  well  defined  pro 

ion  but  according  to  the  mood  of 
the  moment,  and  who  has  left  little  - 
behind  him  from  which  the  period  ol 
hi->  etchings  can  be  established,  such  a 
task  is  one  of  almost  insurmountable 
difficulty.  That  Mr.  Hind  ha 
plished  it.  and  ..■  i  omplished  it  in  a 
manner  which  will  leave  little  for  future 
cataloguer-  to  correct,  is  an  achieve- 
ment on  which  he  may  be  heartily 
congratulated.  The  author  warmly 
acknowledges  his  indebtedness  to 
Sidney  Colvin.  whose  labours  in  the 
same  direction  provided  much  of  the 
data  for  the  catalogue,  and  who  assisted 
him  in  every  way  possible.  Incompai 
Mr.  Hinds  work  with  that  ol  hi-  pre 
decessors  in  the  same  field  one  is  con- 
fronted with  the  fact  that  the  researches 
ot  the  last  two  hundred  years  have 
far  less  to  extend  the  list  of  plates, 

rally   ai  i  epted   as   Rembran 


LANDSCAPE  WITH   A  MILKMAN  BY   REMBRANDT  FROM   "REMBRANDT  ETCHINGS,"   BY   A.   M.   HIND        (MI    Hi' 


The    Connoisseur 


works,  than  to 
curtail  it,  the 
more  searching 
criticism  of 
modern  investi- 
gators leading 
t  h  e  m  to  r  e j  e  c  t 
productions  by 
Rembrandt's  fol- 
lowers and  pupils 
which  were  for- 
merly cited  as  his 
own.  It  is  pos- 
sible that  this 
process  of  elimi- 
nation may  be  still 
further  extended 
by  future  cata- 
loguers. A  list 
compiled  by  the 
late  Professor  Le- 
gros,  who  judged 
the  authenticity 
of  a  work  from 
an  artistic  stand- 
point, would  have 
probably  been 
shorn  of  nearly  a 
third  of  the  ex- 
amples generally 
catalogued ;  but, 
technically  valu- 
able as  is  the 
opinion  of  such  a 
master  etcher, 
it  is  based  too 
exclusively  on  a  single  point  of  view,  and  fails  to  take 
full  account  of  the  unhappy  moments  with  which  even 
Rembrandt  was  afflicted.  Mr.  Hind  has  wisely  taken  a 
more  conservative  view  in  this  respect.  He  has  definitely 
rejected  eighty-six  plates,  which  have  been  catalogued, 
though  not  all  unreservedly  accepted  by  previous  authori- 
ties, and  he  has  marked  a  score  of  others,  included  in  his 
list,  which  he  is  inclined  to  reject.  In  all  cases  Mr.  Hind 
gives  full  particulars  of  the  states  of  the  rejected  plates, 
and  the  authorities  by  whom  they  are  accepted,  so  that 
presuming  a  collector  is  inclined  to  dispute  the  author's 
dictums,  the  reasons  for  which  are  always  given,  the  cata- 
logue will  not  lose  any  of  its  value  by  reason  of  omissions. 
A  feature  of  the  work  is  that  all  the  accepted  plates  are 
illustrated  by  process  blocks,  which,  though  sometimes 
executed  on  a  small  scale,  are  excellent  in  quality,  while 
a  large  number  of  the  artist's  drawings  are  also  repro- 
duced. A  well-planned  table  makes  it  possible  to  easily 
find  the  number  of  any  plate  catalogued  by  any  previous 
authority.  Altogether  the  book  must  be  pronounced  as 
excellent  in  every  way,  and  will  certainly  take  rank  as 
the  most  lucid,  best  informed  and  best  arranged  work 
on  Rembrandt's  etchings  at  present  issued,  and  it  is 
difficult  to  see  how  it  can  be  improved  upon. 


WOMAN    READING  BV    REMBRANDT 

FROM    "  REMBRANDT    ETCHINGS,"    BV    A.    M.    HIND 


"  Memories  of 
James  McNeil 
Whistler,"  by 
T.  R.  Way 
(John   Lane 
ios.  6d.  net) 

Mich— almost 
too  much  —  has 
been  written  con- 
cerning Whistler; 
but  there  is 
always  room  for 
a  work  of  the 
quality  and  cha- 
racter of  Mr.  T. 
R.  Way's  Me- 
mories, in  which 
may  be  found 
one  of  the  most 
vivid  pen  and  ink 
portraits  of  the 
great  Anglo- 
American  which 
has  yet  been 
written.  Mr. Way 
was  a  youth  when 
he  first  met  the 
'"  little  man  with 
the  crisp,  curly 
black  hair,  extra- 
ordinary  white 
locks,  dark  com- 
plexion, and  eye- 
glass, and  the 
curious  loose 
black  neckerchief 
He  impressed  young  Way  as 


(methuen) 

round  the  muscular  throat, 
being  "  very  serious  and  earnest  in  all  matters  connected 
with  his  art,  intensely  vivacious,  but  with  a  curious 
disregard  of  time,  certainly  of  other  people's  time." 
This  was  in  1878,  when  Whistler  was  making  his  first 
experiments  in  lithography  —  a  medium  to  which  his 
attention  had  been  directed  by  Way's  father.  Almost 
the  earliest  fruits  of  these  were  issued  in  the  Piccadilly 
Magazine,  a  publication  which,  unfortunately,  only  sur- 
vived for  a  few  numbers.  Mr.  Way  records  various 
fresh  and  interesting  anecdotes — traits  of  the  artist.  "  At 
one  period  of  his  life  he  had  made  it  a  practice  of  draw- 
ing his  own  portrait  each  night  before  going  to  bed. 
After  the  Ruskin  libel  case,  Whistler  went  to  Venice, 
where  he  was  in  such  low  water  that  even  his  clothes 
began  to  give  out.  When  the  soft  felt  hat  which  he 
wore  from  the  earliest  times  got  badly  torn,  a  friend 
surreptitiously  stitched  it  up.  But  he  would  not  have  it 
so,  and  ripped  the  stitches  out,  repeating  the  quotation, 
'  A  darn  is  premeditated  poverty,  but  a  tear  is  the 
accident  of  a  moment!'"  One  could  multiply  these 
quotations  indefinitely,  for  Mr.  Way  remained  in  close 
touch  with  the  artist  until  1895,  and,  besides  giving  the 
account  of  the  production  of  his  various  works  during 


124 


The    Connoisseur    Bookshelf 


the  eighteen 
years,  has  much 
to  tell  of  a  person- 
al nature,  which 
has  not  appeared 
in  print  before. 
The  end  of  the 
friendship  came 
through  a  dispute 
t  about  by 
Whistler.  The 
manner  of  doing 
it  was  unfortu- 
nately character- 
i  the  artist. 
who,among  many 
admirable  traits, 
only  imperfectly 
possessed  that  of 
gratitude.  Mr. 
Way  treats  the 
matter  with  an 
entire  absence  of 
feeling.  His  atti- 
tude towards 
Whistler  is 
thoroughly  appre- 
ciative, but  he  has 
not  allowed  his 
admiration  t  o 
colour  and  falsify 
his  record.  The 
illustrations  of  the 
book — some  from 
Whi  s tier's  own 
sketches  and  li- 
thog  raphs,  and 
others  by  Mr. 
Way  himself,  in 
the  form  of  thumb 
note  sketches 
of  the  artist's 

pictures — give  a  comprehensive  idea  of  the  extent  and 
variety  "1  Whistler's  work  during  the  last  twenty  years 
■  life. 

Mr.  F.  R.  TwEMLOW'S  account  of  " The  Battle  of 
Bloreheath  is  a  valuable  contribution  to  what  may  be 
termed  minor  history — the  record  of 
"The  Battle  of  events  having  more  than  local 
Bloreheath,"  by  interest<  though  not  of  vital  import  to 
Francis  Randle         (he  .^.^  q{  (he  nation      The  ,)aule 

^™"nI°w  occurred  in  the  prelude  to  the  Wars 

'  e    ea  of  the  Roses,  before  the  Yorkists  had 

made  claim  to  the  crown,  and  when 
they  were  still  nominally  fighting  only  for  the  re-establish- 
ment of  the  proper  government.  Like  the  first  battle  of 
St.  Albans,  it  resulted  in  a  Yorkist  victory,  and,  like  that, 
it  brought  the  party  no  permanent  advantage.  It  was 
fought  on  September  23rd,  1459.     The  Earl  of  Salisbury, 


PORTRAIT   OF    CHARLES   d'aMBOISE 
FROM   "NATURE   IN  ITALIAN  ART,''   BY 


father  el'  t  h 

,nle  King- 
maker, with  a 
force  of  about 
5,000  men,  while 
on  his  way  from 
Yorkshire  to 
effect  a  junction 
with  his  parly  at 
Ludlow,  had  been 
intercepted   by  a 

itrian  force 
of  double  the 
number,  under 

s  Touchet, 
\udley.  The 

followed  by 
the  Earl  w  e  1  e 
practically  a  repe- 

.f  those  of 
the  Black  Prince 
>  tiers,  and 
were  rewarded  by 
a  similar  result, 
the  Lancastrians 
being  routed,  with 
a  loss  of  2,400 
killed,  while  that 
of  the  victors  is 
said  to  have 
amounted  to  only 
34.   Mr.Twemlow 

orked  out 

the  details  of  the 

battle  with  great 

thoroughness, 

avai  ling  himself 

of  all  the  earlier 

authorities  on  the 
by  solario  ,  .  , 

MISS  E.  SALTER  (a.   AND  C  BLACK)  ^bJe«'    ™"    >»l>- 

plcmenling  and 
ting  their  accounts  by  personal  observations  oi  the 
battle-field.     A  series  of  well  executed  plans  add  much 
to  the  value  of  the  volume. 

In  this  splendid  volume  M.  Edmond  l'ilon  just  metes 
out  justice  to  the  great  painter  who  was  born  in  Valen- 
ciennes, a  town  which  belonged 
'^Watteau  et  Son        l0  Fianders  only  six  years  before. 
Ecole,"  par  M     Pilon   says   that   no  man    of 

Edmond  Pilon  the  seventeenth   century   better 

LibraireNationale     ]K.r,onjfies  nol  only  the  character 

d'^rt  et  of  that    period,    but   the   character 

d  Histoire^  France,  than  Antoine  Watteau. 

(G.  Van  Oest  &         .  '      ,       .  ,  , 

;,.       „         ...  This,  broadlv,  i>  near  the  truth. 

Cie.,  Bruxelles)  .  , 

But  the   artistic   influences  that 

led  him  to  his  particular  form  of  expression  were  not 
French.  The  art  of  France  at  that  epoch  was  pompous 
and  baroque  in  form,  and  almost  wholly  supe>n< 


*       The    Connoisseur 


sentiment.     Claude  Lorrain  was  the  one  French  painter 
whose  work  could  have  had  any  formative  effect  on  the 
young  Fleming.     So  that   we   must  look   elsewhere  for 
Watteau's  artistic  parentage  —  to   Flanders,   to   the  art 
of  Rubens  and  Teniers,  and  to  the  spirit  of  the  Italian 
comedians  who  were  driven  from  Fiance  by  Louis  XIV. 
because  they  satirised  the  "  vieille  guenipe,''  Madame  de 
Maintenon.       The    difference    between    Watteau    and 
Teniers    was    in    refinement.       Both   were   roysterers  ; 
Teniers   mainly   with   the  common  people,  Watteau  at 
the  court  of  beauty  and  fantasy.      From  the  Venetians, 
through   Rubens,  came  the  appeal  of  colour;  from  the 
Italian  comedians  the  wit  and  humour  that  quickened 
his  most  gracious  creations.     That  his  genius  was  not 
regarded  as  essentially  French  in  his  lifetime  is  evident. 
With  few  exceptions,  his  contemporaries  failed  to  appre- 
ciate his  exquisite  art.      Among  artists,   apart   from   his 
imitators,     Fragonard    and    Boucher     alone    had    any 
sympathy  with  Watteau's  charm,  his  unreal  reality.    The 
critics  were  lamentably  out  of  taste.    To  Caylus,  Watteau 
was  infinitely  mannered  ;    Voltaire,  while  admitting  his 
success   in   composing   his  "  petites   figures,"  says   that 
Watteau  was  incapable  of  creating  anything  great ;  and 
Diderot  declared  that  he  would  give  ten  Watteaus  for 
one  Teniers.     The  Embarqitemcnt  pour  Cythere,  in  the 
Louvre,   was  a  target  for  the   sarcastic    "  boulettes   de 
pain "   of    the   students   of   the    Beaux   Arts ;    and   the 
wonderful  Gilles,  now  in  the  Salle  la  Caze  at  the  Louvre, 
once  changed  hands  at  £6.    What  may  seem  curious  is  the 
fact  that  it  was  in  England  and  Germany  where  Watteau's 
art   first   found  favour.       In  the  Wallace  and   Dulwich 
collections,  and   at    Potsdam,   are   many  of  Watteau's 
greatest  works.      It  has  been    said   that    Gainsborough 
benefited  by  a  study  of  the  Frenchman's  art.     This  may 
be  true,  but  we  know  that  the  Englishman  did  not  accept 
Watteau's  art  without  comment.       Gainsborough   held 
that  Watteau  was  a  "  very  fine  painter,  taking  away  the 
French  conceit."     The   word   "conceit"   admirably  ex- 
presses the  difference  between  Gainsborough's  TJic  Mall 
and  a  Watteau   garden-party.     In   the   English  picture 
observation    of  life    is   closer,    the    scene   realised    with 
greater  spontaneity.     In  Watteau's  most  riant  or  alluring 
canvases  the  feeling  is  of  a  masquerade.     But  this  was 
the   artist's  intention.      He  was  a  designer  of  pictorial 
pageantry.     He  suffered  sadly  from  the  "  ills  that  flesh  is 
heir  to  "  ;  but  the  little  figures  of  his  pictures  have  no  sign 
of  human  suffering — they  are   aloof  from   the  ordinary 
things  that  move  men  and  women.     As  M.  Pilon  says, 
Watteau  is  a  marvellous  player  of  beautiful  airs,  of  idyllic 
and  fantastic  comedy  set  in  a  decor  de  fe'erie.      L'nder  the 
magic  of  his  genius  the  real  assumed  the  expression  of 
unreality.      Every   student   of  art    should   possess    this 
volume,    with   its    fervent    yet    judicial    reasoning   and 
splendid  reproductions  and  type. 

"  Nature  in  Italian  Art  " 

By  Miss  E.  Salter  (Methuen.     7s.  6d.  net) 

The  beginnings  of  modern  landscape-painting  are  to 
be  found  in  the  quaint  and  archaic  backgrounds  of  the 
Italian  Primitives.     These  were  entirely  subsidiary  to  the 


figure  subject,  and  the  objects  of  nature  represented  by 
conventional  symbols — "the  rounded  hummocks  of  hills, 
the  foliage  in  balls  or  clusters  spotted  with  light,  the  gilt 
sun  with  its  rays,  the  curly  lines  for  clouds  and  waves." 
Miss  Salter,  in  her  latest  work,  Nature  in  Italian  Art, 
traces  "the  development  of  landscape  from  the  summary 
conventions  of  Giotto  and  his  followers  to  its  magnificent 
culmination  in  the  Venetian  School."  This  is  a  subject 
of  considerable  importance,  for  the  Italian  painters,  if 
they  never  got  to  the  length  of  making  landscape  the 
paramount  feature  in  their  pictures,  raised  it  to  a  point 
where  it  became  of  equal  interest  to  the  figures,  and 
by  so  doing  established  the  great  tradition  which  other 
schools  were  to  follow  and  to  aggrandize.  Miss  Salter  is 
an  appreciative  but  not  too  enthusiastic  critic  ;  she  writes 
in  an  interesting  manner  and  is  fully  informed  on  her 
subject.  Altogether  the  volume,  which  is  well  illustrated, 
will  prove  a  valuable  help  to  the  study  of  Italian  art. 


"AChild's  Visions 
By  Daphne  Allen 
(George  Allen 
6s.  net) 


The  drawings  by  Miss  Daphne  Allen — a  girl  of  twelve 
which  have  been  reproduced  under  the  title  of  A 
Child's  Visions,  show  a  wonderful 
fancy  and  power  of  execution  for  so 
young  an  artist.  Mr.  Lewis  Hind, 
in  his  preface  to  the  work,  states 
that  they  are  "  Visions,  done  out 
of  the  head,  never  from  models,  and  always,  I  believe, 
without  effort,  or  tuition  from  her  parents."  One  does 
not  question  the  truth  of  this,  but  it  may  be  taken  for 
granted  that  the  head  out  of  which  the  drawings  were 
evolved  was  originally  inspired  from  some  outside  source, 
and  it  would  be  interesting  to  know  to  what  works  of 
art  Miss  Daphne  had  access.  The  drawings  reproduced 
are  wholly  of  biblical  subjects.  Many  of  them — more 
especially  those  in  which  the  Virgin  Mary  or  the  figures 
of  cherubs  or  children  appear — are  very  graceful,  and 
their  conception  and  the  beauty  of  their  line  would  do 
credit  to  a  much  older  artist. 

The   three   important   works   dealing    with    ancient 
military  architecture,  and    respectively   written   by   Mr. 
John  Ward,   Miss   Ella  S.  Armitage, 
Military  and  Mr.  A.  Hamilton  Thompson,  are 

Architecture  in   many  respects  complementary   to 

each  other,  the  ground  covered  in 
the  volume  by  the  first-named  writer  being  wholly  distinct 
from  that  covered  in  the  other  two  volumes,  and  the 
themes  of  the  latter,  though  having  many  points  in 
common,  being  sufficiently  apart  to  make  both  works 
interesting  to  the  same  reader.  Mr.  John  Ward,  indeed, 
in  his  Romano  Buildings  and  Earthworks  is  largely 
concerned  with  domestic  architecture  as  well  as  military. 
His  book  is  practically  a  sequel  to  his  earlier  volume  in 
the  "Antiquaries  Series"  on  Roman  Britain,  largely 
dealing  with  subjects  which  were  either  omitted  or  only 
lightly  touched  upon  in  the  earlier  work.  The  author 
modestly  speaks  of  it  as  a  compilation,  but  this  is  a 
misleading  term  for  a  book  which  not  only  displays  a 
thorough  knowledge  of  the  writings  of  previous  investi- 
gators, but  also  gives  evidence  of  independent  research, 


The    Connoisseur    Bookshelf 


L   AMOUR    QUI     P 
FROM    "RODIN,"    BY    MURIEL 


andisilluminati 

informed  critical  acumen. 
In  describing   Romano- 
British   domestic  and 
sacred  architecture,    Mr. 
Ward,  like  earlier  writers 
on  the   subject,   is  fa 
with  the  difficulty  ol 
turing   a   lost    civilization 
from  the  imperl 
ments    that    have    sur- 
vived the  ravages  of  tit- 
teen  centuries.     It  is  true 
that  these    arc   com- 
paratively numerous;  but 
for  the  most  part  only  the 
foundations  ol  the  struc- 
tures  have   escaped  d; 
molition,  and  so  an  archi- 
tecture  which  in  many 
respects  was  as  complex 
and  as  equally  adapti 
the  demands  of  a  luxuri- 
ous civilization  as  our 
own   has  to  be  recon- 
structed on  the  evidence 

ded  by  a  few  low  layers  of  stone,  with  here  and  there 
the  remains  of  a  tesselated  pavement. 

Of  the  military  works  there  are  more  abundant  traces. 
They  may  be  divided  into  four  classes:  the  fieldworks 
or  camps  which  the  Roman  army  at  its  best  period  raised 
wherever  they  halted,  if  only  for  a  single  day;  torts  to 
hold  secure  what  the  sword  had  won;  frontier  defences; 
and  the  fortifications  of  towns.  The  orthodox  camp  was 
:  illy  ubloii  .  which  varied  accord- 

ing to  the  number  of  troops  it  was  intended  to  contain, 
being  sometimes  well  over  a  hundred  acres.  It  was 
contained  in  a  rampart  of  earth  sods  or  stones,  some 
eight  feet  wide  at  its  base,  and  six  feet  high.  The  forts 
were  of  the  same  character  and  construction,  but  smaller 
and    Stl  At  one  time  the   length  and   breadth   of 

the  country  must  have  been  dotted  over  with  these 
structures  ;  but  the  ploughshare  has  almost  entirely 
obliterated  them   in  the  culth  ns  of  the  South, 

though  in  mountainous  districts,  and  more  especially  in 
parts  of  S<  otland,  their  remains  are  frequent.  The  most 
enduring  works  of  the  Romans  are,  however,  the  two 
famous  walls  built  between  the  mouths  of  the  Forth  and 
Clyde,  and  that  of  the  Tyne  and  the  Solway  Firth.  The 
former  was  built  of  layers  of  turf  on  a  stone  foundation. 
It  was  about  14  feet  wide  at  its  base.  6  feet  wide  at  the 
summit,  and  rose  to  an  average  height  of  10  feet.  The 
latter  was  built  of  stone  ;  it  is  conjectured  that  it  was 
about  iS  or  19  feet  high.  Both  structures  were  secured 
at  frequent  intervals  by  strong  forts.  Nothing  that  was 
produced  in  the  Middle  Ages  will  bear  comparison  with 
such  works  as  these.  Neither  the  Saxons  nor  Danes  were 
castle  builders  ;  the  fortifications  with  which  they  en- 
circled their  "  burghs"  generally  consisted  of  little  more 
than  earthen  banks  surmounted  by  wooden    stockades. 


BY    AUOUSTE    RODIN 
CIOLKOWSKA  (METHUEN) 


iy  exceptions  to  this 
rule    i  ..nces 

where   towns    had 
previously   fortified   by 
Romans,  when    the 
filers     naturally 
made  use  of  thi 

With    the 
ad- 
vent  ol    the   ' 
proper.   Tin-  differ 
only   from    tin 
1)  fortifical 

:h    but  in 

were  meant  for  the   pro 
.  unity 
in   general  ;    while  the 
e    wa-.   designed   for 
the  reception  of  a  com 
paratively  small  gari 
intended  as  much  t<> 
the  community  in  check 
as    to    defend    it    against 
the    onslaughts    of   alien 
enemies.      M  ost   ol    the 
original  Norman  structures  were  constructed  of  tin 
raised  on  earthen  mounds  ;   their  general   superse 

■  >ne  buildings  belonged  to  the  late  Norman  or 
Plantagenet  periods.  Mr.  Hamilton  Thompson  tl 
with  great  amplitude  the  gradual  progri  ol  this  phase 
1  nilitary  architecture  from  what  1  be  di  ■  libed 
as  its  makeshift  beginnings— defences  which  could  be 
constructed  in  the  shortest  time  possible  to  secure  them 
against  attack — to  its  full  development  in  such  magnifi 
cent  structures  as  Carnarvon  or  (  onway.  It  is  a  most 
interesting  subject,  treated  in  an  able  and  instructive 
manner.  Miss  Armitage's  work  is  constructed  on  a 
different  method;  while  devoting  several  well  written 
chapters  to  a  general  introduction,  the  main  portion  of 
her  book  is  occupied  with  accounts  and  descriptions  ol 
the  individual  castles  in  the  country,  each  edifice  being 
separately  treated  upon.  In  this  way  she  covers  much 
nd  which  has  been  left  untrodden  by  Mr.  Hamilton 
Thompson.  All  three  books  contain  valuable  additions 
to  our  historical  knowledge,  and  are  well  illustrated. 

Students  of  the  work  of  Jacopo   Bellini  and  his 

school  have   reason  to  feel  grateful  to   Mi      1      G.    Van 

Oest   &    Co.    for    their    sumptuous 

Les  Dessins  de  issue  of  reproductions  after  the 
Jacopo  Bellini  drawings  in  the  British  Museum  and 

^"L°UVLeet        „  the  Louvre  bv  the   great    Venetian 
British  Museum  ....  '  ,  ,      . 

_  ,_,   ,r  master.        I  he    volume    is    .. 

Part  I.     (O.  Van  .  ,  ,  ,         ,      ,       . 

„        „    „     .  occupied  with  nearly  a  hundred    of 
Oest  &  Co.)  '  . 

the   examples   contained    in   the 

London  institution,  and  so  thoroughly  is  the  work  done. 

that  even  the  slightest  efforts  of  the  artists  have  been 

thought  worthy  of  reprodi  ome  ol  them,  ini 

lOthing  more  than  a  few  blurred  outlines. 


It 


1  -7 


The    Connoisseur 


The  Connois- 
seur's  Library 
(Methucn  &  Co., 
25s.  net) 


whose  faintness  is  accentuated  by  the  use  of  collotype  as 
the  medium  for  reproduction.  This  is  not  altogether  a 
judicious  choice,  as  collotype,  though  a  happy  compro- 
mise  as  regards  cost  between  photogravure  and  half  tone, 
is  hardly  so  suitable  for  rendering  effects  lacking  in  tonal 
value  as  the  latter.  Apart  from  this  it  is  difficult  to  say 
how  the  work  could  be  improved  ;  the  reproductions,  each 
iS  inches  by  12  inches,  in  point  of  utility  are  as  valuable 
as  the  original  works  from  which  they  are  taken. 

The  history  of  Illuminated  Manuscripts  is  a  somewhat 
formidable  subject  to  treat  within  the  compass  of  a  single 

volume,  for  even  eliminating  from 
"  Illuminated  tne  scope  of  the  work— as  Mr.  Her- 

Manuscripts  "  bert  does— the  subject  of  Egyptian 

By  J.  A.  Herbert  ,,  ,       \      u 

papyri,    there    remains    to  be   dealt 

with  the  output  of  over  a  thousand 
years,emanating  from  many  countries, 
and  executed  in  widely  varying  styles. 
That  the  author  has  succeeded  in 
accomplishing  his  arduous  task  in  a  satisfactory  manner 
may  be  ascribed  to  his  thorough  grasp  of  the  subject. 
He  has  not  sought  to  mitigate  his  labours  by  accepting 
the  technical  definition  of  illuminated  manuscripts,  which 
confines  the  term  to  manuscripts  which  are  illustrated 
or  ornamented  with  colour,  or  the  still  further  restriction 
of  the  purists  who  would  narrow  it  down  "  to  those  in 
which  the  precious  metals  are  used,"  but  has  adopted 
the  term  in  its  wider  sense  as  denoting  all  ornamented 
manuscripts  on  vellum. 

Illuminated  manuscripts  appear  to  have  been  known 
during  the  first  century  of  the  Christian  era,  for  reference 
is  made  to  one  in  Martial's  Epigra7>isy  written  towards 
the  close  of  this  period.  No  specimens  survive,  however, 
which  can  be  assigned  to  an  earlier  date  than  the  fourth 
century,  and  the  small  number  of  illuminated  manuscripts 
of  the  classical  period  which  are  known  to  exist — only 
three  are  recorded — may  be  taken  as  proving  that  the 
art,  though  fully  matured  in  the  examples  preserved,  can 
have  enjoyed  no  widespread  popularity.  The  early  period 
of  the  Byzantine  Empire  is  hardly  more  fruitful  in  its  relics  ; 
and  not  until  the  close  of  the  ninth  century  do  specimens 
of  this  style  begin  to  be  plentiful,  and  of  these  a  large 
number  were  produced  in  Southern  Italy,  where  Greek 
influence  persisted  long  after  the  decay  of  the  empire  had 
become  advanced.  The  leading  principles  of  Byzantine 
illumination  became  fixed  about  the  end  of  the  ninth 
century  ;  it  reached  its  highest  perfection  in  the  two 
following  ones,  and  then  fell  gradually  into  decadence. 
In  the  meanwhile  a  counter  movement  was  taking  place 
at  the  other  end  of  Europe,  the  Irish  monasteries  pro- 
ducing a  school  of  illuminators,  probably  even  before 
the  end  of  the  fifth  century,  whose  influence  spreading 
to  Great  Britain  and  the  rest  of  the  Continent,  com- 
bined with  Byzantine  and  other  influences  to  form  the 
decorative  system  which  predominated  in  Europe  from 
the  ninth  century  to  the  twelfth.  Later  the  national- 
istic traits  of  individual  countries  began  to  assert 
themselves  more  strongly.  For  these  divergencies  of 
style  the  reader  must  consult  Mr.  Herbert's  interesting 
and  valuable  work.      He  has  succeeded  in  compressing 


an  immense  amount  of  information  into  little  compass, 
and  presenting  it  in  a  lively  and  entertaining  manner. 
A  large  number  of  the  more  famous  manuscripts  are 
elaborately  described,  while  his  methods  of  tracing  the 
rise  of  the  different  schools  of  illuminators  and  their 
influences  on  one  another  enables  the  reader  to  follow 
the  progress  of  the  art  with  perfect  comprehension. 
The  volume  is  well  illustrated. 

A  WELL-WRITTEN  book,  well   illustrated,  sufficiently 
small  to  be  carried  with  ease  in  the  pocket,  and  clearly 
printed    enough    to    be    read    by 
artificial  light  in  a  railway  carriage, 


"  Rodin,"  by 
Muriel  Ciolkowska 
Little  Books  of  Art 


is  a  useful  possession  in  these  days 
of  little  leisure  and  much  travel- 


(Methuen  &  Co., 

Ltd.    2s.6d.net)       lmg-    lhe  voIume  on  Kodin<  b>' 

Madame  Ciolkowska  —  the  latest 
addition  to  the  Little  Books  of  Art  Series — posse>ses  all 
these  characteristics.  The  author  succinctly  sets  forth  the 
great  sculptor's  ideals,  traces  the  progress  and  develop- 
ment of  his  art,  and  gives  in  her  account  of  his  career  an 
appreciative  criticism  of  most  of  his  principal  work-,  a 
handy  list  of  which  is  appended  at  the  end  of  the  volume. 
The  book  is  admirably  fitted  to  give  a  layman  an  insight 
into  the  cause  of  the  preponderating  influence  which 
Rodin  has  undoubtedly  exercised  on  modern  sculpture. 

"The  Royal  and  Ancient  Game  of  Golf" 

(Edited  by  Harold  H.  Hilton  and  Garden  G.  Smith) 

Published  for  "  Golf  Illustrated,"  Ltd.,  by  The  London 

and  Counties  Press  Association,  London,  1912. 

900  Copies  specially  printed  and  numbered.     £3  3s. 

This  volume,  which  covers  the  whole  subject  in  a  very 
complete  way  in  a  series  of  exhaustive  articles  by  such 
well-known  experts  as  Horace  Hutchinson,  Bernard 
Darwin,  A.  C.  M.  Croome,  and  the  late  Andrew  Lang, 
should  be  a  welcome  addition  to  the  somewhat  scanty 
library  on  this  popular  game.  Mr.  Garden  Smith  in  the 
chapter  on  "  The  History  and  Origin  of  the  Game  "  brings 
a  lot  of  interesting  evidence  to  prove  that  golf,  as  dis- 
tinct from  other  ball  games  such  as  jeu  de  paume  soule, 
choule  or  crosse,  had  its  origin  in  Scotland  some  five 
hundred  years  ago,  and  is  not  a  foreign  importation,  as 
many  of  us  have  been  led  to  believe.  The  earliest  men- 
tion of  golf  by  that  name  is  in  a  statute  of  James  II.  of 
Scotland  in  1457,  but  it  must  have  been  practised  many 
years  before  this  to  be  deemed  important  enough  to 
require  a  law  to  prevent  its  being  played.  The  first 
reference  in  England  is  in  a  letter  written  by  Queen 
Katherine  of  Arragon,  wife  of  Henry  VIII.,  to  Cardinal 
Wolsey  in  1513,  which  would  make  the  Mid -Surrey 
Club,  Richmond,  Surrey,  the  earliest  home  of  the  game. 
Unfortunately  for  the  claims  of  Scotland  all  the  earliest 
pictures  which  have  come  down  to  us  showing  the  game 
in  play  dating  from  the  sixteenth  and  seventeenth  cen- 
turies are  of  Dutch  origin,  and  two  engravings  by  Hendrik 
van  Avercamp,  15S5-1663,  might  be  of  modern  golfers  in 
fancy  costume.  The  printing,  paper,  and  binding  are 
excellent,  as,  too,  are  the  coloured  illustrations,  one  of 
which,  now  reproduced  in  The  CONNOISSEUR,  is  a  fine 
attractive  picture  of  great  merit. 


128 


PORTRAIT    OF    A    MAN 

FROM    A    DRAWING    BY    C.     HUTIN,     1767 

AFTER    VAN    DYCK 


S3! 


ORRESPONDENC 


g/An  swaw  i9ri< 


Special     Notice 

Enquiries  should  be  made  upon  the  coupon  which  will  be  found  in  the  advertisement  pages.  While, 
owing  to  our  enormous  correspondence  and  the  fact  that  every  number  of  The  Connoi^m  r  Magazine  is 
printed  a  month  in  advance,  it  is  impossible  for  us  to  guarantee  in  every  case  a  prompt  reply  in  these  columns, 
an  immediate  reply  will  be  sent  by  post  to  all  reader  who  desire  it,  upon  payment  of  a  nominal  fee.  Expert 
opinions  and  valuations  can  be  supplied  when  objects  are  sent  to  our  offices  for  inspection,  and,  where 
ary,  arrangements  can  be  made  for  an  expert  to  examine  single  objects  and  collections  in  the  country, 
and  give  advice,   the   fee  in  all  cases  to  be  arranged  beforehand.     Objects  sent   to   us  may  be  insured   whilst 

.in-  in  our  possession,  at  a  moderate  cost.  "All  communications  and  goods  should  be  addressed  to  the 
"Managei   of  Enquiry   Dept.,  The  Connoisseur,  35-39,   Maddox  Street,  W". 


ANSWERS    TO    CORRESPONDENTS 


Hngravingsand  Oil  Paintings.     A;.uoo  (Birmingham). 
Your  engi  .  '  •  untrj  ,  1-  one  of  a  pair  which 

have  frequently  realised   very  large  sums.      There  .ire,  hov 
very  many  modern   reproductions,  the  value  of  which  is  quite 
trifling,  and,  judgi  >ur  photograph,  wi  ay  that 

your  prim  is  one  of  these.     As  regards  youi   two  pictures,  we 
should  hem  1  efore  giving  an  opii 

Figure    Head.      Aj.oos   (Penrith).  — The   figure   head,    0! 

which  you  send  a  i  .judging  from  the  costume,  belongs 

to  the  first  quarter  of  the  nineteenth  century.     It  has  little,  if 

any,  artistic  merit,  and  consequently  would  be  of  little  value  to 

ctor. 

(iroat.       A5.912     Aberdeen).  —  Your  Charles   I.   groat  is 

practically  valueless,  owing  to  its  worn  state.      Even   il   perfect 
.1  would  not  1  e  v  than  a  few  shillings. 

Engraving  after  Bunbury.     A5,c,i4  (Johanm   1 

It  is  im  0  value  youi   print  definitely  without  seeing  it, 

but  at  the  most  it  would  not  be  worth  more  than  £5  to  £4. 

Books.— As, 919  (1   ceter).     Your  book  by  Welby  is  1 
late  a  date  to  be  of  an)   inte:        to  a  collector  of  Americana,  and 
other  book,  being  imperfect,  would  be  1  lue. 

Coins.— A5. 024  (New  Milton).— The  two  coins  you  mention 

would  realise  very  little  more  than  their  face  value. 

French    A\arqueterie   Three-tier  Stand.       A 
(Leamington).— It  is  quite  impossil 
without  an  inspection,  :  stand  as  the  one  described 

should  real:-'  a  from  three  to  seven  guineas,  according 

to  condition. 

"  Britannia."  — A5. 031  1  Derby). —The  work  you  di 


i    te  common,  and  oi  very  little  inter    t  al     hi      I  day. 

I  hi     wo  volumes  wi  uld  onlj  realise  ios.  1  1 

Pewter  Teapot.     As<U-    (Highworlh).     The   makei      I 

ewter  teapot  is  of    01 nsiderable  note,  but  we  cannot 

hi  an  opinion  as  to  the  value  without  seeing  it. 

French  Painter.— A5.970  (Stroud).     Wi 
artist  oi  the  name  of  Dinker,  but  if  you  could  lei  us  know  the 
namesoflhi  engravei    ol  youi  prints,  wi  ibly  obtain 

the  information  you  require. 

Books.     Ai.i|i  j  (Yass,  N.S.  Wales).     Youi  two  works  by 
Dickens,  jud  1  hi     lescri|        1,  would  probably  realise 

alum:    1  .     The   oil;   1  on    your    list    would    be 

unlikely  to  realise  any  sum  ol   im   01  .  owini       1  the  fact 

ihal   they   are  almost   all   late  editions. 

Tapestry  Chair  Covers.     A5.90;,  (Halesite,  U.S 
We  should  advise  you  to  communicate  witl  rnishing 

advertising  in  our  pages. 

Silver  Spouts  on  Teapots.      As.995  (Nairn).  •     , 

■  ling  the  silver  spouts  on  the  two  teapol    would 
be  correct. 

Newspapers.— A6,ooo  (Ottawi   -     We   ear  it  is  impossible 
tve  you  any  opinion  on  the  0  pers  without 

them  ;  but  from  the  date  they  are  hardly  early  eno 
much  interest  to  a  colli 

Bureau.     A6,oo3  (Maldon).      1  ny  bureau 

photographs  is  I  ngli  ho  iry,  and  if 

genuinely  old,  should  be  worth  thirty  to  forty  guineas,  but  we 
cannot  give  a  definite  opinion  withoul    1  areau  itself. 


HE  CONNOISSEVR. 

GENEALOGICAL  AND 
LDIC  DEPARTMENT 


Special    Notice 

Readers  of  The  Connoisseur  who  desire  to 
take  advantage  of  the  opportunities  offered  herein 
should  address  all  letters  on  the  subject  to  the 
Manager  of  the  Heraldic  Department,  Hanover 
Buildings,   35-39,   Maddox  Street,    W. 

Only  replies  that  may  be  considered  to  be  ol 
general  interest  will  be  published  in  these  columns. 
Those  of  a  directly  personal  character,  or  in  cases 
where  the  applicant  may  prefer  a  private  answer,  will 
be  dealt  with  by  post. 

Readers  who  desire  to  have  pedigrees  traced,  the 
accuracy  of  armorial  bearings  enquired  into,  or  other- 
wise to  make  use  of  the  department,  will  be  charged 
fees  according  to  the  amount  of  work  involved. 
Particulars  will  be  supplied  on  application. 

When  asking  information  respecting  genealogy  or 
heraldry,  it  is  desirable  that  the  fullest  details,  so  fai 
as  they  may  be  already  known  to  the  applicant,  should 
be  set  forth. 

!  I  v.  11  vnd.        Mary    Cecillia    Haviland,    widow    of  Major 
Haviland,  was  buried  in  the  old  burial-ground  of  St.  Pancras. 
The  following  is  the  inscription  on  the  stone  : — 
1.   II.  S. 
Underneath  lie  interred  the 
Remains  of 
Mary   Cecillia    Haviland, 
Widow  of  the  late 
11   Haviland,  of  >"-   15   Regiment, 
and 
\  cce  of  the  late 
Right  Honourable  Edmund  Burke. 
3h     di  parted  this  life 

of  March,    1S16, 
in  the  46"'  year  of  her  age. 
Loved  and   La  nented  by  all  who  knew  her. 

:i:<  scat  in     a    . 


ASTELL. — The  following  pedigree  relating  to  this  family  is 
extracted  from  a  chancery  suit,  Astell  f.  Rose,  temp.  Chas.  I., 
the   bill   being  dated  6  May,  1630  :  — 

John  Astell,  of  Warmington,   co.   Warwick. 
Tnquis.    Post   Mortem  $$  Elizabeth. 


William  Astell,  son 
and  heir,  died  v. p.  = 


1st  wife. 


I 
=   John  Amtell 


Elizabeth, 
2nd  wife. 


Joan, 
living 

1630. 


Mary, 
living 
1630. 


Margaret 
living 
1630. 


Edward     William      Jane,  Anne, 

Astell,        Astell,       wife  ol  wile  o( 

died  s. p.    died  s.  p.    Richard  Simon 

Rose.  1  lavyes. 


F.  II. — A  grant  of  the  manor,  town,  and  lands  in  Culene- 
mucky,  co.  Waterford,  was  made  by  the  crown  of  Ireland  on 
the  4th  of  July,  1  fames  II.,  to  Garrett  Wall  alias  Duvall,  Esq.  : 
< larrett  Wall  alias  Duvall,  jun.  :  James  Wall  alias  Duvall  ; 
and  Michael  Wall. 

James  S. — There  is  a  pedigree  ol  the  family  of  Colonel  John 
Hutchinson  dating  from  10  Edward  I.  in  Memoirs  of  the  Life 
of  Colonel  Hutchinson,  by  the  Rev.  Julius  Hutchinson,  in  two 
volumes,  1822.  There  is  also  a  portrait  of  Colonel  Hutchinson, 
and  one  of  his  wife. 

M. — There  is  a  biography  published  of  "  Wright  of  Derby," 
which  can  be  seen  in  the  British  Museum.  A  pedigree  of  his 
family  is  also  to  lie  found  in  Glover's  History  ami  Gazetteer 
of  the  County  0'  Derby,  Vol.  II.,  Pari  I  ,  p.  17°- 

Mil  1  HSON. —  The  meaning  of  "  Mortmain  "  is  the  alienation 
of  lands  to  corporate  bodies,  such  as  religious  houses,  which 
could  not  be  done  without  licence  from  the  lord  and  also  the 
king,  as  such  feoffee,  could  not  perform  the  services  of  tenure, 
and  the  tenure  being  in  dead  hands,  the  lord  was  defeated  o! 
reliefs,  etc. 


l32 


^jQURREITr 


Burne-Jones 

at  the 

Tate  Gallery 


To  ever)  lover  of  art,  in  certain  moods,  there 
intrude  the  thought  that  nature  is  ton  many  sided  for 
reproduction,  that  no  pigment  can 
mimic  the  simultaneous  vividness  and 
subtlety  of  her  colouration,  and  no 
hand  transcribe  the  combined  strength 
and  i  ■  I   her  infinite  manifestations  of  form.     In 

sui  h  a  m 1  u  i-  well  to  avoid  pictures  of  an  orthodox 

nature,    for  oni  have   a  disintegrating   effect 

on  their  charms,  and   the  works  are  resolved  into  their 
pristine    elemen  man)    daubs  of  paint   laid  upon 

squares  of  cam. 

Then  only  such  phases  of  art,  in  which  the  decorative 
or  literary  elements  predominate,  can  roue  sympathetii 
emotion;  for  in  them,  nature  being  almost  eliminated, 
the  vision  of  her  overwhelming  rivalry  no  longer  distracts 
the  mind.  The  works  of  Hume-Jones  pertain  to  both 
these  phases.  Literary  in  their  inspiration,  they  are 
essentially  decorative  in  their  execution,  nature  being 
only  suggested  with  little  intent  of  conscious  imitation, 
hibition  to  break  the  monotony  of  the  off 
■  i  on,  for  which 
all  art-lovers  will 
be  grateful  to  Mr. 
tries  Aitken, 
is  the  roomful  of 
studies,  drawings 
and  pictures  by 
this  artist,  now  on 
view  at  the  Tate 
<  iallery.  It  is  fat 
too  small  to  be 
fully  representa- 
tive, yet  so  well 
chosen  that  there 
is  little  in  his 
range  which  is 
not  revealed  or 
tested  in  the 
examples  shown, 
then,  for  the 
lime    being,    is    a 

harbour  of  refuge  carved  wood  coffret 

to    those  who  are  awarded   a  gold   medal   I 


wearied  of  paintings  of  nature  and  of  nature  alo  e 
and  of  fluent  brushwork  which  almost  irritates  because 
of  its  obtrusive  cleverness.  In  the  true  sense  of  the 
word,  Burm  is  no  painter ;  thougl  artist, 

he  could  put  beautiful  colour  on  cam, is,  but  he  had 
no  joy  in  brushwork;  his  pictures  are  built  up  like 
Mated  pavements.  One  can  see  that,  though  he 
conceived  quickly,  he  wrought  laboriously,  planning  out 
pacing  of  every  inch  of  his  canvases  in  a  multitude 
of  preliminary  studies,  whii  h   m  their  arrangen  ent  show 

wonderfully  little  divergence  1 the  completed  works. 

His  earliest  productions  here  are  the  two  small  w: 
coloui  -  Sidonia  von  Bork  and  Clara  von  Boi  !  "f  1861 
— beautiful  echoes  of  Rossetti,  and  though  immature  in 
execution,  showing  Burne- Jones'  i  1  harai  teristic  habit  o! 
filling  every  inch  of  his  paper  with  elabo  til,  not 
ciouded  in  appearance  because  so  beautifully  spaced. 
The  conception  of  /.  ..  ng  the  Ruins  dati  3  from 
1870,  and  though  the  version  shown  was  not  completed 
until     1892         the    earlier     water-colour     was     desl 

through  a  photographer,  under  the  impression  it  wa    an 

o  1  painting,  1  oal 
ing  it  with  whiti 
■  .I  1  gg     11   beli  11 

rather  to  the  1 1 

than    the    latter 
date,    Bui  ii'     |om 
h  a  s  ing    the    g i ft 
of    crystallising     a 
conception     in    hi 
memory,    and    re 
producing    it  when 

he  plea    'd.      1 11  the 

exquisite    tendei 
hi    11      senti- 
m  e  n  t,  a  n  d    t  h  1 

beauty    ol    its    sub- 

d  u  e  d    1)  lit    r  i  c  li 

ol  mr-scheme,  thi 

work  must   raid 

one   ol  the  artist's 

finest  pictorial 

BY    MISS    ALICE    LILIAN    HITCHCOCK  ellolts.         1  he      /  ,111 

NATIONAL    COMPETITION  ■lll,i     /'ii'.'/! 


T/ic    Connoisseur 


painted  during  1870-1872.  Here,  again,  there  is  beautiful 
colour  and  poignant  sentiment.  The  latter  one  is  apt  to 
mis,  in  his  later  work,  for  though  the  art  of  Burne-Jones 
progressed  little,  the  progress  was  all  in  the  direction  of 
decorative  effect,  and  it  is  less  to  their  sentiment  than  to 
their  beautiful  colour  and  their  fine  spacing  that  his  last 
efforts  owe  their  charm.  The  Sir  Launcelot  at  the  Shrine 
of  the  Stui  Grail  was  designed  for  reproduction  in 
tapestry,  and  a  majority  of  the  studies  shown  were  con- 
ceived for  similar  objects.  An  exception  to  this,  of  course, 
is  the  powerful  study  for  the  Mirror  of  Venus,  in  which 
the  figures,  though  shown  in  the  same  attitudes  as  those 
in  the  completed  picture,  are  undraped.  They  are  so 
superbly  modelled  that  one  is  inclined  to  regret  that  the 
artist  did  not  carry  out  the  conception  in  its  entirety. 

The    National    Gallery  of  Scotland  has  lately  been 

completely  rehabilitated,  and  the  event  is  an  important 

-T-,      ,T  and  memorable  one,  while  of  equal  im- 

1  he   INew  ,        ,  1 

National  portance    is    the    fact  that  a  number  of 


Gallery 


wholly  new  treasures  have  recently  been 


of  Scotland        added  to  the  original  assemblage.     For 
many  years  past   the   gallery  had   been 
sorely  crowded,   and   some   time  ago,    when   the    Royal 
Scottish    Academy    left    the    premises    they    had    long 
occupied  in  the  building  adjoining  the  national  collection, 
the  trustees  of  the  latter  decided  to  take  over  the  vacated 
quarters  and  to  coalesce   them  with   their  own.       Both 
time  and  money  have  been  freely  expended  on  the  task, 
and  in  the  main  it  has  been  carried  out  in  a  satisfactory 
manner.     An    upper   storey    has  been   added,   and    the 
marble  staircase  thereto  is  stately  and  imposing,  while 
a  marked  improvement  is  apparent  as  regards  the  new 
arrangement    of  the    pictures    themselves.       In    contra- 
distinction  to  previous  times,  each  separate  school  has 
now  its  own  separate  room  ;  while  it  is  gratifying  to  find 
that  divers   individual  items  which  hitherto  were  badly 
hung— for  instance,  Boucher's  famous  portrait  of  Madame 
de  Pompadour—  have  at  last  been  placed  in  advantage- 
ous  positions.      And    more    important    still,    the    great 
increase   of  space    has    made    it   possible   to   display  a 
number  of  engravings,  etchings,  and  drawings    which, 
although  they  have  been  in  the  gallery's  possession  for 
many  years,   have   heretofore    been   hidden  away,  and 
were  accordingly  quite  unknown  to  the  public.    A  superb 
chalk  study  by  Watteau,  for  example,  may  now  be  seen 
by    every   visitor,  as  also   may  some   pastels    by  Allan 
Kamsay,  and  drawings  by  Rubens  and  Fragonard  ;  while, 
again,    it    is   delightful    to   discover   that   the   collection 
embodies  numerous  good  etchings  by  Whistler,  a  few  by 
Legros,  a  fine  little  sample  of  Corot's  skill  in  this  field  of 
art,  and  an  exquisite  though  tiny  silverpoint,  presumably 
Flemish  work  of  the  Middle  Ages. 

Thanks  to  thegenerosityof  His  Majesty  King  George  V., 
the  gallery  is  enriched  for  the  meantime  by  those  noble 
portraits  of  James  III.  of  Scotland  and  his  queen  which, 
when  shown  at  the  Grafton  in  191 1,  elicited  so  much 
admiration;  while  as  to  the  actual  acquisitions,  these 
represent  several  different  schools,  and  include  some 
really  good  works.     A  canvas  by  Albert  Moore,  Beadi 


byname,  is  one  of  the  loveliest  things  this  aitist  ever 
did,  and  is  in  the  very  forefront,  indeed,  of  all  such 
painting  as  aims  frankly  and  only  at  pure  decorative 
qualities.  A  woodland  scene,  with  figures,  by  Monlicelli, 
/..(  Fete,  engages  by  mellow  tone  and  depth  of  colour, 
and  by  masterly  suggestion  of  sunlight  filtern  g  through 
leafy  boughs;  while  a  picture  of  a  windswept  heath  by 
Georges  Michel  is  perhaps  even  finer.  An  anonymous 
Spanish  painting  of  the  fourteenth  century—  St.  George— 
has  a  relative  interest,  because  the  whole  colour-scheme 
is  strangely  reminiscent  of  mediaeval  Chinese  art  ;  while 
beautiful  also  are  a  life-size  statue  by  Jean  Larrive, 
Lejeune  Athlete,  and  a  large  picture  by  Cosimo  Rosselli, 
St.  Catherine  of  Siena  presenting  the  Rule  to  the  Sisters 
of  the  Second  Order  of  St.  Dominie.  True  it  is  that 
the  colour  has  faded  sadly,  yet  the  hand  of  time  has 
been  unable  to  wreck  the  graceful  lines,  so  flowing  and 
spontaneous,  and  mingled  into  each  other  so  as  to  form 
a  design  of  the  rarest  symmetry. 

Although  the  above-mentioned,  bought  in  each  case 
by  the  trustees  themselves,  may  all  be  praised  without 
reserve,  it  is  impossible  to  say  the  same  ot  a  large 
number  of  things  bequeathed  en  bloe  by  the  late  Mr. 
Hugh  Laird,  of  Ardmore.  He  appears  to  have  been 
less  a  discriminating  than  an  omnivorous  collector,  and 
the  examples  of  Diaz,  Dupre,  and  Daubigny  which  his 
legacy  includes  are  scarcely  worthy  of  their  different 
artists;  while  three  pictures  by  Corot— albeit  one  of  them 
is  certainly  charming— are  far  from  emblematic  of  that 
master's  zenith.  On  the  other  hand,  two  pastoral  scenes 
by  Troyon,  and  one  by  Jacque,  are  quite  symbolical  of 
their  respective  paintei  's  highest  talents  ;  while  Sir  David 
VVilkie  is  seen  to  lull  advantage  in  Sheep-shearing,  a 
happy  blend  of  landscape  and  genre  painting.  Besides 
the  foregoing,  the  Laird  bequest  embraces  some  fairly 
representative  works  by  Anton  Mauve,  Josef  Israels  and 
James  and  William  Maris,' and  these  are  the  more 
welcome  because  modem  Dutch  painting  had  erstwhile 
been  conspicuous  by  its  absence  from  the  gallery. 

Native   contempoiary   art    is    not    usually   shown    at 
national    collections,    but   henceforth    the   Scottish    one 
will  form  an  exception  in  this  respect,  having  procured 
for  an  indefinite  period  the  loan  of  the  Royal  Scottish 
Academy's  diploma  pictures,  and  also  of  certain  things 
belonging   to  the  Scottish    Modern  Arts  Association,  a 
body  whose  raison  d'etre  is  to  discern  what  is  good  in 
recent  painting  and  sculpture,  and  to  purchase  accord- 
ingly.   These  have  been  hung,  not  literally  in  the  gallery 
itself,  but  in  an  adjacent  building,  and  the  trustees  de- 
serve credit   for  the   innovation.      For  the  diploma  lot 
includes  at  least  one  of  the  best  pictures  done  by  the 
present    generation    in    Scotland,    Sir   James    Guthrie's 
Midsummer;  while  the  other  set  comprises  a  number 
of  memorable  items,  notably  a  bust  of  Sir  George  Reid 
by   Mr.    Pittendrigh    MacGillivray,  a    still-life   by  Miss 
Katherine   Cameron,   a  pair  of  animal   studies  by   Mr. 
William  WalK,  and  examples  of  Mr.  E.  A.  Hornel  and 
Mr.  William  Open.     It  is  to  be  hoped  that  the  Associa- 
tion will  continue  its  activity,  and  gradually  acquire  an 
assemblage  really  typical  of  Scottish  art  of  to-day. 


134 


Current  Art   Notes 


At  the  exhibitions  of  the  Royal  Photographic 
Society  and  the  London  Salon  of  Photography,  held 
respectively  at  the  Suffolk  Street 
Galleries,  and  those  of  the  ! 
Water-Colour  Society,  Pall  Mall,  one 
had  unequalled  opportunity  of  appre- 


The  Royal 
Photographic 
Society  and 
the   London 


Salon  of  dating    the    range    of    photography, 

Photoeraphv  '""^  a'io  'ts  um'tat>ons-     Look  upon 

photography  with  as  appreciative 
eyes    as   one   may,  it    is    impossible   to  regard    it  as  a 
dangerous  rival  to  pen  or  brush  when  either  of  the  latter 
elded  by  an  arti-t  of  imagination.     Its  appeal  is 
almost    purely   intellei  records   facts — or   at    all 

events  certain  classes  of  them — with  unrivalled  accuracy, 
but  the  more  it  i-  employed  to  emulate  the  i 
and  sensuous  qualities  of  brushwork,  the   more 
limitations  become  apparent.     In  the  exhibition  of  the 
Royal    Photographic   Society  there   was  a  smaller  pro- 

m  of  work  displaying  what  may  be  called  pict 
ambitions  than  in  that  of  the  sister  society,  and  the 
exhibition  was  in  consequence  the  more  int<  n 
the  two.  Turning  to  the  individual  exhibits,  a  record 
of  beautiful  cloud-form  was  shown  in  The  Riven  Sky,  by 
Mr.  Fred  Judge  ;  the  clearness  and  wealth  of  detail 
shown  in  The  Crypt,  Rochester,  did  not  detract  in  any 
way  from  its  high  artisl  White  Horses  of 

Miss  K.  .Smith,  if  verging  too  much  on  the  pictorial,  was 
and  dainty  :  a  delicate  study  of  a  thistle  was 
shown  by  Mr.  R.  Wyatt;  and  an  effective  transcript  of 
typical  English  cottage  scenery  was  given  in  Mr.  C.  F. 
[nston's  Gossiping.  Of  portraits  Messrs.  Furley  Lewis 
and  Frederick  Hollyer  were  represented  by  several  excel- 
lent examples,  in  which  the  lighting  had  been  arranged  to 
reveal  and  emphasise  the  characterisation  of  the  sitters, 
while  Mr.  1  h  Cork's  Mother  and  Child  was  one 

of  the  best  and  most  natural  portraits  of  a  lady  in  the 
exhibition.  The  subjects,  however,  of  greatest  interest 
were  to  be  found  in  the  scientific  section.  Here  Mr. 
A.  E.  Bawtree  showed  examples  of  his  new  photo- 
mechanical process  by  which  he  can  reproduce  steel  and 
copper  plate  engravings  with  an  ease  and  exactitude 
which  would  seem  to  place  a  new  and  terrible  implement 
in  the  hands  of  the  bank-note  forger  ;  the  Royal  Flying 

.  Farnborough,  interesting  examples  ofsurvej 
accomplished  from  captive  balloons;  Mr.  J   Hall  Edwards 
photographs  of  Osmotic  Growths;  and  Mr.  William  Farren 
some  wonderful  series  of  plates  of  bird-life. 

Among  the  many  works  of  sterling  merit  shown  at 
'•The  nay  be  mentioned  Mr.  Hector  Murchison's 

portrait  of  G.  K.  Chesterton;  Mr.  F.  Seyton 
Bernard  Shaw;  the  clever  arrangement  of  light  and 
shade  shown  in  Mr.  C.  Puyo's  happily  posed  La  Chanteuse; 
a  delicate  study  of  Hoar  Frost  by  Mr.  Will  Cadby  ;  and 
a  vigorous  transcript  of  breaking  waves,  entitled  A  Warm 
Corner,  by  Mr.  F.  J.  Mortimer. 

Artistic   Catalogues 

In"  collecting  it  almost  invariably  happens  that  the 
waste  pile  of  one  epoch  constitutes  the  treasure-trove 
of  the  next.      Probably  in  the  course  of  the  twenty-first 


■  y  the  best  of  our  mi  ill  be 
g   the  most   prized   r<  No 

public  museums  garner  them  ••  col- 

-  cherish  them,  so  that  the  lapse  of  a  few  de 

will  render  these  pui>  and  literal 

records  of  our  present  do 

mbrandt  etchings  or  drawings  by  1 

is  moved  to  these  reflections  by  the 

■  ntitled  My  Lady's  Home,  from   Messrs.  J.  I.  Allen, 

loane   Street.     Its  two  hundred   well-printed 
;  in  colour  and  I  white  illustrate  the  ■■ 

of  modern  furniture,  from  i  Mters, 

the  coloui 
plates   are   of  exceptional    quality, 
power  of  artistry  which  is  not  surpassed  by  much  i 
work  in  our  best  illustrated  pap  future 

an  and  the  housekeeper  of  the  present  this  finely 
mounted  catalogue,  with   its   many  hundreds  0 
all  the  objects  set  forth  in  them  being  plainly  priced — 
should  prove  of  great  utility. 

A   PERMANENT  memento  of  the   Paris  Salon  foi   1912. 
in   the  form  of  twenty-four   artistic    and    well-executed 
reproductions  in  colour  from    some 
Twenty-four  0f  e\^e   more  popular  pictures  in 

Subjects  from  lhe  exhjbjtj0I1]   has   been 

the  Paris  Salon       Messl  ePulman&Sons 

Size  of  each  , _u,_     •,-,,. lyer    St].,., 

pa  '  Square,  W.).    The  selection  includes 

10  in.  by  7  in.  .  ,  ,  .  .  .,  . 

,„  T-.   .  ^  wide  vai  li|ects,  and  if  in 

(George  rulman 

.    „  T.j  some  the  tendenev  to  hardness  and 

&   Sons,   Ltd.  - 

,,  ,  v  bright   colour    is  a   little    marked — 

is.  6d.  each)  ° 

always  a  failing  in  process  work — the 

bulk  of  the  plates  give  the  tone  and  feeling  •  ginals 

with  great  fidelity.     Among  the  more  successful  are  The 

rie,  by    H.   Rondel  ;    Tlie  Galley  Slaves,  E.   Mon- 

lon ;  Le    Goutier,   J.   A.    Muenier;  and    The  I 

Mother.    X.    Bricard.      The    reproductions    are 

mounted,  and,  being  of  a  fair  size  and  moderate  in  price, 

should  meet  with  ready  appreciation  from  those  interested 

in  modern  French  art. 

At  the  City  of  Man  \rt  Gallery  an  exhibition 

is  being  hell  of  works  by  lour  Lancashire  arti  I        [ami 

Charles,  George  Sheffield,  William 
Four  Lanca-  Sli.  ,  and  D.  A.  William- 

shire   Artists  at       ^nn       A]|    theM   men   were   artjsts  0f 
the   Manchester       _  ^     .^    origjnaHtV] 

Art       a    ery  worfcs  ar .,     , 

reputation.    Though  the  exhibition  is  not  open  at 
the  time  of  going  to  pn  hat  a  fully 

representative  selection  of  their  works  has  been  secured. 

ANOTHER   exhibition  of  exceptional   importance 

being  held  at  Manchester  is  the  loan 
Water7C°loUr  collection  of  water-colour  drawing-  by 
Exhibition  at  deceased  British  nineteenth  -  century 
the  Whitworth  art.sts  A  feature  of  the  exhibi. 
Institute  tion,  which  has  now  been  removed, 

was  Mr.  Russell  J.  Colman's  unique  collection  of  pictures 


The   Connoisseur 


and  drawings  by  John  Sell  Cotman,  which  included  over 
fifty  characteristic  examples  of  the  great  Norwich  artist's 
work.  Among  other  leading  members  of  the  British 
water-colour  school  strongly  represented  were  R.  P. 
Bonington,  Sam  Bough.  David  Cox,  Peter  De  Wint, 
James  Holland.  <'..  J.  Pinwell,  George  Sheffield,  F.  J. 
Shields,  J.  M.  W.  Turner,  and  John  Varley. 


The  Royal 

Cambrian 

Academy 


Money  rather  than  talent  is  the  determining  factor  in 
the  evolution  of  a  national  school  of  art.  A  rich  country 
proselytes  from  its  neighbours  ;  a  poor 
country  has  its  artists  taken  away 
from  it,  and  their  works  merged  in 
the  achievements  of  an  alien  nation. 
One  is  moved  to  these  reflections  by  the  present  position 
of  art  in  Wales.  The  principality  numbers  many  capable 
artists  among  its  native-born,  and  has  in  the  past 
produced  some  of  the  greatest  painters,  architects,  and 
sculptors  of  Great  Britain  ;  but  there  is  no  Mich  thing  as 
a  Welsh  national  art — as  there  is  a  Scotch  one — or  even 
a  distinctive  school  of  painting,  such  as  was  evolved  in 
Norwich  and  other  of  the  larger  provincial  towns  before 
the  advent  of  the  railway  drew  all  the. aspiring  talent  of 
the  country  Londonwards.  Wales  hitherto  has  been  too 
poor  to  support  a  distinctive  national  school,  and  judging 
by  the  exhibition  of  the  Royal  Cambrian  Academy  at 
1'l.is  Mawr,  Conway,  which  has  just  closed,  there  are  no 
that  one  is  in  course  of  formation.  The  exhibition 
contained  many  good  pictures,  but  none  which  could  be 
picked  out  as  distinctively  Welsh  in  feeling,  sentiment, 
or  anything  save  subject.  Turning  to  individual  exhibits, 
the  president,  Mr.  H.  Clarence  Whaite,  was  represented 
by  several  works,  still  showing  his  old  Turneresque 
ideals,  but  broader  and  more  impressionist  in  treatment 
than  his  earlier  work.  Messrs.  Charles  E.  Bentley, 
W.  |.  Corah,  and  Parker  Hagarty  had  each  some 
examples,  which,  though  not  important,  were  marked  by 
pleasant  colour  and  feeling.  Those  by  Mr.  James  T. 
Watts,  of  which  Early  Spring  at  Bettws-y-Coed  was 
most  characteristic,  were  unaffected  efforts  to  record 
nature  without  elimination  or  suppression.  The  same 
criticism  might  be  applied  to  the  works  of  Mr.  James  T. 
Towers,  among  which  should  be  noted  Granite  Cliffs, 
with  its  pleasant  and  truthful  rendering  of  sunlight  on 
rock-forms.  An  Evening  Sky,  by  Mr.  C.  C.  Grundy, 
was  poetical  in  feeling  and  harmonious  in  tone.  A 
broadly  treated  moorland  scene  with  breezy  sky  was  by 
Mr.  W.  Egginton,a  truthful  and  carefully  painted  render- 
ing of  An  Old  Mill  by  Mr.  R.  E.  Morrison,  and  a  grey 
effect  of  breaking  waves,  quiet  and  restrained  in  colour 
but  a  little  monotonous  in  tone,  by  Mr.  A.  C.  Meyer. 


Scenes  in  the 
New  Forest 
by  Mr.  Hugh 

Wilkinson 


The  exhibition  of  paintings  of  the  New  Forest  and 
vicinity  by  Mr.  Hugh  Wilkinson  which  now  occupies  the 
gallery  of  Mr.  Alan  Dayne  (87,  Picca- 
dilly) stands  somewhat  apart  from  the 
orthodox  representations  of  woodland 
scenery.  The  work  is  of  sterling 
quality,  inspired  less  by  a  desire  to 
please  than  to  render  without  affectation  or  exaggeration 
typical  scenes  in  the  Forest  during  the  leafy  months  of 
the  year.  Many  of  the  effects  belong  to  the  late  summer 
— the  period  most  avoided  by  artists — when  the  thickness 
of  the  foliage  and  the  lack  of  transparency  and  darkness 
of  its  greens  renders  it  difficult  of  reproduction  without 
monotony  of  colour.  Mr.  Wilkinson  has  not  entirely 
avoided  this  drawback  ;  but  at  the  same  time  he  has  so 
invested  his  work  with  the  feeling  of  solemn  tranquillity, 
which  permeates  the  Forest  more  especially  at  that  period, 
as  to  more  than  compensate  for  it.  In  other  effects  the 
artist  shows  a  command  of  varied  colour,  atmosphere, 
and  sunlight,  setting  down  what  he  sees  succinctly  and 
adequately  with  firm  draughtsmanship  and  fluent  and 
sympathetic  brush  work. 


The  extensive  collection  of  books,  furniture,  pictures, 
rmour,  and  objects  of  art  belonging  to  Colonel  Buhver, 
of  Quebec  Hall,  was  the  occasion  of 
a  four  days'  sale  by  Mr.  George 
Cubitt,  of  Norwich.  Among  the  most 
important  lots  were  a  stained-glass  window,  which  realised 
,£64  3s. ;  an  antique  ivory  cabinet  on  mahogany  Chippen- 
dale stand,  .£30  19s.  ;  an  early  painted  Engl'  11  wood 
table,  £29  8s. ;  a  jardiniere,  7  in.  high,  painted  groups 
of  Mandarin  figures,  ,£54  12s.;  a  tureen  and  cover, 
with  monogram  "N  and  B"  (Nelson  and  Bronte) 
,£39  7s.  6d.  ;  a  ribbon-pattern  Chippendale  chair  on 
cabriole  legs,  £99  15s.;  Chippendale  console  table  with 
marble  top,  £99   15s.;   and   a   mahogany  corner  chair 

in  16s. 


Quebec   Hall 
Collection 


The  School  of  Art  Wood- Carving,  39,  Thurloe  Place, 
South  Kensington,  which  is  under  royal  patronage,  has 

been  reopened  after  the  usual  summer 
School  of  Art  vacation,  and  we  are  requested  to 
Wood-Carving  ,  ,  ..      ,  ,         ,  . 

state  that  some  of  the  free  studentships 

in  the  Evening  Classes  maintained  by  means  of  funds 
granted  to  the  school  by  the  London  County  Council  are 
vacant.  Forms  of  application  for  the  free  studentships 
and  any  further  particulars  relating  to  the  school  may  be 
obtained  from  the  Secretary. 


'56 


MISS   DE   VISMES 

BY  SIR  HENRY  RAEBURN,  R.A. 


' 


CAST    OF    THE    FIKST    MAYORALTY 

SEAL     OF    THE    CITY    OF     LONDON 

CIKCA     I280 

In  view  of  the  approaching 
Guildhall  banquet,  it  ma>  be  worth 
while  to  draw  attention  to  the  value 
and  historic  interest  of  the  plate  in 
the  possession  of  London's  Chief 
Magistrate.  Some  fifty  of  the  most 
remarkable  pieces  out  of  the  collec- 
tion are  sent  each  year  from  the 
Mansion  House  to  the  Guildhall  for 
the  purpose  of  the  banquet,  but 
these  form  only  a  small  proportion 
of  the  total  number  which  are  kept 
carefully  in  a  strong-room  at  the 
Lord  Mayor's  official  residence.  Of 
course,  the  pieces  on  view  at  such 
a  ceremony  as  the  inauguration 
festival  of  the  Lord  Mayor  consist 
chiefly  of  gold  plate,  and  perhaps  a 
word  of  explanation  may  be  given  as 
to  the  real  character  of  that  rather 


A. 


THE   CHRISTOPHER    Cl'l 


misleading  term.     It  is  quite  (  n 
ous  to  imagine  that  the  expression 
■•gold    plate"   betokens   solid 

:  is  applied  to  table  use.  The 
term  almost  invariabl)  means  "  silvei 
gilt,"  and  nearly  all  the  so  1  ailed 
"gold  servii  es  are  made  of  this 
silver-gilt  metal. 

One  of  the  most  noteworthy 
pieces  of  plate  at  the  Mansion 
House  is  an  .in'  1  nt  loving  cup, 
called  the  Chn  This 

nd  was,  as  the 
inscription    shows.    "I  I 
Robert   Christopher,  cloth   worker, 
late  one  of  ye   Secondaries  of  ye 
Compters."     It  is  generally  spoken 
of  a-  the  "lire  cup,"  due  tot! 
tved  from  th(    ( 
Fire  of  L  ir.  though      1 


Vol.  XXXIV.— No.   r;;.-i  '39 

[Copyright  by  ./.  T.  Herbert  Baily  in  the  United  St.ites  of  America,  Men-.  1901} 


The    Connoisseur 


known  of  its  history 
earlier  than  its  rescue. 
It  is  not  even  related 
where  it  was  lodged 
before  that  event,  but 
probably  it  was  at  the 
Guildhall.  This  cup  is 
a  quite  plain  piece  of 
silver-gilt  plate,  and 
stands  about  15  inches 
high. 

Next  in  historic  im- 
portance perhaps  is  the 
Oliver  Cup,  presented 
by  the  City  to  Alder- 
man Richard  Oliver  in 
1772.  It  bears  the 
following  inscription  : 
"This  Cup,  presented 
by  the  City  to  Alder- 
man Oliver  for  joining 
with  other  magistrates 
in  the  release  of  a 
freeman  who  was  arrested  by  order  of  the  House  ot 
Commons,  and  in  a  warrant  for  imprisoning  the 
messenger  who  had  arrested  the  citizen,  and  refused 
to  give  bail,  is  by  him  deposited  in  the  Mansion 
House,    to   remain   there   a    public  memorial   of  the 


THE    IRISH    CUP    AND    SALVER,     I74I 


honour  which  his  fel- 
low citizens  had  done 
him,  and  the  claim 
they  had  upon  him  to 
persevere  in  his  duty." 
Alderman  Oliver,  it 
may  be  recalled,  was  a 
staunch  upholder  of 
the  rights  of  the 
citizens  of  London 
against  the  Court  and 
the  servile  Parliament, 
filled,  as  it  was,  with 
the  "  King's  friends," 
and  with  Lord  Mayor 
Brass  Crosby  in  177  i 
became  involved  in 
the  historic  conflict 
over  the  Wilkes  case. 
He  was  one  of  the 
strongest  supporters  of 
Wilkes,  but,  curiously 
enough,  in  after  years 
he  refused  to  serve  as  sheriff  with  that  popular  hero. 
The  Oliver  Cup  is  a  handsome  piece,  standing  exactly 
two  feet  high.  It  is  surmounted  by  a  figure  repre- 
senting the  statue  of  Liberty,  and  its  two  handles 
are  ornamented   each  with    a   griffin.      The  face  is 


ONE    OF    THREE    SILVER-GILT    FLAGONS    AND    ROSE-WATER    DISHES  THE    GIFT    OF    LADY    NORTH,     I7O2 

I40 


The  Mansion  House  Plate 


engraved  with  a  scene  symbolically  picturing 
the  City's  commerce,  and  the  back  bears  the 
inscription  already  quoted. 

Much  interest  attaches   to   three  lai 
tankards  made  of  English  silver,  presented 
by  Sir  Bevis  Bullmer,  Lord  Mayor  in  1593, 
from  his   own   mine  at  Coombe  Martin,  in 
Cornwall.    Each  tankard  is  inscribed,  " The  *> 

C.ift  of  Bevis  Bullmer.''    They  are  extre  n 
valuable,  and  have  peculiar   interest  as  showing   the 
mineral   capacities  of   the    Delectable   Duchy.      It   is 
a  long  time  now  since  silver  was  profitably  worked  in 


Cornwall,  but  at  one  time  it  proved  a 
good  speculation  to  local  adventun 
These  tankards  are  of  a   good  old 
English  -h.ip._-,  and  their  severely  simple 
lines  are  like  the  proportions  of  an 
athlete,  designed  for  use  rather  than 
ornament,  and  therefore    attaining  the 
highest  ornamental  effect.     Then  il 
is    the    famous  State    salt-cellar,   which 
was    fashioned  in  the   year   1741.       It  "a-,  as  the 
inscription  runs,  "  Presented  by  Thomas  Carbonnel 
to  William  Dormer,  Esquire,  present  Sword-B. 


THE     MACE,     SWORD,     AND     THE     PEARL     SWORD 
MI 


The    Connoisseur 


and  to  his  successors,  for  the  use  of  their  table  at 
the  Lord  Mayor's."  This  piece  weighs  as  much  as 
75   ounces,  stands  on  four  dolphin  feet,    and   bears 


custom,  to  mark  precedence  at  the  table,  whence  the 
familiar  term  is  derived  of  sitting  above  or  below 
the  salt. 

Peculiar    interest    attaches   to   the    Irish    cup   and 
salver,  executed  also  in  1741.     It  took  its  origin  from 


THE   SIR   GEORGE   TYLER   CUP,    1894 

four   scroll    figure-head   handles.       It  was   originally 
used,  of  course,  in  accordance  with  the  old-fashioned 


THE    STATE    SALT-CELLAR,     I74I 

the  fact  that  the  City  of  London  possesses  property 
in   Londonderry,   and  questions  involving    litigation 


THE     CITY     PUNCH-BOWL,      1699 
142 


TIi:  Mansion  House  Plate 


between  the  City's 
ntatives,  who  were 
called  the  Irish  Society, 
and  the  Corporation  of 
Londonderry.  The  in- 
scription on  the  sal ver 
may  be  allowed  to  tell  its 
own  story.  It  runs  as 
follows  : — 

"This  salver,  cup,  and 

was    intended    as    a 

■  from  the  Irish 
-Society  to  the  Right 
Honourable       Henry 

Singleton,  Esquire.  Lord 
Chief  Justice  of  the  Com- 
mon Pleas  in  Ireland,  for 
eminent   ser\  ii 

;iis  Lordship  in 
taking  upon  him  (though 
in  high  station)  at  the 
request  of  the  Society  an 
m  modation  of  the 
disputes  and  diffen  :n<  i  S 
which  had  for  a  longtime 
subsisted  in  the  Corpora- 
tion of  Londonderry,  and 
compleating  that  Creat  Work  in  the  year  1740,  and 
also  in  framing  a  set  of  By-laws  and  Ordinances 
for  the   order  and  government  of  that   body.     The 

ptance  of  which  gift  his  Lordship  was  pi 
notwithstanding  his   immense  trouble  therein,   most 
generously  to  decline.     Therefore,  the  said   Society, 
as  well  to  perpetuate  the   Memory  of  his   Lordship's 
great  services  as  to  show  their  regard  for  the  honour 


the   coombe   cup,    1799 


I 
the  said 
plate   to   remain  with  the 
ol  the  plate  belong- 
1  this  (  'itv  anil  to  be 
appropriated  from  lime  to 
time  to  the  use  of  the 
for  the  time  ; 
:nted   in  the  year 
1  ;  p. 

insi  riptii  in   • 
the  main  bodj  oi  the 
salver,    and    round. the 

are  variou  • 
diary  inscriptions  relating 
that  in  certain  ma 

is  repaired 

and  regilt.    The  first  date 

on  which  this  occurred  is 

historic.      It  was  in  [774, 

when    "John   Wilkes, 

I       :ii  re,"    was    Lord 

Mayor.      The  last   lime 

repairs  and  regilding 

were  carried  out  was  in 

1 9oo,during  the  mayoralty 

of  Sir  Alfred  T.  Newton. 

A  worthy  gift  was  that  made  in  1702,  by  a  certain 

Lady   North,  of  three  great    silver-gilt    flagons  with 

corresponding  rose-water  dishes,  each  of  which  latter 


ONE    OF    THREE    TANKARDS 
PRESENTED    BY    SIR    BEVIS    BULLM1R.     I  593 


ROSE-WATER     EWER,      I72I 


143 


The    Connoisseur 


measures  23  inches  in  diameter.  The 
weight  of  the  flagons  is  175  ounces 
each,  while  the  dishes  weigh  132 
ounces.  These  dishes  are  engraved 
with  the  arms  of  the  City.  But  to 
some  minds  the  most  noteworthy 
piece  in  the  possession  of  the  Lord 
Mayor  will  be  the  City  punch- 
In  iwl.  This  instrument  of  old-world 
pleasure  is  of  silver,  stands  12  inches 
high,  and  measures  18  inches  in 
diameter.      It  weighs   176   ounces, 


ROSE-WATER     DISH, 


1903 


THE     CORONATION     CUP,      ICJ02 


when  empty,  and 
one  can  imagine 
the  deep  carous- 
al s  that  took 
place  around  it 
in  the  eighteenth 
century.  It  may 
be  mentioned 
that  its  date  is 
1699. 

In  the  Man- 
sion House 
strong-room  are 
kept  not  only 
the  famous  plate, 
but  also  the  Lord 
Mayor's  insignia 
of  office,  which 
include  his 
chain,  diamond 
pendant,  the 
City  mace,  and 
the  three  swords 
of  State  used  on 
various  occa- 
sions. The  chief 
of  these  latter  is 
the  Pearl  Sword, 


so  called  from  the  jewels  with  which  the  scabbard  is 
thickly  studded.  This  sword  of  State  is  only  carried 
before  the  Lord  Mayor  on  great  occasions,  such  as 
the  entrance  of  the  king  into  the  City,  or  the  recep- 
tion at  the  Guildhall  of  any  foreign  monarch  or 
visitor  of  royal  importance.  It  was  presented  by 
Queen  Elizabeth  to  the  Corporation  on  the  occasion 
of  the  opening  of  the  Royal  Exchange  in  15  71.  The 
Royal  Exchange,  it  may  be  remembered,  was  founded 
by  the  munificence  of  Sir  Thomas  Gresham,  and  it 
was  during  his  mayoralty  that  the  historic  building 
was  opened.  The  handle  is  of  silver-gilt,  and  the  hilt 
has  on  it  a  medallion  bearing  a  figure  which  repre- 
sents Justice.  The  City  arms  are  placed  at  regular 
intervals  up  the  scabbard.  The  blade  is  of  the  best 
Damascene  steel,  beautifully  engraved  also  with  the 
City  arms. 

The  sword  of  State  used  on  ordinary  occasions  was 
acquired  in  16S0.  Its  hilt  is  silver-gilt,  and  bears  the 
City  arms.  Then  there  is  the  Mourning  Sword,  which 
is  of  an  earlier  date  even  than  the  Pearl  Sword,  namely, 
1534.  The  scabbard  is  covered  with  black  velvet, 
and  its  plainness  is  unrelieved  by  any  ornament. 

The  date  of  the  mace  is  1735,  but  it  had  several 
predecessors  which  were  worn  out  by  use.  It  is 
made  of  silver  gilt,  and  weighs  304  ounces.  This 
handsome  and  dignified  instrument  is  inscribed  with 
the  name  of  the  Lord  Mayor  who  was  in  office  during 


144 


The  Mansion  I  louse  Plate 


the  year  in  which  it  was  acquired.  He  was  Sir 
Edward  Bellamy,  Knight.  The  mace  also  bears  the 
names  of   the  various    he.ners    that    have   held  that 


ol  three    hundred  and  sevent)  irs.    The  chain 

was   without  a   pendant   till  1 55S.   in   which   year  the 
then    Lord    Mayor.   Sir    Mar  d  the 


c^^T^ 


THE     OLIVER     CUP,      1/^2 


office  since   1735,  the  first  being  described  as  "John 
Elderton,  Common  Crier  and  Sergeant-at-Arms." 

No  more  beautiful  ornament  anywhere  exists  than 
the  chain  and  badge  worn  by  the  Lord  Mayor.  The 
former  is  a  collar  of  S.S.,  which  was  originally  in  the 
possession  of  Sir  John  Allen,  Lord  Mayor  in  1535. 
Of  its  previous  history  no  record  remains,  but  Allen 
left  it  to  his  successors,  and  thus  it  has  been  worn  in 
turn  by  the  Chief  Magistrate  of  London  for  upwards 


Corpoiation  with  a  gold  cross  set  with  pearl-  id 
--us  stones.  This  served  its  purpose  for  half  a 
century,  till  in  1607  the  existing  badgi  va  Si 
by  the  Corporation.  It  consists  1 
set  in  gold,  and  bears,  handsomely  carved,  the 
armorial  bearings  of  the  City.  In  tin-  year  1880  the 
badge  was  taken  in  hand  for  altera; ion-,  when  it  was 
considerably  enlarged  and  made  more  beautiful  than 
it  was  before  by  the  addition  of  a  circle  ol  diamonds. 


THE    CRYSTAL    MACE 


KI.    HENTSl 


1 45 


PORTRAIT   OF   AN    ARTIST 


BY    FRAN'S    HALS 
146 


Thk  chief  difficulty  which   at   the   outset 

the  writer  of  a  short  article  on  the  collection 
of  Old  Masters  formed  by  Mr.  Henry  C.  Frick,  the 
eminent  American  millionaire,  is  that  almost  every 
picture  might  very  well  form  the  subject  of  an  essay. 
It  is  not  only  a  collection  of  masterpieces,  but  it  is 
also  one  of  pictures,  famous,  some  in  history  and  others 
in  romance.  It  is  a  very  easy  thing,  given  the  mo 
to  form  an  extensive  collection  of  good  examples  of 
Old  Masters,  English  or  foreign,  but  it  is  quite  another 
.  even  with  unlimited  resources,  to  form  one 
which  shall  consist  exclusively  of  great  and  famous 
picture^.     By   the  of   an  exacting  and  dis- 

criminating taste,  Mr.  Frick  has  succeeded  in  forming 
a  collection,  small  as  to  numbers,  but  unrivalled  in 
important 

Nearly  all  these  pictures  have  passed  through 
English  collections,  and  nearly  all  the  English  works 
have  come  direct  from  the  families  for  whom  they 
were  painted  a  century  or  more  ago.  Much  might 
be  written  concerning  the  exportation  of  Old  Masters 
from  England  to  America  :  but  the  topic  lias  become 
so  threadbare  that  nothing  fresh  remains  to 
except  this:  that  in  spite  of  the  American  •'drain" 
of  the  last  few  years,  England  is  still  richer  in  such 
works  than  any  other  country  in  the  world.  We  have 
it  on  the  authority  of  Mr.  Algernon  Graves  that  of 
the  collections  described  by  1  >r.  Waagen  in  his  four 
volumes  of  Art  Treasures  published  upwards  of  half  a 
century  ago,  only  about  one-sixth  no  longer  exist. 

The  chief  features  of  Mr.  Prick's  collection  con- 
sist of  Dutch,  Flemish,  and  English  pictures.  His 
Rembrandts  may  justly  take  precedence  in  any  notice 
of  his  collection.  The  recently  discovered  portrait  of 
a  young  Polish  cavalier  of  the  Pysowski  Regiment, 
painted  circa    1655,    was    found    by    Dr.   Bredius    in 


1     ,7.   .it  Count    Tarnowski's  1     licia,  and 

was    bought   about   two   yeai  i>rice   said 

to  be  four  hundred  thousand  dollars.  Rembrandt's 
portrait  of  himself  is  signed  and  dated  1658,  and  is 
a  three-quarter  length,  in  which  the  artist  is  wearing 
a  full  yellow  gaberdine  with  a  red  sash,  a  brown 
cloak,  and  dark  cap:  this  came  from  Lord  P<  hester's 
collection.      The  third  Rembrandl  and  dated 

[647,  is  of  a  young  man  in  black  cn.a  and  broad- 
brimmed  hat,  and  was  al  one  time  in  the  Earl  of 
Carlisle's  possession. 

There  are  four  by  Van  Dyck,  and  at  the  head  of 
these  is  the  superb  portrait  of  the  Man  hi  sa  Giovanna 
Cattaneo — the  disappearano  of  this  and  othei 
portraits  by  the  same  artist  fi     0  original  home 

in    Italy   formed    the    subject   of   an    article   in   Tut. 
Connoisseur    of    May,    1007.      This    portrait    was 
painted  m  Genoa  about  1624.     The  companion  pair 
,,!'  Franz  Snyders  and  his  wife  Margaretha  also  I 
to  Mr.  Frick.     Win  Dyck,  as  Mr.  Cust  tells  us,  took 

<ial  pleasure  in  painting  the 
ful  face"  of  Snyders.  \  an  Dyck's  noble  head  of  this 
artist  in  the  Liechtenstein  gallery  in  Vienna,  and  the 
fine  group  of  the  artist  and  his  wife  at  Cassel,  are 
among  the  many  attractions  of  tln-se  two  galleries. 
The  portrait  oi  ■  ilendid  example 

of    Van    Dyck    which    Mr.    Frick   has   had    the  good 
fortune  to  secure. 

Three  by  Franz  Hals  include  the  half-length  por- 
trait — said  by  som  to  be  of  the  artist  himself — of  a 
man  with  long  hair,  black  COStume,  and  slouch  hat: 
this  was  lent  to  the  Old  Masters  in  1882  by  Mr. 
S.  K.  Mainwaring,  ol  Otley,  is  signed  with  initials, 
and  dated  1635.     The  two  othei  por- 

traits of  an  old  lady  and  a  Burgom  Hobbema 

mil  fai  ob  Van  Ruysda  repres  nted  :  the 


M7 


PORTRAIT     OF     A     YOUNG     CAVALIER 

OF     THE     LYSOWSKI     REGIMENT 

BY     REMBRANDT 

PAINTED     ABOUT     1655 

ORIGINALLY     IN     COUNT     TARNOWSKl's     COLLECTION 

DZIKOW,     GALICIA 


I48 


MISS    CUMBERLAND 
PAINTED    BY    GEORGE    ROM.NEY 
ENGRAVED     BY    J.    R.     SMITH 


Mr.   II.   C.  /-'rick's   Collection  of  Pictures 


THE     CAVALRY     CAMP 


BY    PHILIP    WOUVERMANS 


former  by  the  magnificent  Cottage  among  the  Trees, 
signed  and  dated  1665,  which  was  lent  to  the  Old 
Masters  in  18S2.  and  which  realised  nearly  .£10,000 
when  sold  at  Christie's  in  1901.  It  was  for  generations 
in  the  Blathwayt  family.  The  Ruysdael  Waterfall  aX 
one  time  belonged  to  the  Earl  of  Onslow.  Wouver- 
mans'  Cavalry  Camp  was  engraved  by  Moyreau  when 
it  was  in  the  Dinet  collection  in  1742  ;  later  on  it  was 
in  the  Van  Loone  collection  at  Amsterdam,  and  more 
itly  in  that  of  Herr  Bosch  of  Vienna.  Isaac  Van 
Ostade's  Halt  at  the  Inn  came  from  the  collection 
of  the  Duke  George  of  Leuchtenberg.  Of  his  three- 
examples  of  Aelbert  Cuyp,  the  most  important  is  a 
View  on  the  Maas  near  Dordrecht,  with  the  sun 
breaking  on  the  left  .reflected  in  the  water.  The 
picture  is  signed  in  full,  dates  from  about  1650,  and 
was  at  one  time  in  a  Northumberland  family. 

In  addition  to  examples  of  Terburg  and  Jan  Van 
de  Capelle,  Mr.  Frick  has  been  able  to  sei  ure  one  of 
the  greatest   of  all  prizes  of  the  picture  colli  Ctoi 


a    fine    work  of   Jan   Vermeer  of    Delft,     The    Music 
lesson,  an  interior  with  two  figures.      It  is  especially 
interesting  because  the  picture  hanging  on  thi 
also  appears  in  the  Vermeei  in  the  National  Gallery. 
This  picture,  from  the  1  ollection  of  Mr.  Lewis  I  1 
Clifton,  near  Bristol,  changed  hands  a  century 
more   than  once,   for  less  than   lour  hundred  flo 

The  few  examples  of  the  Italian  and  Spanish 
schools  include  the  powerful  Titian  portrait  ol  the 
famous  wit  and  satirist,  Pietro  Aretino,  from  the 
Chigi  Palace  at  Rome:  it  is  curious  to  note,  not  only 
that  Aretino  was  at  one  time  an  employe  in  the 
Chigi  family,  but  that  he  was  painted  at  least  six 
times  by  his  friend  Titian,  this  example  dating 
about  1545.    The  more  important  1  1  by  Velas- 

quez is  the  portrait  of  Philip  IV '.  of  Spain,  painted 
iga  in    1644,  and    representing  him  in  a  field- 
marshal's  uniform.     The  history  of  this  portrait  fi 
of  the  picture  romances  ol   modern  times:    it  is 
original  of  the  picture  in  the    Dulwich   gallery, 


The  Connoisseur 


THE     MUSIC     LESSON 


BY     JAN     VERMEER     OF     DELFT 


which  had  long  passed  as  the  original,  but  the  late 
Senor  Beruete  conclusively  proved  the  claims  of  the 
picture  which  now  belongs  to  Mr.  Frick,  and  which 
had  for  many  years  been  "  lost."  His  second  Velas- 
quez is  one  of  several  portraits  of  Queen  Mariana, 
second  wife  of  Philip  IV.,  to  whom  she  was  married 
at  the  age  of  15. 

Mr.  Frick's  English  pictures  include  five  of  the 
finest  Romneys  to  be  found  in  any  one  collection. 
Lady  Hamilton  as  Nature,  which  once  changed  hands 
for  about  ,£50,  and  was  in  recent  years  in  the 
Cronier  collection  in  Paris,  is  one  of  the  most  familiar 
examples  of  this  artist.  The  group  of  Henrietta 
Countess  of  Warwick  and  her  two  children  was  lent 
to  the  Grafton  Gallery  in  1895,  and  has  been  re- 
produced times  out  of  number.  The  whole-length, 
life-size  Portrait  of  Lady  Milnes  was  bought  only  a 
year  ago.  The  portraits  of  Miss  Harford  and  Mary 
Finch  Hatton  are  less  well  known  than  the  other 
three,   but  both  are  excellent   examples  of  his  work. 


By  Sir  Joshua  Reynolds  there  are  four  portraits,  a 
half-length  of  Lady  Skipwith,  wife  of  Sir  Thomas 
George  Skipwith,  painted  in  1787,  the  artist  receiving 
100  guineas  for  the  picture.  Lady  Elizabeth  Taylor 
(the  engraved  picture),  Sir  George Howland  Beaumont. 
and  Lady  Margaret  Beaumont,  are  also  Mr.  Frick's 
property.  The  Gainsboroughs  include  the  whole- 
length  Portrait  of  the  Hon.  Frances  Duncombe,  after- 
wards  Mrs.  Bowater  (concerning  which  portrait  a 
highly  diverting  and  somewhat  imaginative  account 
appears  in  W.  P.  Frith's  Autobiography  and  Reminis- 
cences as  "  A  Strange  Purchase  "),  and  Mrs.  Hatchett, 
presumably  the  picture  which  at  one  time  belonged  to 
Mr.  A.  Coats  of  Paisley. 

Two  portraits  by  Sir  Thomas  Lawrence  give  dis- 
tinction to  the  collection — the  superb  Lady  Peel  is 
too  well  known  to  need  description.  It  was  exhibited 
at  the  Royal  Academy  of  1825,  and  was  designed 
as  a  pendant  to  the  famous  Chapeau  de  Paille,  by 
Rubens,  at  that  time  in  the  Peel  collection,  and  now 


152 


r^-a 


4Ji 


4§r- 


5* 


PORTRAIT    OF    PHILIP    IV.   OF    SPAIN 


BY    VELASQ1  l  / 


THE     HALT     AT     THE     INN 


BY     ISAAC     VAN     OSTADE 


SUNRISE     ON     THE     MAAS 


BY     AELBEFT     CUYP 


'54 


SALISBURY    CATHEDRAL 
BY     JOHN     CONSTABLE 
FORMERLY      THE     PROPERTY     OF 
CANON     MIREHOUSE     OF     SALISBURY 
AND    PREVIOUSLY     OWNED    BY 
STEPHEN     •..     HOI  I  AND 


'55 


IE     MATIN  :      LAC     DE     GARDE 


BY     J.    B.    C.    COROT 


PORTRAIT   OF   LADY    PEEL 


BY   SIR   THOMAS    LAWRENCE 

T57 


The    Connoisseur 


ANTWERP  :   VAN  GOYEN  LOOKING  FOR  A  SUBJECT 

in  the  National  Gallery.  Lawrence's  Portrait  of  the 
Marquise  du  Blaizel  is  practically  unknown  in  this 
country  ;  it  was  painted  by  Lawrence  in  Paris  in  1825, 
the  year  in  which  he  received  from  Charles  X.  a 
set  of  Sevres  china  and  the  cross  of  the  Legion  of 
Honour.  Hoppner's  engraved  Portrait  of  Miss  Byng, 
and  Raeburn's  Portrait  of  Mrs.  Cruickshank,  com- 
plete the  list  of  Mr.  Frick's  Early  British  masters. 

His  three  Turners  include  the  picture  known  as 
Antiverp :  Van  Goyen  looking  for  a  Subject,  which 
was  in  the  Royal  Academy  of  1833,  and  was  bought 
of  the  artist  by  Bicknall :  a  second  is  a  view  of  Calais 
Harbour,  and  the  third  is  Mortlake  Terrace.  His 
example  of  Constable  is  the  fine  view  of  Salisbury 
Cathedral,  signed  and  dated  1826,  which  realised 
7,800  gns.  at  the  S.  G.  Holland  sale  in  1908  ;  it  was 


BY     J.     M.    W.    TURNER 

formerly  the  property  of  Rev.  (not  Bishop,  as  erro- 
neously given  in  the  sale  catalogue)  Thomas  Henry 
Mirehouse,  who  was  Canon  or  Prebendary  of  Salisbury 
from  1824  to  1868  when  he  died;  the  picture  was 
engraved  by  Brunet  Debaines,  and  there  is  a  similar 
work  at  the  Victoria  and  Albert  Museum. 

The  Barbizon  School  is  well  represented.  The 
four  Corots  include  Le  Matin :  Lac  de  Garde,  from 
the  J.  Staats  Forbes  and  Archibald  Coats  collections, 
and  Le  Lac  from  (among  others)  the  Ganet  and  Alex- 
ander Young  collections ;  Ville  D 'Array  and  L'Etang. 
By  Th.  Rousseau  there  is  the  Village  of  Becquigny, 
formerly  the  property  of  F.  Hartman,  of  Munster, 
and  Archibald  Coats,  of  Glasgow.  There  are  also 
examples  of  J.  F.  Millet,  C.  Troyon,  N.  Diaz,  C.  F. 
Daubigny,  and  Jules  Dupre. 


158 


< 


a:   -5 


2  * 

1    1 

:    ? 


Robert  Adam,  Hepplewhite  and  Sheraton 


By  Cecil   Boyce 


Thk  Adelphi,  that  backwater  of  quietude 
:nt  to  the  never-ceusing  stream  of  traffic  in  the 
Strand,  is  perhaps  the  best  known  work  of  the 
brothers  Adam.  The  nomenclature  of  the  little 
district  perpetuates  their  memory.  The  name  of 
"Adelphi"  (Greek,  brothers)  was  adopted  by  them, 
both  as  a  professional  signature  and  in  christening 
the  district  :  while  John,  William.  Robert,  and  James 
Streets  recall  the  Christian  names  of  the  four 
brothers,  and  Adam  Street  their  surname.  Roberl 
— and  after  him  James — was  the  most  able  of  the 
quartette.  To  his  admiration  of  the  "grand 
was  Rome  "  we  largely  owe  the  classical  feeling  that 
pervaded  English  architecture  and  furniture  through 
the  latter  half  of    the    eighteenth    century  and    the 


ining  of  the  nineteenth.  Born  in  Kirkcaldy, 
in  1728,  Robert  Adam  seems  early  to  haw  fallen 
under  the  fascination  of  Roman  architecture,  lb- 
started  on  his  grand  tour  in    1754.  and   sketched   his 

\  l)    through  France  and   Italy   in   that  and   th 
succeeding  years.      In  1757   he  thorough!)    expl 
the  ruins  of  the  palace  ol    the   Emperoi    D    cletian 
at  Spalatro  in  Venetian   Dalmatia,  incorporating  the 
result  of  his  research   in  a   folio  volume  publish  ■ 

17(11   as  the  joint   compo  ition  of   himself   and  his 
brother  James,  and  illustrate  d  with  a  series  ol  plates 


Furttitnrt  of  the  Eighteenth  Century, 
risky.      Vol.   III.      <  .eorye  Routledge  &  Sons,   Limited. 

;i<.  ihI.  net. 


J 


I [ 


ADAM     GILT     MIRROR 


l6l 


The    Connoisseur 


by   Bartoloz/.i.      Even  before 

this  book  had  been  issued  he 

was  firmly  established  as  an 

architect  ;   his  design  for  the 

stone   screen  in   front   of  the 

Admiralty — now    somewhat 

mutilated  by  the  introduction 

of    the    side    entrances — and 

most    of  his    work   at  Sion 

House  being  executed  between 

1758,   the  year   of  his  return 

to  London,  and   1762,  when, 

through  the   influence   of  his 

compatriot  Lord  Bute,  he  was 

appointed    architect  to  the 

King.    From  this  time  onward 

he  had  the  ball  at  his  feet,  and 

for  the  rest  of  his  career,  and 

even  during  a  lengthy  period 

after   his   death,  he   exercised 

a  predominating  influence  on 

English  domestic  architecture 

and  furniture.     It  is  chiefly 

in    the    guise    of    a    furniture 

designer   that    Robert   Adam 

appears  in    the  pages  of  the 

third  and  concluding  volume 

of    Mr.    Herbert    Cescinsky's 

monumental  work  on  English 

Fur ?iit ure  of  the  Eighteenth 

Century.      He,    of   course, 

was  neither  the  first  nor  last 

architect  who    contributed    largely    to    the    furniture 

designs  of  his  period  ;  but  the  influence  he  exercised 

in  conjunction  with  his  brother  James  was  infinitely 

more  far-reaching  as  regards  the  furniture  of  their 

time  than  the  united  efforts  of  their  predecessors — 

Wren,  Kent,  Ware,  Gibbs,  or  Hawkesmoor.    This  was 

the  more  noteworthy  because  whereas  when  the  latter 

architects  flourished  the  trade  of  the  joiner  had  not 

even    commenced   to   attain   the    importance   which 

it   afterwards   assumed    in   the   hands  of   men  such 

as  Chippendale,    Ince,    Hepplewhite,  and   Sheraton, 

when    the    brothers    Adam    came    into    prominence 

Chippendale,  and  probably  Hepplewhite,  were  already 

independently    established,    and    it    bears    striking 

testimony  to  the  character  of  Robert  Adam  that  he 

was  able  to  superimpose  his  style  on  one  as   well 

founded   as   that  of    Chippendale.     Social    position 

accounted  for  not  a  little  of  his  influence,  for  while 

the  great  cabinet-maker  was  considered  in  the  light 

of  an  ordinary  tradesman,  Adam,   for  several  years 

a  member  of  Parliament  and  honoured  at  his  death 

with  a   tomb   in    Westminster    Abbey,  was  received 


ADAM  CHAIR  OF  THE  MASTER  OF  THE 
DRAPERS'  COMPANY 


into  the  houses  of  his  clients 
as  an  equal. 

As  Mr.  Cescinsky  justly 
points  out,  in  considering  the 
furniture  creations  of  the 
brothers  Adam,  we  have  to 
adopt  a  totally  different 
method  than  with  the  work  of 
any  of  the  eighteenth-century 
craftsmen.  Men  like  Chip- 
pendale or  Sheraton,  who  had 
been  trained  in  the  workshop, 
and  possessed  practical  experi- 
ence, were  capable  of  carrying 
out  their  own  designs  ;  and,  if 
we  except  some  of  Chippen- 
dale's "  Director  "  patterns — 
frankly  evolved  to  catch  the 
eye  of  a  wealthy  public,  eager 
for  any  new  absurdity,  or  to 
puzzle  his  fellow  craftsmen — 
they  could  be  executed  with 
little  or  no  modification  by 
any  experienced  workmen. 
With  the  drawings  of  the 
brothers  the  case  is  otherwise  : 
used  to  creations  in  stone 
and  plaster,  they  adapted  the 
same  motives  to  wood  and 
fabrics  without  allowing  for 
the  difference  in  the  materials. 
A  comparison  of  the  original 
sketches,  now  in  the  Soane  Museum,  with  the  actual 
articles  as  made,  shows  how  much  they  were  indebted 
to  the  rationalising  modifications  of  the  cabinet- 
maker ;  in  many  instances  the  designs  being  utterly 
impracticable  without  important  alteration. 

Mr.  Cescinsky  has  wisely  divided  his  survey  of  the 
work  of  the  brothers  into  two  parts;  reviewing  separ- 
ately the  Adam  style  as  expounded  in  drawing  and  en- 
graving, and  as  shewing  the  furniture  as  actually  made. 
He  points  out  that  a  noticeable  feature  of  the  style  is 
its  rigid  fidelity  to  one  idea,  as  compared  with  the 
greater  versatility  shown  in  the  work  of  Chippendale. 
Robert  Adam  designed  his  pieces  to  suit  the  severe 
classicalism  of  his  interiors.  He  would  have  preferred 
to  furnish  with  the  Roman  trestle,  the  built-in  side- 
table  and  the  like,  but  his  patrons  evidently  demanded 
comfort,  and  he  was  obliged  to  conform.  The  result 
was  a  compromise  between  the  architect  and  the 
workers  in  wood,  the  former  giving  way  on  numberless 
points,  best  exemplified  in  his  later  examples.  Vet 
throughout  his  career  Adam  showed  a  surprising  lack 
of  consideration  in  his  treatment  of  the  materials  in 


162 


< 
o 

o 
= 


163 


The    Connoisseur 


which  his  conceptions  were  to  be  embodied.  He 
made  identical  designs  for  a  stone  column  and  a 
wooden  table  leg  ;  for  a  carpet  and  ceiling,  in  the  latter 
instance  not  even  altering  the  colouration.  The  pen- 
dant swags,  unattached  except  at  their  extremities, 
which  are  such  characteristic  features  of  the  work  of 
Robert  and  James,  were  logical  impossibilities  in 
wood,  although  in  their  earlier  examples  they  were 
attempted  in  this  material  with  disastrous  results.  The 
result  was  the  introduction  of  composition,  so  much 
employed  in  their  work,  often  in  a  perfectly  legitimate 
manner  and  with  very  beautiful  results.  Another 
failing  exemplified  in  many  of  their  productions  was 
their  craze  for  excessive  delicacy,  without  regard  to 
the  cardinal  principle  of  all  proportion  in  architec- 
ture and  in  furniture,  the  sufficient  appearance,  as 
well  as  the  reality  of  strength,  to  serve  the  necessary 
purpose. 

The  principles  of  the  Adam  style,  essentially  one 
of  stone,  marble,  stucco,  and  compo,  translated  into 
wood,  were  much  more  successfully  handled  by  prac- 
tical men,  such  as  Hepplewhite,  than  by  the  brothers 
themselves.  Adam  furniture,  so  Mr.  Cescinsky 
assures  us,  only  really  begins  when  the  personality  of 


HEPPLEWHITE    MAHOGANY    AND    BOXWOOD    CHAIR 
DATE    ABOUT    I790 


HEPPLEWHITE    MAHOGANY    CHAIR         DATE    ABOUT    I795 

Robert   Adam  becomes  submerged  and  that  of  the 
Hepplewhite  school  is  superimposed. 

To  the  work  of   George  Hepplewhite,  or,  rather, 

the  work  in  his  style,  the  author  devotes  a  substantial 

proportion  of  his  volume  ;  but  on  the  personality  of 

the  man  he  can  throw  no  further  light  than  has  been 

afforded  by  the  researches  of  previous  authors.     In 

fact,  Mr.  Cescinsky  disposes  of  some  of  the  legends 

concerning  him,  which,   though  not  actually  proven, 

were  generally  regarded  as   being  substantially  true. 

Thus  the   story  that    Hepplewhite    was   apprenticed 

at  the  Lancaster  factory  of  Gillows  is  shown  to  be 

without  foundation  ;  while  it  is  pointed  out  that  the 

Cabinet-maker    and    Upholsterer's    Guide,    all     three 

editions  of  which  were  issued  after  George  Hepple- 

white's    death,    must    be    considered   as    a   kind    ot 

illustrated    catalogue    advertising    the    wares   of   "A. 

Hepplewhite  &  Co.,"  and  not  as  a  series  of  designs 

necessarily    emanating    from    the    hand   or    brain    ot 

George     Hepplewhite    himself.       The    Hepplewhite 

style  naturally  falls  into  three  divisions,  namely,  the 

French,  the  Adam,  and  the  English— the  latter  often 

closelv  approximating  to  the  style  of  Sheraton.     The 

last-named   occupies   an  exceptional   position   in  the 


164 


Robert  Adam,  Hepplewhite  and  Sheraton 


history  of  English  furniture,  as,  although  his  ai 
influence  on  the  design  of  his  day  was  very  consider- 
able, he  has  been  popularly  credited  with   much   that 


full  length:  but  what  gives  Mr.  Cescinsky's  book 
a  unique  value  is  not  tin-  Mographical  records, 
interesting  as  they  are,  so  mu<  h  as  the   admirable 


SHERATON     SATINWOOI)     CHINA     CABINET 

does  not  belong  to  him  at  all.  So  far  as  can  be 
a  i  rtained,  he  was  n  :ver  a  cabinet-maker;  no  record 
exists  of  him  having  a  workshop  :  and  during  the 
fifteen  years  he  lived  in  London  he  appears  to  have 
followed  tin-  various  railings  of  a  preacher,  a  writer  of 
tracts  and  treatises,  a  teacher  of  drawing,  a  publi 
and  a  bookseller.  Nevertheless,  as  Mi.  Cescinsky 
points  out,  he  was  the  greatest  educator  of  our 
eighteenth-century  cabinet-makers,  evolving  a  distinct 
style  of  his  own,  which,  in  the  main,  was  highly 
original.  The  history  of  Gillows  and  of  various 
other  furniture  makers  ami  designers  is  recorded  at 


date    ahout    1790  5 

manner  in  which  he  traces  the  evolution  and  co- 
mingling  of  the  various  styles  of  furniture — a 
performance  which,  by  reason  of  its  cyclopaedic 
nature,  it  is  impossible  lor  a  reviewer  to  examine  in 
detail.  The  volume,  like  it-  pred  cessors,  is  illus- 
■  1  with  some  hundreds  of  carefully  select  ■ 
11  ich  1  'ii'-  of  which        di     •  tbed  and  con 

mented  upon  in  detail,  the  criticism  being  singularly 
m  111  ,  well-informed,  and  tree  from  unmeaning  eulogy. 
The  chapter  on  forgeries  contains  much  really  u  eful 
information  on  how  to  tell  a  e(  nuine  piece  from  one 
that  is  altered  or   fabricated  :   the   author   not   wasting 


165 


The    Connoisseur 


SHERATON    MAHOGANY    WORK    TABLE  DATE    ABOUT    I795 

the  reader's  time  by  re-imparting  the  very  elementary 
information  necessary  to  tell  the  obvious  and  clumsy 
"fakes"  of  a  byegone  generation,  but  giving  him  the 
expert  knowledge  necessary  to  circumvent  the  expert 
forger  of  the  present  age.     Mr.  Cescinsky   may  be 


SHERATON    CHESTNUT    AND    SYCAMORE    KNIFE    CASE 
DATE    ABOUT    I785    90 

congratulated  on  having  produced  the  best  work  on 
English  eighteenth-century  furniture  which  has  yet 
been  written ;  and  the  reader  who  masters  its  contents 
will  have  little  occasion  to  seek  information  on  the 
subject  from  other   sources. 


GILLOW     MAHOGANY     ARM     CHAIR 
l66 


Miscellaneous 


Old  Wall  Tablets     The  "  Fire  Mark"     Parti.     By  B.  Chamberlain 


1  hi  curious  and  striking  exhibition  of  some 
eighty  old  "  fire  marks"(as  these  out-of-date  insurance 
signs  are  termed),  in  the  Guildhall  Museum,  in  the 
'  of    London,    invariably    attracts   a   number   of 

observers,  who  scrutinise  with  keen  interest  these 
quaint  and  peculiarly  fashioned  little  emblems  of  the 
past,  few  being  probably  aware  that  such  tablets 
represent  much  saving  of  life  and  preservation  of 
property. 

In  the  charming  little  book  entitled  Atlas  Re- 
miniscent, by  Mr.  A.  W.  Yeo,  the  writer  refers  to  this 
collection    as   follows:  — 

"Some  curio  collectors  find  quite  a  romance  in 
the  Fire  Marks  of  the  earlier  offices,  and  will  linger 
long  before  the  exhibition  of  these  in  the  Guildhall. 
How  many  people,  I 
wonder,  understand  the 
purpose  served  by  these 
queer  little  signs,  so  often 
seen  adhering  to  old 
houses,"  etc. 

The  writer  continues 
(alluding  to  the  period 
when  the  Mark  no  longer 
claimed  the  sole  atten- 
tion of  the  firemen  of  its 
n  ;p  ctive  office,  which 
matter  I  refer  to  later 
on) : — 

"The  Fire  Mark  still 
had  i  i  s  use  I  ul  office 
when,  in  time  of  dis- 
turbance, incendiarism 
was  rife,  for  the  spite 
of  the  incendiary  was 
turned  aside  when  he- 
saw  that  the  threatened 
property  was  insured, 
and  that  it  might  per- 
haps even  serve  t  he- 
turn  of  his  enemies  if 
he  gave  them  an  oppor- 
tunity of  making  a  claim. 


NO.  I.  —  "ATHliN.SUM, 


I856       I  ONLY  KNOW  OF  ONE  VARIANT.  AS  PER  ILLUSTRATION, 

MADE    OF    PORCELAIN  SCARCE  [TUINELL    COLLECTION 

HITHERTO    UNPUBLISHED 


"An  epidemic  of  incendiarism  among  the  Kentish 
farms  took  place  in  [830,  and  an  order  of  the  din  - 
was  issued  that  all  farming  property  insured  with  the 
'Atlas' should  promptly  have  the  'Atlas'  mark  affixed 
where  in  any  case  it  had  been  omitted.  This  kind  of 
protection,  oddly  enough,  gave  rise  in  Mime  places  to 
a  superstition  that  property  bearing  the  mark  would 
not  take  tire  !  " 

While  referring  to  collections,  one  of  the  most  valu- 
able is  that  owned  by  Mr.  Percy  Collins,  of  Old 
Jewry,  E.C.  This  collection  possesses  numerically 
more  different  variants  than  any  other. 

Another  which  runs  it  closely  is  the  collection  known 
as  the  "Tufnell,"  at  Watcndone  Manor,  Kenley. 
This,   too,   has   some   very  rare   variants. 

The  three  foregoing 
collections  include  many 
of  the  extremely  early 
rare  old  leaden  examples, 
and  also  a  number  of  the 
scarce  copper-gilt,  and 
other  kinds:  the  two 
lattet  1  ollections  includ- 
ing a  much  greater  pro- 
portion of  rarities  than 
are  to  be  found  in  that  ol 
the  ( 'ity  of  London  Cor- 
poration. 

There  an  a  vi  ry  large 
number  of  collections 
scattered  throughout  the 
United  Kingdom,  some 
of  the  best  being  those 
of  Messrs.  Williams 
(Wantage),  Ma\  nard 
(Bath),  Tozer  (Birming- 
ham), I).  C.  Mackie  (St. 

Andrews),  W.  Cooti 
1 .1  mes  Kelly  (Dublin), 
and  the  Fire  Collection 
of  the  Marquess  of 
Granby,  the  latter  includ- 
ing the    peerless   "  Royal 


TRANSFERRED  TO   "TIMES 


167 


The    Connaisseur 


Exchange  Crown''  (only 
one  of  its  kind,  so  far 
known),  and  is  a  high- 
class  one  of  picked  speci- 
mens. 

There  are  now  many 
Colonial  and  American 
i  i  ill.  ctors,  and  also  several 
on  the  Continent. 

It  is  no  exaggeration  to 
state  that  each  year  brings 
forth  a  new  contingent  of 
Mark  collectors  in  no  way 
connected  with  the  insur- 
ance world,  whilst  there 
continue  to  be  recruits 
amongst  the  old  fire 
office  collectors. 

In  the  case  of  the  ex- 
perienced collector,  gene- 
rally the  securing  of  the 
old  leaden  early  policy 
numbered  tablets  forms 
his  desire,  and  especially 
the  rare  specimens  be- 
longing to  defunct  com- 
panies, and  those  of  others 
that  have  failed  at  an  early 
date,  or  have  been  absorbed  by  their  more  powerful 
brethren. 

There  is  no  complete  record  of  Marks,  and  never 


No.  II.— 

' PROTECTOR  " 


will  be.  Rough  calcula- 
tions show  that  a  com- 
plete collection  of  the 
signs  of  the  long  list  of 
companies  established 
between  16S0  and,  say, 
1862,  and  those  existing 
now,  would  exceed  1,000 
examples. 

I  have  simply  endeav- 
oured to  obtain  photos 
and  sketches  of  as  many 
different  variants  as  I 
could — English,  Colonial, 
American,  and  Conti- 
nental— in  order  to  place 
some  new  types,  in  illus- 
tration, before  the  reader. 
This  article  was  not 
prepared  with  the  object 
of  closely  covering  the 
whole  ground  relating  to 
the  history  of  the  "Fire 
Mark,"  or  the  "  Marks," 
of  each  separate  com- 
pany, and  of  minute 
particulars  connected 
therewith — such  being  an 
obvious  impossibility,  as,  except  in  a  few  instances, 
the  old  companies  are  unaware  of  these  details, 
and  of  the  precise  period  when  copper  superseded 


beacon,"   1821  transferred  to 

i827       three  variants  or  more       copper 
[tufnell  collection] 


■At 


'/ 


w 


No.  III. — "beacon"      copper 
[tufnell  collection] 


No.  IV. — "beacon"       copper       unusual  pattern 

[WILLIAMS    COLLECTION] 


168 


> 

C 
—     ** 

u 

=  g 

c-  o 
i  o 
»  g 

h    ft 

E-    ? 

J  « 
U    ™ 


Old   fVall    Tablets 


lead.  Referring  to 
the  policy  numbered 
tablets,  in  many 
cases  elucidation, 
however,  merely 
entails  a  reference 
to  their  f  o  r  m  e  r 
policy  books.  In 
the  case  of  one  fine 
old  company,  a  few 
years  since  a  new 
"progressive"  man- 
ager made  a  clean 
all  its  old 
records,  including 
past  policy  boi'k^ 
— a  step  which  is 
now  regretted  by 
the  Company. 

And  furthermore, 
it  may  be  borne  in 
mind  that  duplica- 
tion in  numbered 
tablets  makes  the 
nu  m her  in  many 
-  an  uncertain 
feature.  Some  com- 
panies duplicated, 
and  even  triplicated, 


NO.   V. "BERKS  AND  GLOSTER,"    182,  TRANSFERRED  TO   "PHO-NIX  " 

IS2S         TWO  VARIANTS  OR  MORE  COPPER-GILT        [WILLIAMS  COLLECTION 


their  old  leaden 
policy  numbers, 
owing  to  various 
causes,  and  may 
have  irther 

still  in  this  respect. 
Sunn-  of  the  most 
correct  ami  reliable 
antiquarian  insur- 
ance literatui 
issued  by  several  of 
the  old  tin-  offices, 
such  a--  Atlai  Re- 
miniscent, History 
of  tin-  Sun  Fin 
Office,  the  maga- 
zines of  "  Messrs. 
the  Royal  Kxchange 
Assurance  <  'orpora- 
tion,  "and  "  Norwich 
Union,"  etc.  These 
contain  good  sub- 
ject-matter, and 
the  possession  of 
archives  in  a  sense 
endows  the  com- 
panies with  the 
opportunity  to  ac- 
quire much  valuable 


No.  VI.  —  "BRITANNIA    "  APPARENTLY   NOTHING 

KNOWN    OF    FATE  THIS    SPECIMEN    VARIANT 

COPPER  [TUFNELL    COLLECTION 


No.  VII.— "BRISTOL,"  IJOy  (?)         (NOT  IN  WALFORD's  LIST) 
Transferred  to  "  Imperial "  183Q  orated 

coffer.  <Anatherahanasomepolicynumber,lead,shapi  'differ- 

ing, and  exposing  :n  turn  extra  repine  of  ship,  etc.)    I  Williams  Collection 


The  Coii)ioisseii7- 


information  concerning 
their  signs.  These  papers 
were  rather  intended  to 
give  general  and  reliable 
particulars  concerning 
"  Fire  Mark  "  emblems, 
and  to  be  a  short  resume, 
and  i  n  a  measure  a 
guide  to  many  of  those 
interested  in  these  old 
signs,  and  place  an 
exhibit  of  many  of  the 
most  valuable,  pictures- 
que, and  striking  exam- 
ples before  collectors, 
and  in  a  few  cases  some 
of  the  plentiful  ordinary 
ones,  which  may  be  pur- 
chased with  a  view  to 
later  appreciation. 

Nearly  all  the  literary 
efforts  I  have  seen 
would  appear  to  be  a 
compilation  from  the 
works  of  Walford  and 
Relton;  in  fact,  I  fail 
to  see  any  other  reliable 
groundwork  than  the 
books  of  these  writers, 
who,  though  not  always 
agreeing,  yet  in  the 
main  support  each  other, 
with  the  exception  of 
the  literature  of  the 
old  fire  offices.  Mr. 
Relton  w  a  s  Secretary 
of  the  "Sun"  for 
some  years,  and  con- 
sequently was  in  a 
position  to  gain  good 
information  relative  to 
insurance  ant  iquarian- 
ism,  and  the  unfinished 
Encyclopaedia  of  the 
late  Cornelius  Walford 
will  always  remain  a 
monumental  work. 

The  Post  Magazine  of 
1885  refers  to  Mr.  Wal- 
ford as  "  our  Goliath  " 
in  connection  with  the 
unique  information 
contained  in  the 
chronological   table   of 


No.    VIII. "BRISTOL     CROWN"  DATE    OF    ESTABLISH- 

MENT   UNCERTAIN  TWO   VARIANTS   OR   MORE  PLAIN 

DARK     LEAD.     HEAVY  [WILLIAMS    COLLECTION 


»: 


NO.    IX. — "BRISTOL    UNION,"     1814  TRANSFERRED    TO 

"  IMPERIAL  "    I844  TWO  VARIANTS  OR  MORE  THIS  ONE 

DARK    COPPER  ONE    A    LEAD  [WILLIAMS    COLLECTION 

.V.  B.  —  Regarding  all  these   three   Bristol  Companies,  d4taits  liable  to 
corrections  Authors  disagree 


insurance  companies  in- 
cluded in  that  volume. 
Of  course,  any  collector 
of  years'  standing  and 
acumen  can  always  relate 
something  new  to  others 
about  the  "Fire  Mark.'' 
Concerning  a  certain 
work,  more  heraldic  in 
character  than  aught 
else,  whole  successive 
paragraphs  of  "  Walford  " 
and  "  Relton  "  appear 
therein.  I  cannot  call 
this  work  an  authority, 
and  the  omission  of  so 
many  of  the  important 
signs  renders  it  sadly 
incomplete,  while  a  book 
on  such  a  subject  ought 
to  be  far  richer  in  illus- 
trations of  specimens. 
The  work,  however, 
claims  to  pose  as  one, 
though  so  sadly  in  need 
itself  of  information — 
to  wit,  its  statement, 
"Protector,"one  variant, 
whereas  there  are  three 
or  more.  The  same 
error  appears  in  Licensed 
Victuallers,  where  there 
are  three  or  more,  and 
in  teeming  instances. 
The  writer  corrects  Mr. 
Collins,  who  is  one  of 
the  oldest  collectors, and 
a  great  authority  on  this 
subject,  and  refers  to  the 
work  of  Mr.ErnestFelce, 
F.R.Hist.S.,  in  the 
November  number, Nor- 
wich  Union  Magazine, 
1906,  as  "intelligent." 
Why,  the  essay  is  ad- 
mirable, and  bears  the 
stamp  of  accuracy  and 
detail  which  all  old 
Fire  Insurance  Office 
writers  always  exhibit  ! 
Myself,  I  fully  admit,  I 
have  depended  much  on 
the  information  gained 
from   the   old   offices, 


172 


Old   Wall    Tablets 


kindly  and  freely  given  in 
all  casts.  It  may  be  re- 
membered that  many  of 
these   have  archives  in  a 

-.cnsc.  and  the  access  to 
such  sources  gives  sure 
information  on  insurance 
antiquarianism,  Marks  in- 
cluded. 

I  ,un  in  favourof  writin 
with   caution  concerning 
the    number  of  variant--   ol 
anj  old  companies.  M 
the  Royal  Exchange  Maga 
zines,  Vol.  III..  No.  6,  July, 
mi  i,  and  Vol.  111.,  No.  7. 
lanuary,   1012.  support  me 
in  a  sense,  as  the  rare 
crown    was   added    to    the 
collection  of  the  Marquess  of 
Granby — its  existence  was 
not  known   0 1   previously. 

Mr.    Felce,  too,   in  the 
Norwich   Union   Ma 
alluded  to,   bears   out    this 
view,   and  says   that   other 
specimens  of  the 
society's  marks  may 
come  to  light. 

Tli  ere  fore,  the 
limited  absolute  law 
of  saying  "so  and 
so  in   number"  is  A 

incorrect,  and  it  is        /M\ 
better  to  add 
more  "  in  all  case 

I  know  of  other  in- 
stances,  but  quot      Via 
the  two  above  only.    Jpf 

I  have  been  asked 
how  to  obtain  vari- 
ants from  the  wall. 
A  lppal  question  ap-     Vfl 

I I  '  nuy  intervi 
as  far  as  wall  is 
concerned,  although 
abductions  are  fre- 
quent— motorists 
having  tea  at  hum- 
ble cottages,  and 
effecting  by  diplo- 
macy  the    transfer- 

1 1 1 ■  ■  e  of  our  old 
friend  on  the  wall. 


COMMENCEMENT 


No.  X. — "bath"        (old  bath) 
.uncertain;  Messrs.  the" Sun"  include  it  in  tht 
L  Vm  '■  ■'  ■ 

,  ,'.  and  is  in  tie  Ma    lard  Co 
special  permission  from   Mr.   Maynard  Hitherto  unpubh 


NO.   XI. "BRITISH,"    1799  TRANSFERRED    TO  "SUN"    184? 

SOME    SIX    VARIANTS    OR    MORE    IN     COPPER  A     HANDSOME 

LEADEN    MEDALLION.    IN    POSSESSION    OF    MESSRS.  THE    "SI'N" 


One  way  in  which  1  have 
secui  '  ns 

is  to  approach   the   hou 
demolishes    but   at   times 
there   would  appear  to    be 
unexpected  claimants  in 

this  direction.      Sou 

back,  I  interviewed  one. 
who  was  levelling  a  block 
oi  buildings  near  the 
!  louses  of  Parliament,  on 

which  were  some  vei\  lup- 
oid leaden  "  11  and  in 
Hands.''  "Suns,"  and 
"Westminsters,''  and  was 
met  by  the  statement  thai 
"Government  took  all  the 
tablets  for  a  museum."  I 
enquired  of  the  two  lead- 
ing museums,  i.e.,  South 
Kensington  and  the  Brit- 
ish, but  neither  of  these 
places  were  recipients  !  It 
would  be  interesting  to 
know  where  these  did  go  to. 
Frequently,  however,  bar- 
gains and  good 
bargains  —can  be 
effected  in  this  way. 
One  or  two  dealers 
of  position  stock 
wall  tablets,  and 
though  in  many 
cases  ask  prices  out 
of  proportion,  there 
are  some  who  will 
sell  at  a  moderate 
figure. 

Referring    to  the 
question    ol    prices 

paid,  there  ap| «  ai 
to  be  no  fixVd 
values.  Probably 
the  highest  pri< 
paid  was  f  i  v e 
pounds  for  a  "Suf- 
folk and  Counties.'' 
the  large,  circular, 
copper  disc,  with  a 
suspended  lamb 
thereon,  somewhat 
similar  to  some 
"Temple  (Legal) 
Emblems."     There 


173 


The    Connoisseur 


MO.    XII. 'CHURCH    OF    ENGLAND,"     184O 

TRANSFERRED  TO  "  IMPERIAL"    1893         THREE  VARIANTS 
OR    MORE  COPPER  [WILLIAMS    COLLECTION 

is  a  rarer  one  still  in  this  connection,  a  simple  leaden 
plate  bearing  the  words  "Insured  Suffolk  Fire  Office" 
(former  Biles  Collection). 
This  price  was  given  some 
years  since,  and  there 
are  doubtless  many  who 
would  again  pay  this  sum 
for  such  a  sign.  This 
Suffolk  Fire  Office 
became  Suffolk  and 
Counties,  which  com- 
pany was  merged  in 
Suffolk  Alliance,  now 
Alliance.      The   Ipswich 

branch   of  Alliance   is 

still  at  the  old  office. 
It  must  be   borne    in 

mind  that  every  year  there 

is  a   great  diminution  in 

the  number  of  likely  old 

buildings  bearing  the 

signs,  and  at  no  very  dis- 
tant date  these  marks  will 

be  unobtainable,  and  the 

insurance    antiquarian   of 

the  future  will  find  a  prob- 
lem   to   solve   in   seeking 

to  collect  at  moderate 


NO.    XIII.  —  "CHURCH    OF    ENGLAND"  COPPER 

[WILLIAMS   COLLECTION 

prices.    Even  now,  it  is  a  matter  of  great  difficulty 
to    secure   good   and   scarce  specimens  at  anything 

like  fair  values.  As  an 
investment  the  "Fire 
Mark"  will  probably 
prove  more  remunera- 
tive than  any  similar 
object. 

The  question  of 
mounting  specimens 
seems  to  afford  unneces- 
sary trouble  :  this  is 
surely  a  matter  of  pri- 
vate judgment.  Per- 
sonally, I  prefer  these 
objects  mounted  on 
dark,  polished  oaken 
tablets,  with  cross  chains, 
and  plates  of  denotement, 
and  with  typed  particu- 
lars pasted  at  back.  It 
seems  unreasonable  to 
protest  against  this 
method,  considering  the 
costliest  armour,  and 
other   rare   metal   o  b- 

NO.   XIV.-  ■"  EAGLE,"    1807  STILL  IN    "LIFE"  -^       afe   often  SQ  treatecl 

TRANSFERRED  TO  "FIRE"  I827        THREE  VARIANTS  OR  MORE 
THIS    IRON    SCARCE  [FROM    FORMER    BILES    COLLECTION         by     COnnOlSSeUrS. 


'74 


SoTES 


QUER/eJ 


[The  Editor  invites  the  assistance  of  readers  of  The  Connoisseur  who  may  be  able  to  impart  the 
information  required  by   Correspondents.] 

of  committing  any  sin:  and  the  more  men  permit 
to  thee  because  thou  ana  prince,  so  much  the  less 
do  thou  permit  to  thyself.  When  things  go  ill  with 
good  men  it  is  imputed  to  fortune.  .  .  .  No 
happiness  gained  by  crime  lasts  long.  He  who 
betrays  (gives  up)  good  men  .  .  .  preserves,  and 
does  not  destroy  those  whom  he  gives  up."  Although 
I  suspect  (betrays?)  that  it  should  be  read-  "He 
who  punishes  bad  and  mischievous  men  takes  pit) 
on  the  good  and  innocent,  whom  he  liberates  from 
the  violence  of  the   bad." 

I   remain,   yours  truly.    H.    R.ANDLE. 

"Adam  and  Eve  Charger." 

Dear  Sir, — In  reference  to  the  Adam  and  Ere 
Charger,  dated  1647,  and  illustrated  in  the  July 
number  of  The  Connoisseur,  it  may  be  of  interest 


(io)  unidentified  portrait 

Unidentified  Portraits  (10  and  11). 

Dear  Sir, — I  have  two  oil  paintings  of  men  clad 
in  red  robes.  The  one  holding  the  book,  which  I  am 
most  interested  in,  with  Latin  inscription,  I  have  had 
translated,  but  I  am  unable  to  trace  who  the  artist 
really  is.  The  expert  at  Puttick  >.V  Simpson's  states 
they  are  of  the  sixteenth  century,  and  he  considers 
the  one  holding  the  book  of  great  interest.  The 
paintings  are  done  on  canvas  and  vellum  backs  ;  the 
si/.e  of  canvas  is  27  in.  by  22  in.,  and  they  are  in 
good  old  English  gilt  frames.  Do  you  think  you 
would  be  able  to  trace  the  artist  by  inserting  the 
photographs  in  your  magazine  ?  I  also  enclose  the 
translation  of  the  book,  but  some  of  the  words 
cannot  be  traced. 

Cleobolus. 

"The  more  powerful  thou  art  beware  all  the  more 


(ll)    UNIDENTIFIED    PORTRAIT 


The   Connoisseur 


to  your  readers  to  know 
that  I  possess  a  plate 
with  almost  an  identical 
picture,  but  with  a  very 
fine  border  to  it.  This 
plate  measures  14  inches 
on  the  inside,  and  19 
inches  including  the 
border.  The  border  is 
decorated  with  twenty- 
one  Tudor  roses  in  blue 
and  green,  with  orange 
centres  in  relief. 

The  interesting  feature 
of  the  plate  is  that  it  is 
signed  on  the  front  with 

T 
the  initials  T  M. 

l635 

I  have  sent  a  descrip- 
tion  of  this  plate  to 
various  authorities,  and 
they  have  always  told 

„....,  .     ,  (I2)    UNIDENTIFIED    PORTRAIT 

me  that  there  must   be 

some  mistake  in  the  date,  since  these  plates  were  not 
made  till  at  least  twenty  or  thirty  years  later,  and  that 
the  date  should  read  1655,  or  even  1675. 

The  plate  you  illustrate  certainly  shows  that  this 
is  not  the  case,  and  I  have  always  believed  that  the 
fact  of  the  Tudor  rose  decoration  to  the  border  is  a 
strong  evidence  that  the  date  of  my  plate  is  the 
correct  one, 


and  has    no   moustache 
or  beard. 

Yours  faithfully, 

Leverton  Harris. 

P.S. — Have  you  ob- 
served the  likeness  be- 
tween the  Adam  of  the 
plate  which  you  illus- 
trate and  Charles  I.  ? 


Unidentified 
Portrait  (12). 

Dear  Sir, — I  enclose 
print  of  the  subject  of 
my  enquiry,  which  is 
an  oil  painting  portrait, 
29!  in.  by  25I  in.,  in 
heavy  gilt  frame.  I 
should  be  glad  if  you 
or  any  reader  of  The 
Connoisseur    could 

help  me  to  identify  the  painter  and  the  subject  of 

the  painting. 

I  am,  yours  truly,  Murray  T.  Foster. 


and  not  a  mis- 
take.  The 
1 1  1 1 1  r  i  n  g  also 
hears  this 
out. 

The  o  n 1 y 
variations  be- 
tween my  plate 
and  the  one 
you  illustrate 
are  (a)  a  slight- 
ly differenl 
position  of 
the  serpent. 
and  (/>)  small 
\  ,i  1  iations  in 
the  back- 
ground, a  1  - 
though  the  two 
trees  which  appear  in  the  background  are  both  shown 


in  my  plate  :  (c)  the  figure  of  Adam  is  rather  broader 
across  the  shoulders  and  a  little  cruder  in  drawing. 


Old  Spode. 
Dear  Sir, — I  feel  I  should  like  to  tell  you  ot  an 
old  Spode  tea-service  of  ours,  in  connection  with  your 

letter  in  the 
July  Connois- 
seur. It  was 
bought  in 
Chester  in 
1  8  1  8  by  my 
grandmother 
when  she  left 
school,  taken  to 
her  home  i  n 
Carnarvo  n, 
where  it  was 
frequently  used 
as  "best  china," 
until  it  returned 
here  in  1  8 8 9, 
w  hen  m  y 
mother  took  up 

her  abode  in 
(13)  unidentified  painting  _, 

Chester.     It  is 

complete,  and  has  neither  chip  nor  crack.      It  consists 


ul  teapot  and  stand,  sugar  basin  and  lid,  cream  jug, 
two  round  bread-and-butter  plates,  twelve  teacups  and 


176 


Notes  ami  Queries 


saucers,  and  twi 
mugs.     Each  piei 
marked   "  Spode,   37  1." 
L'tu-   marvel   is  that  it 
should  have   sur\  \\ 

A  returned  to 
th    city  in  which  it  was 
Ut.    In  my  recollec- 
tion it  has  ranked as"old 
i.     .nid   not    used, 
but    its    value    was    in 
iation  chiefly,  as  we 
were    not   aware  until 
your  letter  that   Spode 
was  much  thought  of. 
\  ours  truly, 
Miss)  E.  F.  Willi  ims. 
P.S. — The  price  was 
,{.5  in   [818. 

Unidentified  Paint- 
ings (  [3   AND    1  ; 
Dear  Sir, — Enclosed 
please    find    two    photos 
of  oil    paintings,  which 
pictures  kindly  oblige  me 
by  reproducing  in  The  Connoisseur  for  identification 
by  any  of  your  readers.      The  Hunting  Party,  65  in. 
by  102  in.,  painted  two-thirds  oil  and  one-third  wax, 
megilp,  and  oil,  is  attributed  to  Sir   David  Wilkie, 
and  The  Holy  Family,  25  in.  by  36  in.,  is  attributed  to 
Geo.   Romney. 
Any    informa- 
tion  in   regard 
to  the  above 
will  be  greatly 
appreciated  by 
Yours  very 
sincerely, 
Li  iuise   M  \  \s. 


i  ^identified 
Painting  i  1  (). 
Dear  Sir, — 
I  should  be 
grateful  if 
you  or  any  of 
the  readers  of 
The  Conn  >is- 
Seur  could  tell 


(14)   UNIDENTIFIED    PAINTING 


(15)    UNIDENTIFIED    PAINTING 


me  the  name  of  the  painter  of  the  original  of  the 
enclosed  photo.  It  is  called  S.  Agnes,  and  is  life 
size.  The  picture  is  painted  on  a  very  old,  thick, 
wooden  panel.    The  colouring  is  most  beautiful.    The 


original  ntly   a 

woi  k  ol   art,    but 

the  qui  i\  1-  by  who: 

B       .     me,  yours  truly, 

1       M  ASTER . 

Unidentified  Paint- 
ing 1 
l  n  \r  Sir,—]  em  lose 
a  photograph  ol  .1  pii  tun 
in    oils,   and   would   feel 
obliged    if   any  ol    your 
readers  could  identify  the 
painter.    The  line  across 
the  picture,  rather  more 
than    half   way    down, 
shows  where  the  canvas 
has   been   added.      The 
si/e  of   the    painting   is 
60  in.  by  87  in. 

Yours  truly, 

\V.    BURDON-MULLER. 
UN1DEN1  11  11  D 

Portrait  ( 16). 
Dear  Sir, —  Will  you 
very  kindly  insert  in  The  Connoisseur  the  photo  ol 
an  old  oil  painting  which  1  have?  I  want  to  know 
whose  portrait  it  is,  and  by  whom  painted.  It  has 
been  attributed  to  Raebum.  The  person  representi  d 
is  in  a  dark  coat  and   a  yellow  waistcoat.      1  should 

much  like  to 
buy  a  print  of 
it,    il    there    is 

1  me. 
Yours  trul) , 
J.  A.  Junes. 


Unidentified 

Por  1  u.\i  1  (18). 
Dear  Sir, 

I  should  In- 
glad  to  know 
if  any   of  your 

readers     can 

assist  me  in 
disco\ 

painter  ol  the 
portrait  of 
which  I  enclose 
The   principal 


photo   (which   is  not  a  good  one] 
figure  is  supposed  to  be  the  first  Marquis  of  Monl 
rose,  who  was  beheaded  in  1650,  and  the  figure  in 
the  background  is  a  servant  or  groom  holding  up  the 


177 


The   Connoisseur 


(l6J    UNIDENTIFIED    PORTRAIT 

reins  of  the  horse.  This  figure  is  in 
colouring  of  the  Marquis  is  mostly 
brown,  with  coat  over 
shoulder  of  dark 
green  and  blue.  Size 
of  painting,  39  in.  by 
32  in. 

It  has  been  in  my 
family  for  some 
generations,  and  I 
believe  originally  there 
was  a  parchment  his- 
tory of  the  picture, 
which  was  lost  at  my 
father's  death.  The 
artist's  signature  is  in 
lower  right  hand  cor- 
ner, but  quite  impos- 
sible to  make  out. 
Leonardo  (?)  (Dobson 
or  Jamesone),  the  last 
two  have  been  sug- 
gested. 

Any  help  I  should  be 
glad  of. 

\  ours   faithfully, 

F.  L.  U. 


red  and  the 
in    shades  of 


(l8)    UNIDENTIFIED    PORTRAIT 


(17)    UNIDENTIFIED    PAINTING 

Unidentified  Painting  (September  No.,  Page  51). 
Dear  Sir, — In  your  issue  of  this  month  there  is 
a  subject  called  "  Un- 
identified Painting"  that 
I  think  is  by  a  French 
artist.  It  is  Alexander 
the  Great  and  the  Doc- 
tor, a  favourite  subject 
of  painters  and  engrav- 
ers. I  have  two  old 
engravings  of  the  sub- 
ject, but  not  exactly  the 
same  as  yours.  Alex- 
ander obeys  the  doctor, 
and  treats  the  contentsof 
the  letter  with  contempt. 
One  of  my  engravings  is 
a  very  fine  French  line 
engraving  by  B.  Andran, 
1  71 1.  Full  details,  with 
Royal  Arms,  etc.,  are  en- 
graved at  the  foot,  finish- 
ing with  "Q  CurecLs." 
I  suppose  it  means 
"Quintus  Curtius." 
Yours  sincerely, 
James  Campbell. 


178 


MISS    STEPHENSON 
PAINTED    BY    \V.    PETERS 
ENGRAVED    BY    W.     DICKINSON 


shavTTT* 


Sailors'  Love 
Tokens 


Gi  \—  rolling-pins,  as  here  illustrated,  were  made 

at  Sunderland  and  other  places,  and  sold  to  sailors. 
Thev  were  given  by  them  to  their 
sweethearts  when  parting  before 
a  voyage.  The  lady  generally 
hung  it  up  in  the  kitchen  decked  with  coloured 
ribbons.  There  was  a  superstition  that  if  the  rolling- 
pin  got  broken  the  vessel  that  carried  the  giver  had 
been  wrecked. 

They  were  made  in  a  variety  of  sizes,  and  were 
adorned  with  mottoes,  pictures,  and  quaint  verses. 

One  of  mine  has  in  the  centre,  "Love  and  live 
happy";  on  the  left  a  drawing  of  the  bridge  at 
Sunderland  that  >pans  the  river  Wear  ;  on  the  right, 
"  A  frigate  in  full  sail.''  Another  has  in  the  centre, 
"  To  the  girl  I  love  "  ;  on  the  right  a  "  Steamship  "  ; 
on  the  left  the  following  lines: — 

"  From  rocks  and  sands  and  barren  lands, 
Kind  fortune  keep  me  free  ; 
Anil   from  great  guns  and   women's  ton 
Good   I.onl,  deliver  me." 

I  should  fancy  the  gift  in  this  form  was  by  the  sailor 


Lace-makers' 
Stool 


to  his  wife  after  a  few  years'  experience  of  married 
life.— Maberlv   Phillips,  F.S.A. 

A  FEW  years  ago,  when  cycling  from  Bedford  to 
Northampton,  I  passed  through  the  village  of 
Lavendon,  when  my  attention  was 
directed  to  a  couple  of  elderly 
women  sitting  outside  their  cottage 
door,  busily  working  at  pillow-lace.  It  was  a 
gloriously  sunny  morning,  so  I  dismounted  and  had  a 
chat  with  the  good  ladies.  I  found  that  the  remunera- 
tion for  lace-making  had  gradually  fallen  very  low, 
and  that  at  the  present  time  one  halfpenny  per  hour 
was  about  the  average  earnings  of  a  lace-worker. 
I  was  much  interested  in  the  matter,  and  requested 
one  of  the  workers  to  procure  for  me  a  pillow, 
bobbins,  etc.,  fitted  up  exactly  like  her  own,  and 
send  it  to  my  address  with  the  account.  This  she 
kindly  promised  to  do.  In  due  time  the  "pillow" 
arrived,  with  all  the  necessary  paraphernalia.  In 
the  account  each  item  was  duly  charged,  and  at  the 
end  "  trouble  "  was  entered  at  eighteenpence.     This 


I 


sailors'    love   tokens 
181 


The    Connoisseur 


I  thought  very  little,  but  when  ^S 

I  considered  that  it  was  equal 
to  thirty -six  hours  at  lace- 
making,  probably  the  good 
woman  considered  she  was 
fairly  recompensed  for  her 
trouble.  Subsequently  I  ob- 
tained the  lace -makers'  stool 
here  illustrated,  now  becoming 
very  rare,  but  at  one  time  in 
general  use.  It  stands  two  feet 
from  the  floor;  the  table  is, 
roughly,  1 1  inches  square,  so 
that  four  workers  can  sit  at  one 
stool.  Four  octagonal  uprights 
are  let  into  the  table.  Each  of 
these  has  a  hole  pierced  in  the 
top  to  the  depth  of  about  4 
inches  ;  into  each  a  glass  globe 
is  inserted.  The  globe  has  a 
neck  of  about  3  inches,  which 
is  let  into  the  wood;  the 
weight  of  the  glass  is  borne  by 
the  upright.  Each  globe  is 
tilled  with  water,  and  tightly 
corked  at  the  end  of  the  neck. 

In  the  centre  of  the  stool  is 
the  candle-holder.  This  can  be 
adjusted  to  the  required  height, 
so  that  the  candle  can  be  raised 
as  it  burns  away.  The  light  of 
the  candle  shining  through  each 
water-bowl  sheds  a  strong  ray  of  light  upon  the  exact 
spot  where  the  lace-maker  is  working— the  height  of 
ingenuity  and  economy,  enabling  four  workers  to 
participate  in  the  light  of  one  candle.  Sometimes 
the  globes  are  made  of  tinted  glass. 

I  understand  that  watch-makers  and  jewellers  even 
yet  use  a  glass  globe  of  this  description,  and  con- 
centrate the  rays  of  light   in   the  same  way. 

The  so-called  "Bible"  shown  on  No.  i.  is  made 

of  tin,  lacquered  black.      When  held  by  the  handle 

_,     .  it  looks  very  like  a  church  service 

Hie  Apprentices  r  .,  , 

Bible  of  the  present  day. 

No.  ii.  shows  its  real  purpose. 

When  opened  out  it  forms  a  very  neat  lantern  with 

which    the    apprentice    could     light    his    master   and 

mistress  back  to  their  dwelling  on  a  dark  Sabbath 

afternoon  or  evening. 

No.  iii.  shows  the  lid  hall  open.      It  is  perforated 

to  allow  the  smoke  to  escape.       When  I  procured  it 

there  .was  still  a  portion  of  a  small  wax  candle  in  one 

corner.     An  open  door  at  the  back  will  also  be  seen, 


of  Flaa  Church, 
Hallingdal 


LACE     MAKERS      STOOL 


which  provides  accommodation 
for  flint  and  steel  or  other  light- 
producing  apparatus.  The  front 
and  two  side  windows  are 
covered  with  talc.  Though 
small  it  would  give  a  very 
effective  light.  When  open  it 
measures  5  in.  by  3^  in.  by  3  in.  ; 
when  closed  4  in.  by  3  in. 
by  f  in.  It  is  most  skilfully 
designed  and  manufactured. — 
Maberly  Phillips,  F.S.A. 

The  Hallingdal  is  an  exten- 
sive district  in  Southern   Nor- 
way, embrac- 
The  Doorway  ^        ;ng   nQt  on,y 

Hallingdalen 
itself,  but  all 
the  lesser  valleys  and  coombes 
which  pierce  the  surrounding 
mountains.  It  long  continued 
one  of  the  most  inaccessible 
parts  of  the  country,  and  re- 
mained but  little  affected  by 
modern  innovations,  so  that 
many  of  the  ancient  semi-pagan 
customs  lingered  on  until  recent 
times,  as,  for  instance,  the  wild 
Hallingdans,  with  its  weird 
musical  accompaniment,  which 
not  unfrequently  resulted  in  a 
bloody  "girdle  fight,"  such  as  is  represented  by  Molin's 
famous  bronze  group  of  the  Baltespannare,  standing 
before  the  National  Museum  at  Stockholm.  With 
the  old  customs  there  also  survived  in  these  isolated 
valleys,  until  quite  recently,  many  of  the  picturesque 
Norwegian  costumes,  curious  furniture  ami  wooden 
tankards,  as  well  as  ancient  timber  farmhouses  and 
churches.  Among  these  buildings  there  was  a  great 
deal  of  carved  work  covered  with  scenes  from  the 
Eddiac  songs,  which  must  have  belonged  to  structures 
of  a  pre-Christian  period,  proving  by  their  long  use 
the  remarkable  durability  of  wood-work.  About  the 
middle  of  the  last  century  a  great  change  took  place; 
the  valleys  were  opened  up  to  civilisation,  as  re- 
presented by  the  modern  "  tripper,"  the  abounding 
curiosities  were  sold,  and  perhaps  replaced  by  worthless 
imitations  to  be  sold  again,  and,  worse  than  all,  many 
of  the  old  churches  were  demolished  and  their  re- 
markable carvings  sent  to  replenish  the  museums  of 
Christiania  and  Copenhagen.  Such  was  the  fate  of 
the  church  of  Flaa,  a  little  village  on  the  Hallingdals 
river,  near  the    point  where  it  falls  into  the  Kroder 


Notes 


NOS.     I.     AND     II. 


APPRENTICES       BIBLE 


OPEN     AND    CLOSED 


lake;  it  was  pulled  down  in  1854,  and  its  disjecta 
membra  have  to  be  looked  for  at  Christiania.  The 
doorway  which  we  illustrate  is  one  of  these.  Un- 
fortunately only  the  front  of  the  door-frame  remains  : 
the  return  janib.s,  no  doubt  as  richly  carved,  are 
missing.  The  work  is  executed  in  the  local  pine-wood, 
and  the  ornamentation  consists  of  those  extraordinary 
combinations  of  interlacing  bands  curved  eccentrically 


one  within  another  with  lacertine  terminations,  to  be 
found  in  all  this  class  of  wood-carving,  as  well  as  in 
Irish  and  Celtic  manuscripts.  Although  no  Christian 
symbols  are  to  be  found  on  it,  it  belongs  to  the  post- 
ii  period,  and  was  no  doubt  made  for  Flaa  church, 
p  :rhaps  at  the  end  of  the  eleventh  century,  ami  it 
owes,  in  part,  its  remarkable   pi  tion  to  the  red 

paint  with  which  it  was  originally  coated. 


The    Connoisseur 


The  Cancelli  of  Salerno 
Cathedral 

Salerno  Cathedral, 
built  by  Robert  Guiscard 
and  consecrated  by  Hilde- 
brand  in  1085,  still  con- 
tains a  vast  store  of 
ecclesiastical  furniture 
which  for  magnificence 
and  extent  is  scarcely  to 
be  rivalled  in  Italy,  and 
that  in  spite  of  a  tasteless 
and  devastating  moderni- 
zation which  the  building 
underwent  early  in  the 
eighteenth  century.  The 
entrance  to  the  church 
from  the  atrium  still  re- 
tains the  ancient  bronze 
doors  made  at  Constanti- 
nople, and  the  great  mar- 
ble ambones,  with  their 
screens  and  staircases, 
stand,  but  little  altered,  in 
their  original  positions  on 
either  side  of  the  nave  ; 
while  within  the  choir- 
screens  are  a  profusion  of 
rich  objects,  such  as  the 
stalls  of  walnut  intarsia, 
marble  pavements,  can- 
dlesticks of  rare  porphyry, 
a  great  marble  throne, 
and  the  cancelli  which  we 
illustrate.  In  the  beautiful 
Renaissance  crypt  is  preserved 
Palliotto  presented  by  Guiscard 


DOORWAY     OF     FLAA     CHURCH,     HALLINGDAL 


the    church    and   atrium, 
and  still  occupied  as 
tombs,  is  one  of  the  finest 
collections  of  Roman  and 
early  Christian  sarcophagi 
to  be  found  outside  the 
National  Museums.     The 
enormous    quantity    of 
precious  marbles  lavished 
on  these  decorations  was 
due  mainly  to  the  Norman 
raid    on  Rome   of    1084, 
whence  was  brought  not 
only  the  beautiful  columns 
and  blocks  of  un worked 
material,  but  the  capitals, 
bases,  and  other  carvings  ; 
while  great  quantities  of 
white    marble    may  have 
been  derived  from  the 
ruins  of  the  neighbouring 
Greek   city   of  Paestum. 
Although  a  large  part  of 
this  spoil  was  used  for 
the    construction    of    the 
cathedral  itself,  much  was 
left  over,  and  towards  the 
end  of  the  twelfth  century 
Archbishop  Romualdus 
had   the  pavements,  am- 
bones, and  screens  manu- 
factured from  the  residue. 
Amongst    the    choice 
marbles  so  used  were  the 
four   columns  of  black 


the   Byzantine   ivory 
and,  scattered  about 


porphyry,  of  priceless  value,  from  some  long-forgotten 
Egyptian  quarry,  which  support  the  Epistle  Ambone, 


{Vy^y^T't^T'lYiJ7TtTWtTff:J^7P^^%i  <• 


V      -  -      i-  " 


W™=vji 


Wr 


p, 


THE     CANCELLI     OF     SALERNO 


184 


Notes 


as  well  as  the  granite  columns 
of  the  Gospel  Ambone,  and 
the  rare  porphyry  candlesticks 

in  the  choir.  The  cancelli 
shown  in  our  drawing  appear 
to  be  part  ol  Romualdus's 
work,  although  they  h 

shifted  from  their  original 
position  and  are  now  placed 
athwart  a  beautiful  pavement 
of  opus  afexandriiium,  regard- 
less of  its  pattern.  They  con- 
sist  ol  two  walls  of  white 
marble,  9  inches  thick  and 
4  feet  6  inches  high,  showing 
at  present  — for  they 
been  much  altered-  tl 
panels  in  length,  of  which  we 
have  drawn  two,  standing 
a  moulded  base,  the  top  ot 
which  is  level  with  the  pave- 
ment of  the  sanctuary.  They 
are  covered  with  a  rich 
mosaic-work  of  various 
marbles  and  white  and  gilded 
glass,  displaying  considerable 
Saracenic  feeling,  having  the 
different  borders  twisted 
round  slabs  of  verd'antico  and 

porphyry.  On  the  top  of  the  walls,  over  each  pier, 
were  candlesticks  or  finials,  but  of  these  only  some 
of  the  bases  remain. 

YOUR   issue  lor  July  has  an  interesting  article  on 
"  Doulton's     Lambeth     Wares.''    by 
Caudle  Flask         (    p    Blacker      0n  thc  first  illustra- 
tion (No.  i.)  is  a  caudle  flask.      I  have  a  similar  flask, 


CAUDLE     FLASK 


and  perhaps  a  few  particulars 
in. iv  be  of  interest.  Mr.  and 
Mrs.  1    :  ented 

in  bid.  The  gentleman's  side 
face  is  given,  showing  a  bob 
night-cap  ;  his  better  hall  is 
shown  very  full  face,  with 
an  elaborately  frilled  head- 
dress. Under  nea  tli  on  a 
scroll  is  "Mi.  and  M  rs. 
1  audle  and  below  in  four 
in  :S — 

"  No  !      Mr.    I  audle, 
1   w ill  nn!   e,u  in  sleep, 

Ami    be    a    good    SOul. 

..   'hid)         1 

Along  the  rim  of  the  flask 
in  "  1'.  J.  Luby,  Wine  and 
Spirit  Merchant."  On  the 
other  side  is  the  full-length 
portrait  of  a  Inly  carrying  a 
parasol.  Over  the  head  of 
the  figure  is  "Miss  Pretty- 
man,"  and  on  the  rim  below, 
"Nag's  Head.  Hounsditch." 
Mr.  and  Mrs.  Caudle  we  know. 
but  who  was  Miss  Prettyman? 


The   pipe-burner   here    shown    is   made  of   Sussex 
iron.       It    is    15    inches    long,    7    inches    high,    and 
4    inches    across    the    barrel     part. 
Clay  Pipe-  jn    tne    days   wnen    nearly   every 

ner  smoker    spent    his  evenings  in  the 

village    ale-house,    the    long,    white    clay  pipe,    alias 
"churchwarden,      was    habitually    used.      Each    - 
tomer    expected   a   clean    pipe    every   evening.     This 


CLAY     PIPE     BURNER 


185 


TJie    Connoisseur 


came  rather  hard  upon  mine  host,  "  John  Bonitace.' 
To  meet  the  demand  and  save  the  expense  of  new 
pipes,  after  closing-time  he  gathered  all  the  "  church- 
wardens "  that  had  been  used,  placed  them  length- 
ways in  the  pipe-burner,  and  then  plunged  them  into 
a  wood  fire.  In  due  time  all  the  old  used  pipes 
were  restored  to  their  pristine  beauty,  and  were  on 
the  next  evening  handed  round  as  brand-new  pipes. 

We  are  told  that  "  what  the  eye  does  not  see  the 
heart  does  not  grieve";  in  the  same  way,  I  presume, 
what  the  smoker  did  not  see  did  not  grieve  him.  I 
fancy  the  briarwood  pipe  and  ubiquitous  cigarette 
have  killed  the  churchwarden  and  put  the  pipe- 
burner  on   the   shelf. 

Though   Francis  Wheatley  is  best  known  to  pos- 
terity by  his  celebrated  series  of  The  Cries  of  London, 
he  produced  a  large  number  of  works 
which    rivalled  the    Cries  in   technical 
merit.       It    may   be   remembered,  as  a   proof  of  the 
contemporary  esteem  of  the  aitist,  that  he  was  elected 
Associate  of   the    Royal   Academy  in   preference    to 
Lawrence,    though    the    latter    was    backed    by    the 
powerful    influence    of    George    III.        The    Little 
Shepherdess  is  from  a  typical  water-colour  by  the  artist, 
charming   in    its   feeling   and    sentiment   if  not   too 
certain  in  its  draughtsmanship.     Of  Raeburn's  merits 
as  an  artist  there  is  little   occasion  to   write,  as  his 
reputation  is  now  secure  against  the  whim  of  fashion. 
His    portrait  of    Miss   de    Vismes,   afterwards    Lady 
Murray,   which    is   in  the   collection   of  the   Earl  of 
Mansfield,   attracted  great  attention   at   the  Glasgow 
International  Exhibition,  1908,  the  first  time  it  appears 
to  have  been   publicly  exhibited.      The  two   plates, 
Miss    Stephenson    and    Miss    Cumberland,    are    from 
proof  engravings  respectively  by  W.  Dickenson,  after 
the   Rev.  M.  \V.  Peters,  R.A..  and  J.  R.  Smith,  after 
Romney.      These    and    other    plates    by    the    same 
engravers  in  this  collection   will  be  treated   upon  in 
an  early  number  of  The  Connoisseur.      Another 
illustration    from    an    engraving    is    the    Ralph  John 
Lambton,   Esq.,   his  horse,    Undertaker,   and  hounds, 
which  was  mezzotinted  by  Charles  Turner  after  the 
picture   by  James    Ward.       Ward   intended  that   the 
plate  should  have  been  engraved  by  his  brother,  and 


complained  somewhat  bitterly  that  Turner  obtained 
the  work  from  the  latter  by  means  of  a  trick.  The 
plate  proved  most  successful,  and  numerous  reprints 
— some  of  them  closely  approximating  to  the  early 
copies — have  been  struck  from  it.  The  Portrait  of 
a  Woman,  by  Primaticcio,  is  one  of  the  few  known 
works  of  this  scarce  artist,  and  the  portraits  in 
miniature  of  Napoleon  and  Marie  Louise  are  repro- 
duced from  an  engraving  in  colour  by  Noel  Bertrand, 
who  flourished  in  the  first  quarter  of  the  last  century. 


BooKs    Received 

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trated in  colour  by  G.  Denholm  Armour,  10s.  6d.  net  ; 
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The 


Gr. 


186 


figURREftT  ART 


"  A  Lady  and  two  Children  of  the  Lomellini  Family." 
By  Van  Dyck 
The  Lady  and  two  Children  of  the  Lomellini  Family, 
in  Dyck, 
which  we  illus- 
trate, is  om 
the  seven  pic- 
tures by  the 
great  Flemish 
artist  that  were 
sold  out  of  the 
i a  tee  of  the 
Cattaneo  family 
at  Genoa,  unbe- 
known  to  the 
Italian  Govern- 
ment officials, 
rather  more 
than  five  years 
ago.  It  is  the 
last  of  that 
group  of  paint- 
ings to  find  a 
purchaser,  and 
has  lately 
ed  into  the 
collection  of 
H  e  r  r  v  o  n 
Nemes,of  Buda- 
pest. Ratti, 
who  wrote  of  the 
private  collec- 
tions of  Genoa 
in  17S0.  has  left 
it  on  record  that 
in  his  day  there 
were  s  e  v  e  r a 1 
portraits  by  Van 
Dyck  in  the 
palazzoofGiam- 
battista  Cat- 
taneo. That  of 
Ago  s  t  i  no 
Lomellini,  at 
the  corner 
of  the  Strada  a  lady  and  two  children  or  the 


di  S.mt'  Agnese,  then  also  contained  many  full-length 
pictuies  by  the  illustrious  Fleming.  lie  adds  that 
Vincenzo  Lomellini's  palatial  abode  still   retained  "  six 

superb  portraits 
by  Vandik  "  ;  of 
these  three  were 
half-length  and 
three  full-length 
pictures,  while 
in  an  adjoining 
room  were  four 
0  t  lie  r  h  a  1  f- 
lengths  "  by  the 
said  Vandik." 
When  also  it  is 
recalled  that  the 
Man  hese  Luigi 
Lome  1  lini  was 
as  late  as  1830 
the  fortunate 
owner  of  the  im- 
posing portrait 
group  of  his 
ancestors  that  is 
now  one  of  the 
proud  posses- 
sions of  the 
N  ati  onal  Gal- 
lery of  Scotland, 
it  becomes  diffi- 
cult  to  realise 
the  extent  of 
Van  Dyck's 
artistic  achieve- 
ment in  the  city 
justly  known  by 
the  epithet  of 
"  La  Superba. 

A  cursor  y 
glance  through 
the  laborious 
compilation  of 
L  it  t  a  and  a 
-  >:.  ultation  of 
the   works   of 

LOMELLINI     FAMILY  BY     VAN    DYCK  '    whohave 


I87 


The    Connoisseur 


written  with  authority  on  the  noble  families  of  Genoese 
territory  fails  to  assist  the  present  writer  in  his  attempt 
to  identify  the  figures  here  portrayed  with  such  virility 
of  characterisation.  Nor  is  it  clear  whether  the  family 
portraits  of  the  Lomellini  passed  to  the  Cattaneo  by 
purchase  or  inheritance.  Such  enquiry  is,  however, 
unnecessary  in  the  present  case,  as  it  is,  after  all,  the 
picture  itself  that  counts  ;  but  it  is  fairly  obvious  that  the 
lady  in  the  group  here  reproduced  is  younger  than  in  the 
Edinburgh  canvas,  which  is  also  slightly  larger.  The 
former  may  have  been  painted  about  1624,  and  the  latter 
three  years  later. 

The  National  Gallery,  it  will  be  recalled,  acquired  in 
1907  the  Marchese  Giovanni  Bat/is/a  Cattaneo  and  his 
Marckesa  from  Messrs.  P.  and  D.  Colnaghi  for  ,£27,000, 
the  vendors  contributing  £2,000  towards  the  purchase- 
money.  Subsequently  Mr.  H.  C.  Frick,  of  Pittsburg, 
acquired  the  Marclicsa  Giovantia  Cattaneo,  while  Mr. 
P.  A.  B.  Widener,  of  Philadelphia,  became  possessed  of 
the  Filippo  Cattaneo,  the  Clelia  Cattaneo,  and  the 
magnificently  imposing  E/ena  Grimaldi,  wife  of  Niccolb 
Cattaneo,  accompanied  by  a  negro  holding  a  parasol  over 
her  head. 

It  seems  to  have  been  generally  overlooked  that 
Alphonsus  V.  of  Aragon  possessed,  as  Bartolommeo 
Facio  tells  us  in  his  Liber  de  Viris  Illustribiis  of  1454,  a 
triptych,  now  lost,  by  John  van  Eyck,  representing  the 
Annunciation,  Saint  John  the  Baptist  and  Saint  ferome, 
and  having  on  the  shutters  the  figures  of  Giovanni 
Battista  Lomellini  and  his  wife  Jeronima.  That  work 
was,  of  course,  executed  nearly  two  hundred  years  earlier 
for  a  member  of  the  same  family  that  afterwards  employed 
Van  Dyck. 

It  is  by  the  courtesy  of  Messrs.  Knoedler  that  we  are 
able  to  reproduce  the  fine  picture  lately  acquired  by 
Herr  von  Nemes. — M.  W.  Brockwei.l. 

In    Scotland    the    autumn  is  usually  a  dull  time   for 

frequenters    of  picture   galleries,   but   this    year   it    was 

.-,.    ,         ,      _  enlivened  by  two  interesting  shows, 

Edinburgh:  Two         .  '  .        ,..., 

c       it  u   l'l-x-  the   one   at   Messrs.   Doig,    Wilson 

Small  Exhibitions  ,  .,.,  & 

and  Wheatley  s,  and  the  other  at  the 

Scottish  Gallery.     The  nucleus  of  the  former  consisted  of 

pen-drawings  by  Mr.  Hanslip  Fletcher,   a  young  artist, 

yet  one  of  considerable  promise.      Most  of  his  subjects 

are  town  scenes,  and  he  does  these  rather  in   the  style 

of  Sir  Seymour   Haden's   etchings,   using    shading   and 

modelling    but   sparsely,   and    depending   instead   on  a 

hard,  fine  line.     And  it  is  remarkable  how  adequate  this 

difficult   medium    is    in    his  hands,  for  in  many  of  his 

drawings   atmospheric   effects  are    rendered  in  a   quite 

convincing  and  satisfying  manner.     Among  paintings  at 

the  exhibition  a  really  notable  one   was   Kirkcudbright, 

by  Mr.  \V.  S.  MacGeorge,  an  early  morning  scenr,  full 

of  delicate  half-tints  ;  and  passing  to  the  Scottish  Gallery, 

here  the  best  thing  was  a  characteristic  sea-piece  by  Mr. 

MacTaggart  ;  while   Mr.  Lawton  Wingate  was  seen  to 

advantage  in  a  picture  of  a  moorland  fringed  with  trees, 

the  diverse  greens  of  the  latter,  and  the  mauve  of  the 

heather,  forming  a  harmony  of  singular  charm.    Another 


item  of  worth  was  a  still-life  by  Mr.  S.  J.  Peploe,  done 
on  the  Fauvist  principle  at  present  regnant  among  the 
younger  Parisian  artists — that  is  to  say,  with  each  separate 
article  boldly  outlined  by  a  colour  wholly  different  from 
its  own,  a  shade  calculated  to  intensify  the  brilliance  of 
the  one  it  surrounds — while  further  things  of  note  were 
two  seascapes  by  Mr.  Campbell  Noble,  and  a  study  of  a 
dog  by  Mr.  William  Walls,  this  last  being  one  of  the 
ablest  pictures  its  artist  has  ever  done,  the  face  having 
just  that  plaintive  expression  which,  so  often  noticeable 
in  dogs,  has  withal  been  missed  as  a  rule  by  the  bulk  of 
animal  painters.  As  regards  the  monochrome  section, 
this  contained  some  good  etchings  by  Mr.  M.  A.  J. 
Bauer,  yet  unquestionably  the  dominating  man  was  Mr. 
Frank  Brangwyn,  R.A.  Like  every  other  master,  he  of 
course  varies  in  excellence,  yet  he  is  one  of  those  rare 
men  who  never  produce  a  single  thing  which  is  not 
interesting  and  even  arresting.  And  the  various  etchings 
which  he  exhibited  were  no  exception  to  this  rule,  all  of 
them  being  marked  by  that  Rembrandtesque  merit,  the 
able  distribution  of  high  lights  ;  and  one  of  them,  The 
Storm,  being  full  of  the  strange  romance  of  wild  scenery 
— that  romance  which,  though  figuring  in  much  literature 
and  music,  has  seldom  been  successfully  embodied  in  the 
graphic  arts  save  by  Turner  and  Goya. 

In  considering  a  new  phase  of  art  the  questions  natur- 
ally present  themselves  —  does  it  not  picture  hitherto 
unrecorded  aspects  of  nature,  present 
fresh  ideals  of  beauty,  or  awaken 
emotions  which  works  conceived  on 
older  lines  fail  to  arouse  ?  The  second 
Post-Impressionist  Exhibition  now  being  held  at  the 
Grafton  Gallery  represents  a  phase,  or  rather  phases 
of  art,  which,  if  not  entirely  new,  are  still  so  novel,  that 
no  less  than  three  essays  by  Messrs.  Clive  Bell,  Roger 
Fry,  and  Count  Boris  von  Anrep  are  prefaced  to  the 
catalogued  to  explain  their  aims  and  excellencies. 

The  contents  of  the  exhibition  may  be  divided  into 
three  schools — the  Post-Impressionist,  the  Impressionist, 
and  the  Symbolic.  Those  belonging  to  the  first  can  be 
left  in  the  capable  hands  of  the  writers  already  mentioned  ; 
to  them  they  appear  as  works  of  art  of  a  high  order ;  to 
the  writer  they  appear  as  pieces  of  unmitigated  foolish- 
ness. When  such  a  gulf  of  difference  exists  it  is  im- 
possible to  bridge  it  ;  but  it  would  be  easy  to  set  the 
rival  theories  to  the  test.  If,  as  the  three  essayists 
appear  to  suggest,  advanced  works  like  those  of  Messrs. 
Wyndham  Lewis  and  Pablo  Picasso  are  "  images  which 
by  the  clearness  of  their  logical  structure,  and  by  their 
closely-knit  unity  of  texture  .  .  .  appeal  to  our 
disinterested  and  contemplative  imagination  with  some- 
thing of  the  same  vividness  as  the  things  of  actual 
life  appeal  to  our  practical  activities,"  aiming  "  not  at 
illusion,  but  at  reality" — if  such  works  do  such  things, 
why  not  exhibit  a  few  representative  examples  without 
any  clue  to  their  meaning  and  title,  and  see  if  the  artists' 
"passionate  attempts  to  express  profound  emotion" 
results  in  any  portion  of  the  emotion  being  transferred 
to  the   spectators.     Mr.  Wyndham   Lewis's  Mother  and 


The  Post- 
Impressionist 
Exhibition 


188 


Current  Art   Notes 


Child,  where  maternity  is  represented  by  what  appears 

to  be  a  complicated  architectural  diagram  set  forth  in 

colours,  would  be  a  good  n  to  includi 

M.  Picasso's  would  have  to  be  omitted,  as  hi    aflfi 

clue  to  his  subject  by  the    very  obvious   expedient    of 

printing  a  portion  of  the  title  in  large  letters  in  the  centre 

of  the  canvas.     If  there  is  any  transference  of  emotion 


into  the  tantalizing  incohi  tantalizing 

e    every  now   and   then  ther  tied   in  his 

work  an  artist  i  Hi-    Dam 

a    large    panel    i                  foi    a   di 
Tschoukinc's  Palace  at  Moscow,  shows  in  pari    a 
flow   of  line,  from  the  contemplation   of  which   one  is 
distracted  by  uncouth  iofl I,  whil 


FRANCESCO    DA    SANGALLO  BY    HIMSELF,     I -si 

FROM    A    CAST    AT    THE    MEDICI    SOCIETY    GALLERIES,    GRAFTON    STREET,    W. 


from  artist  to  spectator  through  the  medium  of  such 
works,  judging  from  the  sounds  emanating  from  the 
spectators  during  the  private  view,  they  must  have  been 
originally  conceived  under  circumstances  of  side-splitting 
mirth. 

The  contemplation  of  such  eccentricities  must  not 
blind  the  visitor  to  the  high  merit  of  much  of  th<  less 
extreme  work  in  the  exhibition  :  Cezanne,  for  instance. 
It  is  difficult  to  see  why  this  artist  should  be  used  as  a 
stalking-horse  for  the  sins  of  advanced  Post-Impres 
sionism,  as  his  typical  pictures  here  possess  little  or  no 
affinity  with  the  latter.  Le  Dauphin  is  an  elaborate  and 
crowded  composition,  spaced  out  with  the  nicety  of  a 
Persian  carpet,  and,  though  decorative  in  its  feeling, 
containing  a  greater  wealth  of  initiative  detail  than  many 
a  picture  by  a  modern  academician.  Genervilliers,  a 
crisp,  succinct  record  of  some  houses  on  a  hill-crest,  with 
the  details  of  their  architecture  and  the  fall  of  light  and 
iw  on  their  walls,  all  plainly  set  out,  is  a  frank  piece 
of  selective  realism  ;  while  Les  Moissonneurs,  with  its 
formal  and  archaic  composition,  is  less  a  leap  into  the 
future  than  a  set-back  into  Italian  fifteenth-century  work. 
From  the  sedate  rationalism  of  Cezanne  one  descends 


other  emotion  than   disgust.      It   is  as   though   a   pianist 
interspersed  a  ravishing   harmony  with  ear-splitting  dis- 
cords.    The   effect,  it  may  be  urged,  is  heightened  by 
the   contrast;   but   this   is   not  so,  any   more    than    the 
swei  mess  of  a  spoonful  of  sugar  would  In  enham  ed  by 
the  introduction  of  an  overwhelming  proportion  of  Epsom 
salt-.     By  the  same  artist  are  some  clever  but  pervi 
studies  of  life,  and  a  large   number  of  pictures,   w 
chief  merit — a  failing  from  the  extreme  Post-Impressionist 
standpoint — is  that  they  rudely  convey  the  sembl 
of  the  things  the]  repr<   ent.     Matisse  may  bi    i  a 
a-  an    Impressionist  artist,    whose   failure   to   reali 
conceptions  by  orthodox  means  has  caused  him  to  adopt 
ones  of  a  wildly  heterodox  nature,  with  d 
The   most  able  of  the   English  artist-  repre  ented  are 
still  shivering  on  the   brink    of  heti  unable   to 

divest  themselve-  of  all  the  results  of  their  previous 
training  and  plunge  boldly  in,  but  careful  to  introduce 
some  Post-Impressionist  feature  in  their  work  to  show,  it 
they  have  not  been  immersed  in  the  doctrines  of  the 
new  cult,  they  have  yet  received  a  sprinkling.  The 
picture  of  Newington  House,  by  Mr.  Roger  Fry,  max  I  i 
cited  as  an  instance  of  this.     What  message  tin 


I'U 


The    Connoisseur 


intended  to  convey  is  immaterial,  as,  judging  from  Mr. 
Clive  Uell's  dissertation  on  the  subject,  it  is  probably 
widely  different  from  the  impression  one  receives.  Mr. 
Bell  states  that  the  most  important  qualities  in  the  work 
"are  quite  independent  of  place  or  time,  or  a  particular 
civilisation  or  point  of  view.''  The  work  showed  an  old- 
fashioned  house,  fronted  by  a  wide-spreading  lawn  partly 
shaded  with  umbrageous  trees.  One  knows  many  such 
houses  and  gardens,  imbued  with  that  feeling  of  well- 
ordered  repose  and  tranquil  enjoyment  almost  peculiar 
to  England.  To  me  the  charm  of  the  picture  lies  almost 
wholly  in  the  perfection  with  which  this  feeling  is  trans- 
ferred to  canvas  ;  take  away  the  considerations  of  place, 
time,  and  particular  civilisation,  and  nothing  of  value 
remains.  Only  one  incongruous  element  is  introduced 
in  the  work,  and  that  is  the  treatment  of  the  foliage  in 
the  foreground.  In  this  Post-Impressionist  ideals  have 
been  introduced,  and  the  result  is  a  heavy  conventional 
mass  which  recalls  a  drop  in  a  toy  theatre,  and,  so  far 
as  it  affects  the  scene,  makes  it  appear  artificial.  Mr. 
Stanley  Spenser  is  another  artist  who  might  do  excellent 
work  if  he  would  discard  the  artificial  conventions  of 
Post-Impressionism  ;  X\\sJohn  Donne  arriving  in  Heaven 
shows  conviction,  a  fine  sense  of  colour,  and  a  feeling  for 
composition.  It  needs  all  these  qualities,  however,  to 
prevent  the  spectator  from  feeling  that  the  subject  is  a 
representation  of  some  clumsily-modelled  marionettes. 

Mr.  F.  Duncan  Grant  never  wholly  loses  his  charm 
of  colour  in  his  several  examples,  one  of  which,  Pamelia, 
is  both  graceful  and  well  modelled.  The  portrait  of 
Madame  Puy,  by  M.  Jean  Puy,  a  composition  with  a 
shady  arbour  in  the  foreground,  backed  by  a  sun-swept 
garden,  is  summarily  rendered,  but  truthful  and  by  no 
means  unpleasing,  and  M.  Maurice  Asselin's  Anticoli 
is  a  piece  of  direct  and  effective  work.  Some  of  the 
most  original  pictures  in  the  exhibition  are  contributed 
by  Russian  artists,  many  of  their  contributions  recall- 
ing in  their  deep  mystical  feeling  and  intense  though 
enigmatical  utterance  the  works  of  William  Blake.  Such 
compositions  as  The  Knight,  by  Chourlianis,  showing  a 
great  city  rising  tier  upon  tier  beyond  the  sides  of  a  deep 
abyss,  over  which  is  leaping  the  spirit-form  of  an  armed 
man  on  horseback,  hardly  admit  of  literal  interpretation. 
Like  the  gigantic  images  pictured  in  the  Apocalypse, 
their  signification  vanes  according  to  the  ideas  and 
necessities  of  the  interpreter.  All  that  is  required  of 
them  is  that  they  shall  be  conceived  in  beautiful  form, 
and  with  sufficient  coherence  to  arrest  the  imagination 
of  the  spectator  and  allow  him  to  weave  their  mystical 
utterance  into  harmony  with  his  own  thoughts.  To 
the  same  class  belong  M.  Nicholas  Roerich's  Sacred 
City  and  the  fine  Rex  by  Chourlianis.  Of  an  alto- 
gether different  order  is  M.  Chabaud's  Chemins  dans  la 
Montagnette,  a  vivid  impression  of  a  railway  line  as  it 
might  be  seen  from  the  back  of  a  receding  train,  with 
the  gleaming  steel  rails  forcing  themselves  on  one's 
notice,  and  subordinating  into  comparative  insignificance 
all  the  details  of  the  bordering  landscape.  M.  Albert 
Marquet  is  represented  by  a  slight  but  clever  study  of 
Frwnrr  aii  "  Rocking  Chair"  and  Le  nu  a  contre-jour,  a 


fine  example  of  intelligent  simplification,  the  figure  being 
drawn  with  thorough  understanding,  and  nothing  omitted 
that  would  add  to  the  beauty  of  its  superbly  expressed 
form. 


The  Grosvenor 
Gallery 


The  prevailing  effect  of  the  new  Grosvenor  Gallery  is 
one  of  restfulness.  Theoretically  there  is  nothing  to 
account  for  this.  The  components 
of  the  interior  colour-scheme,  when 
catalogued  in  black  and  white,  sound 
positively  garish.  The  hangings  are  of  a  rich  crimson, 
the  carpets  of  greenish-blue  velvet  pile,  the  woodwork  of 
white  and  gold,  and  the  couches  covered  with  variously 
hued  materials  ;  yet  by  some  deft  alchemy  these  manifold 
colours  have  been  combined  together  into  a  rich  and 
sedate  harmony.  The  hanging  of  the  pictures,  too,  has 
been  managed  with  consummate  skill,  and  it  may  be 
safely  said  that  few  of  the  works  shown  have  ever  looked 
better  than  in  their  present  surroundings. 

The  exhibition  is  catholic  in  its  scope,  including  ex- 
amples of  practically  all  the  sane  phases  of  current  art. 
Following  the  works  in  catalogue  order,  one  finds  Mr. 
Grosvenor  Thomas  represented  by  a  couple  of  small 
landscapes,  both  sweet  and  tender  in  tone,  the  one 
modestly  labelled  Sketch  at  St.  Margaret's  Bay  being, 
according  to  modern  ideas,  a  perfectly  finished  picture. 
Mr.  Gerard  Chowne  is  seen  at  his  best  in  his  Roses  ana 
Carnations,  the  effect  being  more  restful  and  harmonious 
than  that  of  the  more  vividly  painted  Spring  Flowers. 
The  latter  is  one  of  those  pictures  which  appear  to  stand 
out  from  the  wall — a  somewhat  doubtful  virtue,  though 
one  much  bepraised  by  the  present  generation  of  critics. 
Another  picture  which  is  also  distinguished  by  this 
quality  is  Miss  Evelyn  Cheston's  vivid  though  chaotic 
Early  Summer,  which  loses  by  having  no  avenue  of 
escape  for  the  eye  through  the  tangled  mass  of  green 
vegetation  which  constitutes  the  foreground.  The  Por- 
trait of  an  Officer,  by  Mr.  John  Lavery,  merits  the 
epithet  of  "  distinguished  "  ;  the  head  of  the  subject  is 
full  of  character,  and  though  attired  in  the  gorgeous 
uniform  of  the  Horse  Guards,  he  is  not — as  is  too  often 
the  case — overpowered  by  the  splendour  of  his  apparel. 
The  manner  in  which  the  brilliant  colours  of  the  latter 
have  been  harmonised  without  any  falsification  of  tone 
is  a  masterpiece  of  art.  In  this  and  his  other  portrait, 
Lady  Norah  Brassey,  Mr.  Lavery  has  followed  his  usual 
custom  of  having  a  simple  dark  background.  Certainly 
in  the  lady's  case  he  could  have  no  better  setting  for  the 
beautiful  and  superbly  characterised  head,  which  needs 
no  external  adjunct  to  awaken  the  spectator's  admiration  ; 
but  the  style  has  its  disadvantages.  Now  it  is  the  fashion 
to  have  every  valuable  work  of  art  glazed,  the  dark 
background  converting  the  glass  in  front  into  an  admir- 
able mirror,  so  that  it  is  almost  impossible  in  certain 
lights  to  see  the  picture  itself.  Another  striking  portrait 
is  that  of  Miss  Doris  Marshall,  by  Mr.  G.  S.  Price;  in 
this,  however,  the  artist  has  cultivated  strength  rather 
than  refinement,  and  though  a  virile  and  well-coloured 
piece  of  work,  it  can  hardly  be  counted  a  sympathetic 
likeness.     Mr.  W.  G.  Yon  Glehn's  The  Garden    Window 


192 


Current   Art    Notes 


may  also  be  included  within  the  category  of  portraiture, 
representing  as  it  docs  a  pretty  girl  in  a  blue 
backed  by  some  flowering  plants.  The  quality  of  Mr. 
\'<>n  Glenn's  brushwork  is  above  reproach  :  he  sets  down, 
with  a  dexterity  almost  rivalling  that  of  Mr.  Sargent,  the 
texture  and  colour  of  flesh,  drapery  and  still-life. 
In  this  very  dexterity,  however,  there  is  .1  danger,  for  one 
feels  that  in  his  exemplification  of  it  he  is  apt  to 
too  much  prominence  to  the  subordinate  features  of  hi-* 
picture,  diffusing  the  interest  all  over  the  canvas  instead 
of  concentrating  it  on  the  essential  feature.  The  Portrait 
of  an  anonymous  Lady,  by  Mr.  Maurice  Greiffenhagen, 
is  a  fine  piece  of  colouration,  the  artist  giving  value  to 
the  brilliant  carnations  in  the  face  by  an  aria: 
varied  tone-  of  blue  in  the  background.  Mr.  Charles 
Shannon's  autobiographic  portrait  is  a  refined  and  in- 
teresting presentment,  very  atmospheric  and  subtly 
delicate  in  its  colour.  It  would,  however,  have  been 
more  effective  with  greater  virility  of  treatment.  Other 
portraits  that  should  be  mentioned  are  Mr.  John  da 
Costa's  Mrs.  Carle  Perkins  and  Mr.  Alfred  lleywood's 
Portrait  of  a  Poetess. 

Resuming  once  more  the  order  of  the  catalogue,  one 
finds  in  Mr.  H.  Hughes  -  Stanton  :s  Fort  St.  Andre, 
Villeneuve  les  Avignon,  one  of  the  most  noble  land- 
scapes in  the  exhibition.  There  is  always  a  sensi 
completeness  about  this  artist's  work,  a  feeling  that  he 
does  not  select  his  subjects  promiscuously  from  nature, 
reproducing  merely  the  ephemeral  aspect  of  the  moment. 
but  arrange-  his  theme  so  that  the  scene  depicted  shall 
be  shown  at  the  moment  when  colouration,  atmospheric 
conditions,  and  the  fall  of  light  and  shadow  all  combine 
m  harmonic  unison.  The  picture  happily  exemplifies 
this  rare  quality,  and  attains  a  classical  dignity  of  1' 
which  is  seldom  found  in  modern  work.  Mr.  Oliver 
Hall's  two  landscapes  show  a  tire    i  for  lini    and 

tone,  though  the  colour  is  somewhat  monotonous.      The 
Sands,  by  Mr.  W.  W.  Russell,  ma)  nbed   as  a 

•'  YV.  P.  Frith"  translated  into  modern  art.  Mr.  Russell 
gives  us  the  details  of  present-day  life  with  equal  exacti- 
tude as  the  painter  of  the  Victorian  era  ;  his  bare-legged 
children,  the  style  of  their  clothes,  and  even  a  twentieth- 
century  bassinette,  are  set  down  with  a  scrupulous  fidelity 
which  will  make  the  picture  a  valuable  record  to  a  future 
historian  of  the  period.  The  artist  has  done  this,  how 
without  any  sacrifice  of  tone  or  atmosphere,  and  his  work 
forms  a  homogeneous  whole.  Mr.  Philip  Connard 
his  usual  feeling  for  bright — almost  virulent— < 
though,  owing  to  the  consummate  skill  with  which  he 
handles  the  primary  hues,  he  can  venture  on  effects  which 
in  less  capable  hands  would  only  create  discord.  In  his 
Woodland  the  splash  of  the  sunlight  on  the  vivid 
green  foliage  is  rendered  with  a  strength  and  direct- 
ness which  inspires  conviction.  Mr.  Glyn  Philpot's 
Sicilian  Actor  \s  conceived  in  one  of  hi-  favourite  colour- 
harmonies,  yellow  being  the  predominant  hue.  It  is. 
however,  somewhat  artificial  in  its  effect,  and  lack-  the 
impressiveness  which  the  scale  of  the  subject  and  its 
treatment  demands.  The  Path  by  the  River  is  a  cha- 
racteristic work  of  Mr.  A.  D.   Peppercorn,  strong  in  its 


handling  and  tranquil  in  its  tone.  An  even  finer  example 
of  tin  mp  irtan: 

of  the  mosi 

ha-  ,-ti.      The  ■      :i   the 

extreme— a  long,  low-topped  lull,  backed  by  a  luminous 
evening  sky,  and  with  a  sheet  ol  reed  -tudded  water  in 
front.  Out  of  this  elementary  theme  the  artist  has 
produced  a  grand  picture,  sentient  in  its  brushwork.  big 
in  feeling,  ami  transfused  throughout  with  tender  lunii- 
Mr.  W.  i  Irpen's  The  Blue  Hat.  ■  ppear- 

ance  looks  thin  and  slight  in  its  handling,  an  effect  which 
is   greatly   suggested  by  I  -h-white  coat   of  the 

figure  being  almost  the  same  tone  as  the  background. 
A  closer  inspection  of  the  picture,  however,  reveals  that 
much    thought    has    been    bestowed    upon    it  ;   the   soft 

•  ons  of  the  flesh,  the  bright  yellows  am!  browi 
the  hair,  and  the  delicate  but  vivid  blue  of  the  hat.  being 
ned  by  the  artist   into  a  beautiful  colour-scheme, 
while  the  face  is  perfectly  modelled.       I  Ir.   II. 

M.  Liven:  has  adopted  much  the  same  tone  for  his  back- 
ground,  but  though  his  picture  is  a  superb  pie 
atmospherii  still-life  painting,  the  interest  of  the  theme 
is  hardly  sufficient  for  the  size  of  the  canvas.  Mr.  1  louglas 
Robinson's  Sleeping  Worn  in  is  ,i  lightly-handled  and 
well-modelled  study  from  the  nude  ;  and  some  clever 
tinted  drawings  on  the  same  motive  are  contributed  by 
Mi.  F.  Derwent  Wood. 

Of  all  the  pictures  in  the-  exhibition,  perhap 
that  lingers  most  securely  in  the  memory  is  The  Coining 
of  Spring,  by  Mr.   Charles   Sim-,   le  to  the  best 

advantage.     He,   more   than  any  of    his  compeers,  can 
with    sure    foot    the    realms   of    phantasy.       His 
arc-  not  clothed  in  form-    whose   mundane  sub- 
stance weighs  them  to  the  earth,  but  set  down  with  an 
elusive  charm,  perfectly  tangible  yet  taut  I  -    note. 

SO  that  his  pictures  alway  a  higher  beauty  than 

any  they  incorporate.     He  shows  us  Spring  and  a  train 
i  lbolling  children  invading  a  landscape  still  invi 

with  the  sen    russets   ami    purples  of  Winter,  the'    flo 
and   grasses  springing   to  life  under  the  touch  of  their 
I  i  forms     are     beautifully    rendered,     yet     SO 

delicately  and  slightly  that  the)  seem  liki  isions 

merging  into  the  landscape,  the  spirit-natures  of  the 
ilower-  and  greenery  of  Springtide. 


Few  art  i  ipabilitii 

The  i  by  public  demand  to  supply 

what  they  know  they  i  a  and 

Pictures  by  the  c],c  without  ever  having  leisure  to  dis- 

Ute  Henry  G.  cover  what  they  can  do  best.      Such 

Moon,  and  might   have    been    the    tate    of   Con- 

Water-Colours  ^.Mr    had    ,  .    ,hl.    Im,i: 

by  T.  Stirling  relinquish   portraiture:   and  such  was 

i  lb  nry  George 
Moon— a  painter  of  less  distinction 
but  possessing  the  same  in 
appreciation  for  nature,  more 
especially  for  nature  as  shown  in  the  breezy  skies  and 
verdant  scenery  of  his  native  land.     Moon  was  originally 


Lee  and  H 
Dawson  Barkas 
(Fine  Art 
Society) 


193 


The   Connoisseur 


brought  up  as  a  solicitor,  working-  at  what  must  have 
been  an  uncongenial  task  to  support  his  mother  and 
family.  When  he  ventured,  after  some  years,  to  take  his 
freedom,  it  was  only  partial,  for  he  seems  to  have  been 
continuously  employed  in  making  drawings  of  rare 
flowers  and  orchids  for  publications,  a  work  which  he 
performed  with  much  refinement  and  artistic  ability,  but 
in  which— judging  from  the  examples  shown  at  the 
galleries  of  the  Fine  Art  Society,  14S.  New  Bond  Street- 
he  never  attained  full  scope  for  his  powers.  It  is  in 
his  oil  pictures  contained  in  the  same  exhibition  that  he 
is  seen  at  his  best.  These  were  entirely  the  product  of 
the  last  years  of  his  life,  and  it  seems  probable  that  if  he 
had  had  time  to  fully  develop  this  phase  of  his  art,  he 
might  have  become  one  of  the  greatest  of  our  landscape 
painters.  Sir  Frank  Short,  in  an  excellent  introductory 
note  preface  to  the  catalogue,  points  out  that  in  his 
earlier  landscapes,  which  were  executed  in  water-colour, 
he  achieved  "  broad  and  luminous  schemes  of  colour 
with  something  of  Corot  in  their  feeling  and  with  per- 
haps a  closer  rendering  of  the  form."  There  is  much 
of  this  feeling  still  to  be  seen  in  his  oil-work,  but  with 
it  he  has  incorporated  an  individuality  entirely  his  own, 
and  instead  of  largely  limiting  his  observation  to  one 
phase  of  nature,  as  in  the  case  of  Corot,  he  has  painted 
her  in  many  moods,  and  always  with  the  same  convic- 
tion and  intuitive  sincerity.  There  is  a  fine  breadth 
about  all  his  work,  a  sense  of  atmosphere  and  a  delightful 
feeling  for  cool,  limpid  colour.  One  would  like  to  hope 
that  an  example  by  this  gifted  artist  might  be  secured 
for  the  National  Gallery  of  British  Art. 

In  the  same  gallery  there  were  shown  a  small  collec- 
tion of  water-colours  by  Mr.  T.  Stirling  Lee,  which 
showed  in  their  virile  and  succinct  handling  something 
of  the  feeling  of  De  Windt  in  the  broader  phases  of  his 
art.  Mr.  H.  Dawson  Barkas  was  represented  by  a 
clever  series  of  drawings  of  English  pleasure  resorts, 
many  of  which  showed  a  delightful  sense  of  colour  and 
tone.  Other  examples,  however,  were  a  little  thin  in 
their  effect,  and  showed  an  over-partiality  for  the  same 
prevailing  scheme  of  colour. 


A   SEARCHER  into  the  primary  origin  of  changes  of 
fashion  might  find  in  the  substitution  of  gas  for  candle 
ight   the  cause  of  the  deterioration 


Old  and  Modern 
Glass-ware  °Ur  glass-ware  during  the  middle 

period  of  the  nineteenth  century. 
Glass,  more  than  any  other  article  of  civilised  use,  is 
dependent  on  its  surroundings  for  the  proper  exhibition 
of  its  beauty.  Set  on  the  fair  white  napery  of  a  dinner- 
table,  and  reflecting  and  transmitting  through  its  polished 
transparencies  the  gleams  of  the  lights  among  which 
it  is  placed,  it  at  once  takes  its  place  as  a  principal 
ornament  ;  but  let  the  venue  of  the  lights  be  changed 
and— as  in  the  case  of  gas — placed  high  above  the  table, 
half  the  beauty  of  the  glass-ware  is  lost,  and  it  sinks 
into  the  position  of  a  mere  object  of  utility.  The  Victorian 
makers  unwisely  tried  to  embellish  their  glass-ware  by 
the  addition  of  unmeaning  ornaments,  discarding  the  old 


chaste  forms  in  favour  of  new  and  often  tasteless  shapes 
designed   more   to   show  the   capabilities  of  the   glass- 
maker  than  the  beauty  of  the  ware.    From  this  deteriora- 
tion of  taste  the  efforts  of  the  modern  glass-maker  are 
just  beginning  to  rescue  us.     Nowhere  is  the  improve- 
ment better  shown  than  in  the  showrooms  of  some  of 
the  older  makers.     A  typical  instance  is  afforded  by  the 
display   now   on    view  at   Messrs.    Osier's  (100,   Oxford 
Street),  a   firm    who,   having  been   among    the  leading 
manufacturers  for  over  a  century,  can  show  wares  from 
their  own  works  illustrating  the  fine  period  of  glass,  that 
of  its   decline,    and    of   the    modern  renaissance.     The 
latter  phase,  to  everyone  save  the  collector  of  old  pieces, 
is  perhaps  the  most  interesting.     The  best  designs  are 
still  either  the  reproductions  of  the  old  or  ones  closely 
based    on    them,    and    among    these    one    can    find   an 
astonishing  variety  of  pieces  all  distinguished  by  comeli- 
ness  of  form   and   beauty  of  workmanship.     One   can 
indulge    in    posthumous    disloyalty    to    the     House    of 
Hanover  by  securing  reproductions  of  the  quaint   but 
always   delightfully  shaped   Jacobite   glasses    bedecked 
with    enigmatical    mottoes    spun    in    the   glass,    whose 
possession  a  couple  of  centuries  ago  might  have  brought 
the  owner  under  the  suspicion  of  high  treason.     Else- 
where are  glittering  chandeliers  hung  with  chains  and 
pendants  of  prismatic  lights,  each  cut  with  many  facets 
like   a   diamond,  and,    diamond   like,  scintillating   with 
reflected    lustre ;    decanters    conceived    in    the    shapely 
forms  that  pleased  the  taste  of  our  wine-loving  great- 
grandfathers ;    tumblers  with    their  tip-tilted  rims,   and 
hundreds   of   other   pieces    bearing   the    semblances   of 
ones  pictured  on  many  an  old  canvas  and  described  on 
the  pages  of  many  a  favourite  writer.      Among    some 
specimens,  whose  style  is  of  a  later  date  than  the  bulk 
of  the    work,    are    glass  candlesticks   of  the  fashion  of 
the  beginning  of  the  nineteenth  century  and  candelabra 
of  the  same   period.      Simple    and   dignified    in   form, 
these    pieces    recall    the    best    traditions    of   the    pure 
classical  feeling  which,  made  popular  by  the  genius  of 
the   brothers  Adam,  permeated  the  architecture,  furni- 
ture, and  ceramic  art  of  England  during  the  era  of  the 
Regency. 


Old  Bokhara 

Needlework 


Something  of  the  barbaric  splendour  or  the  East 
is  to  be  found  in  the  bold  and  picturesque  designs  of 
old  Bokhara  needlework.  These  are 
generally  worked  in  silk  of  magnificent 
hues,  filled  in  with  a  smaller  arabesque 
pattern  of  tracery,  the  groundwork  being  of  a  heavy 
native  linen-like  fabric  of  cream  shade.  There  is  now  on 
view  in  the  furniture  department  of  Messrs.  John  Barker 
and  Co.,  Ltd.  (Kensington)  a  fine  collection  of  these  old 
pieces  of  various  sizes  and  shapes.  Their  original  vivid 
colouration  having  been  toned  down  into  exquisite  nuances 
by  the  mellowing  influence  of  age,  they  form  beautiful 
pieces  of  decoration  which  can  be  used  for  adornment 
of  the  home.  Many  of  the  pieces,  however,  are  of  such 
fine  quality  that  they  are  worthy  of  the  attention  of  the 
collector,  without  regard  to  utilitarian  purposes. 


194 


Current   Art    Notes 


The  Royal 
Academy  of 
the  Needle 


Ai    the  Galleries  of  the   Medici  Society  (7,  Grafton 

Street,  W.    were  to  be  seen  an  interesting  collection  of 

casts   of    portrait    medals   of    Italian 

Portrait  Medals      ^.^     o{    ^     Renaissancej     dating 

of  the  Italian  from    ^    first    ha,f   of    (hc    fifteenth 

Renaissance  ,  ..  ,     , 

century   to   the    earlier    part   ol    the 

seventeenth.  These  reproductions  were  exceptionally 
well  done,  and  as  many  of  the  originals  are  practically 
inaccessible,  they  ottered  a  unique  opportunity  for  study- 
ing the  physiognomy  of  many  of  the  best-known  person- 
ages of  the  period.  These  works  may  bi  n  ;arded  as 
the  equivalent  of  the  eighteenth-century  miniature,  and 
tin-  examples  shown  displayed  the  high  attainments  of 
the  Italian  medallists  in  realising  the  likenesses  and 
characterisations  of  their  sitters,  and  at  the  same  time 
offending  against  none  of  the  canons  of  the  medallist's 
art.  Among  the  most  interesting  portraits  shown  wore 
those  of  Michelangelo,  by  Leone  Leoni  ;  Gentile  Bel- 
lini, by  Yettor  Gambello;  Francesco  da  Sangallo,  by 
himself;  Jaco/>o  Tatti,  by  Lodovico  Leoni;  that  ever- 
popular  gossip,  Giorgio  Vasari ;  Leone  Battista  Alberti 
and  Titian. 

Thai  needlework  is  an  art  as  well  as  a  craft — and 
an  art  which  in  more  leisured  ages  attained  a  high  level 
of  technical  accomplishment  —  is  a 
fai  t  which,  to-day,  is  apt  to  be  for- 
gotten. To  be  reminded  of  it  one 
need  not  go  further  than  that  excellent 
institution,  the  Royal  School  of  Art  Needlework  (Exhi- 
bition Road,  South  Kensington),  where  old  and  modern 
work  can  be  seen  side  by  side.  The  specimens  of  the 
former,  if  they  do  not  include  examples  of  the  now  almost 
priceless  work  of  the  dark  ages,  when  almost  the  sole 
occupation  of  high-born  ladies  was  to  create  glowing 
phantasies  of  colour  and  form  with  their  busy  needles, 
include  work  of  almost  every  other  period  —  ornate 
Elizabethan  embroideries;  quaint  Jacobean  pictures; 
seventeenth-century  tapestries  ;  gorgeously  hued  Oriental 
work  ;  and  even  modest  samplers,  scarcely  yet  a  cen- 
tury old  specimens  of  great  interest  to  collectors,  and 
to  be  obtainable  without  extortionate  ransom.  But 
the  interesting  point  is  that  all  these  specimens  of 
varied  styles  and  periods  can  be,  and  are,  duplicated 
by  workers  at  the  College,  so  that  even  the  most 
sumptuous  piece  of  woven  tapestry  can  be  so  exactly 
matched  that,  beyond  the  greater  freshness  of  the  coloura- 
tion and  the  better  state  of  preservation  of  the  fabric, 
there  is  no  apparent  difference.  Much  of  the  skill 
necessary  to  achieve  such  perfect  imitations  is  gained 
through  the  knowledge  acquired  during  the  repairs  ol 
old  work,  for  priceless  specimens,  many  in  a  seemingly 
deplorable  condition,  are  sent  to  the  school  from  all 
quarters  for  renovation.  Of  modern  work  there  are  count- 
less specimens  to  be  seen,  ranging  from  the  ornate  and 
elaborate  designs  of  Burnc-Jones,  gorgeous  ecclesiastical 
vestments  and  royal  and  regimental  standards,  down  to 
trifling  adornments  of  a  lady's  boudoir.  The  school, 
which  is  practically  self-supporting,  is  doing  a  great 
work  in  the  cause  of  art  in  reviving  and  maintaining  the 


highest  former  standards  of  design  and  craftsmanship. 
Its  perform  erve  to  be  far  n  ely  known, 

for  there  must  be  many  who  cannot  afford  to  have  fine 
urns  of  old  needlework  lor  the  adornmi 

who  would  bi  1  1  autiful  dup 

tions.  With  the  old  needlework  are  included  many 
interesting  specimens  of  old  furniture  ;  for  the  upholster- 
ing of  furniture  in  its  more  elaborate  forms  comes  within 
the  venue  of  the  school. 

Brighton  Public  Art  Galleries  Autumn   Exhibition 

The  autumn  exhibition  of  pictures  at  the   Brighton 
Public   Art   Galleries,  opened    by  the    Mayor,   AIi 
Thomas-Stanford,  J.P.,  in   the   first   week   in  October, 
will  remain  open  until  the  3lst  of  December. 

Pottery  and   Glass  Trades   Benevolent  Institution 

THE  Earl  of  Harrowby  will  preside,  and  Mr.  Minton 
Goode  be  in  the  vice-chair,  at  this  year's  festival  dinner 
of  the  Pottery  and  Glass  Trades  Benevolent  Institution, 
to  be  held  in  London  at  the  Whitehall  Rooms,  Hotel 
Metropole,  on  the  19th  November. 


THE  autumn  exhibition  of  modern  art  at  the  Walker 
Art  Gallery,  Liverpool,  is  especially  representative  of  the 
work  of  continental  artists,  amongst 
Liverpool  Art         which  arc  included  examples  b)  lead 
Gallery  Autumn       ^    1);mish  ^.^       ,n   (h(.   (,(|,irt 
Exhibition  ment    of    paste,s    many    items   have 

been  contributed  by  members  of  the  Pastel  Society,  then 
are  special  exhibits  from  the  Royal  Society  of  Miniature 
Painters,  and  black  and  white  art  is  also  well  represented. 


THE  official  opening  of  the  Ecclesiastical  Art  Exhibi- 
tion   took    place   on    Saturday,   September  2Xth.     Lord 
Barnard  formally  opened  it,  the  Mayor 
Middlesbrough       of  Middiesbrough  being  in  the  chair. 
A  reference  to  the  Loan  Catalogue 


Congress 
Ecclesiastical 
Art  Exhibition 


shows  that   the  collection  is  of  more 
than  usual  interest.    In  previous  yeai 
the    Loan   Collection   has   had   the  honour  of    reci 
contributions  from  H.M.  King  Edward  and  His  Majesty 
King    George,    and    this   year    H.R.H.    The    Prince   of 
\\  ales  has  graciously  sent  the  Insignia  of  his  Investiture 
as   Prim  e  of  Wales.      The  Collection  also  includes  loans 
from  Hi    Grace  the  Archbishop  of  York    who  lends  his 
p,  matial  Cross,  presented  by  over  40,000  membi 
the  Church  of  England  Men's  Society),  and  the   Ma   01 
and    Corporations   of    Middlesbrough,   and    Richmond, 
Yorks. 

The   President  and  Committee  of  the  I  ongn    3  lend 
the  Congress  Banner;  and  the  librarian  of  thi 
brough  Public  Library  has  made  a  selection  of  rare  and 
interesting  Bibles  for  the  occasion. 

One  of  the  special  features  of  the  Loan  Collection  is 
the  exhibition  of  Church   plate  bearing  the  assay  marks 


■95 


Tlic   Connoisseur 


01  \  ork  and  Hull.  In  this  beautiful  collection  of  Church 
plate  may  be  mentioned  a  chalice  belonging  to  Goath- 
land  Church.  This  is  one  of  the  oldest  chalices  at 
present  in  use  in  the  English  Church,  and  is  dated  about 
1450.  Other  old  chalices  are  from  Todwick  Church, 
16S4;  Adwick  Church,  1579.  A  good  Elizabethan  chalice 
comes  from  Ingleby  Arncliffe,  bearing  the  date-letter  of 
1570.  From  Barmby  Moor  is  exhibited  a  chalice  dated 
169S,  while  from  All  Hallows,  North  Street,  York,  comes 
a  chalice  dated  1631.  Other  chalices  emanate  from 
the  Yorkshire  parishes  of  Brantingham,  Cottingham, 
Giggleswick-in-Craven  (a  typical  Commonwealth  piece), 
and  St.  Mary,  Bishophill,  York  (a  straight-sided,  square- 
shaped  bowl,  with  leaf  pattern  of  peculiar  design).  A 
chalice  from  Holy  Trinity,  Hull,  is  one  of  the  earliest 
bearing  the  Hull  marks. 

Other  fine  plate  comes  from  Stockton-on-Tees,  Redcar, 
and  a  rare  old  chalice  is  that  of  Old  Hutton,  West- 
morland, bearing  no  mark,  but  from  its  resemblance  to 
the  better-known  Nettlecombe  chalice,  is  thought  to  date 
about  1460. 

In  addition  to  Church  plate,  there  is  a  good  display  of 
embroidery — both  new  and  old — including  an  ancient 
stole  of  the  early  sixteenth  century,  from  the  Rev.  C.  V. 
Collier,  and  a  banner  worked  for  the  Cathedral  Church 
of  Adelaide. 


An  interesting  manuscript  on  vellum  comes  from  the 
Rev.  F.  C.  L.  Macgregor  Greer,  and  also  one  from  the 
Rev.  M.  C.  F.  Morris,  who  sends  a  MS.  of  the  fifteenth 
century  from  the  Monastery  of  St.  Lawrence,  near  Liege, 
Belgium.  Mr.  Joseph  Offord  lends  sixteen  leaves  of  a 
Coptic  Lectionary,  and  two  of  a  Coptic  Doxology. 

Some  rare  old  books  come  from  the  Rev.  F.  H. 
Woods.  Sir  James  Linton  exhibits  an  Italian  chasuble 
of  the  seventeenth  century  and  a  Spanish  dalmatic  ;  also 
a  fine  seventeenth  -  century  ivory  and  ebony  crucifix. 
The  Rev.  R.  Berens  sends  a  quantity  of  votive  slabs 
from  Egypt  and  the  East,  and  an  inscribed  marble 
tablet  from  the  Catacombs  outside  Rome  bearing  the 
names  of  forty  martyred  Christian  soldiers  who  died  in 
the  arena  from  the  attack  of  wild  beasts.  An  exception- 
ally fine  collection  of  coins,  illustrative  of  Jewish  and 
Bible  history,  is  sent  by  the  Rev.  Edgar  Rogers,  some  of 
them  being  so  rare  that  they  do  not  appear  in  any  of  the 
finest  collections,  and  the  British  Museum  does  not 
possess  them. 

Chinese  Painted   Enamel 

Messrs.  Spink  &  Son,  of  6,  King  Street,  St.  James's, 
are  holding  an  exhibition  of  old  Chinese  painted  enamel 
during  November.  The  exhibition  includes  some  unique 
pieces. 


196 


"  Chrysanthemums,"  by  Thomas  Stevenson 
(T.  C.  &  E.  C.  Jack.     Is.  6d.  net) 

MESSRS.  Jack's  charming  Present-day  Gardening 
series  has  been  enriched  by  a  work  on  Chrysanthemums, 
by  Mr.  Thomas  Stevenson.  Both  the  illustrations  and 
letterpress  well 
maintain  the  high 
standard  re  a  .lied 
in  previous  vol- 
umes, and  the  work 
should  enjoy  a  wide 
and  well  -deserved 
popularity. 

"With  Rod  and 
Gun,"  by 
E.  D.  Cuming 
Illustrated  by 
G.  Denholm 
Armour 
(Hodder  & 
Stoughton 
ios.  6d.  net) 


Mr.  G.  d.  Ar- 
mour's illustra- 
tions to  With  Rod 
and  Gun  should 
provide  ample 
satisfaction  to  the 
sportsman,  for  the 
artist  seems 
thoroughly  ac- 
quainted with  the 
themes  he  depicts, 
and  does  not  fall 
into  the  m  istakes 

i  i  'Hen  made  by 
the  non- sporting 
draughtsman  of 
putting  rods  and 
guns  in  impossible 

M 


HDY  MII.NES  FROM   A  PICTURE  IN  THE  POSSESSION  OF  THE  Dl 

PORTIAND        PUNTI  I)    M  NAPLES  IN    1793  FROM   "CHARLOTTE  SOPHIE 

COCNTFSS  BFNTINCK  "  BV  MRS.    AUBREY  LE  BLOND  (HUTCHINSON, 


positions.      In   the   illustrations    Mr.  Armoui    shows   his 

usual  high  powers  as  a  master  of 

nd  many  of  the  sketches  would 

have  lost  little  it  they  had  been  reprodui  ed  in  black  and 

white.     Among   the  best   plates  may  be  mentioned  the 

tive  Hawking  • 
.1    Flight    at    a 
Heron,  in  which 
the  acti  on  of  the 
is  powerfully 
suggestive,  and  the 
i  Duration,  though 
restrained,    is   deli- 
cate m\i\  harmoni- 
ous.    A  c  1  e  v  e  r 
rendering   o  f  a 
difficult    subject    is 
iho  w  n   in   Salmon 
Fishing:  the  First 
Jump,  where  the 
leap  of  the  fish  out 
of   the    water    is 
pictured  in  a  most 
convincing  man- 
ner.   Another  very 
delightful    illustra- 
tion  is    Old-time 
Partridge   S/ioot- 
i  n  g  ,    which     i  s 
brushed   in    with 
it  freedom,  and 
shows  a  fine  sense 
of  q  ui  et   humour. 
The    plates    are 
very    e f f c c  t  i  vel  y 
mounted,  while 
the  type,  paper, 
an  d  general  ap- 
1 1  a  nee  of  the 
volume    could 
ireely   be  i  m- 
proved  upon. 


197 


The    Connoisseur 


Panama  Canal  " 
(Wm.  Heinemann 
5s.  net) 


The  approach  of  completion  of  the  great  waterway 

connecting  the  Atlantic  and  the  Pacific  will  render  Mr. 

Joseph   PennelPs  Pictures  of  the 

Joseph  Pennell's         panama    Canal   one   of   the   books 

of  the  moment.  The  illustrations, 
many  of  which  have  already  ap- 
peared in  The  Century  Magazine, 
are  reproduced  from  the  large  litho- 
graphs by  the  artist,  some  of  which  are  now  on  view  at 
the  current  exhibition  in  the  Grosvenor  Gallery.  The 
plates  transcribe  the  tone  and  feeling  of  the  originals 
with  remarkable  fidelity,  considering  the  difference  in 
their  scale.  They  show  in  a  striking  way  the  gigantic 
nature  of  the  task  which  the  Americans  have  success- 
fully performed  ;  and  both  to  those  who  desire  a  record 
of  this  stupendous  work  and  those  who  are  interested  in 
the  art  of  Mr.  Pennell  himself — one  of  the  greatest  and 
most  original  of  our  living  lithographers — this  tastefully 
mounted  volume  should  prove  a  great  attraction. 

Had  Rip  van  Winkle  been  a  figure  painter  of  the  last 
half  of  the  eighteenth  century  and  awoken  from  his  long 
sleep   at    the    present    moment,    one 


"The  Position 


fancies  that  he  might  have  produced 


Landscape  in  Art  as  the  one  by  the 
writer  who  veils  his  identity  under  the 
pen  name  of  "Cosmos."     Ideas  which 


of  Landscape  ■  st  such      bool<  Qn   T,     position  0f 

in  Art" 

By  "  Cosmos  " 

(George  Allen 

and  Co.,  Ltd. 

,,        ...  were  in   vogue  a  hundred  years  ago 

3s.  od.  net)  .  -'  b 

now  as  easily  from  his  pen  as  though 

they  were  the  current  thought  of  to-day  ;  and  he  stan- 
dardises art  according  to  the  themes  it  depicts  with  a 
conviction  whose  sincerity  commands  respect,  even 
though  the  arguments  in  support  of  the  classification 
sometimes  verge  on  the  ludicrous.  There  are,  it  appears, 
five  grades  of  beauty  attainable  in  art.  The  first  may 
be  reached  in  religious  and  allegorical  figure  subjects  ; 
the  second,  in  high-class  portraiture  and  historical  work; 
the  third,  in  pictures  possessing  a  human  interest,  such 
as  interiors  and  exteriors  with  figures  ;  the  fourth,  in 
landscape  and  flower  subjects,  painted,  it  may  be  pre- 
sumed, with  some  degree  of  ideality  ;  the  fifth,  in  accurate 
portraits  of  people  uho  are  not  beautiful,  pictures  of 
vegetables  and  kitchen  utensils,  and  plague  scenes. 
This  is  as  far  as  the  author  descends  in  his  scale,  but, 
judging  by  his  remarks,  he  would  probably  class 
Whistler's  Battersea  Bridge  as  a.  tenth-grade  work,  and 
the  paintings  of  the  post-Impressionist  school  as  be- 
longing to  the  twentieth.  Even  so  far  as  the  scale  is 
complete,  however,  it  should  be  of  great  value  to  critics 
as  enabling  them  to  accurately  appraise  the  merit  of  a 
picture  with  a  minimum  amount  of  trouble.  Thus,  if 
Mr.  Sargent  gives  us  an  accurate  likeness  of  Bill  Stumps, 
ill-  Bermondsey  wife-beater,  it  is  obviously  a  fifth-grade 
work;  if,  however,  he  follows  the  author's  dictum  that 
"  a  great  portrait  painter  adds  to  or  emphasises  the  good 
qualities  in  his  sitter,  or  minimises  or  excludes  the  bad 
qualities  of  his  sitter,"  and  converts  Bill  Stumps's  brutal 
features  into  the  seraphic  countenance  of  a  cherub,  it 
rises  to  the  second  grade  ;  and  if,  when  the  painter  has 


"  Memories  " 
By  Sir  Frederick 
Wedmore 
(Methuen  &  Co. 
7s.  6d.  net) 


done  this,  he  recognises  that  it  is  no  longer  a  likeness 
of  Bill  Stumps,  and  makes  a  further  transformation  by 
turning  Bill's  ready-made  suit  into  conventional  drapery 
and  calls  the  picture  by  the  name  of  a  cardinal  virtue,  it 
becomes  a  work  of  the  first  grade.  The  quality  of  the 
work  signifies  not  a  jot — at  least  to  the  critic — for  "  he 
has  no  right  to  attempt  to  instruct  the  artist,  or  reflect 
upon  his  technique."  This  last  sentence  may  probably 
apply  equally  to  literary  critics  as  to  artistic,  so,  lest  one 
should  transgress  such  a  laudable  rule,  it  will  be  best  to 
continue  no  further,  but  recommend  the  reader  to  peruse 
the  work  for  himself,  in  which  he  will  find  much  archaic 
thought  clothed  in  well-mannered,  fluent,  and  virile 
Engii?h. 

The  personages  to  whom  Sir  Frederick  Wedmore 
introduces  us  in  his  Memories  are  among  the  greater 
celebrities  in  the  world  of  literature, 
art,  and  the  drama  during  the  last 
fifty  years.  The  function  is  discreetly 
performed,  and  though  Sir  Frederick 
does  not  descend  to  the  ordinary 
tittle-tattle  of  society  memoirs,  he 
reveals  many  interesting  and  intimate  glimpses  of  the 
giants  of  the  Victorian  era  ;  of  Orchardson  confessing 
that  "it  was  his  ambition  to  paint,  ere  he  departed,  one 
great  landscape";  of  Burne-Jones  —  Ned  Jones,  "to 
give  him  the  name  chosen  for  him  by  certain  of  his  pals  " 
— saying,  on  the  other  hand,  "  I  like  a  landscape  well 
enough  as  long  as  it  is  over  a  shoulder  or  under  a 
man's  arm  "  ;  or  of  Tennyson  growing  "  more  mellow  " 
under  the  genial  influence  of  a  bottle  of  old  port.  Through 
the  late  Sir  James  Knowles  came  the  anecdote  of  Lady 
Southampton  and  Queen  Victoria.  The  former,  a 
privileged  intimate,  in  discoursing  to  Her  Majesty  con- 
cerning the  satisfactions  of  a  future  state,  spoke  of  the 
opportunities  it  would  afford  "of  seeing  face  to  face  so 
many  of  the  noble  figures  of  the  past."  .  .  .  "Abraham 
will  be  there,  ma'am,"  she  said,  "  Isaac  too,  and  Jacob. 
Think  of  what  they  will  be  like  !  And  the  sweet  singer 
of  Israel.  He,  too.  Yes,  ma'am.  King  David  we  shall 
see."  And  after  a  moment's  silence,  with  perfect  dignity 
and  decision,  the  great  Queen  made  answer:  "  I  will  not 
meet  David."  From  Miss  Gillies,  a  noted  water-colour 
and  miniature  painter  in  her  day,  Sir  Frederick  derived 
several  anecdotes  of  Wordsworth.  The  lady  was  a 
visitor  to  Rydal  Mount  in  the  "  thirties,"  and  had  won 
the  approbation  of  the  poet,  who  found  her  "  both  a 
convenience  and  a  pleasure."  On  one  occasion,  when 
walking  to  church,  the  Poet-Laureate,  becoming  conscious 
that  he  was  too  thinly  clothed,  insisted  that  Miss  Gillies 
must  sit  very  close  to  him  while  in  the  edifice,  and 
protect  his  legs  from  the  cold  by  enveloping  them  in 
the  folds  of  her  ample  skirts.  This  was  actually 
done,  causing  the  parish  clergyman  to  say  afterwards  to 
Wordsworth,  "  How  badly  you  were  behaving — you  and 
Miss  Gillies."  The  poet  decided  to  give  the  young  lady 
a  kiss  on  her  departure,  but  first  referred  the  project  to 
his  wife,  who  gave  it  her  unqualified  approval.  Many 
other  interesting   persons   flit  through  the  pages  of  Sir 


198 


PORTRAIT  OF  A  WOMAN 

BY  PRIMATICCIO 

(From  a  picture  in  the  Collection  of  His  Grace  the  Duke  of  Devonshire  at  Chatsworth) 


The   (  onnoisseur   Bookshelf 


Frederick's  inter 
esting  book,  the 
earlier  pages  of 
which  provide  by 
no  means  the 
best  reading. 
This  is  perhaps 
owing  to  the 
author's  too  frc- 
qucnt  use  of 
interpolations  —  a 
habit  which  has 
grown  upon  him 
during  recent 
They  tend 
to  bre;ik  the  flow 
of  the  narrative. 
and  until  the 
reader  has  be- 
come accustomed 
to  them,  confuse 
his  perception  of 
the  writer's 
meaning. 

"  A  Tragedy 
of  the 

Reformation  " 
By  David 
Cuthbertson 
(Oliphant 
Anderson  & 
Ferrier.    5s.  net) 


MRS.    JOHN    ALBERT    BENTINCK  FROM    A    PORTRAIT    BY 

JOHN    HOPPNER    IN    THE    POSSESSION    OF    THE    DIKE    OF    rOKTLAND 
FROM    "CHARLOTTE    SOPHIE    COUNTESS    BENTINCK  " 
BY    MRS.    AUBREY    LE    BLOND 


WHAT  may  be 
described  as  a 
footnote  to  both 
history  and  bibliography  is  contributed  by  Mr.  David 
Cuthbertson  in  his  Tragedy  of  the  Reformation,  which 
gives  an  "authentic  narrative  of  the  history  and  burning 
of  the  Christianismi  Restitutio,  1553,  and  the  subsequent 
if  its  author,  Michael  Servetus.  Servetus  was  in  the 
unfortunate  position  of  living  in  an  age  of  persecution, 
and  offending  both  of  the  dominant  religious  parties 
by  his  doctrines.     He  published  his  trea  Trini- 

talis  Erroribus,  in  1531,  and  a  second  treatise  on  the 
same  subject  in  the  following  year,  both  works  being 
printed  by  John  Setzer,  of  Hagenau,  in  Alsace,  and  issued 
without  bearing  the  name  of  the  publisher  or  place  of 
publication.  These  created  no  small  stir  in  the  religious 
world,  and  were  followed  in  1553  by  the  Christianismi 
Restitutio.  In  the  latter  year  Servetus  was  seized  by  the 
Papal  authorities  at  Vienna,  but  managed  to  escape 
before  his  trial  was  concluded.  In  his  absence  he  was 
sentenced  to  be  burnt  alive, and  was  burnt  in  effigy.  Going 
on  to  Geneva,  the  headquarters  of  Protestantism,  he  was. 
at  the  instigation  of  Calvin,  arrested,  tried,  found  guilty  of 
heresy,  and  actually  burnt.  The  edition  of  Christianismi 
Restitutio  —  five  bales  —  had  been  destroyed  by  the 
Catholics,  who  completed  their  work  so  well  that  only 
three  copies  of  the  original  edition  of  the  book  are  known 


-t,  one  be- 

\  i  i' una, 

another  at   1 

and  a  third  in  the 

Edinburgh   Uni- 

'.lgi-s 

of  the    latter  are 

in  man 
Mr.  Cuthl> 
brings  .1  sul 
tial  amount  ol 
evidence  to  show 
that  it  was  the 
draft  copy  which 
Servetus  sent  to 
Calvin.  He  deals 
very  thoroughly, 
not  only  with  the 
hi  tory  of  this 
copy,  but  also 
that  of  the  other 
survivors  of  the 
original  edition 
and  of  the  vari- 
o  u  s  reprints. 
His  book,  which 
is  illustrated  with 
eral  1 1.  timiie 
reproduct  ions, 
throw  5  id  n  1  h 
light  on  the  his- 
oi  thi  work 
and  its  unfortu- 
nate author. 


(HUTCHINSON) 

1  1    may  be  questioned  whether  nowadays  fine  print- 
in-    is   no*,      carcei    than   good    poetry.       Many  writers 


"  Footsteps  of 
Autumn  and 
other  Poems  " 
By  Edward  H. 
Blakeney 
(Printed  by  the 
Author  at  his 
Private  Press 
at  the  King's 
School,  Ely) 


produce  well-balanced  and  rhythmic 
vei  e,  but  the  exigencies  of  commer- 
cialism have  resulted  in  a  prevailing 
style  of  printing  too  economical  of 
type  and  paper  to  be  a  delight  to  the 
eye.  Mr.  Edmund  H.  Blakeney,  in 
his  Footsteps  of  Autumn  and  other 
i'oems,  has  determined  that  his 
verse  shall  be  presented  in  worthy 
guise  by  printing  it  himself  with- 
out professional  assistance.  The 
setting  of  the  book  is  delightful,  the  type  being  clear 
and  well  shaped,  and  the  spacing  throughout  admirably 
balanced.  The  poetry  is  worthy  of  its  presentment, 
being   marked   by  di  -      >  and  melodious  uttera 

To  quote   the    author,    it   is   full    of  "The  wistfuli 
the    plaintive    note     that    thrills/-'    and.    "The    deep, 
sweet    calm    that    meditation    brings";    and    whil( 

fifty  and  odd  short   ; ns  that  the  volume  contain 

nearly  all  conceived  in  a  minor  key,  their  messaj 
not  that  of  gloom  or  despair,  but  of  undying  I 
and  hope. 


The    Connoisseur 


lead  us  to  expect.  She  tells  us  in  the 
preface  to  her  work,  Antiques  and 
Curios   in   our   Homes,    that    "  there 


The  latest  addition  to  the  "  House  Decoration"  series 
hardly  maintains   the  level  of  its  predecessors,  as  Miss 
G.    M.    Yallois    does   not    show    the 
"Antiques  and       special  knowledge  of  her  subject  which 
Curios  in  our  thc  works  of  [he  othe[.  wr;ters  would 

Homes,"  by 
G.  M.  Vallois 
(T.  Werner 

Laurie,  Ltd. 

,  »  seems   to    be    nothing  to  help  the 

amateur  who  does  not  mean  to  make 
a  regular  study  of  antiques,  even  in  one  department,  but 
would  like  to  know  something  about  his  own  possessions,'' 
which  would  seem  to  imply  an  ignorance  of  the  numer- 
ous handbooks  which  have  been  published  on  every 
department  of  the  subject.  Within  the  scope  of  her 
volume  she  brings  in  a  wide  diversity  of  subjects,  treating 
on  nearly  all  styles  and  periods  of  furniture,  china, 
pottery,  glass,  silver,  pewter,  and  Sheffield  plate.  It 
consequently  follows  that  the  information  she  gives  is  of 
a  very  elementary  character,  and  much  of  it  has  very 
little  practical  bearing.  The  grammar  used  in  the  book 
is  not  above  criticism,  and  though  the  work  may  afford 
some  instruction  to  the  embryo  collector,  most  readers 
will  find  its  chief  value  is  in  the  illustrations. 


thus  passed  through  the  periods  of  the  American  and 
French  revolutions,  and  saw  the  map  of  Europe  almost 
completely  recast,  her  life  being  largely  passed  among 
personages  who  were  taking  leading  parts  in  the  making 
of  history,  though  she  herself  was  not  a  participator  of 
their  plans.  Mrs.  Le  Hlond  has  very  wisely  allowed  the 
Countess  and  the  other  personages  connected  with  her 
tell  their  own  stories  by  means  of  their  correspondence, 
only  connecting  it  together  with  a  slender  thread  of 
narrative,  which  tells  the  reader  everything  which  should 
be  known  without  becoming  obtrusive.  The  letters  of 
the  Countess  are  full  of  charm,  and  are  translated  from 
the  original  French  in  a  style  having  the  grace  and  ease 
of  original  work.  They  are  valuable  for  the  light  they 
throw  on  the  opinions  of  the  Continental  aristocracy 
of  the  time,  the  glimpses  they  show  of  bygone  social 
usages,  and,  above  all,  for  the  revelation  they  give 
us  of  the  Countess's  own  delightful  personality.  The 
work  is  splendidly  illustrated,  some  sixty  plates  being 
given  from  contemporary  portraits  and  other  works, 
most  of  which  are  inaccessible  to  the  public,  and  the 
majority  of  which  have  never  before  been  reproduced. 
Altogether  the  author  may  be  congratulated  on  pro- 
ducing one  of  the  most  interesting  books  of  memoirs 
of  the  year. 


Bentinck  :   Her 
Life  and  Times  ' 
By  Mrs.  Aubrey 
Le  Blond 


In  giving  us  the  memoirs  of  her  ancestress,   Charlotte 
Sophie  Countess  Bentinck,  Mrs.   Aubrey  Le  Blond  has 
done  a  highly  creditable  service,  for 
Charlotte  t^e   ]ady  was  a  noteworthy  person- 

Sophie  Countess       ag^  and  ,ived  a(  a  mQSt  interesting 

rt      period.     The    Countess    was   highly 

descended  —  indeed,    her    marriage 

with  the  Hon.    William  (afterwards 

7u~I'l"  »,         Count)  Bentinck,  the  second  son  of 

(Hutchinson  & 

Co      2  Vols  the  Portland,  the  friend  and 

2-s   netj  counsellor  of  William   III.,  must  be 

accounted  a  mesalliance,  for  she  was 
a  "  Princess  of  the  Empire,"  and  among  her  suitors  was 
the  future  King  of  Sweden.  In  her  own  right  she  was, 
on  the  death  of  her  father,  Countess  of  Oldenburg,  and 
thus  Sovereign  of  Oldenburg,  one  of  the  Electoral  States 
of  Germany  ;  while  she  traced  her  descent  through  both 
parents  to  William  the  Silent.  Born  in  1715,  she  was 
married  when  she  was  eighteen,  her  husband  being 
eleven  years  older.  Unfortunately,  the  marriage  did  not 
turn  out  happily  :  the  couple  eventually  agreed  to 
separate,  and  for  a  large  portion  of  her  life  she  was  a 
grass-widow,  separated  from  her  children,  and  harassed 
with  law-suits  by  her  husband,  who,  though  a  man  of 
high  repute,  appears  to  have  behaved  very  badly  to  her. 
The  Countess  was  in  close  touch  with  the  Austrian  and 
Prussian  Courts,  being  on  terms  of  intimacy  with 
Frederick  the  Great  and  Marie  Therese  ;  Stanislaus  of 
Poland  was  a  close  friend,  and  she  knew  most  of  the 
great  men  of  letters,  including  Voltaire,  who  conducted 
a  voluminous  correspondence  with  her.  She  was  born 
in  the  year  of  the  first  Jacobite  rebellion,  when  George  II. 
was  .on  the  throne  of  England,  and  lived  until  iSoo. 
when  Napoleon  was  nearing  the  height  of  his  fame,  and 


Of  the  art  of  Auguste  Rodin  widely  different  opinions 
are  held  ;  while  few  dispute  the  perfection  of  its  accom- 
plishment,  there  are  many  who  con- 
Art,     by  sider  that  in  its  later  developments  he 
ugus  e     o   in       is  moving  on  wrong  lines,  leading  the 
From  the  .     ,  •   ,       ,        .    ,     ,  . 
„         ,      -  _     ,       way  not  to  higher  levels  but  to  chaos. 
rrench  of  Paul       „, '            ,        ,    ,,          , 
„     ,.  ,      „„                those    who    hold    such    views    may 
Gsell  by  Mrs.                                       ,  '. 
d         u     c  jj         hesitate  before  thev  buy  the  record  of 
Komilly  tedden                                       -        ' 

(Hodderand  glcat   Frcnch  sculptor's  ideas  on 

Stouehton  ^rt  as  recorded   by    M.    Paul  Gsell, 

16s.  net)  and  now  admirably  translated  by  Mrs. 

Romilly  Fedden,  but  they  need  not 
be  afraid.  The  book,  far  from  being  an  exposition  of 
extreme  views,  is  one  of  the  most  sane,  illuminative,  and 
comprehensive  explanations  of  the  theory  of  art — of 
sculpture  in  particular — that  has  ever  been  written,  and 
no  artist,  student  or  critic  but  what  will  be  the  better  for 
having  read  it.  Though  the  matter  is  weighty  in  import, 
it  is  cast  into  a  light  form,  mostly  appearing  as  sparkling 
dialogue,  with  here  and  there  an  interesting  autobio- 
graphical reminiscence.  Rodin  is  revealed  as  a  charming 
personality,  never  egotistical,  and  able  to  comprehend 
and  fully  appreciate  phases  of  art  widely  different  from 
his  own.  He  became  a  sculptor  almost  through  the 
accident  of  his  poverty.  When  not  more  than  fifteen  years 
old,  he  haunted  the  Louvre  ;  but  the  story  had  best  be 
continued  in  Rodin's  own  words:  "I  had  a  violent 
longing  at  first  to  be  a  painter, "  he  tells  us.  "Colour 
attracted  me.  1  often  went  to  admire  the  Titians  and 
Kembrandts.  But,  alas  '.  I  hadn't  enough  money  to  buy 
canvases  and  tubes  of  colour.  To  copy  the  antiques,  on 
the  contrary,  I  only  needed  paper  and  pencils.  So  I  was 
forced   to   work   in  the  lower  rooms,   and  there  such  a 


The   C  'onnoisseur   Bookslie  / 


FAUN    AND    NYMPH 


BY    AUGUSTE    RODIN  FROM     '    ART 

( HODDER    AND    STOUGHTON) 


BY    AUGUSTE    RODIN 


passion  for  sculpture  seized  me  that  I  could  think  of 
nothing  else."  His  admiration  for  the  antique  has  always 
continued.  In  his  idea,  "No  artist  will  ever  surpass 
I'hidias-  for  progress  exists  in  the  world,  but  not  in  art. 
The  greatest  of  sculptors,  who  appeared  at  a  time  when 
the  whole  human  dream  could  blossom  in  the  pediment 
of  a  temple,  will  remain  for  ever  without  an  equal."  Of 
Michael  Angelo,  Rodin's  admiration  is  equally  keen, 
and  his  appreciation  warm  of  the  other  great  sculptors 
and  painters.  Me  reveals  in  sentient  phrase  and  with 
wonderful  insight  and  acumen  their  salient  qualities, 
and  in  so  doing  illustrates  much  of  the  philosophy 
underlying  art— art  which  i>  based  on  life  and  truth. 
The  book  can  be  heartily  recommended;  its  value  is 
increased  by  the  fact  that  nearly  every  work  referred 
to — whether  by  Rodin  or  other  artist-  is  illustrated, 
the  plates  being  of  exceptional  quality. 


The  season's  colour-books;  some  new  additions:- 

"  Peter  Pan  in  Kensington  Gardens,"  illustrated  by 
Arthur    Rackham.         New    Edition.  (Hodder    & 

Stoughton.       15s.    net.)  "Green    Willow    and 

Other  Japanese  Fairy  Tales,"  by  Grace  James,  with 
illustrations  in  colour  by  Warwick  Goble.  (Mac- 
millan  &  Co.       5s.  net.)  "  The  Thoughts  of  the 

Emperor  Marcus  Aurelius  Antoninus,"  translated 
by  George  Long,  and  illustrated  by  W.  Russell  Flint. 
(Philip  Lee  Warner.      10s.  6d.  net.) 

The  excellence  of  proa--  1  loui  work  is  one  of  the 
feature- of  modern  book-illustration.  Unfortunately,  thi 
facility  with  which  it  can  be  used  frequently  tempts 
publishers  to  use  it  on  work  not  specially  fitted  for 
reproduction  in  the  method,  and  there  is  .1  danger  that 
it  may  ultimately  become  submerged  under  the  mass  o) 
poor  and  indifferent  books  in  whii  h  it  has  been  emplo 


The    Connoisseur 


Under  such  category  can  by  no  means  be  included  Mr. 
Arthur  Rackham's  Peter  Pan,  a  new  edition  of  which 
has  just  been  issued.  The  work,  a  happy  combination 
of  consummate  art  on  the  part  of  both  illustrator  and 
author,  is  likely  to  prove  a  hardy  perennial,  and  one  can 
safely  prophesy  that  at  this  season,  for  many  years  to 
come,  a  new  edition  will  be  called  for  by  an  audience 
of  adults  as  well  as  juveniles.  Another  re-issue  is  Green 
Willow  and  Other  Japanese  Fairy  Tales,  by  Miss  Grace 
James,  with  the  effective  illustrations  in  colour  by 
Warwick  Goblc,  which,  now  that  it  appears  in  a  more 
portable  size,  and  at  a  popular  price,  should  prove  one 
of  the  most  successful  gift-books  of  the  year.  In  the 
newly  issued  pocket  edition  of  The  Scholar  Gypsy  and 
Thyrsis,  by  Matthew  Arnold,  illustrated  by  Mr.  W. 
Russell  Flint,  the  plates  lose  somewhat  severely  by 
being  reproduced  on  a  small  scale,  but  the  clear  type, 
excellent  paper,  and  attractive  setting  make  it  a  most 
delightful  volume  for  easy  reading.  The  immortal 
Thoughts  of  the  Emperor  Marcus  Aurelius  Antoninus 
have  rarely  been  presented  in  more  tasteful  guise  than 
in  the  edition  translated  by  George  Long,  and  illustrated 
with  smaller  reproductions  of  the  plates  by  Mr.  Flint 
which  appeared  in  the  larger  edition  of  1909.  Hand- 
somely bound,  easy  to  handle,  and  delightfully  legible, 
this  volume  should  be  a  welcome  addition  to  the  library. 


PlETRO  ni  CRISTOFANO  VANNUCCI,  better  known  to 
fame  as  Perugino,  is  remembered, 
not  only  as  one  of  the  greatest 
masters  of  the  Renaissance,  but 
also  as  the  teacher  of  Raphael, 
whose  personality  for  many  years 
unduly  overshadowed  his  own. 
Posterity  has  long  ago  done  justice 
to  the  merits  of  the  elder  artist,  and  so  Mr.  Selwyn 
Brinton,  in  his  admirable  little  monograph,  has  not  to 
reassert  them,  but  merely  to  point  out  by  appreciative 


"  Perugino,"  by 
Selwyn  Brinton 
("  Masterpieces  in 
Colour  "  Series) 
(T.  C.  &  E.  C. 
Jack.     is.  6d.  net) 


criticism  in  what  their  excellencies  consist :  a  task  which 
he  performs  with  judgment  and  discretion.  He  incor- 
porates in  his  volume  all  the  reliable  details  concerning 
Perugino's  life  that  can  be  gleaned  from  Vasari  and 
other  sources,  and  furnishes  an  account  of  his  principal 
works.  It  is  needless  to  say  that  Mr.  Selwyn  Brinton 
clothes  his  facts  in  fluent  and  well-Englished  diction,  and 
makes  the  reading  of  them  a  pleasant  as  well  as  a  profit- 
able task.  The  plates,  as  is  usual  in  the  "  Masterpieces 
in  Colour  "  Series,  are  excellently  reproduced,  giving  ade- 
quate idea  of  the  tone,  feeling,  and  colour  of  the  originals, 
among  those  which  are  specially  successful  being  the  fine 
portrait  of  Francesco  delle  Opere,  in  the  Uffizi  Gallery, 
and  the  St.  Mary  Magdalene,  of  the  Pitti  Palace. 

"The  Royal  and  Ancient  Game  of  Golf" 

The  published  price  of  this  work  is  six  guineas,  not 
three  guineas,  as  stated  in  the  review  which  appeared  in 
our  last  number. 

A  practical  work  on  cabinet-making  may  be  of 
great  value  to  a  reader  who  never  intends  to  construct  a 
piece  of  furniture,  as  informing  him 
how  the  work  should  be  done,  and 
so  enabling  him  to  appraise  the 
craftsmanship  of  the  pieces  he  pos- 
sesses or  the  ones  he  may  intend  to 
acquire.  Mr.  Rudd's  work  achieves 
this  quality  by  reason  of  the  clear- 
ness of  its  diagrams  and  the  fulness  of  its  explanations. 
The  veriest  tyro  who  studies  this  work  may  master  the 
full  principles  of  furniture  construction,  and  if  he  pos- 
sesses a  natural  bent  in  the  direction,  may  put  his 
knowledge  to  practical  use  with  every  chance  of  success. 

"Nature  in  Italian  Art" 

Messrs.  A.  &  C.  Black  are  the  publishers  of  this 
work,  a  review  of  which  appeared  in  our  last  number. 


"  Practical 
Cabinet-making 
and  Draughting" 
By  J.  H.  Rudd 
(Benn  Brothers, 
Ltd.     4s.  6d.) 


SILVER    PUNCH    LADLE    AND    PAP    BOAT  FROM    "ANTIyUES    AND    CURIOS  ' 

BY    G.    M.    VALLOIS  IWLRNER    LAURIE) 


2  04 


Correspondence 


Special     Notice 

Enquiries  should  be  made  upon  the  coupon  which  will  be  found  in  the  advertisement  pages.  While, 
owing  to  our  enormous  correspondence  and  the  fact  that  every  number  of  The  Connoisseur  Magazini  is 
printed  a  month  in  advance,  it  is  impossible  for  us  to  guarantee-  in  every  case  a  prompt  reply  in  these  columns, 
an  immediate  reply  will  be  sent  by  post  to  all  readers  who  desire  it,  upon  payment  of  a  nominal  fee.  Expert 
opinions  and  valuations  can  be  supplied  when  objects  are  sent  to  our  offices  for  inspection,  and,  when 
necessary,  arrangements  can  be  made  for  an  expert  to  examine  single  objects  and  collections  in  the  country, 
and  give  advice,  the  fee  in  all  cases  to  be  arranged  beforehand.  Objects  sent  to  us  may  be  insured  whilst 
they  are  in  our  possession,  at  a  moderate  cost.  All  communications  and  goods  should  be  addressed  to  the 
••  .Manager  of  Enquiry  Dept.,  The  Connoisseur,  35-39.  Maddox  Street,  W." 


ANSWERS    TO    CORRESPONDENTS 


Chairs.— A5, 975  (Newport,  Mori.). — If  the  two  chairs,  of 
which  you  send  a  photograph,  are  in  their  original  condition, 
an  antique  dealer  would  probably  a^k  twenty-five  to  thirty 
guineas  for  them. 

Clockmakers.— A5.9S9  (Ramsgate).  (1)  A  clockmaker 
named  G.  Miles  was  working  at  Guildford  Sti  I  igh,  in 
iS;o.     121  We  have  no  record  ofa  maker  named  Step  Hume. 

"The  Hirst-born,"  engraved  by  T.  Vernon,  after 
C.  W.  Cope,  R.A.-  -A6.024  (Gainsborough).  This  is  one  of 
tin-  most  notable  works  by  the  engraver,  and  wa-  published  at 
■tle-on-Tyne  in  1865  at  3s.  6d.  In  common,  however, 
with  most  line  engravings  of  the  period,  it  is  at  present  of  very 
little  value. 

Dugdale's  "  British  Traveller,"  1819-  A6,037 
(Acton).— Your  four  volumes  of  this  publication  would  be  un- 
likely to  realise  more  than  a  few  shillings. 

"  Vanity  Fair  "  Cartoon.— A6,o.so  (Taunton).— Your 
Vanity  Fair  cartoon  of  King  Edward  VII.  is  ol  quite  trilling 
value.  The  cartoons  of  Mr.  Balfour  and  Disraeli  which  you 
read  realised  .£20  each,  were  the  original  drawings,  and  not 
reproductions. 

"Death  of  Dido."  -A6.0S4 (Wallingford,  U.S.A.).— This 
engraving  by  Robert  Strange  is  after  Guercino,  being  one  of 
many  similar  subjects  engraved  after  this  master.  Its  value, 
even  if  a  very  tine  impression,  would  not  exceed  15s.  to  £1. 

Engravings. — A6,055  (Leeds). — Your  portrait  of  Abraham 
Hondeus,  by  Smith,  is  not  worth  more  than  £1  to  30s.,  and 
•  of  engravings  of  Hudibras,  by  Hogarth,  would  fetch  a 
similar  sum,  there  being  practically  no  demand  for  Hogarth 
engravings  at  the  present  time.  Your  two  mezzotint  portraits 
may  possibly  be  of  value,  but  these  must  be  seen  before  we  can 
say  definitely  what  they  are  worth. 

Books.  —  A6.059     (Basingstoke).  —  Primitive     /'  ■:■ 

1666,  by  Edward  Sparke,  and  Reasons  of  Christian  Religion, 

1667,  by  Richard  Baxter,  are  only  of  trifling  value.     Few  works 
of  this  character  have  any  interest  to  a  collector. 

Bibles.  1673,  1681  and  1719.  A0.071  (Rugby).  In 
v ■  o  1  r  enquiry  you  say  nothing  a-  to  the  condition  of  your  Bibles. 
They  are,  however,  of  no  particular  rarity,  and  their  value  in 
each  case  is  consequently  quite  nominal. 


Engravings.     A6,oo8   (Paris).— (i)    TAi    ffa 

and    Rustic    I  1        ■  '    Wheatley.      II 

your  two  prints  are   in   colours,  their   value  i-  about    /, ; 
Simei  11  an, i ike  Child,  by  Earlom,  alter  Guido   Reni,  would  not 

more  than  a  few  shillings,  being  an  unsalea    I 
(3)  The  value  of  the  portrait  o(  Joseph   Carreras,  by  Valentine 
,,  en,  after  God         1        I  r,  would  not  exceed  10s.  to  15s. 
Grandfather  Clock.     A6,ioo  (London,  S.E.).     Wi 
01       ill  a  clockmaker  named  Henry  Baker  of  Mailing.     A 
maker  of  this  name  worked  at  Maidstone. 

Prints.-  V6.I01   (Hobart)       V   the  present    time   there  is 
little  demand   for  the   work  of  the  engraver  James    K.gan.  and 
your  pair  of  prints,   The  Young  Wife  and  The  Yom, 
would   not   realise   more  than   [OS.  01    15s.   in 

v  S.  \\  .  Reynolds,  and  /'■'■      >    ■  '  ■  W. 

,  are  also  ol   little  interest,  and   would  only  letch  a  few 
shillings  apiece. 

Engravings.— A6, 1 16    (Easingwold).  — (I)      What's    thai. 
Mother  ?  and  My  dear  little  Shock,  after  Adam   Buck.      I 

nuine  and   fine,  they  should  worth 

£\o,  and  probably  more,  owing  to  the  great  di  n  work 

of  this  artist.     (2)  As  regards  the  coloured  print  by  I. evilly,  we 
cannol  trace  any  record  ol  this  engraver, 

pun!  itsell  before  giving  an  opinion.     (3)  We  must  also 
see  the  Cupid  coloured  print. 

Brooch.     Ao.iji  (Bath).— There  are  two  countries  h 

Orders  ol    St.    ge,    riz.,    Bavaria  and    Russia,   but   n 

We  know   ol 
Geo!    e  holds  a    sword   instead  of  a   spear,  and    we 
.     that     in    all     probability     the    design     i>    merely 
ornamental. 

"  Damon    and    Pheoba,"    by    Delattre,    after    S. 
Harding.    -A6.I53  (Budapest).— Assuming  your  prim  I 
lair,  averagi  .  ".  «e  should  place   it-  value 

at  £\  to  30s. 

Engravings.       An. 17;   (Streatham    Hill).        1     ./ 
Family,  bj    II      dseer,  should  realise  £2  to  £3.     Engravings 
after  the  worl    ol    -11  I      i   indseei  have  1  ilue  in 

recenl  A  M        ier  AV  hf    Dream,  by  S.  I 

1  10  £5  if  in  g 1  condition. 


-°5 


HE  CONNOISSEVR. 

GENEALOGICAL  AND 
LDIC  DEPARTMENT 


Special    Notice 

Readers  of  The  Connoisseur  who  desire  to 
take  advantage  of  the  opportunities  offered  herein 
should  address  all  letters  on  the  subject  to  the 
Manager  of  the  Heraldic  Department,  Hanover 
Buildings,   35-39,    Maddox  Street,    W. 

Only  replies  that  may  be  considered  to  be  of 
general  interest  will  be  published  in  these  columns. 
Those  of  a  directly  personal  character,  or  in  cases 
where  the  applicant  may  prefer  a  private  answer,  will 
be  dealt  with  by  post. 

Readers  who  desire  to  have  pedigrees  traced,  the 
accuracy  of  armorial  bearings  enquired  into,  or  other- 
wise to  make  use  of  the  department,  will  be  charged 
fees  according  to  the  amount  of  work  involved. 
Particulars  will  be  supplied  on  application. 

When  asking  information  respecting  genealogy  or 
heraldry,  it  is  desirable  that  the  fullest  details,  so  far 
as  they  may  be  already  known  to  the  applicant,  should 
be  set  forth. 

Pui.i.kn. — Wanted,  the  ancestry  of  Richard  Pullen,  who 
emigrated  to  Canada  some  60  years  ago,  from  Petworth,  CO. 
Sussex. 

We  can  find  no  trace  of  this  family  in  Sussex. 

The  Pullens  are  a  very  old  Yorkshire  family  of  standing. 
They  entered  their  pedigree  in  the  Visitation  of  1563-4.  There 
are  several  pedigrees  in  print  and  manuscript  of  the  family. 

The  ancestry  of  Richard  Pullen  might  he  discovered  if  you 
-  are  to  have  a  search  made. 

A  1  kinson. — You  are  quite  right  ;  the  arms  you  mention  are 
the  arms  of  Dennis,  a  very  old  Devonshire  family.  Sir  Robert 
Dennis,  living  temp.  Henry  VIII.,  was  si\th  in  descent  from 
Walter  Dennis. 

The  other  coal  appears  to  belong  to  the  family  of  Jury. 

A  further  search  in  connection  with  this  matter  would  he 
interesting. 


YALDWYN. — Wanted  names  of  descendants  of  William  Yald- 
wyn,  of  Blackdown,  co.  Sussex,  to  whom  arms  were  granted 
in   165 1. 

This  William  was  son  of  William  Yaldwin,  by  his  wife 
Margaret  Yaldwin,  of  Petersfield,  and  grandson  of  William 
Yaldwin,  of  Blackdown  House,  in  the  parish  of  Lodsworth, 
co.  Sussex.  He  was  high  sheriff  in  1656,  and  married  Mary, 
daughter  of  Richard  Alwyn,  of  Hookland.  The  following 
pedigree  shows  some  of  his  descendants  : — 

William  Yaldwin  =  Mary,  dau.  of  Richard  Alwyn. 


I  I 

William,  =     John  = 
aged   19 
in  1662. 


I  I  I  I 

Robert.     Edmund.     Thomas.     Nicholas. 


William, 
ob.  s.p. 
in  1728, 
aged  61. 


Ann,  dau.  of 

Lawrence 

Alcock, 

ob.  162S. 


I 


[ohn,  of  Blackdown, 
ob.  1744,  aged  61. 


John,  Clerk, 
ob.  1787, 
aged  69. 


:  Frances. 


I 
Jane,     ob. 
unm.  1737, 

aged  20. 


Richard, 
ob.  1807, 
aged  45. 


Martha,  dau.  of 
R.  Seale. 


Will  iam  =  Henrietta 
Henry,  Mary, 


of  Black- 
down, 
J.P.,D.L. 


dau.  of 

Henry 

Bowles. 


I 
Richard, 
Clerk, 
ob.  unm. 


I 

John,    =  Ellen, 

Lt.-Col.,  I  dau. ... 

E.I.C.S.  I  Hinds. 

Four  sons  and 

two  daughters. 


I 
Six 
daugh- 
ters. 


William,  of 

Blackdown, 

born  1 2  Nov . , 

■835- 


I 
Burton, 
born  19  Sept. 
1837. 


I    . 
I  lenrielta. 


The  Yaldwyns  claim  a  Saxon  extraction,  ami  have  been 
settled  in  Sussex  from  very  early  times. 

A  longer  search  would  doubtless  bring  to  light  many  other 
descendants  of  William  Yaldwyn,  especially  through  Colonel 
John   Yaldwyn. 


206 


CAROLINE  OF  BRUNSWICK 

BY  SIR  THOMAS   LAWRENCE,   P.R.A. 

From   "Famous  Paintings"   (Ccisscll) 


December,   1912. 


Prints 


Mr.   Fritz    Reiss's    Mezzotint    Portraits 
By    C.  Reginald    Grundy 


Part    II. 


The  last  quarter  of  the  eighteenth  century 
was  the  culminating  period  of  English  mezzotint 
portraiture.  During  these  two  and  a  ball  di  cades  not 
only  were  its  most  capable  exponents  alive — James 
McArdell  only  excepted — but  they  were  producing 
their  finest  works.     All  the  technical   possibilities  of 


the  medium  had  been  discovered,  and  thi    d 
larger  editions  oi  popular  subjects  had  not ; 
engravers   to   enter    into    methods    of    questionable 

legitimacy   by  the   substitution   of  steel   for  coppi  1 

plates.       M01   "'■    :.     t] P  al     portrait     pain)   1 

Reynolds.  C.ainsborough,  Roroney,  and    Hoppi 


LADY     RUSHOUT     AND    CHILDREN  BY    THOS.    WATSON,     AFTER     D.    GARDNER 

V01.   XXXIV.— No.    136.— N  2°9 

[Copyright  by  ,/.  T.  Herbert  Baily  in  the  United  St.itcs  of  America,  May.  1901] 


The    Connoisseur 


were  alive 
to  supervise 
the  repro- 
duction of 
their  own 
pictures. 
H  o  w  great 
an  advan- 
tage was 
this  may  be 
seen  by  the 
comparison 
of  any  series 
of  plates  by 
an  engraver 
after  a  living 
artist  with 
those  exe- 
cuted by 
him  from 
the  same  ar- 
tist's works 
after  the  Lit- 
ter's death  ; 
those  by 
Lucas  after 
Constable, 
and  of  Cou- 
sins  after 
Lawrence, 
being  note- 
worthy in- 
stances in 
point. 

Though 
at  the  be- 
ginning of 
the  period 
H  o  p  p  n  e  r 
was  still  a 
boy,  the 
most  valued 
plates  after 
him  —  The 
Frank  I  and 
Sisters,  Mt  r. 
Michael \  In- 
gelo  Taylor 

as  -Miranda,"  The  Douglas  Children,and  TheHoppner 
l  'hildren,  comparatively  early  works — all  come  within 
it.  This  is  a  point  of  some  significance,  as  showing 
the  decided  decline  of  mezzotint  in  the  early  years  of 
the  nineteenth  century,  for  the  best  reproductions 
after  Reynolds,   Romney,  and  Gainsborough  are  all 


MRS.  PKLHAM  FEEDING  CHICKENS  BY  W.  DICKINSON,  AFTER  SIR  JOSHUA  REYNOLDS 


from  their 
late r  a n d 
more  ma- 
ture works. 
Of  the  trio 
G  a  i  n  s  - 
borough 
fares  worst 
at  the  hands 
of  the  en- 
graver; the 
plates  after 
him  are  com- 
paratively 
few,  and 
though 
several  are 
of  high 
quality,  the 
series  as  a 
whole  does 
not  come 
up  to  those 
after  Rom- 
ney and 
Reynolds. 
It  was  in- 
deed largely 
through  the 
genius  and 
sagacity  of 
the  1  a  s  t- 
named  artist 
that  mezzo- 
tint attained 
its  contem- 
porary popu- 
larity. 

More  than 
any  painter 
who  pre- 
ceded him 
he  provided 
suitable 
subjects 
for  transla- 
tion in  the 
m  e  d  i  u  m  ; 

though  individual  plates  after  Romney  and  other  con- 
temporary artists  may  rank  with  the  best  after  him,  yet 
taking  into  account  the  number  and  wonderful  variety 
of  the  themes,  it  may  be  safely  said  that  the  series  of 
plates  after  Reynolds  constitutes  the  greatest  achieve- 
ment ever  consummated  in  mezzotint  portraiture. 


Mr.  Fritz    Reiss's   Mezzotint   Portraits 


The  Rey- 
nolds en- 
gravers  —  by 

w h  i  c  h     is 
implied    the 
m  e  n    \v  h  c 
were    surti 
ciently  con 
t  e  m  porane- 
ous  with  the 
artist  to  exe- 
cute   plates 
from    his 
<  i  w  n     p  i  c- 
tures    under 
his   super- 
vision —  are 
legion   in 
n  umber. 
Practically 
all  the  lead- 
i  n  g     e  n- 
gravers  of 
his    time 
worked  for 
him,   and  it 
is    probably 
largely- 
owing  to  his 
careful    cor- 
rection of 
the  repro- 
ductions 
fro  m    h  i  s 
work  —  a 
fact   which 
is  attested 
on      the 
authority  of 
James  Ward 
— that  there 
was  evolved 
the    more 
delicate, 
refined    and 
sympathetic 
style     of 

mezzotint  which,  beginning  in  his  early  days,  reached 
its  full  perfection  about  the  period  of  his  death.  Some 
of  these  engravers  have  already  been  mentioned  in 
the  previous  article  on  Mr.  Reiss's  collection;  the 
others,  who  are  well  represented,  are  too  numerous  to 
be  all  included  within  the  scope  of  the  present  one,  so 
one  must  perforce  make  a  selection — and  a  selection, 


MRS.    MATHEWS 


unfortunate- 
ly, which  is 
bound  to 
omit  many 
n  a  m  e  s 
worthy  of 
inclusion. 

The  ] 
of    place    in 
the  auction- 
room    for    a 
K  e  y  n o Id s 
]  >  r  i  nt,    or, 
indeed,  for 
a   mezzotint 
of  any  kind, 
is  held  by 
T  h  0  in  a  s 
Watson's 
Lady  Bamp- 
I  Ide,  al- 
w  ays      a 
valued  plat'-, 
a  n  (1   o  n  e 
which,    with 
brief     inter- 
missions, 
has  held  the 
record    for 
many  year-. 
M  r.  Reiss 
possesses    a 
superb    i  m- 
pression    of 
this  much 
sought    for 
engraving, 
belonging, 
not  to  what 
is  known  a- 
the    first 
state,  but  to 
the   first 
published 
state    of 
the   plate. 
Which     of 

these  two  states  is  the  more  desirable — desirable,  that 
is  to  say,  from  an  artistic  standpoint — is  a  matter 
of  opinion.  Theoretically,  those  impressions  are 
preferable  which  have  been  struck  from  the  plate 
before  the  most  evanescent  of  its  pristine  beauties 
have  been  dimmed  by  the  printing  ot  even  half-a- 
dozen  proofs ;  but  the  result  often  proves  otherwise, 


BY    W.    DICKINSON,     AFTER    SIR    JOSHUA    REYNOLDS 


The   Connoisseur 


MISS     CROCKKTT  BY     J.    DEAN,     AFTER     J. 

for  a  printer  requires  some  little  experience  with 
every  copper  he  handles  before  he  can  thoroughly 
exploit  its  capabilities.  Thus  while  the  hundredth 
impression  from  an  unretouched  plate  would  be 
certainly  worse  than  the  first,  the  tenth  might  prob- 
ably be  superior  to  either.  In  the  present  instance 
I  have  seen  no  first  state  impression  of  Lady 
Bampfylde  which  surpasses  in  bloom,  richness,  and 
brilliancy   the   copy   belonging   to    Mr.   Reiss.        The 


HOPPNER 


Strawberry  Girl  and  some  other  half-dozen  proofs 
after  Reynolds  keep  the  Lady  Bamp/ylde  company. 
More  to  my  liking,  however,  is  the  Lady  Ruslwut  and 
Children,  after  Daniel  Gardner,  an  artist  who,  in  this 
charming  composition,  appears  to  have  provided  the 
suggestion  for  Ronmey's  superb  Gower  Family.  The 
Kit shout  Children  was  published  in  i  778,  a  year  earlier 
than  the  Lady  Bampfylde.  This  may  be  classed  as 
Watson's  finest  period  ;  he  had  discarded  some  of  the 


2  t: 


2I3 


The   Connoisseur 


THE     HON.    MRS.    NORTH 


BY     J.    R.    SMITH,     AFTER     GEORGE     ROMNEY 


mannerisms — a  tendency  to  disturb  the  breadth  of 
his  conceptions  by  unduly  forcing  the  minor  lights, 
for  instance — which  appeared  in  some  of  his  earlier 
works,  and  attained  the  highest  development  of  his 
powers — powers  which  were  cut  short  by  his  premature 
death  in  1781,  in  what  was  probably  his  thirty-second 
v  ar.  Watson,  in  his  short  life,  placed  himself  in  the 
first  rank  of  mezzotinters,  among  those  masters,  some 
half-dozen  in  all,  who,  though  closely  approached  by 
others,  yet  show  a  slight  but  appreciable  superiority 
in  various  qualities  which  place  them  before  the  rest. 


Watson's  work  is  distinguished  by  its  fine  draughts- 
manship— a  trait  not  then  so  assiduously  cultivated 
by  engravers  as  at  the  present  time — and  the  depth 
and  richness  of  his  tones.  The  examples  mentioned 
worthily  show  these  special  attributes,  and  they  are 
displayed,  perhaps,  to  an  even  greater  extent  in  the 
Miss  Kitty  Dressing,  a  plate  whose  triviality  of  theme 
is  excused  by  its  superb  craftsmanship.  Though  the 
plate-writer  has  given  the  authorship  of  the  picture 
to  R.  Wright — the  now  forgotten  Wright  of  Liver- 
pool— it  was  the  work  of  his  contemporary,  the  still 


214 


Mr.  Fritz    Reisss  Mezzotint   Portraits 


■ 


■ 


'■/ 


MRS.  AGNETA  YORKK 


BY  VALENTINE  GREEN,  AFTER  F.  COTES 


deservedly  famous  Joseph  Wright,  of  Derby.  The 
engraver  has  rendered  with  intense  but  not  over- 
exaggerated  brilliancy  the  warm  radiance  of  the  candle, 
arranging  the  light  and  shadow  in  broad  and  effective 
masses.  What  is  most  to  be  admired,  however,  is  the 
superb  rendering  of  the  modelling  and  texture  of  the 
faces,  busts,  and  hands  of  the  two  girls.  This  plate  is 
the  last  mezzotint  wholly  completed  by  Watson.     It 


was  published  in  the  early  part  of  1781,  the  year  of 
his  death. 

It  will  be  seen  that  the  plate  of  "Miss  Kitty"  bears 
the  imprint  of  Watson  and  Dickinson,  No.  158,  New 
Kond  Street.  The  junior  member  of  this  firm  was 
William  Dickinson,  the  well-known  engraver,  who  was 
closely  associated  with  Watson  throughout  the  latter's 
working  career,  and  joined  him  in  the  publication  of 


215 


The    Connoisseur 


various  engravings.  His  style  and  method  of  scraping 
closely  resemble  those  of  his  partner,  whom  he  rivals 
in  his  best  plates,  such  as  the  beautiful  Mrs.  Pelham 
feeding- Chickens,  or  the  more  stately  but  less  fascina- 
ting Mrs.  Mathews,  after  the  same  artist.     A  third 


illustration  selected  from  Mr.  Reiss's  lich  collection 
is  from  the  picture  by  the  Rev.  M.  W.  Peters  of  Lady 
Charlotte  Bertie,  the  daughter  of  that  Duchess  of 
Ancaster  whose  portraits  after  Hudson  and  Reynolds 
were  reproduced  in  an  earlier  article.    Some  years  later 


>i6 


Mr.  I-'rit:    Reiss's    Mezzotint   Portraits 


fur+e,*^  fegfe  f.  t>,  /*„ 


MRS.  VALENTINE  GREEN  AND  CHILD 

Lady  Charlotte  married   Horace  Walpole's  nephew, 
Lord  Cholmondeley,  the  veteran   letter-writer  appear- 
ing at  the  wedding  in  a  silver  waistcoat,  and  relating 
that  he  was  the  only  decently  dressed  man  there. 
A  brief  mention  may  be  made  of  that  brilliant  but 


BY     VALENTINE    GREEN,     AFTER    P.    FALCONE1 

unequal  engraver,  W.  Dunkarton,  whose  nam-   i 

in  appropriately  here,  because  the  illustration  which 
represents  him  is  taken  from  a  plate  published  by 
\V.  Dickinson — Sylvia  Rising — after  tin-  Rev.  M.  W. 
Peters  -a  well-drawn  but  somewhat  hard  mezzotint. 


217 


The    Connoisseur 


A.  CARLINI,    F.  BARTOLOZZI,    AND    G.   B.   CIPRIANI 

Before  either  Watson  or  Dickinson  in  time  of  birth 
was  Valentine  Green,  whose  art,  however,  extended 
to  a  much  later  period  than  that  of  the  former.  Born 
in  1739,  Green  outlived  most  of  his  contemporaries, 
dying  in  18 13,  his  last  dated  plate  being  published  in 
1807,  when  the  great  mezzotinters  of  the  generation 
succeeding  his  had  practically  all  ceased  working. 
The  years  centring  about  1780  constituted  his  best 
period — his  Lady  Betty  Deltne  belonging  to  1779,  the 
Duchesses  of  Rutland  and  Devonshire  to  1780,  and 
the  Countess  of  Salisbury,  Lady  Betty  Compton  and 
The  Ladies  Waldegrave  to  1 78 1,  an  array  of  brilliant 
plates  which  could  hardly  be  matched  from  the  work 
executed  in  a  similar  period  of  any  other  mezzotinter. 
Mr.  Reiss  appears  to  have  a  preference  for  the  1781 
output — all  Green's  chef  d'ceuvres  of  that  year  being 
included  in  his  collection.  Of  these,  my  individual 
preference  is  for  The  Ladies  Waldegrave.  I  would 
indeed  go  further  and  appraise  it  as  the  most  beauti- 
ful mezzotint  that  Green  ever  scraped.  Yet  a  word 
of  warning  on  the  matter.  To  appreciate  it — indeed, 
to  appreciate  any  of  Green's  work — one  must  needs 


BY    J.   R.  SMITH,    AFTER    F.   RIGAUD 

see  it  in  an  early  state,  with  all  its  lustrous  bloom 
and  delicate  half-tones  in  their  virgin  purity,  as  in  this 
superb  impression  of  Mr.  Reiss's.  Green's  coppers 
did  not  wear  well ;  his  work  is  over-fine  and  delicate 
to  bear  being  heavily  printed,  and  any  but  the  earliest 
proofs  from  his  plates  are  apt  to  appear  monotonous 
and  flat.  One  has  placed  the  year  1780  as  dating  the 
zenith  of  Green's  powers  ;  but  his  zenith  hardly  marked 
a  greater  altitude  than  his  usual  level  of  accomplish- 
ment. The  portrait  after  Cotes  of  the  Honble.  Agneta 
Yorke,  the  ancestress  of  the  present  Earl  of  Hardwicke, 
is  a  proof  of  this.  It  is  Green's  third  known  plate  in 
point  of  chronology,  being  issued  in  1768,  and  shows 
him  as  already  attaining  that  solidity  of  tone  and 
impressive  massing  of  light  and  shade  which  were 
among  the  most  attractive  qualities  of  his  later  work. 
The  portrait  of  his  own  wife  and  child  from  the 
painting  by  Falconet  is  dated  two  years  later,  and, 
though  not  endowed  with  the  charm  that  Reynolds 
would  have  invested  a  similar  subject,  is  natural  and 
unaffected. 

The  innate  artistry  of  Green's  work  is  shown  in  the 


21S 


2  !•! 


The    Connoisseur 


modelling  of  the  features  and  bare  limbs  of  the  sitters, 
in  which  every  minute  variation  of  the  flesh-tones  is 
set  down  with  scrupulous  accuracy  yet  without  impair- 
ing the  breadth  of  the  whole.  Both  these  engravings 
appear  to  have  been  successful  publications,  for  other 
versions  of  the  same  subjects  were  issued  shortly 
afterwards.  The  original  prints  from  the  two  plates 
were  retailed  at  7s.  6d.  for  the  Agneta  Ydrke  and 
5s.  for  the  Mrs.  Green.  The  late  Mr.  Whitman,  in 
his  valuable  work  on  Green,  points  out  that  when 
the  engraver  issued  his  prospectus  of  the  Diisseldorf 


Gallery,  he  announced  that  the  proof  impressions  of 
each  subject  would  be  limited  to  fifty,  charged  at 
double  the  rate  of  the  ordinary  prints.  From  this  the 
writer  appears  to  argue  that  the  usual  issues  of  proofs 
from  Green's  works  would  average  about  the  same 
number.  Personally,  I  think  this  likely  to  be  a 
misconception. 

The  issues  of  engravings  in  the  eighteenth  century 
were,  as  at  the  present  time,  divided  into  two  classes 
— subjects  which  possessed  a  popular  appeal,  and 
others  whose  appeal  was  strictly  confined  to  a  limited 


THE    HONBLE.    MRS.    STANHOPE 

PAINTED    BY    SIR    JOSHUA    REYNOLDS 
ENGRAVED    BY    J.    R.    SMITH 


223 


The    Connoisseur 


circle.  With  the 
former  may  be 
classed  all  repro- 
ductions of  cele- 
brated pictures 
by  older  masters, 
and  of  subjects 
of  a  religious, 
historical,  or 
anecdotal  nature. 
To  the  latter 
belong  nearly  all 
those  fine  por- 
traits which, 
now  so  much 
sought  after,  were 
then  more  or  less 
a  drug  in  the 
market.  The 
engravers  with 
their  popular 
themes  made 
provision  to 
meet  the  demand 
by  working  their 
coppers  so  as  to 
obtain  from 
them  the  largest 
possible  number 
of  impressions, 
and  judging  from 
actual  records 
I  have  come 
across,  I  believe 
that  the  proofs 

and  prints  struck  from  one  of  these  plates  would 
average  at  least  double  the  number  of  those  printed 
from  a  mezzotint  portrait. 

One  of  the  most  successful  of  Green's  pupils — John 
Dean — showed  much  of  his  master's  delicate  touch ; 
his  Miss  Crockett,  after  Hoppner,  is  a  broad  and 
lightly  handled  piece  of  work,  though  a  little  wanting 
in  vigour.  Contemporary  with  Green  was  James 
Watson,  an  Irishman,  who,  though  often  assigned 
some  relationship  with  Thomas  Watson,  was  in  reality 
no  connection  of  his.  From  a  score  of  examples  of 
his  exquisite  and  finished  work  one  may  select  a 
couple:  the  Miss  Greenway,  after  Reynolds,  and  the 
Miss  Moore,  thought  by  Chaloner  Smith  to  be  the 
same  lady  who  afterwards  became  Lady  Bampfylde, 
after  Falconet.  Both  are  subjects  which  especially 
lend  themselves  to  the  engraver's  style ;  neither 
demanding  that  virility  of  treatment,  the  want  of 
which  mars   Watson's  more  masculine  efforts. 


Perhaps  the 
greatest  of  all 
reproductive 
mezzotinters, 
certainly  the 
mostoriginaland 
versatile  genius 
among  them,  was 
John  Raphael 
Smith,  a  success- 
ful publisher, 
portrait  and 
genre  painter, 
and  a  proficient 
exponent  of 
stipple.  Smith, 
more  than  any 
engraver  of  his 
time,  had  the 
power  of  varying 
his  technique  to 
suit  the  character 
of  the  picture  he 
was  translating  ; 
his  best  works 
are  by  no  means 
limited  to  repro- 
ductions after 
one  or  two 
masters  ;  though 
no  one  has 
excelled  his 
interpretations 
of  Reynolds, 
Romney  and 
Gainsborough,  he  was  equally  good  with  some  of  the 
lesser  men,  like  Morland  or  Peters.  For  its  exquisite 
lightness  of  touch,  combined  with  strength,  breadth 
and  modelling,  there  is  nothing  more  delightful  than 
the  plate,  Love  in  her  eyes  sits  playing,  after  the 
last-named  artist.  The  subject  has  already  been 
illustrated  in  The  Connoisseur,  so  one  must  pass 
over  it,  and,  for  the  same  reason,  many  other  examples 
by  the  engraver  belonging  to  Mr.  Reiss,  such  as  Lady 
Catherine  Pelham  Clinton,  Mrs.  Payne  Gallwex  and 
Child,  Colonel  Tarleton,  after  Reynolds,  Romney's 
Clavering  Children,  and  The  Gamesters  and  Fortune 
Teller,  after  Peters.  From  the  works  of  this  clerical 
artist  a  good  store  of  subjects  remain,  among  them 
that  charming  little  pair  of  A  Parmesan  Lady  and  A 
Cremonese  Lady,  two  of  the  earlier  fruits  of  his 
numerous  visits  to  Italy,  and  Miss  Harriet  Powell, 
all  reproduced  with  quaint,  heavily-shaded  borders, 
which  make  the  subjects  appear  to  be  looking  out  of 


224 


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The    Connoisseur 


oval  windows.  Though  the  mezzotints  are  small,  they 
an  scraped  with  great  freedom  and  vigour.  A  theme 
(rum  a  greater  hand  is  the  Hon.  Mrs.  North,  the 
wife  of  the  Bishop  of  Lichfield,  after  Romney,  in 
which  the  scraper  appears  to  have  been  used  with  the 
directness  and  freedom  of  a  brush. 

A  portrait  group  of  great  interest  is  that  from 
G.  F.  Rigaud's  picture  of  three  well-known  foundation 
members  of  the  Royal  Academy — Agostino  Carlini, 
sculptor:  Francesco  Bartolozzi,  the  well-known 
engraver ;  and  G.  B.  Cipriani,  the  painter,  who  pro- 
vided him  with  so  many  of  his  themes.  The  names 
are  given  in  the  same  order  as  the  figures,  taking  the 
latter  from  left  to  right.  It  will  be  noticed  that  each 
artist  holds  in  his  hand  the  implement  of  his  special 
craft.  The  pair  of  The  Watercress  Girl — which  is  said 
to  have  the  portrait  of  Jane  Wallis — and  The  Flower 
Girl,  both  after  Zoffany,  are  respectively  the  work  of 
Smith,  and  one  of  the  most  able  of  his  pupils,  John 
Young.     The  works  serve  to  illustrate  the  difference 


in  quality  between  even  the  works  of  a  fine  and  a 
master  engraver.  The  Flower  Girl  is  superficially 
the  more  brilliant,  but  its  lights  seem  unduly  forced, 
its  textures  metallic,  and  it  lacks  something  of  the 
restraint  and  painter-like  qualities  of  its  companion. 
A  second  plate  by  the  same  engraver  brings  us  to  a 
later  generation  of  artists.  This  is  Catherine,  Vis- 
countess Hampden,  after  Hoppner,  a  fine  piece  ot 
work,  yet  hardly  showing  the  sympathetic  treatment 
which  the  brothers  Ward  extended  to  the  paintings  by 
the  same  artist. 

The  last  plate  to  be  mentioned  is  Mrs.  William 
Hope,  of  Amsterdam,  after  Reynolds,  the  master  work 
of  another  pupil  of  Smith,  Charles  Howard  Hodges, 
a  mezzotinter  who  might  have  ranked  with  the  highest 
had  he  been  born  a  few  years  earlier.  The  demand 
for  mezzotint  was  already  waning  at  the  time  it 
attained  its  highest  excellence,  and  Hodges,  after  a 
too  short  career  in  England,  left  to  seek  better  fortune 
in  Holland,  where  his  work  speedily  deteriorated. 


CATHERINE,    VISCOUNTESS    HAMPDEN  BY    J.   YOUNG,    AFTER    J.   HOPPNER 


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Pottery  and 

Porcelai 


"  Pottery  and    Porcelain,   by    FredericK    Litchfield 
A   Guide    to    Collectors 


Mr.  Litchfield  has  progressed  since  in 
1878  he  published  his  small  handbook  dealing  with 
European  china  and  Italian  majolica,  which  was  the 
first  edition  of  this  work  as  well  as  his  first  literary 
effort.  That  book  ran  through  several  editions. 
Then,  in  1900,  the  success  of  another  volume,  Illus- 
trated History  of  Furniture,  led  to  the  remodelling 
of  Pottery  and  Porcelain  to  form  its  companion. 
Five  years  later  a  second  edition  was  called  for,  and 
now  we  have  the  third,  with  nearly  two  hundred  illus- 
trations of  specimens  of  various  factories,  nine  plates 
coloured  in  facsimile  of  the  objects  represented,  and 


New  edition,  greatly  enlarged,  with  many  additional 
illustrations.  Super  royal  octavo,  550  |>;\i;e>.  Price  21s.  net. 
Published  l>y  Truslove  &   Hanson,   Ltd. 


marks  and  monograms  of  all  the  important  makers 
and  decorators  of  ceramics.     All  these:  improvements 
will   furnish  additional   help  to  the  collector,   experi- 
enced or  otherwise.     It  is  obvious  that  Mr.  Litchfield's 
work  reaches  a  high  standard  of  practical  value,  and 
that  the  earlier  editions  are,  in  a  measure, 
by  this — a  delightful  prospect  for  the  author,  whi 
look   forward    with    equanimity   to    largely   incn 
sales. 

Those  who  have  studied  his"  Hints  and  Cautii 
will  be  pleased  to  learn  that  they  have  been 
so  that  more  than  ever  this  valuable  section  will  be 
me    in    safeguarding   the   reader   against   errors 
and  disappointments.     Something  more  will  b 
on  this  subject  later.      Lei  us  examine  in  what   1 


PAL1SSY    WARE    DISH,    WITH    REPTILES    IN    HIGH    RELIEF  FROM    THE    MACNIAC    COLLECTION 

227 


The    Connoisseur 


BUEN    RETIRO    PORCELAIN    POTS    AND    COVERS,    FLEUR-DE-LIS    MARK 


IN    THE    COLLECTION    OF    MRS.   E.  M.  MCNDY 


directions  the  author  has  improved  upon  his  earlier 
efforts. 

Several  of  the  notices  on  the  factories,  fabriques, 
botegge,  have  been  rewritten  and  many  new  ones 
added,  together  with  marks  and  new  information. 
The  list  of  the  Sevres  decorators  has  been  rendered 
more  complete  by  the  addition  of  some  sixty-five 
names  and  signs,  while  the  other  factories  where  soft 
paste  was  made  have  received  further  attention. 
Then,  again,  the  Staffordshire  potters  have  better 
recognition  of  their  individual  work,  and  their  marked 
specimens  will  promote  identification — a  process 
which  is  assisted  by  the  references  to  public  collec- 
tions where  fine  specimens  of  genuine  ware  can  be 
studied. 

The  book  commences  with  a  resume  of  the  history 
of  pottery  from  the  earliest  times — Egyptian,  Greek, 
Roman,  Italo-Greek,  Persian,  and  British  archaic 
pottery.  This  is  followed  by  a  review  of  the  potter's 
art  upon  the  faience  of  Spain,  Italy,  and  France ; 
then  comes  the  stoneware,  the  gres  of  Germany  and 
\-  landers,  the  wares  of  England  and  the  faience  of 
1  )elft.  The  third  chapter  deals  with  porcelain  in 
Europe  from  the  beginning,  and  it  is  followed  by 
one  dealing  with  present  wares,  comparing  them 
with  that,  and  concluding  with  notes  on  the  Brussels 
Exhibition  of  1910.  Valuable  "  Hints  and  Cautions 
to  Collectors"  forms  one  of   the   most  striking,  we 


may  say,  indeed,  the  most  characteristic  feature  in 
a  succeeding  chapter,  which  covers  nearly  the  whole 
of  the  safeguards  necessary  always  to  be  borne  in 
mind  by  those  who  buy  old  china — and  they  are 
legion. 

Next  follows  an  absorbing  description  of  "  Some 
Counterfeit  and  Misleading  Marks,"  very  ably  treated, 
in  which  reference  is  made  to  recent  legislation  as 
follows  : — "  The  reader  will  probably  remember  some 
litigation  in  1909  which  aroused  a  good  deal  of  public 
interest,  the  object  of  which  was  to  recover  large 
sums  of  money,  amounting  to  over  ^50,000,  which 
had  been  obtained  by  certain  dealers  in  payment  for 
several  groups  of  so-called  '  old  Dresden  '  china.  "Very 
high  prices,  from  ^500  to  ^1,200,  were  paid  for 
figures  and  groups  of  the  design  and  colourings  known 
as  the  '  Joachim  Kandler '  period,  when  the  famous 
crinoline  and  harlequin  costumes  distinguished  the 
figures — the  kind  of  specimen  known  to  have  a  special 
attraction  for  connoisseurs.  These  groups  had  been 
manufactured  at  the  factory  of  Potschappel,  in 
Saxonv,  and  were  imitations  of  the  models  made  at 
Meissen  during  the  best  period  of  that  celebrated 
factory.  The  colourings  of  the  decorations  had  been 
carefully  studied  so  as  to  reproduce  the  effect  of  the 
genuine  old  groups.  Professor  Brinkmann  and  the 
author  gave  evidence  at  considerable  length,  and 
the  Professor  produced  white  groups  which  he  had 


"  Pottcrv   diicf   Porcelain 


■ 


CHELSEA  PORCELAIN   VASES,  THREE  OF  A  SET  OF  SEVEN,    1INK  GROUND 


FORMERLY   IN    LORD  BURTON  S  COLLECTION 


actually  purchased  at  Potschappel  to  prove  to  judge 
and  jury  our  contention  that  these  specimens  were 
spurious  Dresden.  In  the  case  that  was  actually  tried 
the  verdict  was  for  the  full  amount  claimed,  and  in 
the  others  the  defendant  dealers  paid  large  sums  of 
money  in  settlement."  Such  is  Mr.  Litchfield's  short 
account  of  sensational  legal  proceedings  in  which  he- 
took  a  distinguished  and  honourable  part. 

Coming  next  alter  the  counterfeit  marks  i>  the  long 
chapter,  extending  from  page  79  to  page  459,  which 
•_iives  a  short  account  of  the  different  ceramic  factories 
in  alphabetical  order,  with  their  distinguishing  marks 
and  monograms.  Many  of  the  blocks  used  to  illus- 
trate this — the  main  section  of  the  volume — are  from 
Chaffers'  Marks  and  Monograms,  to  the  proprietors 
of  which  due  acknowledgment  is  made.  But  we 
may  point  out  that  Mr.  Litchfield,  being  the  1 
of  that  standard  authority,  has  used  his  powi 
selection  with  consummate  skill. 

We  have  found  two  statements  in  this  chapter 
which  require  amendment.  Gustafsberg,  close  by 
Stockholm,  is  still  a  centre  for  the  manufacture  of 
porcelain,  of  which  the  soft  "  Frittenporzellan  " 
biscuit  ware  enjoys  a  considerable  reputation,  which, 
indeed,  is  shared  by  the  light-coloured  fai 
None  of  our  authorities  appear  to  have  correct  in- 
formation regarding  this  factory.  The  other  state- 
ment refers  to  Wincanton  delft,  which  has  been 
treated  in,  at  least,  two  other  books  besides  the  one 
under  review.     So  that  the  author's  claim  that  he  has 


supplied  unique  information  re  an  ing  thi    Som 
ware  scarcely  can   be  allowed   to  pass  unchallenged. 

We  postpone  the  consider. in. 111  ,,1  marks  tor  a 
while  and  complete-  our  review  of  the  contents.  In 
Chapter  VIII.  we  find  "Notes  and  Explanations," 
really  a  glossary — a  vocabulary  of  words  and  terms 
requiring  special  explanation.  You  will  read  with 
interest  what  the  author  says  about  dealers.  But  the 
whole  chapter  is  a  necessary  equipment  of  the  serious 
student,  and  as  such  should  be  thoroughly  mastered. 

Extremely  useful,  too,  is  the  discussion  "On  Val 
and  Pri(  es."  Here  are  a  few  short  extracts:  "Collei  - 
tors  are  now  much  better  informed  than  they  were 
formerly,  and  with  the  increase  of  wealth  in  England 
and  other  countries,  there  has  developed  a  den 
for  specimens  of  pottery  or  porcelain  of  high  quality 
and  undoubted  authenticity  which  show  -non- 

advance  on  those  of  twenty  or  five-and-twenty 
ago."     (The  ita  .-urs.)     "  An  indifferent  speci- 

men, whether  it  be  a  Chelsea  figure,  a  How   jioup,  or 
a  Dresden  cup  and  saucer,  does  not  increase  in 
in  anything  approaching  the  same  ratio  as  a 
really  desirable    example.     Such   a   specimen   as    is 

by  the  word  '  indiffi  rent,  il  pun 
twenty  vears  ago,  would  now  probably  realise  about 
th'-  same  amount  as  it  cost  then,  unless  it  hap] 
to  form  some  link  of  interest  in  a  methodically  made 
collection,  where  it  exemplified  a  particular  kind  of 
ware  made  at  the  factory  of  which  it  was  a  representa- 
tive."    Again,  "Lowestoft  china,  freed  from  illusions 


229 


The    Connoisseur 


by  recent  information,  and  now  recognised  as  the 
work  of  a  factory  which  did  not  produce  the  numer- 
ous examples  of  Oriental  china  which  were  formerly 
attributed  to  its  output,  is  still  one  of  the  coveted 
possessions  of  the  collector,  and  when  a  specimen  of 
undoubted  genuineness  which  has  some  character, 
such  as  the  mug  in  the   Merton  Thorns  collection, 


tazza  brought  .£336,  and  three  dishes  of  fair  quality 
averaged  about  .£200  each.  Of  Delia  Robbia  ware, 
the  fine  statuette  of  Pomona,  sold  at  Christie's  in 
March,  191 1,  for  ,£577,  was  a  good  representative 
specimen."  We  might  begin  with  the  Stowc  sale  in 
August,  184S,  where  an  oviform  vase  painted  with  a 
battle  realised  only  .£52    10s.,  though  it  was  a  chef 


LONGTON    HALL    PORCELAIN    VASES,    BLUE    GROUND    COLOUR 

with  a  view  of  seaport  and  lighthouse,  a  good  price 
will  be  given.  This  specimen  sold  for  ,£75  12s.  A 
great  many  less  important  specimens  in  the  collection 
brought  sums  ranging  from  21s.  to  20  guineas." 

We  cite  these  from  many  words  of  wisdom  in  this 
chapter,  which  will  shatter  many  preconceived  ideas 
about  the  values  of  old  ceramic  products.  There  is 
no  inherent  value  in  an  old  pot  because  of  its  age 
alone — a  few  shillings  would  buy  it ;  but  when  high 
quality,  rarity,  and  undoubted  authenticity  are  added, 
the  object  becomes  eminently  desirable,  and  its  price 
will  increase  in  due  proportion.  With  regard  to  the 
best  ware,  the  difficulty  is  to  get  it :  it  sells  itself. 

In  relation  to  Italian  majolica,  the  author  says  : — 
"  Fine  specimens  of  the  different  fabriques  of  fifteenth 
and  sixteenth  century  Italian  majolica  are  so  seldom 
seen  in  the  auction-room  that  comparison  between 
present  prices  and  those  obtained  formerly  is  difficult. 
The  last  opportunity  for  such  comparison  was  at  the 
sale  of  the  Octavius  Coope  collection  in  May,  1910, 
when  values  were  fully  maintained — a  good  majolica 


IN    THE    COLLECTION    OF    CAPTAIN    THISTLETHW AITE 

d\ruvre  of  what  was  then  known  as  Raffaelle  ware. 
We  could  follow  the  rising  prices  through  the 
Hamilton  Palace  sale  in  June,  1882,  and  in  the  sales 
of  later  collections.  But  we  must  refer  to  the  Taylor 
collection,  which  was  sold  this  year.  Of  course,  July 
prices  in  19 12  would  be  too  late  for  this  edition,  but 
not  for  the  next.  We  can  only  mention  two  or  three 
prices.  A  Gubbio  dish,  of  fine  lustre  and  quality, 
brought  ,£2,835  :  a  Faenza  dish,  painted  with  cupids, 
etc.,  .£7,470 .;  and  a  Gubbio  saucer-dish,  7f  inches 
in  diameter,  ^892  10s.  Surely,  as  the  author  says, 
"values  are  fully  maintained." 

Now  we  can  go  back  to  the  extraordinary  features 
of  this  volume,  which  concludes  with  a  Bibliography, 
not  very  exhaustive.  These  features  are  well  marked, 
and  every  credit  must  be  given  to  Mr.  Litchfield  for 
furnishing  such  ample  and  altogether  trustworthy 
"  Hints  and  Cautions  to  Collectors."  It  would 
scarcely  be  fair  to  him  to  give  quotations  at  any 
length,  because  they  form  an  essential  part  of  the 
book,  on  which  its  peculiar  value  in  a  great  measure 


••  Pottcrx   and  Porcelain  " 


depends.     Hence  we  shall  ci  our  remarks  to 

the  commendable  plan  which  has  been  adopted  by 
the  author  in  his  advice  to  those  who  nerd  it— and 
who  does  not3  As  we  proceed  we  shall  employ  the 
marks  of  quotation  when  using  his  actual  words  as 
shown  by  the  context,  nut  in  questions  and  the  like. 
\V  •   wonder  how  collectors  make  a  beginning,  and 


worth  ?  "     Within  certain   limitations  the  answ 
'•  What  it  will  let'  h '"     I  question, 

"  Where  can  I  sell  it  to  the   best   advan  t'hich 

is  not  easy  to  answer,  though  the  author,  under  the 
sub-title    "  Auction  risible    hinl 

-How  to   rind  out  values  '     He,   however,  is   con 
d  more  with  buying,  and  does  nol  recomi 


^^HSr-Jf/ 


TIIRKI.    SALT-GLAZE     T 


what  inducements  or  attractions  lead  and  guide  them 
"in  Forming  a  Collection."  For  it  is  quite  easy  to 
collect  if  you  can  employ  a  reputable  dealer  and  pay 
market  prices,  but,  "as  a  general  rule,  noteworthy 
collections  have  been  th  i  fully,  gradually,  and 
patiently  formed,  by  men  of  comparatively 
means."  Mr.  Litchfield  shows  methods  of  collecting 
upon  principles  which  he  explains  with  distinct  clear- 
ness. With  regard  to  the  important  consideration  of 
Public  Collections  in  museums,  they  are  of  slight 
aional  value,  ui  'in,  "some  method"  is 

"employed  in  looking  at  specimens  .  .  .  and  it 
the  reader  wishes  to  get  the  full  benefit  of  such  an 
object-lesson,  let  him  go  there  with  the  fixed  deter- 
mination of  studying  one  particular  kind  nf  specimen 
at  each  visit."  Wise  advice!  Read  the  book,  and 
you  will  learn  how  best  to  profit  by  such  visits. 

Long  experience  brings  us  to  the  conclusion  that 
one  thought  possesses  many  people  who  own  old 
pottery  or  china,  which   is   expressed   in,  "  Whal 


auctions  for  that  purpose.  "One  buys  under  a 
certain  amount  of  excitement  and  in  haste,  very  often 
to    repent    at    leisure."       .      .      .      "If    'ii'     '  Oil' 

:  ,  to  make  his  selection 
au  tion,  he  should  seek  I  d  ice  ol 

,  Lbl     dealer."      I      ei  d.    Mi     Liti  hfield,   quite 
properly,  we  think,  suggests  buying        i 
dealer   as   amongst    the   best    method-    of   i 
with  this  proviso,  "  the  buyer  should  insist  "//  <i  /  • 

'•lion  being  written  on  It  which  "fi 

a  kind  •     ■     •     that  no  honest   tl 

will  object  to  giving."     We  r  alise  with  pleasure 
that  many  dealers  are   ready  at  any  time  to  return  the 
money  paid  for  a  purchase  which  has  failed  to  give 
•i  to  the  buyer. 
"As    to    judgment    of    quality"    and    "' 
Errors,"  w<  to  think  that  these  are  im 

i  :ets  within 

overs,  which  hold  in  this  section  raui  1.  that  is, at 

id 


The    Connoisseur 


More  sordid  is  the  story  of  the  forgeries,  and  the 
"  Counterfeit  and  Misleading  Marks,"  which  had  re- 
ceived highly-trained  criticism.  The  forged  marks 
and  the  colourable  imitations  of  those  used  in  cele- 
brated factories  are  reproduced.  If  you  want  to  know 
about  the  frauds  of  M.  Samson,  of  the  Rue  Beranger, 


gives  another  list  of  marks.  Then  in  Der  Cicerone, 
published  at  Leipzig  this  year,  we  have  lists  of  marks 
of  Frankfort  and  Hanau  faience.  These,  no  doubt, 
will  be  added  in  due  time. 

We  perfectly  agree  with  the  author's  opinion  that 
"  an  erroneous,  or  at  any  rate  an  exaggerated,  value  is 


THREE  WORCESTER  PORCELAIN  VASES 

Paris,  his  "  old  French  faience,"  his  crossed  swords 
of  Dresden,  his  "  gold  anchor  "  Chelsea,  his  imitations 
of  Worcester,  Derby,  and  of  Battersea  enamels,  you 
require  this  volume,  which  also  exposes  the  iniquities 
of  Bell  and  Block,  also  of  Paris,  though  we  have 
failed  to  find  any  notice  of  the  cheating  practised  at 
Limoges.  The  Dresden  "fakes"  in  imitation  of  the 
productions  of  the  celebrated  Meissen  manufactory 
are  fully  exposed.  We  know  of  no  other  work  which 
displays  such  accurate  knowledge  of  forgeries. 

Nowadays  it  is  the  marked  pieces  which  create 
most  suspicion.  Many  of  the  best  of  the  old  wares 
in  pottery  and  china  received  no  mark — indeed,  in 
certain  factories  a  mark  was  seldom  used  ;  and  as  our 
stores  of  enlightenment  are  increasing,  with  results 
furnished  by  persistent  investigation,  the  issue  of 
further  editions  of  this  book  will  be  necessary. 
Marseilles,  for  instance,  has  been  discovered  through 
the  labours  of  L?Abbe  Arnaud  d'Agnel,  whose  mono- 
graph   was   reviewed    in   our   August   number.     That 


IN    THE    COLLECTION    OF    MR.   C   W.  DYSON    PERRINS 


placed  upon  the  mark.  This  should  be  a  confirma- 
tion of  all  other  points  of  evidence  rather  than  the 
evidence  itself.  Let  the  reader  remember  that  the 
mark  is  the  easiest  part  of  the  forgery  to  imitate." 
With  this  we  must  be  content,  but  we  cannot  con- 
clude without  congratulating  Mr.  F.  Litchfield  and 
his  publishers  upon  the  success  of  their  work,  the 
necessity  for  which  is  evident  in  the  editions  already 
sold.  The  added  information  must  be  acquired  by 
collectors  who  do  not  wish  to  remain  in  ignorance  of 
recent  developments,  therefore  we  commend  it  to  our 
readers,  believing  that  it  will  render  them  immense 
service.  It  is,  indeed,  an  excellent  volume,  with 
many  fine  illustrations.  But  we  think  that  several  of 
the  half-tones  would  have  been  far  better  without  an 
inartistic  background,  and  that  the  tiny  line  blocks, 
such  as  the  Bow  sauce-boat,  could  have  been  re- 
drawn and  enlarged  with  advantage.  And  we  suggest 
that  W.  G.  Gullard  in  the  Bibliography  should  be 
W.  G.  Gulland. 


U     ^ 
01 

w    [ 


.1    6 


;t  ■  *^  -   ~-~=*f —  -  --   i 

Miscellaneous 


Some  Continental  Base  Metal  Spoons 


By  Chas.  G.  J.  Port 


This  article  is  not  written  with  a  view  to 
describing  Continental  base  metal  spoons  generally, 
the  subject  being  far  too  large  to  be  treated  in  a 
magazine  article,  but  rather  for  the  purpose  of  illus- 
trating and  briefly  describing  a  few  spoons  that  differ 
from  the  ordinary  types  which  were  in  general  use  in 
England  and  on  the  Continent. 

No  book,  in  English  at  any  rate,  has  ever  been 
published  on  ('ontinent.il  base  metal  spoons,  but  a 
considerable  number  are  described  in  that  extremely 
interesting  work.  Old  Base  Metal  Spoons,  by  the  late 
Mr.  F.  (1.  Hilton  Price,  Dir.  S.A.,  whose  fine  collec- 
tion is  now  in  the  new  London  Museum.  It  is  really 
a  work  on  English  spoons,  only  those  of  Continental 
make  that  have  been  found  in  England  being  noticed. 
Several  writers  on  Silver,  notably  Mr.  C.  J.  Jackson, 
F.S.A.,  and  others  on  l'ewter,  deal  with  spoons  but 
little  is  said  of  the  kind   now   referred  to. 

There  are  Few  collectors  of  foreign  base  metal 
spoons  in  England  and  very  few  specimens  in  the 
museums,  and,  as  far  as  the  writer's  limited  experi- 
ence goes,  the  same  remark  applies  to  the  Continent. 
In  many  of  the  museums  in  the  larger  towns  there- 
are  scarcely  a  dozen  specimens  and  they,  as  a  rule, 
are  not  considered  of  sufficient  importance  to  be 
labelled. 

With  regard  to  the  makers'  marks,  it  is  extremely 
interesting  to  find  that  as  far  back  as  the  fourteenth 
■  i  otury  both  pewter  and  latten  were  marked  :  in 
fact,  at  any  period  it  is  unusual  to  find  pewter 
spoons,  especially  in  England,  unmarked  but  on 
the  Continent  comparatively  few  latten  were  marked. 
particularly  in   the   seventeenth   century. 

As  the  term  "latten"  may  possibly  be  new  to 
some  few  readers,  it  may  be  mentioned  that  latten 
is  composed  of  about  73  per  cent,  of  copper,  25  per 
cent,  of  zinc  and  2  per  cent,  of  iron  and  practically 
all  base  metal  spoons,  other  than  pewter,  are  latten. 
though    occasionally    they   are   found    in    brass    and 


bronze.     Generally  speaking,  in   England  the  pewter 
far  outnumbered  the   latten.       On   the  Continent  it 
was   the   reverse.       There    is  no  doubt  that   a 
many  spoons,  principally  latten,   were   imported   into 
England   from    France   and   other   countries.       The 
writer  has  a  peculiar  flattened   baluster   kn 
Belgium  :    one    precisely    the    same    in    the    British 
Museum  was  found  in   London.      He  has  two 
mens    of    latten     beaded     stem-,     with     hoof    knops 
iy  alike,  on.   from   Northern   Italy  and   the  other 
d    in    London:    and   the    late    Mr.    Hilton 
described  a  twisted  stem   spoon,  with   rough   enj 
ing  of  a  church  on  the  back,  of  which  three  at  least 
have   been  found  in  London,  as  probably  ol    Ru 
or  German  make  :   fifteenth  century.     All  these  spoons 
are  undoubtedly  ol  foreign  origin. 

A  curious  feature  about  English  base  mi  tal  spoons 
is  the  of  the  round  bowl.     With  the  exception 

of  a  large  soup  spoon,  with  portraits  of  G  e  III. 
and  Queen  Charlotte,  the  writer  has  1 
round  bowl  English  pewter  spoon.  He  has  never 
seen  one  in  latten,  brass  or  bronze,  though  .1  few 
arly  round,  such  as  somi  ol  the 
apostle,  the  sitting  lion  knop  and  the  remarkable 
globe  knop  which  was  in  the  collection  of  the  Lite 
Mr.  George  Dunn,  recently  acquired  by  the  v. 
(  hi  the  other  hand,  among  Continental  spoons  we 
find  the  round  bowl  continually  cropping  up  in 
pewter,  latten  and  brass  in  various  sizes,  from  the 
fourteenth  to  the  eighteenth  centuries. 

There  is  a  considerable  difficulty  in  dating  many 
foreign  spoons.  In  England  the  pewter  and  la 
spoons,  with  few  exceptions,  were  contemporary  with 
or  followed  the  silver  spoons  and  the  date  letters  of 
the  latter  settled  the  question  ;  but  many  (  '011ti1ient.il 
base  metal  spoons  do  not  seem  to  have  been  n 
in  silver.  The  recurrence  of  the  round  bowl  and  the 
absence  of  the  makers'  marks  add  to  the  difficulty  in 
manv  cases. 


235 


The    Connoisseur 


i.  Pewter  :  found  in  the  river  Scheldt  at  Antwerp. 
A  fine  example  of  twisted  stem  (rare  in  pewter),  with 
the  badge  of  Flanders — a  lion  and  a  shield — as  a 
knop.  Sixteenth  century.  Mark  :  crown,  hammer, 
and  initials  indistinct. 

2.  Pewter  (Flanders).  This  is  an  uncommon  type, 
and  difficult  to  date,  but,  in  the  writer's  opinion, 
its  extreme   lightness  (just  over  three-quarters  of  an 


ounce)  points  to  its  being  an  early  spoon,  probably 
fourteenth  or  fifteenth  century.  (See  a  similar  bowl 
and  lower  part  of  stem  in  the  late  Mr.  Hilton  Price's 
book  assigned  to  the  fourteenth  century.) 

3.  Pewter  (Dutch).  A  form  of  Maidenhead  knop 
with  a  decorated  stem.  The  knop  is  certainlv  not 
beautiful,  and  is  very  different  from  some  of  the 
English  Maidenhead  spoons.     Sixteenth  century. 


236 


Some   Continental  Base   Metal  Spoons 


4.  Brass  ;  country  of  origin  unknown.  This  is  an 
early  spoon  with  a  kind  of  finial  knop  ;  but  the  round 
bowl  does  not  assist  us 'in  fixing  the  date.      It  may  be 

,ned  to  the  fourteenth  or  fifteenth  century. 

5.  Latten,  probably  French.  Another  type  of 
Maidenhead.     Date,  seventeenth  century. 

6.  Pewter  (Dutch).  A  fine  example  of  the  hoof 
knop  ;  one  of  four  Dutch  varieties  of  this  spoon  in  the 


writer's  collection.     This  I I  knop  seems  to 

been  nun  !i  commonei  in  Holland  than  in  England, 
where   they  are  ire  in  pew  enth 

century.     Mark  :  crown  ovei    n 

y.  Pewter  (]  »utch).     A  pretty   round  bowl  spoi 
with  tulip  knop.     £  or  sevenl  ntury. 

Mark:  crown  over  hamn 

8.  Pewter  (Dutch).     An  interesting  example  of  the 


237 


The   Connoisseur 


Trifid  or  "pied  de  biche"  spoon  with  portrait  of 
William  of  Orange,  afterwards  King  William  the  Third 
of  England.  About  16S5.  Hall-marks:  (1)  Initials 
(?)  J.  F.  and  two  stars.  (2)  Buckle  and  two  stars. 
(3)  Lion  rampant  and  two  stars.  (4)  (?)  all  in 
shields. 

9.  Latten  (Northern  Italy).     Note  the  peculiar  flat 
rectangular  top,  evidently  for  some  special  purpose. 


The  writer  in  Italy  lately  was  unable  to  obtain  any 
information  as  to  its  use.  He  has  a  smaller  spoon 
with  similar  knop,  but  much  cruder  and  earlier. 
Date,  seventeenth  century. 

10.  Latten  (Antwerp).  A  very  heavy  spoon  of 
unusual  shape.  Probably  seventeenth  century.  The 
next  three  or  four  spoons  are  of  the  peculiar  small 
shallow  bowl  type,  for  which  it  is  difficult  to  assign  a 


238 


Some    Continental   Base    Metal   Spoons 


use.     They  arc  of  different  periods  and  seem  to  have 

had  no  counterpart  in  England. 

ii.  Latten  ;  found  in  the  river  Scheldt  at  Antwerp. 
Shallow  bowl  and  flat  stem.  Probably  fifteenth 
century. 

12.  Latten  (Belgium  I. 
handle  with  strawberry 
century. 

13.  Latten  (Northern    Italy).     Shallow  bowl  with 


Very  shallow  bowl  and  flat 
knop.       Probably    sixteenth 


bended    stem    and    horsehoof    knop.      Sevente 

century.       Murk:    star   and    (?)   in    beaded   oval. 

,  (.    1  ..,■:  1  to  have  been  found  in  En 

but  probably  Continental.     Knop  similar  in  outline 
(only)  to  the  stag's   head   illustrated  in  the  late    Mr. 
Hilton  Price's  book.     The  bowl  is  raised  abovi 
stem.       I  1  rtain.      Most    likely    si 

century. 

15.   Pewter  (Belgium).     A  diminutive  spoon  with 


239 


The    Connoisseur 


baluster  knop.  Probably  a  child's  or  toy  spoon,  as, 
according  to  Mr.  C.  J.  Jackson,  salt-spoons  were  not 
used  before  the  eighteenth  century.  The  date  is 
sixteenth  century.      Mark  :  crown  over  rose. 

1 6.  Latten  cone  end.  This  remarkable  little  spoon 
is  referred  to  in  the  Appendix  to  Mr.  Hilton  Price's 
book  but  is  probably  Continental.  Fourteenth  or 
fifteenth  century. 

17.  Pewter    (Dutch).     Cherub's    head    knop    with 


20.  Latten  (Northern  Italy).  Ball  knop.  No  doubt 
an  apothecary's  spoon  of  the  fifteenth  century. 

All  the  specimens  illustrated  are  approximately  one- 
sixth  less  than  actual  size,  and  are  in  the  collection 
of  the  writer.  Makers'  marks  are  given  in  all  cases 
where  they  exist. 

The  extremely  interesting  latten  spoon  illustrated 
on  this  page  has  just  been  acquired  by  the  writer. 
It    was    found    in   the  Thames    but   is   probably   of 


inscription,  "  Drinck  und  is  (?)  got  nicht  vergis  "  (Low 
German) — "  Drink  and  forget  not  God.''  This  spoon 
was  in  the  Dunn  collection.  Writer  can  say  nothing 
as  to  its  use,  and  the  date  is  uncertain. 

18.  Latten  (German).  An  apothecary  spoon,  fif- 
teenth or  sixteenth  century.  Note  the  fine  merchant's 
(not  maker's)  mark.  These  marks  were  used  in  Ger- 
many from  the  fourteenth  to  the  sixteenth  century. 

19.  Latten  (French).  Wild-man  knop  with  deco- 
rated stem,  which  is  flat  at  the  back.  Possibly  an 
apothecary's  spoon,  but  more  likely  a  domestic  one. 
Probably  seventeenth  century.  Mark  :  fleur-de-lys 
crowned  in  shield. 


Continental  make.  Several  experts,  by  whom  it  is 
considered  unique,  agree  that  it  is  not  early  Christian 
and  they  all,  with  one  exception,  place  it  before  the 
cone  ends  of  the  fourteenth  century.  If  this  verdict 
is  correct,  it  means  that  it  is  the  earliest  type  of 
mediaeval  spoon  known  and  may  be  thirteenth  century 
or  even  considerably  earlier. 

In  conclusion,  the  writer  again  calls  attention  to 
the  fact  that  Continental  spoons  of  the  kind  here 
illustrated  are  difficult  to  date  and  that  they  do  not 
represent  the  ordinary  types  but  rather  the  odds 
and  ends  that  a  collector  comes  across  from  time 
to  time. 


-4° 


Some    Modern    English    Pictures   in    America 
By    Brinkley    Pope 


When  the  orthodox  Englishman  thinks 
of  America  there  is  generally  a  spier  ol  patronagi 
lingering  in  his  mind  the  feeling  which  an  old 
man  entertains  towards  a  younger,  whom,  when  a 
boy,  he  has  taught  and  befriended.  In  matti 
art,  at  least,  this  feeling  might  be  reciprocated  bj  an 


Amu  in  an.  foi    in    them  Anna  i  iven  at  ll 

much  to  England  as  she  has  borrowed,  so  that  the 
mighty  growth  of  English  art  has  its  roots  on  the 
w  tern  as  w  II  as  on  the  eastern  side  of  the  Atlant  ii  - 
The  list  of  American  artists  who  have  lived  and 
painted  in  England  might  easily  be  made  a  lengthy 


OLD     DURHAM 


BY     SIR     ALFRED     EAST,    A.R.A. 

-4' 


The    Connoisseur 


IN     SHAKESPEARE  S     COUNTRY 


BY     SIR     ALFRED     EAST,     A.K.A. 


one,  and  their  influence — always  a  progressive  one — 
has  been  far  greater  proportionately  than  their  num- 
bers. From  the  time  of  the  War  of  Independence  and 
onwards  English  art  has  been  largely  leavened  with 
American  ideas.  To  West  and  Copley,  who,  despite 
Reynolds's  protest,  were  bold  enough  to  discard  the 
old  idea  of  representing  the  figures  in  battle  scenes 
in  classical  costume,  we  owe  largely  the  evolution  of 
the  modern  battle  picture.  Charles  Leslie,  Newton, 
and,  above  all,  Abbey,  each  took  phases  of  English 
life  which  they  made  peculiarly  their  own  ;  the  last- 
named  founding  a  school  of  illustration,  the  delicacy 
and  refinement  of  whose  work  has  never  been  sur- 
passed. Whistler  did  more  to  influence  the  course  of 
English  painting  and  etching  than  any  other  artist  of 
the  nineteenth  century.  While  among  living  men  one 
has  Sargent  —  perhaps  the  most  potent  personality 
in  Anglo-Saxon  art  left  with  us — J.  J.  Shannon,  J. 
Pennell,  and  many  others.  So  much  for  English 
indebtedness  to  America.  What  about  the  other  side 
of  the  picture  ?  Does  America  derive  much  of  its  art 
from  England — not  in  the  guise  of  old  masters,  but 


in  works  by  living  artists?  It  is  needless  to  say  that 
the  productions  of  the  great  Anglo-Americans  are 
purchased  as  eagerly  on  the  far  side  of  the  Atlantic 
as  on  this  ;  but  they  cannot  be  considered  as  English, 
for  however  much  the  artists  may  have  absorbed 
English  sentiment  and  ideas,  they  are  American  by 
blood  and  tradition,  and  America  still  regards  them 
as  her  own.  But  besides  these  works  there  is  a 
great  influx  of  English  art  into  the  United  States. 
Perhaps  it  is  most  marked  in  the  instance  of  modern 
engravings  and  etchings.  Scarcely  any  publisher 
when  he  issues  a  fine  plate  fails  to  reserve  a  substan- 
tial proportion  of  the  impressions  for  the  American 
market ;  and  proofs  from  the  works  of  D.  Y.  Cameron 
are  as  much  apprized  in  New  York  as  London.  Of 
English  pictures — and  generally  of  the  finest — which 
go  across  the  Atlantic,  the  number  is  legion.  In 
a  short  article  like  this  it  would  be  impossible  to 
catalogue  them,  but  as  a  concrete  example  one  may 
take  the  instance  of  two  typically  English  painters 
working  in  altogether  different  spheres  of  art.  I 
allude   to   Sir  Alfred  East  and   Mr.  Alyn  Williams, 


242 


HIS    KM 


Some  Modern  Evglish  Pic/ it  res  in  America 


RETURNING     FROM     CHURCH 


BY     SIR     ALFRED     EAST,     A.R.A. 


presidents  respectively  of  two  of  the  most  flourishing 
art  institutions  of  the  metropolis — The  Royal  Society 
of  British  Artists  and  The  Royal  Society  of  Miniature 
Painters.  Sir  Alfred  East,  who  is  entitled  to  place  a 
lengthy  array  of  letters  after  his  name,  is  an  artist  of 
widely  varied  powers,  whose  works  have  found  warm 
appreciation  far  beyond  the  confines  of  his  native 
i  o  intry.  He  has  been  elected  honorary  member  of 
various  of  the  leading  societies  of  France,  Italy, 
len,  and  Belgium,  and  carried  off  high  awards 
from  many  international  exhibitions.  Sir  Alfred's 
continental  triumphs,  important  as  they  are,  come 
without  the  scope  of  the  present  article,  which  must 
be  in  the  nature  of  a  simple  catalogue  of  some  of  the 
many  works  by  him  which  have  found  American 
homes.  Even  in  this  it  is  by  no  means  represent: 
for  Sir  Alfred  has  achieved  deserved  fame  as  an  etcher ; 
while  his  drawings,  set  down  with  a  delightful  sense 
of  ease  and  freedom,  varied  in  their  outlook  but 
always  conceived  with  a  strong  feeling  for  decorative 
effect,  are  as  much  prized  by  their  admirers  as  his 
oil  paintings.  Space,  however,  compels  that  a  few 
typical   examples  of  the  latter  only  should  be  taken, 


and  these  for  the  most  part  from  a  single  art  centre — 
Pittsburg,  the  great  iron  metropolis.  This  city  contains 
several  of  Sir  Alfred's  more  important  works  in  its 
public  and  private  collections.  In  the  I>u<|iiesne 
Club  there  is  his  breezy  On  the  Wings  of  the  Morning, 
deservedly  admired,  when  shown  at  the  exhibition  of 
the  Royal  British  Artists,  as  one  of  the  most  power- 
ful landscapes  of  its  year.  Its  decorative  feeling  is 
not  so  obvious  as  in  some  of  the  artist's  works — not 
because  it  is  deficient,  but  because  the  rhythm  of  the 
composition  is  vibrating  with  movement  and  tumultu- 
ous force,  the  jagged,  almost  uncouth,  outlines  of 
clouds  and  shadow  being  arranged  into  a  harmonic 
composition  that  affects  the  senses  like  an  opei  I  0 
Wagner.  Compared  with  this  the  Old  Durham, 
acquired  by  the  Carnegie  Art  Institute  of  the 
city,  is  like  a  pastoral  symphony,  and  the  same  may 
be  said  of  the  companion  work.  Returning  from 
Church,  also  hanging  there,  lor  different  as  are  these 
pictures  in  colour  and  arrangement,  the  prevailing 
kevnote  of  each  is  melodious  tranquillity.  The  Git-am 
before  the  Storm,  in  the  collection  of  Mr.  R.  C.  Hall, 
of  Pittsburg,  shows  Sil    Alfred   in  a  similar  mood — a 


245 


it  • 


MISS  PATTY  BRINTON  BY  ALYN  WILLIAMS,  P.R.M.S.  MRS.   NICHOLAS  LONGWORTH  BY  ALYN   WILLIAMS,  P.R.M.S. 


MRS.   ADAMS   CLARK  BY   ALYN   WILLIAMS,   P.R.M.S. 

246 


Some  Modern  English  Pictures  in  America 


MARGARET    GRIFF1SS 

mood,  however,  which  affords  him  an  inexhaustible 
variety  of  outlook  and  treatment.  ///  Shakes;- 
Country,  a  typical  English  scene  with  its  leafy  foliage 
and  lush  water  meadows,  belongs  to  Mr.  Frit/  von. 
Frantzius,  of  Chicago  ;  while  other  works  by  the  artist 
now  owned  in  America  include  Tlie  Serenity  oj  Morn- 
ing, a  masterpiece  of  broadly  simple  composition, 
also  belonging  to  Mr.  R.  < '.  Hall,  and  the  poetical 
Morning  Moon,  presented  by  Mrs.  Ira  Nelson  Morris 
to  the  Chicago  Institute  of  Fine  Art.  Both  of  I 
pictures  will  be  familiar  to  readers  of  The  Connois- 

.  having  been  exhibited  at  the  Royal 
a  few  years  back. 

One  welcomes  the  warm  appreciation  of  Mr.  Alyn 
Williams'  work  in  America  as  a  sign  of  the  revival  of 
the  taste  for  miniature  painting  on  the  other  side  of 
the  Atlantic  as  well  as  in  England.     No  man  des 
to  profit  more  by  this  revival,  for  it  has  been  lai 
brought  about  through  the  high  standard  of  technical 


BY    ALYN    WILLIAMS,    P.R.M.S. 

accomplishment  initiated  by  the  Royal  Society  of 
Miniature  .  and    Mr,  Willi, mis  was  the   i 

instrument  in  establishing  the  institution  of  which  he 
is  president.  His  own  work,  while  always  marked  by 
sufficient  r  i  i    5S  and  a  pleasing va 

of  treatment,  is  founded  on  tl  onsofthei 

school,  who    recognised    that   a    miniature    was    not 
i        ly  a  small  picture,  but  demanded  a  delicacy  and 
refinement  of  treatment  essentially  different  from  that 
of  an  oil  painting.     11'-  has  frequently  ventured  on 
other  phases  of  the  art  besides  portraiture,  always  with 
marked  success;  but  only  the  latter,  as  more  typical 
lie  artist,  will  be  touched  upon, 
ders  of  Tin-.  I 
striking    portrait    of   President    Tafi,    reproduced    in 
colour  in  the  issue  for  August,  1910,  a  worthy  com- 
panion  of  the  artist's  King  Edward    I'll-     In   the 
present  number  is  given  Mr.  Williams'  latest  portrait 
of  an  American  celebrity,  the  refined  and  dignified 


•47 


ON     THE     WINGS     OF     THE     MORNING 


ADELAIDE,     ELDEST     DAUGHTER     OF     WALDO     NEWCOMER 
BY     ALYN     WILLIAMS,     F.R.M.S. 


248 


Some  Modern 


English 


Pictures  in  America 


GLEAM     BEFORE     THE     STORM 


BY     SIR     ALFRED     EAST,     A.R.A. 


likeness  of  Cardinal  Gibbons,  of  Baltimore,  prob- 
ably the  most  popular  ecclesiastical  dignitary  in  the 
United  States.  This  richly  coloured  miniature,  in 
company  with  that  of  another  American  celebrity, 
were  shown  in  the  last  exhibition  of  the  Royal  Son  ty 
of  Miniature  Painters,  and  described  in  the  August 
issue  of  The  Connoisseur.  Another  child-portrait 
is  the  one  of  Adelaide,  eldest  daughter  <>l  Mr.  Waldo 
Newcomer,  of  Baltimore,  a  work  which  in  its  treat- 
ment is  delightfully  reminiscent  of  Cosway.  Of  a  little 
earlier  date  is  tli  l/<  Vicholas  Longworth  \  i 
Alice  Roosevelt),  popularly  styled  during  her  fatl 
Presidency  "Princess  Alice'' — a  delicate  symphony 
in  green.  Somewhat  the  same  colour-harmony  is 
shown  in  the  portrait  of  Mrs.   .  Idams  Clark.     The 


r  lined  and  subtle  portrait  of  Miss  Margaret  Griffiss, 
ol    Baltimore,  was  painted  in  the  present  year;  that 
nt   Miss  Patty  Brinton  belongs  to  an  earlier  period  : 
while  the  finely  characterised  head  of  ./    Veteran  ol 
reat  Civil  War  belongs  to  the  time — only  a   few 
back — of   Mr.   Williams'  first  visits  to  America. 
The  foregoing  list,  however,  only  gives  a  small   pn 
portion    of   the   artist's  American   portraits;    amoi 
others  which   may  be  mentioned   are  those  ol    Mi 
David  Gardiner,  of  New  York  :  Mi  .  George  (lould; 
Mrs.    Edward    Morris,    of    C  Mi       Edward 

Mel  i, :.ii  Elkins ;  and  Mrs.William  Randolph 

Hearst,    the    last-named    work,    a    most    pleasing    01 
being  not  a  miniature,   but  a   highly   finish 
colour  drawing  on  vellum. 


OTErS 


QUCRleJ 


[The  Editor  invites  the  assistance  of  readers  of  The  Connoisseur  who  may  be  able  to  impart  the 
information  required  by  Correspondents.'] 


Portrait  of  Miss  Oldham  (17). 
Di  \i<  Sir, — I  send  a  photograph  of  an  oil  portrait 
ol    Miss    Oldham,   aunt   to    my    grandfather,    James 
1  )o\vling,  afterwards  Sir  James  Dowling,  Puisne  Judge, 
and  later  Chief  Justice  of  the  colony  of  New  South 
Wales,   who    married  on   the   3rd   September,    1814, 
Maria,  the  second  daughter  of  Thomas  Long  Sheen, 
Esquire,  of  Kentish  Town,   Middlesex,  and  was  the 
second  son  of  Vincent  Dowling,  only  son  of  Vincent 
Dowling,  of   Ballyrone,   Queen's    County,  by    Eliza- 
beth Andrews,  eldest  daughter  of  Joseph  Andrews,  of 
Burton-on- 
Trent,   a   Rus- 
sian   merchant 
and   shipowner 
of  an  old  Saxon 
family.      My 
great-grand- 
father, the  first- 
named  Vincent 
1  lowling,  was  a 
prominent  per- 
son during  the 
Irish  Rebellion 
of   1798,  and 
the  author  of 
the  skit  on  the 
Union   Parlia- 
ment known  as 
The    Parlia- 
ment of  Pimli- 
co,  of  which  I 
have  a  well-pre- 
:d  copy. 
M  y    g r  an d - 
father's  elder 
brother,  V  i  n- 
cent  George 
ling,  was 
the  editor  ol 
Bell's  Life  in 


(17)       PORTRAIT     OF     MISS     OLDHAM 


London.  My  grandfather  was  a  well-known  newspaper 
and  law  reporter  —  Dowling  and  Ryland's  Reports 
being  one  of  his  chief  publications.  I  give  these 
family  details  as  they  may  help  you  in  obtaining  a  clue 
to  the  artist  of  the  portrait,  who  was  undoubtedly  a 
good  one.  The  companion  picture  of  Mrs.  Sheen — 
Miss  Oldham's  sister — is  almost  exactly  like  it  in  looks 
and  appearance,  and  even  to  the  frame,  and  is  in  the 
possession  of  a  member  of  the  family  out  here.  It  is 
undoubtedly  by  the  same  artist.  Will  you  kindly  let 
me  know  whom  you  think  the  artist  was,  and  the  value 

of  the  work, 
for  w  h  i  c  h  I 
should  be  most 
thankful. 

Vours  truly. 

J .   Arthur 

Dowling. 

Unidentified 

Portrait(iS). 
Dear  Sir, 
—  I  shall  be 
glad  to  know 
whether  any  of 
your  readers 
can  identify  the 
photo  enclosed. 
It  is  taken  from 
a  French  pastel 
by  Joseph 
Francisque 
M  lllet,  born 
1699,  died 
1777.  Since  it 
came  into  my 
possession  I 
have  had  a 
fresh  glass  put 
on  it,  and  the 
picture    now 


Notes   and  Queries 


as  fresh  as  the  day 
it  was  drawn. 

Any    information 
relcomei 
Yours  faithfully, 

A.  E.  Smith. 

L'ni: 

Painting  i  ;  ■ 
Dear  Sir, — In  Thi 
Connoisseur  o  Oi 
1912,  1  sec  on  page  1  1  | 
the-  reproduction  1 
unidentified  picture,  In- 
terior of  a  Church.  The 
owner  of  that  picture  may 
find  all  the  particulars 
known  on  that  kind  of 
interior  in  the  book  by  1  >r. 
Hans  J  ant/en.  en 
Das  Holldndische  Archi- 
tekturbild,  and  edit 
Leipzig  by  Messrs.  Klink- 
hardt  and  Bier  in  aim. 
Reading  Dr.  Jan tzen's  skil- 
ful pages  (52  to  57),  the 
owner  of  the  picture  will 
see  that  his  painting  is 
probably  an  old  copy  aftera  well-known  picture  by  the 
painter,  Hendrick  Aerts.  The  interior  has  been  en- 
d  after  Aerts  by  Londerseel.  The  engraving  is 
reprodui  edin  Dr.  fantzen's  book  opposite  to  page  54. 
I    trust  the   above   may  interest   the   owner  of  the 

painting. 

Yours  faithfully,  W.  Martin. 

Ed.  Tourteau. 

"The   Connoisseur"  July,    1912,  page    190. 
Answer  lo   "./    Collector." 

1 1]  \r  Sir, — Ed.  Tourteau  was  a  Belgian  painter 
who  died  in  Ixelles  1  Brussels)  on  29th  February,  1908, 
aged  sixty-two  years.  His  works  are  chiefly  decorated 
china,  but  also  drawings,  water-colours  (landscapes, 
flowers,  birds,  fans).  He  was  reputed  a  very  good 
master,  teaching  during  thirty-five  years  and  more  in 
■-.  1  1.1I  schools,  as,  for  instance,  the  Academy  ol 
[xelles.  He  got  many  medals  in  the  international 
exhibitions. 

Yours  truly.    BON.    A.    in     F. 

Unidentified  Portrai  i. 
{Female)  No.  1  in  your  issue  of  September  1  M.B.). 

Dear   Sir.  — As  tar  as  it  is   possible  to  judge  from 
a  photo,  the  picture  reminds  me  of  the  style  of  the 


(is)     unidentified   I'ORTRAI 


French  painter.   ! 
(  louct  (1500-1  : 

ns  truly. 
E.  Si  INI  1  ING. 

Unidentified  I'\i\ 

N   .  7 
///  your  Issu 
Owner,  John  M 

1  ii  \r   Sir, — This    pic  - 
cannot  pi  bi 

ascribed   to  Jan   Si 
who  never  painted  interi- 
ors of  churches.    It  might 
be  i  ■  ■  ■  ■  i.  I  1 1   nry, 

junior,   158(1  I ,  a 

Dutch  painter, who  settled 
in  London,  and  who  con- 
fined himself  to  thi-  style 
of  architectural  painting, 
though  he  generall)  intro- 
duced some  figures  into 
his  pictures.  Then 
two  works  by  him  in  the 
National  Gallery. 
Yours  truly,  E.  Schilling, 

r  BY   J.   F.    MILLET 

ITnidentii  ied  Dut<  11   Pi<  n  re. 
The  "Unidentified    Dutch   Picture"  in  the  June 
Connoissi  1  r    i     Moli  naai  \    Piping  Girl.      I  om  1 
had  a   mi     otinl   ol   same  about   14  in.  by  10  in.,  by 
one   rohnson.     Chaloner  Smith's  description  of  the 
print:   "Full  half-length,  a  girl  directed  to  left,  look- 
ing towards   front  and  laughing,  .1  kind  of  clarii 
in  hands,  on  whii  h  she  is  about  to  play."     1  :ha 
Smith  gives  a   record   ol    print,    similar   nature, 
Flute   Player.       His  description   of  this  is:    "Half- 
length  directed  towards  left,  looking  to  front,  cap  and 
feathers,   playing  on   flute.     Mezzotint  by  J.   Dixon 
from  .1    painting    by    F.    Hals."      This   latter    punt    I 
have    n  ■'.  1    :een,  but  1  can  identify  the  pi  ■ 
as  identical  with  mezzotintof  Moli  n    1       Piping  Girl. 
There  is  nothing  to  guidi    on     a     to  whicl    ol  the 
several  Moli  naars  painted  this  picture  ;  most  probably 
Jan.  who  died  16 

Yours  truly,   ARTHUR    W.    EMDON. 

Longton  Hall  Porcelain. 
Dear  Sir,— In  vii  «  ol  thi   fact  thai   so  little  data 
ol   anj  kind  with  regard  to  Longton   Hall 
exists,  the  old  advi  rl    ement     m    ised  ma;  provi    ol 

interest  tO  readers  ol     I'm    CONN01      EU1         tt  i 

a  n,  yspapi  1  with  .1  largi    West  of  England  - 


The    Connoisseur 


in  the  eighteenth  century,  and  certainly  carries  the 
history  of  the  factory  beyond  the  announcement  in 
Aris's  Birmingham  Gazette  for  June  r2th,  1758, 
quoted  by  the  late  Mr.  J.  E.  Nightingale  in  his 
Contributions  towards  the  History  of  Early  English 
Porcelain (1881).  As  far  as  I  can  find,  this  announce- 
ment, together  with  an  advertisement  from  the  London 
Public  Advertiser  of  April  4th,  1757,  and  an  earlier 
notice — July  27th,  1752  —  from  Aris's  Birmingham 
Gazette,  are  referred  to  (generally  without  an  acknow- 
ledgment of  indebtedness  to  Mr.  Nightingale's  re- 
searches)  in  most  subsequent  works  on  china  and 
porcelain  as  the  only  definite  data  on  the  subject, 
the  failure  of  the  factory  in  1759  or  thereabouts,  and 
its  probable  absorption  by  Derby,  being  more  or  less 
matters  of  conjecture.  The  advertisement  I  enclose 
refers  clearly  to  a  dissolution  of  "partnership,"  and 
possibly  fixes  the  date  1760.  It  shows,  too,  that 
whatever  was  done  with  the  models  and  moulds,  the 
■stock  was  undoubtedly  finally  disposed  of  in  the 
provinces.  It  was  probably — some  of  it  at  least — 
the  "rubbish"  of  the  factory,  as  the  "open  work'd 
fruit  baskets,"  "  leaf  basons  and  plates "  of  the 
London  advertisements  do  not  appear,  although  the 
"  columbine "  and  "  centeral  group  "  decoration 
sounds  attractive.  There  is  no  evidence  from  Mr. 
Nightingale's  researches  of  a  London  sale  after  the 
dissolution  of  "partnership,"  to  which  this  country 
sale  must  have  succeeded,  nor  of  the  dissolution  itself. 
But  it  is  just  possible  that  some  notice  between  his 
last  date,  June  12th,  1768,  and  that  of  the  accom- 
panying advertisement,  September  Sth,  1760,  may 
have  escaped  him,  and  that  a  careful  search  in  the 
London  and  Birmingham  newspapers  within  those 
limits  may  afford  clearer  information  as  regards  the 
dissolution  of  "partnership  "  and  final  disposal  of  the 
Lorigton  Hall  stock. 

I  am,  sir,  yours  faithfully,  Norah    Richaki>m>x. 

SALISBURY. 

To  tlic  Nobility,  Gentry,  Shopkeepers,  and  others  : 

Mi;.  Samuel  Clarke,  Sworn  Exchange-Broker, 

Of  Cheapside,  London, 

Will  sell  by  Publick  Auction, 

On  Tuesday  the  16th   Inst,   and  the  4  following  Days,  at  the 

great  Sale  Room,  at  the  Sun  at  Fisherton,  adjoining  to  this  ( 'i'.v. 


The  genuine,  large  and  valuable  Stock  of  the  Longton 
Porcelaine  China  Factory  :  which,  as  the  Partnership  is  dis- 
solved, will  be  sold  without  Reserve  or  the  least  Addition  ; 
containing  upwards  of  ninety  thousand  Pieces  of  the  greatest 
Variety  of  Dresden  Patterns,  in  rich  enamel'd,  pencil'd,  Blues 
and  Gold  ;  as  Figures  and  Flowers,  mounted  in  Chandeliers, 
Essence  Jars,  Beakers.  Vases,  and  Perfume  Pots,  magnificent 
Dessert  Services;  Sets  of  Bowls,  Mugs,  Dishes,  and  Plates, 
ornamented  with  Columbines  and  Centeral  Groups  ;  Tea,  Coffee, 
and  Toilet  Equipages,  of  elegant  Patterns,  superbly  furnish 'd, 
equal  to  a  National  Factory,  so  eminently  distinguish,  with  a 
profusion  of  useful  and  ornamental  Articles. 

Particulars  will  be  mentioned  in  the  Catalogue,  which  may 
be  had  at  the  Place  of  Sale. 

The  whole  may  be  view'd  the  Friday,  Saturday,  and  Monday 
preceding  lite  Sale,  which  begins  each  Day  at  Ten  in  the 
Morning,  and  at  Five  in  the  Evening. — Salisbury  Journal, 
Sept.  Sth,  1760. 

Dear  Sir, — I  have  bought  The  Connoisseur  in 
bound  volumes  from  its  commencement,  and  I  note 
now  with  pleasure  that  you  invite  queries.  So  please 
will  you  answer  the  undermentioned  and  insert  my 
queries  in  your  next  issue  : — (1 )  Where  did  Estienne, 
the  French  poet,  live,  and  where  can  I  get  his  poems, 
particularly  Si  jeunesse  savoitl  (2)  Names  of  the 
characters  in  a  picture  painted  by  E.  Prentis,  engraved 
by  Jas.  Scott,  Tilt  eV  Bogue,  Fleet  Street,  entitled 
A  Day's  Pleasure,  depicting  a  small  dancing-room  in 
Star  and  Garter  Hotel,  Richmond.  One  character 
looks  like  D'Orsay.     Underneath  are  the  lines — 

"  Men  laugh  and  riot  till  the  least  is  o'er, 
Then  comes  the  reck'ning  and  they  laugh  no  more." 

(3)  Names    of    pictures    painted    by    Val    Prinsep. 

(4)  Names  of  pictures  painted  by  Panini.  (5) 
Particulars  of  old  pewter  or  silver  drinking-mugs, 
with  whistle  at  bottom  (presumably  to  summon  the 
waiter  for  more  beer),  in  use  at  certain  of  the  Livery 
Companies  of  London  and  elsewhere  years  ago. 

Your  kind  attention  will  oblige, 

Yours  faithfully,  Jas.  Curtis. 

Unidentified  Portrait. 
Dear    Sir, — Referring   to    the    two    unidentified 
portraits  in  the  August  Connoisseur,  the  one  of  a 
man  is  certainly  a  portrait  of  Sir  Joshua  Reynolds, 
and  either  painted  by  himself  or  a  copy. 

Yours  faithfully,  Charles  J.  Burgess. 


MRS.    SHERIDAN    AS    "ST.    CECILIA" 

PAINTED    BY    SIR    JOSHUA    REYNOLDS 
ENGRAVED    BY    WILLIAM    DICKINSON 


Stuart  Relics 


The  snuff-box  here  d<  pict  :d  is  made  from  wood 

of  the  oak  tree  at  Boscobel,  in  whirh  King  Charles  II. 
was  concealed  on  September  6th, 
1 65 1.       It    is    heavily    mounted    in 

silver,  and  shows  the   King  seated  in 

the  tree,  and  an  angel  bearing  three- 
crowns  tlying  towards  him,  whilst  two 

men  on  horses  are  searching  for  him. 

At   the    base    of  the   tree   is  a   riband 

with   the    inscription,    ".vim.i    JOV1 

QUERCUS."     On  the  back  of  the  box  is 

engraved  the    name    "  Richard    Owen 

tie  Aston,"  who  was  a  Royalist   divine 

(born    1606,    died    1683),   son    of 

Cadwallader  Owen  :    Fellow    of  Oriel 

College,  Oxford,  1628-38;  M.A.,  1630  : 

B.D.,    1638:  Rector  of  Llanfechan, 

1634  ;  Vicar  of  Eltham,  1636:  Rector  of  G0LD  STU 

St.  Swithin,  London  Stone,  1639  ;  ejected  on  account 

of  his  Royalism,  1643;   regained  St.  Swithin's  at  the 


1         ration,  and  was  made   Prebendary  of  Si.  Paul's 

Cathedral.      II  •  \\.is  intimate  with  John  Evelyn. 

This  very   interesting    box   belongs  to   Mr.  J.   II. 
Walter,  of  I  )rayton  Hall,  near  Norwich,  who  lias  a  very 
fine  collection  of  N   Isoniana,  b 
a  large  number  of  other  valuable  curios. 
The  gold  badge  of   Prince  Charlie 
formerly  belonged   to  an   old    Si 
family,  who  migrated  to  Ireland 
after  the  battle  of  Culloden,  and  from 
one  of  their   descendants   it   was  pur- 
.1   by  a  Mr.  Robert    Day,    F.S.A., 
and  afterwards  came   into    the    hands 
of  Mr.  W.  C.  Weight,   the  well-known 
coin  dealer,  from  whom  it  was  1 
by   its   present  possessor,    Mr.    lierney 
ol  Tasburgh  Hall,  mar  Norwich. 
t  badge  it   js  unique  in  gold,  but  one  or  two 

specimens  exist  in  silver,  one  of  which  is  illustrated  in 
Messrs. Spink  and  Son's  catalogue  for  September,  1  u  1  .'. 


SNUFF-BOX,     MADE     FROM     THE     BOSCOBEL     OAK 

*55 


The    Connoisseur 


FIFTEEN  TH-CENTURY     STONE     MANTELPIECE 

The  badge  has  no  reverse,  and  the  portrait  is  evidently 
taken  from  the  one  by  Sir  Robert  Strange,  a  print 
of  which  is  shown  in  The  Connoisseur,  Vol.  xxix. 
(January— April,  1911),   p.  157. 

The    photo  above   is    of  an   old  fifteenth  century 
stone  mantelpiece,  found  in  the  wall  of  the  dining- 
room  at  the  Boyce  Court,  Dymock, 
Fifteenth-Century     Gloucestershi  r e,    by   workmen 
Stone  Mantelpiece  ,         ,    .  ,  ,, 

employed  in  renovating  the  old 

embossed  ceiling,  which  bears  the  date  of  1603,  and 
attending  to  the  restoration  of  the  panelling  and 
fireplace,  which  latter  was  only  some  100  years  old 
and  had  a  marble  mantelshelf.  On  pulling  this  down 
to  replace  with  a  stone  one  of  an  early  design,  they 
came  on  this  old  stone  mantel,  which  had  been  built 
up  and  over  by  brickwork  projecting  into  the  room. 
The  old  fireplace  went  right  back  behind  the  brick- 
work some  three  feet.  It  has  now  been  brought 
forward  by  Messrs.  Hampton,  and  the  panelling 
adjusted  to  fit  it.  The  following  particulars  of  the 
Boyce  Court  in  conjunction  with  the  photograph 
taken  at  the  time  of  the  discovery  may  be  of 
interest  : — 

The  Boyce  Court  (in  olden  days  called  "  le  Bois  ") 

formerly  a  hunting  box  of  the   unfortunate   Earl 

of  Fssex,  upon  whose  attainder  it  was  granted  to  Giles 

Forster,  Esq.,  by  devise  ;  from  hence  it  was  seized  to 


[photo   lilley 

Sir  John  Wintour,  whose  estates  were  confiscated  by 
the  Commonwealth,  and  after  passing  through  many 
hands,  it  was  finally  purchased  by  John  Drummond 
of  Megginch,  chief  of  the  Drummonds  of  Concraig  and 
Lemroch,  who  married  Lady  Susan  Fane,  daughter  of 
the  9th  Earl  of  Westmorland,  and  was  succeeded  by 
his  son  General  Drummond,  late  Coldstream  Guards, 
whose  only  daughter  married  George  Onslow  Deane, 
the  present  owner. 

The  cabinet  illustrated  is  of  ebony  on  stand,  with 

twisted    legs    and    stretcher,    4    ft.    10    in.    wide    and 

5    ft.   9   in.  high.      The  doors  have 

Mary  Queen  of      rich  rajs(,d  mouldjngs  and  ngures  in 

Scots  Cabinet  ,     ,,      .  .  c 

tortoiseshell,  the  two  central  figures 

and  the  right  corner  figures  being  heart-shaped.    The 

inner  side  of  the  doors  are  treated  in  a  similar  manner, 

the  proportion  of  tortoiseshell   being  greater.      The 

interior  of  cabinet  contains  two  finely  moulded  doors 

in  centre  and  nine  drawers.     These  doors  have  rich 

gilt  figures  on  either  side.     The  drawers  have  finely 

chased  oxydised  silver  mounts.     Behind  these  inner 

doors  is  a  shrine  with  another  row  of  small  drawers 

on  either  side,  the  whole  giving  a  beautiful  effect  of 

light  colour.    This  is  probably  Spanish.    This  cabinet 

is  supposed   to    have    belonged   to   Mary  Queen    of 

Scots.     It   is  now  in   the   possession   of  Mr.   Roger 

Ford,   of  Bristol. 


256 


MARY    QUEEN     OF    SCOTS    CABINET  (CI-O       > 


MARY     QUEEN     OF     SCOTS     CABINET  (OPEN) 

257 


Tlie    Connoisseur 


Exhibition  of 
Arts  and 
Handicrafts 


The  Exhibition  of  Arts  and 
Handicrafts,  held  under  the  au- 
spices of  The 
Englishwoman 
at  the  Maddox 
Street  Galleries, 
formed  an  interesting  illustration  of 
the  progress  of  peasant  industries 
in  the  British  Islands,  though  the 
work  displayed  by  no  means  all 
emanated  from  this  source.  Beauti- 
ful lace  and  embroidery  were  well 
in  evidence.  Some  shown  by  Miss 
Annie  Lowndes,  worked  in  the  old 
native  patterns  by  cottagers  of  Con- 
nemara  and  Donegal,  was  especi- 
ally noteworthy  for  its  fine  quality, 
among  the  pieces  displayed  being 
an  exquisitely  worked  christening 
robe.  Buckinghamshire  and  Bed- 
fordshire lace  was  exemplified  in  a 
number  of  beautiful  pieces  shown 
at  the  stall  of  Miss  Bouverie.  Honi- 
ton  lace  was  equally  well  repre- 
sented at  that  of  Miss  J.  Copp,  and 
lace  in  Brussels  and  other  patterns 
at  the  stall  of  the  Diss  Lace 
Association.  The  Society  of  Eng- 
lish Embroideresses  had  a  fine  dis- 
play of  ecclesiastical  and  decorative 
needlework,  and  Oriental  work  was 
shown  by  Miss  Reynolds.  The  pro- 
ducts of  the  hand  loom  and  spinning 
wheel  were  largely  in  evidence.  At 
Cambridge  Miss  Mary  C.  Green  has  founded  a  school 
of  weaving,  which,  originally  established  with  Swedish 
teachers,  consequently  adopted  Swedish  patterns.  It  is 
now  being  developed  to  reproduce  the  old  English  designs, 
and  a  wealth  of  fabrics  in  linen,  cotton,  and  silk,  some 
perfectly  plain  and  others  patterned  in  various  hues,  but 
all  alike  distinguished  by  good  workmanship  and  good 
taste,  showed  how  admirably  the  work  is  progressing. 
One  would  like  to  linger  over  the  various  exhibits  and 
describe  the  work  and  progress  of  each  of  the  many  socie- 
ties devoted  to  the  task  of  rehabilitating  almost  forgotten 
handicrafts  and  arts  ;  but  to  do  so  would  require  a  special 
article  on  each.  A  brief  mention  must  suffice  for  the 
excellent  hand-woven  tweeds  and  other  materials  pro- 
duced by  the  Cullercoats  weavers— chiefly  old  soldiers 
and  others  who  have  no  other  means  of  livelihood — the 
well-known  Harris,  Sutherland,  and  Shetland  tweeds  of 
the  Scottish  Home  Industries'  Associations,  Ltd.,  and 
the  beautiful  metal-work  of  the  Duchess  of  Sutherland's 
Cripple  Guild.  Turning  to  hand-wrought  jewellery, 
Alice  Kinkead,  Miss  Constance  M.  Duckham,  and 
Miss  R.  A.  Isaac  were  all  represented  with  a  variety  of 
dainty  designs,  included  among  Miss  Duckham's  being 
some  beautifully  wrought  chains  in  gold  and  silver, 
while  in  many  of  Mi^s  Isaac's  trinkets  representations 
of  the  human  figure  were  introduced  treated  with  much 


originality.  One  of  the  most  inter- 
esting stalls  was  that  of  Miss  Eliza- 
beth C.  Yeats,  containing  the  highly- 
varied  products  of  the  Cuala  Indus- 
tries, Dundrum,  Co.  Dublin.  Here 
were  shown  some  ornate  specimens 
of  embroidery,  excellent  samples  of 
hand-printing,  and  a  series  of  capital 
hand-coloured  prints  by  Mr.  M.  C. 
Yeats,  strikingly  original  and  uncon- 
ventional in  their  design.  Miss 
Marjory  Holland's  Spanish  and 
Venetian  leather  work,  in  which  the 
design  is  laid  on  a  surface  of  gold  or 
silver,  showed  excellent  taste;  and 
Miss  Georgiana  Domville's  de^ns 
in  fillet  lace,  introducing  old  houses, 
heraldic  devices,  and  figure  subjects 
conventionalised  into  beautiful  and 
ornate  patterning,  were  most  effective. 

AT  the  Fine  Art  Society's  Galleries 

(148,   New  Bond  Street)  there  was 

shown   an    inter- 


Marine  Pictures 

by  the  late 

Chevalier 

Edouardo 

de  Martino,  and 

Royal  Gardens 

by  Cyril  Ward 


THE    DEVVAR    BOWLING    CUP 


esting  exhibition 
of  cabinet  works 
by  the  late  Che- 
valier Edouardo 
d  e  Martino, 
Marine  Painter- 
in-Ordinary  to 
H.M.  the  King.  In  these  smaller 
examples  the  artist  was  perhaps  more 
thoroughly  successful  than  in  his 
more  important  pictures.  Gifted  with  dexterous  and 
facile  execution,  he  had  the  art  of  recording  in  pleasant 
and  always  harmonious  colouring  the  brighter  aspects 
of  the  sea.  Some  of  the  smaller  works,  like  the  Night 
Scene :  The  English  and  Italian  Fleet  off  Sardinia, 
April,  1 S99  ;  On  the  Thames,  or  the  study  of  Breaking 
Waves,  were  among  the  best.  The  series  of  draw- 
ings illustrative  of  the  battle  of  Trafalgar  were  painted 
with  great  spirit,  vividly  realising  some  of  the  different 
phases  of  this  Homeric  conflict;  while  pictures  of  naval 
scenes  and  pageants  enacted  off  many  coasts  during 
the  last  quarter  of  a  century  served  to  remind  one 
for  how  long  a  period  the  late  Chevalier  was  the  pic- 
torial historian  of  the  British  Navy.  Mr.  Cyril  Ward's 
water-colours  of  Royal  gardens  were  marked  by  topo- 
graphical and  botanical  accuracy,  delicate  handling,  and 
bright  but  never  exaggerated  colour.  No  scene  that  he 
depicted  that  could  not  be  instantly  recognised,  and 
if  sometimes  he  left  over  little  to  the  imagination,  in 
every  work  he  showed  himself  a  thoroughly  conscientious 
and  painstaking  artist.  Among  the  best  were  the 
Daffodils  on  the  Hill  below  Round  Tower,  Windsor; 
the  refined  Henry  III.  Tower  from  Norman  'Tower 
Garden :  the  more  broadly  treated  Winchester  Tower 
from  King  James's  Herbere ;  and  some  of  the  drawings 
showing  the  variegated  flower-beds  at  Hampton  Court. 


^58 


Notes 


The   Dewar   Bowling  Cup 

The  solid  silver  cup  illus- 

d  was  presented  by  Sir 
l  h  imas  1  >ewai  to  the  l 
lish  Bowling  Assoi  iation. 
The  design  is  an  uni 
one,  having  the  winged 
figure  of  Victory  on  cither 
side  resting  upon  rich  scroll 

mentSjforminghand 
Both  on  the  back  and  front 
of  the  i  up  there  is  a  panel 
bearing  a  bowling  scene  in 
relief.  The  lid  isdei  orated 
with  thistles  and  roses,  and 
is  surmounted   by  a  finely 

Idled  figure  of  Sir  Fran- 
cis   Drake     The   wh 
stands   upon  a   pol  ished 
pedestal,  beai  ing  plati 
engraving  the  names  of  the 
winners.     The  cup  was  de- 
signed ami  exi  iy  the 
i  ioldsmiths'  and  Silvi  i 
smiths'  ( Company,  Ltd. 

Portrait  Bust  by  Joseph 
Wilton 

Among  the  man)    Eng 

lish  sculptors  whose  names 
famous  with  their  contem- 
poraries arc   now  almost 

ten  is  Joseph  Wilton  (1722-1803),  a  sincere 
and  conscientious  artist,  whose  well  studied  work  was 
eclipsed  by  the  facile  and  more  taking  productions 
of  Nollekens.  The  interesting  portrait  bust  by  him, 
which  we  reproduce,  shows  how  much  he  was  influ- 
ence I  by  contemporary  lunch  masters. 

He  was.  indeed.  French  trained,  first  studying  at 
Nivelle  under  Laurent  Delvaux,  and  in  1744  going 
to  the  Academy  in  Paris,  then  presided  over  by 
l'igalle.  At  the  latter  place,  three  years  later,  he 
gained  the  silver  medal,  and,  accompanied  by  Rou- 
biliac,  proceeded  to  Rome,  where  in  1750  he  received 
the  Jubilee  Gold  Medal  given  by  Pope  Benedict  XIV. 
On  his  return  to  London  in  1755,  he  was  fortunate 
enough  to  come  into  contact  with  the  Duke  of  Rich- 
mond, who  presently  appointed  him  and  Cipriani — his 
companion  on  his  journey  home — to  be  keepers  ol 
his  gallery  at  Whitehall  ;  the  orifice  ceased  with  the 
closing  of  the  gallery  to  students,  but  the  Duke  was 
able  to  obtain  for  the  sculptor  the  appointment  of 
stage-coach  carver  to  King  George  111.  To  our 
modern  ideas  such  an  office  appeals  unworthy  for  an 


PORTRAIT     BUST 


artist  01    U  ikon's   powi 

but  then— or  rather  a  little 
later,    tor    the    Royal     V 
1     'in   was  llOl 
— it  was  thought  that  th 
was  nothing   d  to 

the  dignit)  ol  art  tor  an 
iign  the 
frame  or  paint  the  panels 
ol  .1  >iii'  coach.  To 
Wilton's  skill  we  owe  the 
ornate  coronation  1 1  >ai  h, 
which,  first  used  when 
I ,  orge  HI.  was  crowned, 
has  since  appeared  in  so 
many  stately  pageants,  his 
friend  Cipriani  painting  the 
panels.  Among  works  ol 
more  purely  artistic  nature, 
he  was  responsible  for  the 
1  lie  munient  to  ( General 
Wolfe-  in  Wist  minster 
Abbey,  and  those  ol'  I'ul- 
teney,  Earl  of  Hath,  and 
Stephen  Hales  in  the  sai 
building.  But  Wilton's 
talents  were  hardly  seen  at 
their  best  in  such  colossal 
works;  his  true  forte  was 
shown  in  his  portrait  busts, 
which  are  generally  admii 
by   Joseph    wilton  aDie   likenesses,   freelj 

handled,  and  marked  by  a  true  classic  feeling.    An 
the  great   men    whose  features   he  handed  down  to 
posterity   were    Lord    Camden,    Sir    Isaac    Newton, 
General  Wolfe,  and  the  Earls  of  Chatham  and  Ches- 
terfield.    Thi-  present  example  is  a  typical  example 
oi  his  style,  showing  his  strong  power  of  characteri  a 
tion,  his  thorough  knowledge  of  anatomy — a  knowledge 
hardly  possessed  to  the  same  degree  by  any  contem- 
porary sculptor — and  the  classii   dignit)  and  n    train) 
with  which  he   invested  his  best  works.     The  bust, 
which  recentl)  pas  ■  d  through  the  hands  of  Mr.  I 
Renton,  of  King  Street,  St.  James's,  is  now  in  the 
collection  of  Mr.   Arthur  du   Cros,  M.l'.,  at   Canons 
Bark,  Edgware,  and  is  signed  and  dati  d  1767. 


LIMENTARY   dinner   was   given    on    Y 

her  1  st  by  his  friends  to  Sir  Sidney 
Colvin,  who  is  retiring  from  his  posi- 
tion of  Keeper  of  Prints  and  Draw- 
ings of  the  British  Museum.  The-  chair  was  occupied 
by  the  Marquis  of  Crewe,  who  paid  great  tribute  to  the 
manner  in  which  Sir  Sidney,  by  his  great  ability  and 


Dinner  to  Sir 
Sidney  Colvin 


259 


The    Connoisseur 


indefatigable  work,  had  popularised  the  print-room  of 
the  great  national  institution.  We  are  glad  to  hear 
that  in  his  leisure  time  Sir  Sidney  hopes  to  complete 
a  work  on  Keats  upon  which  he  has  been  engaged 
for  many  years. 

Towards  the  end  of  the  eighteenth  century,  scenes 
from    rural    life    were    among    the    most    popular    of 

themes  with  English  artists — a  popu- 
Our  Plates        larity  which  must  be  largely  ascribed 

to  the  great  success  of  George  Morland 
with  such  subjects,  reproductions  of  his  works  filling 
the  print-shop  windows  and  attaining  a  great  sale  on 
the  Continent.      Among  Morland's   contemporaries 
who  attempted  to  share  the  public  favour  with  him 
was  Richard  Westall,  who,  though  he  is  better  known 
as  a   historical   painter   and  a  book    illustrator,  fre- 
quently painted  the  same  class  of  subject.     One  of 
his    most    charming    examples    in    this  vein    was    A 
Reaper's  Child,  exhibited  at  the  Royal  Academy  of 
1795,  which  was  engraved  by  M.  Bovi.      The  work 
shows    little    of    Morland's    influence,    being    more 
refined    in    conception,    and    hardly  so    true    to    the 
peasant  type  of  childhood.      The  grace  with  which 
Westall   has   invested    the    principal    figure    recalls 
(iamsborough's  work,  but  is  probably  derived  from 
Lawrence,  with  whom  the  artist  shared  a  house  during 
their  early  careers.      Among  the  works  of  the  later 
Italian    schools    contained    in    the    Uffizi    Gallery, 
Florence,  is  the  pastel  portrait  attributed  to  Rosalba 
I  arriera — better  known  under  her    Christian  name. 
This   attribution    is  probably  correct,  for    the  work 
shows  all  the  qualities  of  her  pleasing  and  facile  art. 
The  two  plates,  taken  from  a  pair  of  prints  engraved 
by  Dubourg,  after  Pollard,  illustrate  the  appearance 
1  if  George  III.  in  the  hunting  field — a  monarch  who 
was  so  fond  of  country  pursuits  that  he  was  affection- 
ately nicknamed  Farmer  George.     The  views  given  in 
them  of  Windsor  Castle  are  exceptionally  interesting 
as  giving  the  appearance  of  the  royal  residence  before 
the  extensive  enlargements,   initiated  by  George  IV. 
and  completed  by  Queen  Victoria,  were  begun. 


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260 


THE   ADORATION   OF  THE   MAGI 

I'.V    R.    ANNING    B]  II. 

From   "Mary  the  Mother  of  Jesus  "  (Lee   Warner) 


yQURRBTr  ART 


The  Royal 
Society  of 
British  Artists 


JUDGING    by   the   current    exhibition    of    the    Royal 
Society   of    British    Artists — a    body   whose    men 

perhaps,  more  accurately  reflect  the 
trend  of  current  art  than  any  othei 
the  Post-Impressionist  movement  is 
beginning  to  subside.  There  is 
scarcely  a  work  out  of  the  four  hundred  and  odd  shown 
which  is  of  an  eccentricity  sufficiently  marked  to  pass  the 
hanging  commit- 
tee of  the  <  irafton 
Gallery  ;  while 
o se  o  f  t  h  e 
members  who  ap- 
peared to  be  fall- 
ing under  Post- 
Impressionist  in- 
fluences are 
relapsing.  Excep- 
tion should  be 
made,  perhaps,  in 
favour  of  Mr- 
Fred.  F.  Foottet. 
His  picture.  A 
Spring  Idyl,  is  of 
the  kind  which 
makes  hanging 
committees  regret 
that  they  cannot 
exercise  their  skill 
on  the  exhibitors 
instead  of  on  the 
latter's  pictures. 
This  feeling  is 
aroused  not  al- 
w  a  y  shy  b  a  d 
work,  for  occa- 
sionally highly 
meritorious  paint- 
ings  are  suffi- 
ciently forceful  in 
their  colouration 
and  unconven- 
tional in  their 
character     to      Elizabeth  affleck     by  j.  van  der  ba 


prevent  their  harmonising  with  any  neighbours  thai 

be  picked  for  them.  Turner's  were  frequi  i  i  then 

the  exceptional  merits  of  the  work  exi  used  its  deleti 

-   on  the    pictu: 
example  one  can  hardly  offer  such  adequate  apolo 
The  subject  is  a  castle  on  a  wooded  hill-slope.     In  depict- 
ing it  the  artist  has  eliminated  all  colours  from  his  pali 
but  blue  and  green,  and  these  of  parti.       i  istent 

tones.  The  work 
in  one  sense  is 
effei  ti  \  e,  as  it 
catches  the  eye 

all  pa         I 

the  gallery  in 
i 'lie  way  that 
a  single  vocalist 
singing  out  ol 
tune  in  the  midst 
of  a  powerful 
orchestra  will 
in  onopolise  the 

attention    ol    a 
il  audience. 
Mr.    Foottet    has 
undoubted   abi  I- 
ity,  but  one  feels 
that  it  is   being 
put  to  a  perverted 
use   in    examples 
of  this  charat  ti 
They  are  no 
torial ;  and 
highly    CO! 

character 
and  limited 
of  colour  makes 
them  more  adap- 
ted for  represen- 
tation in  mediums 
where  such  char- 
acteristics are 
essential,  rather 
than  on  <  I 
where  they  have 


NCK       AT  MESSRS.  SHEPHERD  S  GALLERIES 


263 


The    Connoisseur 


more  the  appearance  of  an  artifice  to  attract  attention. 
The  Whistlerian  portrait  of  The  late  Herrn  F.  />.  von 
Vass,  by  Mr.  Alfred  Palmer,  and  the  more  orthodox 
likeness  of  T.  L.  Devitt,  Esq.,  by  Mr.  R.  G.  Eves, 
both  sterling  examples  of  their  respective  types,  which 
hang  on  either  side  of  Mr.  Foottet's  picture,  suffer 
largely  from  their  juxtaposition.  Mr.  Shirley  Fox's 
Sun  Bath  is  a  refined  and  well-realised  study  of  a 
nude  figure  in  the  open  air  ;  and  two  of  Mr.  F.  Milner's 
works  —  the  sunny  and  broadly  -  treated  Evening 
and  the  quieter-toned  but  perhaps  more  beautiful 
Little  Valley — are  truthful  and  sympathetic.  In  Near 
Urbino,  Italy,  Sir  W.  B.  Richmond  sets  down  a  patch- 
work of  fields,  vineyards  and  woodlands,  stretching 
like  an  enormous  coverlet  over  valley  and  hill,  until 
they  merge  in  a  chaotic  series  of  mountain  summits, 
azured  by  distance,  and  leaping,  range  beyond  range, 
like  the  billows  of  a  tumultuous  sea.  One  feels  that 
Sir  William  has  recorded  what  he  saw  with  the  exactness 
of  a  topographical  draughtsman  ;  but  in  this,  as  in  all 
art,  it  is  not  what  is  seen  so  much  as  the  manner  of 
seeing.  What,  from  the  pictorial  standpoint,  would 
appear  to  most  people  as  a  bewildering  medley  of  harsh 
line  and  colour,  so  cut  up  as  to  be  unmanageable  without 
drastic  omission  and  simplification,  is  in  Sir  William's 
vision  a  theme  of  beauty  in  its  entirety.  He  has  sup- 
pressed nothing,  yet  patterned  the  iwhole  into  an  ex- 
quisitely decorative  composition,  as  faithful  to  nature  as 
a  pre-Raphaelite  landscape,  as  harmoniously  balanced  as 
a  symphony  by  Whistler.  Miss  Ethel  Wright's  Grannie's 
First  Love-Letter  is  not  merely  a  decorative  composition, 
but  a  piece  of  pure  decoration,  no  attempt  having  been 
made  to  render  tonal  value  or  atmosphere.  The  artist 
is  among  those  who  have  been  strongly  influenced  by 
Post-Impressionism,  but,  though  it  may  have  diverted 
her  art,  her  individuality  is  strong  enough  to  direct  her 
own  course  in  her  new  manner  without  falling  into 
borrowed  mannerisms.  In  her  present  work  she  has 
evolved  a  charming  arrangement  of  rhythmic  line  and 
colour,  grateful  to  the  eye  and  perfectly  intelligible. 
The  only  pity  is  that  an  artist  who  so  perfectly  under- 
stands the  principles  of  decorative  art  should  be  com- 
pelled to  present  her  work  in  a  purely  pictorial  form. 
It  is  an  irony  of  modern  patronage  that  when  decorative 
panels  are  required — as  at  the  Houses  of  Parliament  and 
the  Royal  Exchange — the  work  is  as  often  as  not  given 
to  picture  painters  who  have  not  mastered  the  first 
principles  of  decorative  effect,  while  the  essentially 
decorative  artists  are  compelled  to  invade  the  picture 
galleries  with  framed  canvases  which  can  never  be  seen 
to  full  advantage  until  set  in  their  proper  surroundings. 
Amongst  decorative  work  must  also  be  classed  the  two 
landscapes  of  Mr.  Alfred  Hartley,  At  Low  Tide  and  In 
Cornwall,  which  the  artist  has  simplified  into  almost 
flat  masses  of  colour.  In  the  former  the  simplicity  has 
been  rather  over-accentuated  ;  the  clouds  lie  flat  against 
the  sky  as  though  stencilled,  and  fine  as  is  the  colour, 
one  prefers  the  companion  picture,  where  space  is  more 
successfully  suggested,  and  the  cloud-forms  appear  float- 
ing in  the  heavens.     Of  the  same   type  of  work  is  the 


luminous  Against  the  Sun  :  Ballard  Down,  by  Mr.  J.  A. 
Mease  Lomas,  an  effective  variant  of  a  theme  in  light  and 
shade  he  has  treated  previously.  Mr.  Alec  Carruthers 
Gould  has  adopted  a  new  scheme  of  colouration  in  his 
Calm  and  Quiet  Bay  and  an  October  Morning;  formerly 
he  showed  a  tendency  to  over-blackness  of  tone  ;  now  he 
is  experimenting  in  yellows  and  russet.  They  are  both 
good  works,  broadly  handled  and  well  put  together  ; 
but  one  would  think  they  mark  a  transition  stage  in  his 
career,  and  that  he  hardly  as  yet  has  explored  the  full 
range  of  his  powers.  Mr.  Frank  O.  Salisbury,  in  his 
portrait  of  Mrs.  Troutman  and  Daughter,  has  produced 
a  finished  and  accomplished  work  in  which  the  introduc- 
tion of  a  great  mass  of  detail  is  not  allowed  to  interfere 
with  the  breadth  of  the  composition.  Another  fine  portrait 
is  that  of  the  Artist's  Mother,  by  Mr.  P.  A.  Lazlo— or, 
as  he  is  now  styled,  Lazlo  de  Lombos  —  a  sentient 
rendering  of  a  fine  head  which  impresses  one  with  a 
sense  of  personal  intimacy  like  a  well-written  biography. 
Mr.  R.  G.  Eves's  Lady  Churchill  is  also  a  fine  piece 
of  characterisation,  animated  and  with  the  flesh-tones 
truthfully  rendered.  Autumn  in  Gloucestershire  is  the 
most  important  example  of  Sir  Alfred  East,  who  depicts 
a  world  of  russet  and  gold  ;  trees  glorified  with  their 
autumnal  pomp  and  the  ground  littered  with  their  fall- 
ings. One  cannot  but  admire  the  skill  with  which  these 
glowing  colours  have  been  harmonised  into  a  rich  sedate- 
ness,  and  the  masterly  way  in  which  the  composition  is 
arranged  to  prevent  the  prevailing  hues  from  being 
unduly  predominant.  The  artist's  Surrey  Mill.  Kent,  is 
also  a  fine  example,  but  the  sky  would  have  gained  if 
more  simply  treated.  Of  other  artists'  work  one  should 
mention  Mr.  Horace  Middleton's  graceful  and  prettily 
felt  Little  Diver;  Mr.  John  Muirhead's  vigorous  Flooded 
Valley  of  the  Ouse,  distinguished  alike  by  strong  handling 
and  fine  colour  ;  Mr.  Burleigh  Bruhl's  striking  but  some- 
what scattered  The  Light  Above;  and  a  well— almost 
too  well — modelled  statuette,  entitled  Startled,  by  Mr. 
Paul  Montford. 

The  current  exhibition   of  the  Royal   Water-Colour 

Society,  if  not  deficient  in  the  quality  of  the  work  shown, 

_,      „        ,  suffers  from  a  want  of  variety.     Nearlv 

The  Royal  .     ,                   ,       .      ,    ,   ', 

„     .  .        ,  a  quarter  of   the   examples  included 

bociety  of  ,           ,,,,,., 

n  .    .         .  emanate  from  the  brushes  of  half  a 

Painters  in  .               ,  . 

w  ,       n  .  dozen   artists,  while  many  of  the 

water-Colours  ... 

most    individual   members,    such    as 

R.  Anning  Bell,  D.  V.  Cameron,  F.  Cadogan  Cowper, 
and  John  S.  Sargent,  are  altogether  unexemplified. 
Well,  though  not  too  profusely,  represented  is  Mr.  S.  J. 
Lamorna  Birch,  whose  outlook  is  broadening  and  brush- 
work  is  growing  more  virile.  A  little  while  ago  some  of 
his  work  was  marked  by  a  tendency  to  degenerate  into 
prettiness — a  record  of  things  seen  in  a  picturesque 
though  superficial  manner  rather  than  deeply  felt.  In 
his  present  examples  he  has  corrected  this ;  he  is  still 
concerned  with  the  brighter  moods  of  nature,  for  to  those 
his  talents  have  a  natural  affinity,  but  he  shows  a  more 
fervent  desire  to  realise  vital  facts.  In  The  Stream  the 
rush  of  the  sun-spangled  water  is  recorded  with  force 


264 


Current  Art    .Votes 


and  truth,  and  the  silvery  tone  of  the  picture  well  main- 
tained ;  another  effective  piece  with  sunlight  on  water 
as  the  principal   theme  is    Th.  Sun:   while   in 

\llack  Cairn  and  Fairyland  the  artist  -hows  good 
colour  combined  with  breadth  and  freedom.     Mrs.  Laura 
Knight   has  completely  altered   her   style  ;    her    former 
characteristics  were  boldness  and  vividness;  her  themes 
generally  concerned  .with   the  rendering  of  figures  and 
objects  in  full  sunlight. 
Now  she  is  represented 
by    three   examples   all 
marked  by   tender  and 
atmospheric    coloura- 
tion and    refinement  of 
treatment.      The    two 
styles  are  so  essentially 
different   it    is   almost 
impossible    to   compare 
their  merits,  but   much 
may  be  hoped  from  tin- 
future  of  an  artist  who 
shows   such   variety   <>t 
outlook  and  technique 
I  it    Mr.    R.    Thome- 
Waite's   examples  the 
Kilgerran     Cast l,\    a 
beautiful  evening  effect, 
-unused    with   tender 
light,  is   perhaps   the 
most  completely  satisfy- 
ing.    Its  charm   lies   in 
its   restraint  and   fine 
tonal  quality.       Mr.    J. 
R.    Weguelin's   Mer- 
maid's   Throne   would 
be    bettered,  not   by 
the   entire   absence 
of  the    mythical    being 
delineated,  but  of  her 
tail.     This  appears  to  have  been  introduced  as  an  after- 
thought.    The    scene,    a    rocky    inlet   with    blue  sea,  is 
hardly   of  a   sufficiently    romantic   nature    to   form   the 
environment  of  a  mermaid.     If  the  artist   transformed 
her  into   an   ordinary   mortal  bathing,  the  work  would 
be  far  more  convincing;    for  the    rest    the   drawing   is 
pleasantly  coloured,  and  the  modelling  and  flesh-tones 
of  the  human  portion  of  the  girl's  figure  well  rendered. 
The   Corrie  na   Banachaig  -Isle  of  Slcye  is   so  closely 
studied   from   nature,  and  the   intense   barrenness   and 
desolation    of   this    wilderness    of   cliffs    and    rocks    so 
aptly  presented,  that  one  hesitates  to  point  out  that  the 
artist   has   made  little  attempt   to  realise  the  texture  of 
the   latter.     The  crags  in   the   foreground  appear  more 
like   a  theatrical  property  than  a   mass  of  living  rock; 
nevertheless,  the  picture  in  its  representation  of  the  rock- 
forms,  in  its  truthful  colouring— albeit  the  latter  is  some- 
what monotonous — and   in  its    impressive    solemnity    of 
effect,  is  one  of  the  most  convincing  works  in  the  exhi- 
bition.    Mr.   Charles  Sims's  elusive  charm  is   shown  in 
half  a   dozen  delightful  fancies  ;   for,  important  as  may 


VISCOUNTESS    CHLRCHIII. 

ROYAL     SOCIETY     OF 


md  treatn  i 
remain,  nc  i 
Hi-   Rain  -how 

and   Cupid,  parted   by  the  breadth  of  the  picture, 
menading  d  tely  in  a  sin 

harmingly  the  feeling  ■•!  his  : 

the  whole  of  his  work  :    the  attitude  of  the   figure-,  the 
slight    but   tender    colouring,    and    the 

sunlight  breaking 
through  the  shower- 
laden  skies,  all  help 

- 
.inly  of  the  kind  that 
.  -  i  n  Apri  I,  and 
presently  Cupid  and 
hi-  companion  will  be 
walking  Mile  by  side 
in  the  sunshine.  More 
in  it-  treat- 
ment, more  realistic  in 
its  setting  than  this 
dainty  fan<  y,  -  Mr. 
Sims's  Swallows,  where 
a  nymph,  garbed  as 
,  iherdesses 
in  Arcadia,  and  hold- 
ing a  naked  urchin  in 
either  han  i  iking 

through  a  bush-studded 
English  upland.     The 
figures    patched    with 
spring    sunshine    are 
-et    down    with     g 
brimming    over    with 
vitality  and   the    joj    oi 
life.     Though    ' 
-etting   is   most  artisti- 
cally   fitting,    one    ' 
such  denizens  never 
peopled    our   homeland;    rather    must    they    be    looked 
upon    as    the    embodiments    of    young    summer,    tree. 
fresh,  and  vigorous,  while  the  cool   breezes  still    11 
to  give   zest   to   the  sunshine   before   the  languid    I 
of  the  later  season  have  come  to  quiet  thru   em 
Though    Mr.  C.  Napier  Hemy's  art  -how-  litlli 
it  could   hardly   be  bettered   of  its   kind.     In  Summer 
:    Setting  Crab  Pols   he   give-   sunny   render- 
ings of  the  homeling  seas  none  th<-  »  ious  that 
they   are   pleasant    in   aspect   and    feeling.      A    similar 
m   allowing  for  the   difference  of  subject  can  be 
applied  to  The  Elder  Tree  of  Mr.  Alfred  Pa.  son-,  a  river 
scene  depicted  with  all  his  usual  refinement,  and  some- 
thing  more  than  his  usual  strength.      In  A   Shrimper 
Mr.    Lionel   Smythe  has   given  us  what  is  practically  a 
symphony  in  blue— or,  to  speak  more  explicitly,  in  ultra- 
marine, so  much  does  this  colour  >te  in  sky 
and  water.     Despite  the  dictum  of  Reynolds  that  blue 
should  not  be  a  predominant  colour  in  :.  re,  the 
artist  has  been  thoroughly  successful;  his  blue,  however, 
verges  on  delicate  grey,  and  he  ha-  harmonised  it  and 


BY     R.    G 

BRITISH      ARTIST- 


^5 


The   Connoisseur 


prevented  the  effect  from  being  cold  by  the  warmer 
colours  in  the  shadows  of  the  water  and  the  dresses  of 
the  principal  figures.  The  chief  interest  of  Mr.  T.  M. 
Rooke's  South-West  Angle,  Ely  Cathedral,  which  is  to 
find  a  resting-place  in  the  permanent  collection  of  the 
Birmingham  Art  Gallery,  is  architectural.  The  details 
of  the  structure  are  given  with  such  exactitude  that  a 
design  to  scale  might  easily  be  made  from  it,  and  though 
of  higher  pictorial  quality  than  the  works  shown  in  the 
Royal  Academy  architectural  room,  it  would  by  no 
means  seem  out  of  place  there.  Sir  Ernest  A.  Waterlow's 
facile  and  delicately  coloured  work  is  well  represented. 
Snow  in  Llanberis  Pass,  an  idealised  but  impressive 
rendering  of  the  Snowdon  range  in  winter,  recalls  the 
loss  that  art  has  sustained  in  the  death  of  Mr.  H.  Clarence 
Whaite,  while  pleasing  contributions  are  sent  by  Messrs. 
K.  \V.  Allen.  Arthur  Hopkins,  and  W.  J.  Wainright, 
the  latter's  Inspiration  being  a  fine  example  of  his 
finished  and  scholarly  style.  One  should  not  forget  to 
mention  Mr.  Walter  Crane's  record  of  An  Aviation 
Meeting — not  the  first  picture  in  which  aeroplanes  have 
been  depicted,  but  the  first  in  which  they  have  been 
successfully  made  an  essential  part  of  a  crowded  com- 
position. Mention  should  also  be  made  of  Mr.  Hughes 
Stanton's  The  Valley  of  the  Seine,  Les  Petit  Andrews, 
France,  a  work  from  which  nearly  all  feeling  for  atmos- 
pheric gradation  appears  to  be  eliminated,  but  which,  by 
its  powerful  colour  and  the  uncompromising  vigour  of 
its  utterance,  at  once  arrests  the  attention  and  compels 
a  belief  in  its  thorough  sincerity. 


Old  Masters  at 

Shepherd's 

Gallery 


EVERY  picture-lover  knows  of  Gainsborough's  debt 
to  Van  Dyck  ;  he  learnt  more  from  him  than  from  any 
of  his  living  teachers,  making  copies 
of  the  master's  pictures  whenever  he 
had  an  opportunity,  and,  one  would 
imagine,  having  their  semblances 
continually  present  in  his  mind.  One  of  these  Van  Dyck 
copies  by  Gainsborough— of  the  National  Gallery  eques- 
trian portrait  of  Charles  I. — is  now  included  in  the 
exhibition  of  Old  Masters  at  Messrs.  Shepherd's  Gallery 
'27,  King  Street,  St.  James').  Fulcher  does  not  mention 
it  among  the  half-dozen  or  so  similar  copies  by  Gains- 
borough he  casually  records,  but  its  authenticity  is 
written  in  every  brush-stroke.  It  is,  indeed,  less  of  a 
copy  than  a  translation:  a  Van  Dyck  composition  ren- 
dered in  the  Gainsborough  manner.  The  treatment 
of  the  sky  and  foliage  is  especially  characteristic  of 
the  English  painter,  who  has  made  other  modifications 
besides  those  of  technique;  the  horse's  small  head — a 
blemish  in  Van  Dyck's  picture  to  our  modern  eyes, 
unfamiliar  to  this  now  extinct  type  of  horse — more 
especially  being  considerably  enlarged.  So  free  has 
Gainsborough  been  in  his  treatment  of  the  original,  that 
it  may  be  questioned  whether  he  ever  saw  it.  It  is 
recorded  that  he  commenced  another  picture  of  a  Van 
Dyck  subject  from  an  engraving;  he  may  have  done 
something  similar  in  this  instance  ;  if  so,  the  work 
must   be  regarded  less  as  a  copy   than   as   an  original 


Gainsborough  suggested  by  a  Van  Dyck  theme.     Gains- 
borough's great  rival,  Sir  Joshua,  is  represented  by  an 
early   but   characteristic  example  of  George   III.  when 
Prince  of   Wales ;  Romney,   by  a  beautiful  head   of  a 
child,  suggestive  of  Greuze  in  its  feeling,  but  far  more 
virile  in  its  handling  ;  and  Raeburn  by  a  portrait  of  an 
unknown  lady,  illustrating  his  transition  from  miniature 
work  to  full-scale  portraits.    Though  of  small  dimensions, 
the    picture  is  treated   with   a  breadth  and  vigour  not 
surpassed  in  any  of  the  master's  larger  canvases  ;   the 
colour-scheme,    in    which   red,   black,   and    white    pre- 
dominate, is  thoroughly  characteristic.      Raeburn  is  an 
instance  of  a  miniature  painter  whose  work  on  a  larger 
scale   appears  the  direct  antithesis  of  what  might  have 
been  expected  to  result  from  his  early  practice  ;  another 
is  afforded  in  the  person  of  J.  Keenan,  a  now  practically 
forgotten  miniature  and  portrait  painter.    Bryan  scarcely 
mentions    him,    but   Graves   records  a  long  list  of  his 
exhibits  in  the  Academy  between  1791  and   1815.     He 
attained  some   reputation  in  his  own  time,  for  he  was 
appointed    portrait    painter    to    Queen    Charlotte.       A 
Portrait  of  a  Lady,  signed,  and  dated   1802,  more  than 
justifies  this  contemporary  celebrity,  and  condemns  pos- 
terity for  not  preserving  his  memory.     After  the  lapse  of 
over   a   century,   it    remains   essentially    modem    in    its 
feeling  ;    a    proof  of  its   quality  for   any  but   good  art 
becomes  old-fashioned  in  a  decade  or  two.     The  painter's 
palette  possesses  affinity  to  Raeburn's,  but  is  even  more 
simple,  the  colouration  of  the  picture   being  limited  to 
black,  white,  grey,  and  the  flesh-tones.      His  handling, 
too,    is    not   unlike    that  of  the  Scotch   artist,  but  less 
certain,  looser,  and  more  atmospheric.     In  the  largeness 
of  its  style,   fine  tonal  quality,  and  the  absence  of  any 
striving  after  prettiness  of  effect,  the  picture  constitutes 
an  almost  unique  example  of  English  early  nineteenth 
century   art.       A   fine   Thomas    Stothard — Venus   with 
Cupid— exhibited  at  the  Royal  Academy,  1S24,  resem- 
bles, in  the  Venetian  quality  of  its  colouring,  an  early  G. 
F.  Watts.  That  somewhat  rare  Anglo-Indian  painter  Tilly 
Kettle  is  seen  at  his  best  in   the  portrait  of  the  Right 
Hon.  Edward  Golding.     This  work  shows  that  French 
influence  which,  exemplified  in  the  works  of  Ramsay  and 
Cotes,  opposed  itself   to  the    stronger  chiaroscuro  and 
more  vivid  colouration  of  Reynolds  and  his  followers  ;  its 
ideal  was  tonal  harmony  and  refinement,  qualities  which 
are  well  shown  in  the  delicate  greens  and  silvery  greys 
of  the    portraits.      Belonging   to   the  art  of  an   earlier 
generation  is  the  fine  Van  Dyck-like  portrait  of  James 
Stanley,  Earl  of  Derby — who  suffered  on   the   scaffold 
under    the   Commonwealth — by  John  Michael  Wright: 
and    another    interesting    contemporary    is    William 
Dobson's  Portrait  of  a  Cavalier.     A  Hogarth-like  por- 
trait of  Mrs.  R.  C.   Trefusis,  ne'e  Elisabeth  Affleck,  by 
f.  Van  der  Banck,  is  a  typical  example  of  the  sincere, 
forcible,    but    uninspired    art    of    the    early   eighteenth 
century;  while  among  many  other  works  which  deserve 
mention  on  account  of  their  art  or  their  associations  are 
an  allegorical  Flemish  picture,  by  an  unknown  artist  of 
the  seventeenth  century,  containing  some  hundreds  of 
portraits  ;  a  contemporary  painting  of  Major  Brooke,  of 


266 


(  itr rent  Art   Notes 


.  establishing  his 

■v  School j  and  sterl- 
•. am  pies  by  Gome, 
Vincent,  Wilson,  and 
seventeenth  and  eighteenth 
centurv  masters. 


Edinburgh:  The   Royal 
Scottish  Society  of 
Painters   in   Water- 
Colours 

I.  VST  year  this  society 
held  their  annual  exhibition 
•  this  year 
they  are  back  at  the  acad- 
emy's quarters  in  Edin- 
burgh. The  show  includes 
a  line  display  of  borrowed 
treasures — notably  ex- 
amples of  Bosboom. 
Blommers  and  Turner, 
a  particularly  good 
David  Cox,  and  an  ex- 
quisite little  study  in 
tapering,  feathery  trees 
by  William  Maris  —  while 
most  of  the  veteran  mem- 
bers of  the  society  exhibit, 
and  it  is  pleasing  to  re- 
mark that  some  of  the  best 
things  on  view  are  by 
hitherto  unknown  and 
presumably  young 
workers;  and  grati  t 
again  to  find  that  several 
good  painters  who  have  been  little  before  the  public  of 
late  are  represented. 

One  who  belongs  to  this  class  is  Mr.  Hans  Hansen. 
He  is  often  mentioned  as  no  better  than  a  satellite  of 
the  late  Arthur  Melville,  but  that  is  far  from  just.  True 
that  his  debt  to  that  master  is  perennially  manifest,  yet 
Mr.  Hansen  has  done  many  things  which,  as  well  as 
being  distinctly  individual,  are  just  as  delightful  as  any- 
thing in  the  output  of  his  exemplar.  The  Mo 
scene  which  he  exhibits  this  year,  however.  The  Carpet 
Market  ,tt  Oran,  cannot  reasonably  be  regarded  as 
one  of  his  complete  successes.  It  lacks  the  semblance  of 
spontaneity,  it  suggests  effort  rather  than  ease,  and  this 
limitation  is  equally  paramount  in  the  works  of  several 
other  old  members  of  the  society.  Various  landscapes 
by  Miss  Em  ly  Paterson,  for  instance,  hint  at  endless 
scrubbings  and  changes,  while  Mr.  James  Cadenhead 
hi-  much  higher  gift-  than  are  displayed  in  his  Autumn 
lingj  and  Mr.  Charles  Mackie  is  capable  of  some- 
msiderably  better  than  his  Balcony  at  Venice, 
a  picture  which  appears  to  be  done  on  Japanese  vellum, 
and  which  does  not  tend  to  advocate  that  medium.  The 
truth  is  that  vellum  is  the  lea-t  absorbent  of  paper-, 
while  paint  dries  on  it  more  .-lowly  than  on  anything  el-e  ; 


THE    LITTLE    DIVER 

ROYAL    S0CIE1 


•   .  salient  in 
anytli 

things   in  t h e 

.  Mackie  is 
nuch   happier  in   an- 
other 

1 1  ere 
the  ill 

on  the 
lines-, 
while  beauty  of  line 

mportant  qualityinan 
architectural  painting  —  is 
largely  absent. 

But  in  The  Swing  I 
on   the  other   hand,    Mr. 
M  ii  kie  is  seen  to  advant- 
uie   colours   in  this 
strong  but  not  loud. 
deep  and   yet   pure, 
one  admires  these  same 
merits  in  Glencairn,  by  Mr. 
James  Paterson,  one  of  the 
be-t  things  this  artist   has 
done  foi  a  long  time 
two  other    men   who    com 
mand  prai-e  are  Mr.  I 
Geddes    and    Mr.    A.    E. 
Borthwick.     The   former's 
simple  little  land-ca; 
Gullane  S  ;  uile  a 

triumph  of  naturalm 
only  fault    being  that   the 
clouds    are    somewhat    deficient    in    depth  ;    and     Mr. 
Borthwick's    Toledo  shows  skill  in  the  art  of  omi 
the  buildings  being  adequately  suggested   without  any 
obtrusiveness   of  detail :  while  in  Head  pf  a  Girt  I 
revealed  as  a  portrait-painter  of  considerable  proi 
for  this  picture  is  an  exceptionally  able  study  in  child- 
hood, and  the  subject  is  one  which  has  proved  bal 
to  many  even  of  the  greatest  artists.     Mr.  H.  W.  Ki 
portrait   of   Dr.   Joseph    Anderson  is    much   inferior  to 
the    l  devoid  as   it   is   alike   of  its  verve  and 

distinction  ;  but  at  least  it  is  a  thoroughly  good  like- 
ness of  its  subject  —  as  all  must  know  who  have 
worked  in  that  antiquarian  library  over  which  Dr. 
Anderson  presides— while  Mr.  Rus-ell  Flint's  illustra- 
tion to  one  of  the  Arthurian  legend-  i-  a  prodig 
modelling.  Miss  [Catherine  Cameron's  Primros, 
almost  as  accomplished;  nor  must  one  fail  to  mention 
Mr.    William    Walls  ind    a 

singularly   beautiful    picture    b>    M        A     M.    Kaeburn, 
Chateau  Gaillard. 

Of  all    the   items  at  the   exhibition,    the   one   which 
appears  to  have   elicited   the  most    universal    prai 
Mr.  E.  A.  V.  Briony  Wreath.     But  in  this,  though 

colour  and  design  are  both  good,  the  draughtsmanship 


BY    HORACE    MIDDLETON 
BRITISH    ARTISTS 


267 


The    Connoisseur 


leaves  much  to  be  desired  ;  and  one  is  constrained  to  feel 
and  to  say  that  there  is  another  artist  of  whom  the 
society  has  greater  cause  to  be  proud,  and  that  is  Mr. 
Joseph  Crawhall.  His  Bullfight,  it  must  be  conceded, 
is  scarcely  on  so  high  a  level  as  he  usually  maintains, 
the  many  eminent  beauties  in  this  picture  being  vitiated 
in  some  measure  by  the  want  of  any  sense  of  movement 
on  the  part  of  horses, 
riders,  and  the  bull 
itself.  Instinctively  one 
thinks  of  the  life  which 
throbs  through  Goya's 
analogous  works,  and 
this  cogitation  naturally 
puts  Mr.  Crawhall  in 
the  shade;  but  in  his 
other  picture,  The 
Meet,  he  provokes  no 
such  handicapping  com- 
parison. As  its  name 
indicates,  this  is  a 
hunting  scene,  and  the 
foreground  is  occupied 
by  a  lady  mounted  on  a 
stout  grey  cob,  dappled 
with  sunlight,  while 
beyond  one  sees  the 
hounds  and  a  tew 
horsemen.  The  general 
effect  would  have  been 
better,  perhaps,  had  a 
larger  paper  been  used  ; 
for  the  cob  in  the  fore- 
ground has  rather  the 
look  of  being  sadly 
cramped  for  space,  and 
this  would  have  been 
remedied  by  another 
four  or  five  inches  of 
margin.  But  waiving 
this  limitation,  how 
beautiful  the  whole 
thing  is  !  The  horses  and  dogs  are  drawn  with  a  loving 
insight  and  sympathy  for  which  it  were  hard  to  find  a 
parallel,  and  the  colouring,  apart  from  its  flawless 
harmony,  claims  homage  by  virtue  of  a  depth  and 
luminosity  which  one  did  not  think  were  attainable  save 
with  oil  paint. 

To  speak  finally  of  the  sculpture,  Mr.  H.  S.  Gamley 
shows  several  good  works,  the  best  of  them  by  far  being 
the  bronze  head  of  an  old  woman  ;  while  other  exhibitors 
of  note  in  this  department  are  Mr.  J.  W.  Somerville  and 
Mrs.  Meredith  Williams.  The  Bullfight  by  the  former 
is  lustily  handled,  and  expresses  almost  too  truly  the 
horror  and  carnage  pertaining  to  Spain's  national  sport; 
while  as  to  Mrs.  Meredith  Williams's  Grief,  a  bronze 
group,  one  cannot  say  that  the  people  depicted  really 
suggest  overwhelming  sorrow,  but  at  the  same  time 
the  workmanship  and  general  technique  are  of  a  lofty 
order  which  is  comparatively  rare  in  sculpture  of  to-day. 


THE    BRIONY    WREATH  BY    E.  A.    WALTON,   R.S.A..   R.W.A. 

AT    THE    ROYAL    SCOTTISH    SOCIETY    OF    PAINTERS    IN    WATER- 
COLOURS 


"Water-Colours,"  by  George  F.  Nicholls 

"  Facts,  Fancies  and  Fantasies,"  by.W.  H.  Walker,  and 

"The  Pageant  of  the  Sea,"  by  Gregory  Robinson 

TAKING  the  trio  of  exhibitions  at  Messrs.  Walker's 
Galleries  ( I  iS,  New  Bond  Street)  in  ithe  order  of  the 
rooms  in  wlwch  they  were  shown,  one  first  came  upon 
Mr.   G.   F.   Nicholls's    water-colours'  of  Gloucestershire 

and  Wiltshire.  The 
adjective  most  fit- 
tingly descriptive  of 
the  art  of  Mr.  Nicholls 
is  "pleasant."  His 
drawings  are  congenial 
to  live  with  —  more 
especially  to  the  town- 
dweller —  for  they  pre- 
sent some  of  the  most 
charming  aspects  of 
English  rural  scenery 
in  sunshiny  moments — 
hayfields  fresh  with  the 
tint  of  young  summer, 
placid  rivers,  leafy 
brooks,  quiet  old-world 
towns  and  villages,  and 
the  patchwork  of  hill 
and  dale,  woodland  and 
meadow  which  make 
the  countryside.  The 
artist's  colour  is  bright 
without  being  forced, 
and  his  work  well 
finished  without  being 
laboured.  Mr.  W.  H. 
Walker  was  represented 
by  a  third  of  his  series 
of  Facts,  Fancies,  and 
Fantasies.  He  appears 
growing  more  sedate 
in  his  outlook ,  and 
more  restrained  in  his 
manner.  Where  in  his 
earlier  works  he  made  blunt  and  obvious  >  appeal,  he  is 
now  content  to  suggest,  conveying  the  same  strength 
of  meaning  but  wrapping  it  up  with  more  refined  and 
masterly  art.  Among  the  best  of  his  works  shown  were 
the  delicately-coloured  Goggle  Eyes  and  Mouths  Agape; 
the  Eve,  with  its  poignant  satire  on  the  stronger  sex 
typified  by  a  greedy  monkey;  The  Monk  and  the  Candle, 
and  The  Rose  Curtain.  In  the  third  exhibition,  also 
of  water-colours,  Mr.  Gregory  Robinson  depicted  The 
Pageant  of  the  Sea.  His  drawings,  in  their  power  of 
depicting  the  present  and  vividly  recalling  the  past,  in 
their  realistic  strength  combined  with  imaginative  insight, 
and  above  all  in  their  truthful  presentment  of  the  ever- 
varying  moods  of  the  ocean,  possess  a  close  affinity  to 
Rudyard  Kipling's  poems.  To  lovers  of  naval  history 
the  drawings  representing  the  past  glories  of  English 
seamanship  should  be  of  exceptional  interest.  In  these, 
painted  with  a  nice  fidelity  to  rig  and  form,  one  could 


260 


Current  Art   Notes 


trace  the  development  of  the  English  warship  from  the 
time  of  Drake's  "  Golden  Hind"  through  the  chequered 
of  Charles   II.   and   William    III.,   right   onwards 
to    the   present    lime,   all    the    t>pe>    shown 
amidst    tit   surroundings,  whether   of  battle   pageant  or 
voyage  of  discovery,    and   pictured    with    a    con' 
that    made  them   appear  as  truly  shown  as  if  the 
ruling  the  seas 
to-day.    With  the 
grim  ocean  mon- 
sters belonging  to 
the    present    M  r. 
Robinson     i  s 
equally  at  home, 
.  ering    even 
in  them  possibili- 
ties of  the  pictur- 
esque,   yet    one 
wouldaccount  the 
artist  best  of  all 
in  his  sett il 
these    themes — 
the   backgi 
of    sea   and    >ky. 
No    works  were 
finer  in  the  exhi- 
bition than  some 
in   which   he   was 
content  to   give 
renderings    of 
cloud    and    water 
a  Ion  e  —  atmos- 
pheric,   realised 
with    pleasing 
b  r  e  a  d  t  h    a  n  d 
truthful,    well- 
harmonised   col- 
on r  ,       these 
transcripts   from 
nature  would  hold 
their  own   with 
those     of    any 
modern    marine 
painter. 


PORTRAIT  OF  A  I.ADV 


B  Y    I  .  i .  ■ 


MAI'S  the  most  instructive,  if  not  the  most  attractive, 
exhibits  in  the  display  of  modern  mezzotints  in  colour 
at   the    Victoria   Galleries  (123, 


"  Modern  Mezzo- 


Victoria    Street,    S.W.j   are    one   or 


tints  in  Colour  " 

.    ,     ,,.   .     .  two  impressions  in  black  and  white, 
at  the  Victoria  '  . 

f,   ..     .  taken  from  plates  specially  prepared 

for  colour-printing.  These  enable 
the  visitor  to  realise  that  the  mezzotinter,  in  aiming  for 
colour  effect,  has  to -scrape  his  plate  in  a  far  more 
restrained  st\le  than  when  working  for  monochrome,  a 
less  extension  of  chiaroscuro  being  demanded.  The  old- 
time  publishers  took  advantage  of  this  by  using  up  their 
worn  plat-es  for  colour-work,  ekeing  out  the  deficiencies 
in  the  impressions  by  having  them  touched  by  hand. 
.Modern  taste  will  not  tolerate  the  latter,  regarding   the 


addition  ol  hand 
whole 

lour-piintii 
the  Vi  .  but  ihi  n 

talent    to   worthily  exemplify  their  1 

is  Mr. 

tioi 

of   the  old 

lish   si 

an  an 
ture  ot  the 
In  t  io  n,       ' 

cessful   in   his 
•  ■ 

ch  as 
the  well  -  km™  n 
Mrs.  Sheridan, 
the/Wr.v 

uglas, 
all  of  which  are 
disting 

good  draughts- 
manship and  re- 
fined treatment  ; 
while  the  same 
engraver's  //</</- 
Icy  Castle  shows 
how  well  1 
ble  reproduces  in 

1 u  r  when 
boldly  and  artis- 
tically treated.  In 
Mr.  Skrimpshire's 

thecoloura- 
nearly  al- 
restrained, 
the  e  n  g  1 
seeking  to 

:  he  originals 
lb  thi 
now,     with     their 

AT  MESSRS.  SHEPHERD'S  GALLERIES  tlUeS     bcaUtllUlly 

toned  by  time.   In 
Mrs.  Mears  Mr.  Percy  II.  Martindale  goes  on  the 

but  his  Joli  Caur,  after  Rossetti,  shows  that  it  is 
equally  possible  to  harmonise  the  more  vivid  tints  of  a 

in  painting.  Mr  J.  Cother  Webb  shows  to  advan- 
tage in  such  plates  as  the  Frank  I  a  mi  Sisters,  Miss  Croker, 
and  his  recently  completed  Red  Hoy,  a  charmingly  un- 
hackneyed subject  after  Madame  Le  Brun.  A 
other  well-known  engravers  well  repi 
II.  T.  Greenhead,  Alfred  S.  Handford,  Herbert  Sedcole, 
Mrs.  M.  Cormaek,  and  Miss  E.  M.  Hester. 

From  Winter  to  Summer 
As  a  proof  of  the  increasing  e\  1  England  du 

the  winter  months  for  the  sunny  Riviera  and  the  ai 
treasure-houses  of  Italy  beyond,  the  ai  ient  of  the 


269 


The    Connoisseur 


Paintings  and 
Drawings  by 
George  Clausen, 
R.A.,  R.W.S. 
Drawings  by  the 
late  Phil  May, 
and  Drawings 
illustrating 
"iEsop's  Fables," 
by  Arthur 
Rackham,  R.W.S. 


Sleeping-Car  and  International  Express  Trains  Com- 
pany that,  from  November  nth,  it  is  going  to  run  the 
Calais- Mediterranean  Express  daily,  is  not  without 
interest.  One  can  understand  that  the  inclemency  of 
English  weather  and  the  attractions  of  this  train-de-luxe 
offer  every  inducement  to  make  the  journey.  Leaving 
Victoria  (S.  E.  ,\:  C.)  at  n  a.m.,  in  the  throes  of 
November  fog  and  frost,  one  reaches  the  regions  of 
eternal  summer  in  the  short  space  of  twenty-two  hours, 
the  journey  being  effected  without  a  change  after  leaving 
Calais,  and  the  restaurant  and  sleeping-cars  offering  the 
accommodation  of  a  first-class  hotel. 

Of  the  trio  of  exhibitions  on  view  at  the  Leicester 
Galleries,  that  of  pictures  and  drawings  by  Mr.  George 
Clausen  was  decidedly  the  most 
interesting.  Mr.  Clausen  is  a 
painter  who  can  offend  against  the 
orthodox  rules  of  art  with  impunity, 
as  he  has  the  rare  gift  of  trans- 
mitting his  personality  into  his 
work  ;  and  so,  whatever  his  method 
of  execution,  it  carries  with  it, 
if  not  the  conviction  that  it  is 
thebest 
method 
possi- 
ble, at  least  the  feeling  that 

the    artist    has    conveyed 

by  it    exactly  the   effect    he 

wanted  to  produce.     Mr. 

Clausen's  original  theme  was 

the  country  labourer,  whom 

he    used   to   depict    with   an 

uncompromising   and  ugly 

realism,    omitting  no    detail 

of  his  hobnailed  boots  or  his 

corded  trousers.     The  artist 

still  occupies  himself — 

though  not  so  constantly — at 

the   same    theme  ;    but   now 

the  uncouth  individuality  of 

the  labourer  and  his  gar- 
ments is   subordinated   to  a 

representation  of  the  type — 

the  warrior  in   the  never- 
ceasing  struggle  to  wring 

a    livelihood    from    churlish 

nature.     Thus  in  The  Three 

Diggers,    Working   Late,   or 

half  a  dozen  examples  of  the 

same  type,  the  artist  without 

idealisation   impresses    us 

with    the  sense  of   Homeric 

conflict,  recording  the  scene 

not  as  an  ephemeral  incident. 

but  as  a  piece  of  the  eternal. 

Even    in    such    a    realistic 

studv  as  the  head  of  An  (  Hd 


"grief"  (plaster  group! 

by  mrs.   meredith  williams         royal  scottish 

society  of  painters  in  water-colours 


Woman  something  of  this  feeling  is  suggested,  the 
weather-worn  countenance  and  the  hard  yet  not  unkindly 
lines  of  the  face  suggesting  a  hard-fought  fight  against 
penury.  Not  only  does  Mr.  Clausen  depict  nature  as 
churlish  ;  in  the  Roadside  Trees:  Afternoon  and  Morning 
Sunshine,  he  shows  her  brilliant  with  sunlight,  realising 
it  with  a  force  and  intensity  that  few  other  artists  equal ; 
or,  again,  in  the  Rejoicing  after  the  Rain,  he  renders  the 
fresh  feeling  of  the  earth  and  greenery  when  relieved 
after  a  long  drought.  London  was  shown  under  various 
atmospheric  conditions  which  made  even  her  masses 
of  piled-up  roofs  and  ungainly  chimney-pots  seem  not 
unbeautiful,  while  some  studies  of  still-life  vividly  and 
sententiously  expressed  went  to  make  up  a  one-man 
exhibition  as  remarkable  for  its  variety  as  for  the  high 
quality  of  the  work  displayed. 

Scarcely  anything  material  has  been  left  unsaid  con- 
cerning the  art  of  Phil  May.  The  collection  of  the 
artist's  work  formed  by  the  late  Lear  J.  Drew,  Esq., 
though  interesting,  hardly  showed  him  at  his  best,  too 
many  of  the  examples  included  being  in  his  more 
laboured  and  finished  style,  in  which  the  wonderful 
economy  of  line  which  formed  his  chief  claim  to  genius 
was  hardly  exemplified.  Nevertheless,  everything  that 
he  produced  bore  the  stamp 
of  a  great  artist,  and  in 
many  of  the  drawings  de- 
picting the  humbler  walks 
of  life,  his  humour,  insight 
into  character,  and  virile 
draughtsmanship  were 
shown  at  their  best.  In 
the  third  gallery  Mr. 
Arthur  Rackham's  drawings 
illustra  t  i  n  g  ./isof's  Fabies 
hardly  reached  the  level  of 
some  of  his  previous  work. 
/Esop  was  essentially  a 
realist,  while  Mr.  Rack- 
ham's  genius  lies  in  his 
fancy,  in  his  power  of  reveal- 
ing to  a  prosaic  world  the 
visions  of  fairyland,  and  of 
the  dream  gods  and  demons 
who  peopled  the  imagina- 
tions of  the  peoples  who 
lived  at  the  beginning  of 
time.  For  art  of  this  kind 
.Esop  allows  little  scope,  and 
though  Mr.  Rackham,  in 
The  Shipwrecked  Man  and 
the  Sea,  finds  a  congenial 
subject  which  he  treats  with 
much  imaginative  power, 
while  he  shows  a  fund  of 
humour  in  several  of  the  sil- 
houettes and  minor  illustra- 
tions, for  the  most  part  he 
fails  to  be  convincing. 


270 


PASTEL  PORTRAIT 


<uuo  tcmpjKH'  urn 
nam?  eflfet  i&jiiivttt 
tfuiniuiYn 
(mdi8Tttp:«6 


At 


9 


Ite3 


;-■> 


B°OKSHELF 


"The  Wood 
Family  of 
Burslem,"  by 
Frank   Falkner 
(Chapman  and 
Hall,  Ltd. 
£2  2s.  net) 


Mr.  Frank  Falkner'S  volume  on  The  Wood 
Family  of  Burslem  is  the  first  attempt  to  give  a  con- 
secutive history  of  thi->  noted  race  of 
potters,  though  accounts  of  some  of 
the  individual  members  and  their 
wares  have  appeared  from  time  to 
time  in  The  Connoisseur.  The 
first  generation  of  potters  consisted  of 

the  brothers  Ralph  and  Aaron  \Y 1  ; 

the  former,  who  was  connected  by 
his  wife  with  the  Wedgwood  family,  became  a  master 
potter;  the  latter  was  a  modeller  working  for  various 
Staffordshire  firms.  To  the  next  generation  belongs 
Ralph  Wood  the  second,  who  worked  in  conjunction 
with  his  father,  Ralph  Wood  the  first,  their  work  stand- 
ing out  from  among  contemporary  wares  on  account  of 
the  delicacy  of  the  coloured  glazes  and  the  originality  of 
the  modelling.  They  were  the  first  English  potter-  to 
impress  their  names  on  their  figure  productions,  and  for 
this  purpose  adopted  two  distinct  marks,  R.  WOOD,  in 
capital  letters,  and  Ra  Wood,  Burslem,  in  capital  and 
lower-case  letters.  It  is  conjectured,  with  some  proba- 
bility, that  the  former  represented  the  mark  of  the  father 
and  the  latter  that  of  the  son.  Ralph  Wood,  senior,  did 
not  rely  solely  on  his  own  talents  as  a  modeller  ;  and 
Mr.  Falkner  assumes  that  he  received  assistance  from 
John  Voyez— a  noted  modeller  employed  by  Wedgwood 
— and  also  from  his  brother  Aaron.  For  this  conjecture 
there  are  strong  grounds  of  belief ;  but  when,  later  on, 
the  author  tells  us  tha.t,  because  Aaron  Wood  wrote  an 
amusing  description  of  himself,  it  "justifies  us  in  attri- 
buting to  him  many  models  of  the  humorous  and  ever- 
popular  groups  and  figures  made  by  his  brother  and 
nephew  "  and  by  the  Wee  nil  other  pottei   -     1 

must  confess  we  cannot  follow  them.     It  is  probable  that 
Aaron  Wood  may  have  modelled  the  figures  in  question, 


but  to  say  he  did  so  merely  because  he  could  n 
joke  is  as  evi         nan   with  a 

mournful  visage  as  an   undertaker.      On  the  career  of 
the  youngest  son  of  Aai>       M      I  alkner 

ile  to  throw  much  light.  He  appears  to  have 
practised  modelling  from  an  early  age  ;  and  when  1 

of  age  he  was  sent  to  study  in  Liverpool  under  his 
uncle,  William  Caddick,  a  portrait  painter  of  great  local 
repute  and  an  exhibitor  at  the  Royal  Academy.  Enoch 
Wood  became  a  modeller  of  the  highest  attainments. 
His  bust  of  John  Wesley,  executed  when  the  artist  was 
twenty-two,    was   such   an    admirable    portrait    that    Dr. 

.'■-  described  it  aftei    Wi    ley's  death  as  the  "  only 
faithful  likeness"  of  him.       Manning,  the  sculptor,  sub- 
sequently   made    his    large    statue    of    the    foundi 
Methodism  from  it,  assisted   by  Enoch   Wood's   personal 
supervision.      Of  Enoch  Wood's  career  and  works   Mr. 
Falkner  is  able  to  give  a  very  interesting  account — much 
more   detailed,    indeed,    than    that    of   the   other 
members   of  the  family.       His    book,   however,    throws 
valuable  light  on  the  records  of  all  these  great  potters 
and  their  associates ;  the  new  information— and  there  is 
a  great  deal  of  it — being  obtained  entirely  from  original 
sources,   and    showing    evidences   of    the    most   indefa- 
tigable research   on  the   part  of  the  author.      The  line 
series  of  plates,  taken  from  pieces  in  Mr.  Falkner 
collection    and     other     well-known     sources,    reproduces 
practically  all  the  finer  types  of  the  wares  turned  out  by 
the  Wood  family.    With  one  of  the  most  interesting  p 
— the  reproduction  in  colours  of  the  figure  of  Hudibras 
on  Horseback,  from  Mr   Gi  ners  rich  colli 

— thereadei    "t  Tin  sEURare.i  miliar. 

les  the  foregoing,  tin  "a  number  of  illus- 

traits  of  the  Wooil  :  . 
and  their  connections,  and  from  old  pictures  and  plans  of 

•111  and  the  vicinity. 


The    Connoisseur 


The  liking  for  fine  books  is  congenial  to  every  man  of 
culture,  even  though  there  be  other  objects  more  imme- 
diately  attractive   to    his   tastes  or 
"Fine  Books,"  by       in    beUer    accQrd    w;th    h[s    means_ 

Alfred   W.  Pollard      >f       ,lf     ,   ...    ,,   ,,       ,,     ,■   . 

Mr.  Alfred  \\  .  Pollards  history  of 
(     The  Connois-  ,,._,.. 

,    .  .,  „.         rine  hooks  introduces  us  to  practi- 

seur  s  Library     )  ,  ,.  , 

...  ..  „    „  callv   all   the    earliest   examples   ot 

(Methuen  &  Co.  .  ' . 

...  printing    in  the   chief   countries    of 

25s.  net)  '  K 

Western  Europe,  and  to  the  bulk  of 

the  fine  specimens  of  the  craft  which  have  been  issued 
up  to  the  close  of  the    nineteenth  century,  but  by  no 
means  includes  within  its  survey  all  books  which  realise 
high  prices  in  the  auction  room  ;  for,  as  regards  books, 
the   terms    "  valuable  "   and   "  fine  "  are    by    no    means 
synonymous.     An  early  edition  of  a  great  author,  such 
as  a  first  folio  of  Shakespeare,  is  valuable  on  account  of 
the  interest  of  its  associations,  but  it  by  no  means  follows 
that  it  is  a  fine  specimen  of  the  printer's  craft.       It  is 
craftsmanship  solely  which  brings  a  volume  within  the 
scope  of  Mr.  Pollard's  theme  ;  and  so  in  his  work  we 
are  introduced  only  to  "  books  which  are  prized  either 
for  their  typographical  beauty,  their  place  in  the  history 
of  printing,   or   the  charm  of  their  illustrations."     The 
woodcuts,   which    were    the   earliest    form  of  the  latter, 
antedate  by  about  thirty  years  the  invention  of  movable 
type.       It  was  long  supposed  that  the  interval  between 
the  two  was  bridged  by  the  introduction  of  block-books 
— that  is,  books  in  which  both  illustrations  and  text  were 
printed  from  wood  blocks.      Mr.  Pollard  is  one  of  those 
who  holds  a  contrary  opinion.     He  points  out  that  there 
is  no  positive  evidence  in  favour  of  this  chronology,  none 
of  the  earliest   examples   of  block-books    being    dated, 
while  it  is  certain  that  their  publication  was  continued 
for  a  century  after  the    introduction    of  movable    type. 
His  own  theory  is  that,  in  the  case  of  a  small  book  for 
which  there  was  a  steady  demand,  the  publishers  found 
it   was  more   profitable  to  have  the  letterpress  cut    on 
blocks  of  wood  than  to  set   it  up  with  movable  types, 
these  in  the  early  days  being  cast  in  a  much  softer  and 
less  durable   metal  than  now,  and  capable  of  printing 
only  a  small  series   of  impressions.      Another  point  on 
which    Mr.   Pollard   falls  foul  with  ideas  generally   pre- 
valent is  in  depriving  Gutenberg  of  the  credit  of  printing 
some  of  the   more   important   works   set  down  to   him. 
Among  these  is  the  Mazarine  Bible.     The  author  sums 
up  the  evidence  regarding  the  production  of  this  famous 
book,  and  shows   that   the   balance  of  proof  is  against 
Gutenberg  having  had  any  hand  in  it.     For  something 
over  a  decade  after  the  invention  of  printing,  Germany 
enjoyed  a  practical    monopoly  of  the   craft  ;    and   then 
from  about   1465  until   1530   she  shared  the  primacy  in 
it  with  Italy.      From  1530  to  about   1570  France  was  in 
advance  of  the  rest  of  Europe;  after  1570  there  was  a 
higher  technical  level  in  the   Low  Countries  than  else- 
where.     During   the  seventeenth  century  there   was  a 
general    deterioration,    which    was   partly   recovered    in 
the  eighteenth  under  the  guidance  of  France  and  Eng- 
land.   Over  the  latter  developments  of  printing  and  book 
illustration   Mr.  Pollard  passes  somewhat  hurriedly,  but 
it  was  obviously  impossible  to  do  otherwise  and  bring  his 


theme  within  the  compass  of  a  single  volume.  His  book 
is  a  model  of  its  kind  :  learned  without  being  heavy, 
and  equally  acceptable  to  the  amateur  as  well  as  to 
the  advanced  collector.  The  volume  worthily  main- 
tains the  high  standard  set  by  previous  issues  of  "  The 
Connoisseur's  Library" — a  standard  which,  in  many 
respects,  is  unique  ;  for  we  know  of  no  series  of  works 
of  the  same  character  which  are  more  thoroughly  ex- 
pository of  the  subjects  treated,  more  reliable  in  their 
statements,  or  written  by  authors  possessing  greater 
weight  and  authority  on  their  special  themes. 


ONE  has  anticipated  that  an  amended  edition  of  the 
late    Mr.    Alfred  Whitman's  Print-Collector's  Handbook 
would  be  required,  and  hoped  that  a 
work  of  such  utility  might  be  placed 
into  competent  hands  to  be  brought 


"  The  Print- 
Collector's 

Handbook,"  by 

,„,,  ,.  ,         up  to  date.     This  hope  has  been  ful- 

Whitman  and  v ,    ,      ,       , 

,,   ,  filled  in  the  sixth  edition  of  the  book 

Salaman 

//-    -o  11  o.  c  which  has  just  been  issued  by  Messrs. 

((jr.  riell  ot  oons  .  . 

6d   net)  Bell  &  Sons.     The  task  of  editing  and 

revising  the  work  has  been  performed 
with  judgment  and  discretion  by  Mr.  Malcolm  C.  Sala- 
man,  who  has  furnished  several  additional  chapters  and 
placed  the  work  more  securely  than  ever  in  the  position 
of  a  standard  authority  on  engraving  collecting  in  general. 
To  summarise  Mr.  Salaman's  additions  :  he  has  developed 
into  a  full  chapter  Mr.  Whitman's  somewhat  cursory 
mention  of  eighteenth-century  colour-prints  ;  enlarged 
in  the  same  way  the  latter's  brief  sections  on  aquatint, 
wood-engraving  and  lithography  ;  considerably  amplified 
the  sections  devoted  to  mezzotint,  and  added  a  long  and 
instructive  chapter  on  contemporary  etchings.  These 
items  by  no  means  form  the  sum  of  the  new  matter — not 
the  least  valuable  portion  of  which' is  that  dealing  with 
the  present  values  of  engravings,  which  includes  the 
latest  records,  and  has  evidently  been  compiled  with 
great  care  to  make  it  accurate.  Omissions  which  should 
be  rectified  in  future  editions  are  the  almost  entire 
absence  of  reference  to  the  works  of  modern  reproduc- 
tive mezzotinters  and  engravers  ;  while  the  definition  ot 
remarque  proofs  is  faulty,  and  the  statement  that  all 
the  leading  publishers  are  supporters  of  the  Printsellers1 
Association  is  incorrect. 


Mr.  John  La  Faroe's  One  Hundred  Masterpieces  of 
Painting  appear  to  be  selected  in  a  somewhat  arbitrary 

fashion.  The  author  does  not  pro- 
"One  Hundred  fess  that  they  are  thc  hundred  best 
Masterpieces  of       picturcs  in  the  world)  0|.  ,hat  they  arg 

ainting,     by  representative  of  the  most  noteworthy 

John  La  Farge  ,       ,  .     .         _  ,    ' 

schools  or  periods  of  art,  only  that 

they  hold   up   the  mirror  to    various 

phases  of  life,  and   that  they  escape, 

by  reason  of  their  beauty,  "thc  touch 

ot    bad  taste  of  fashion — that  is  to  say,  of  momentary 

intentions."      Mr.    La   Farge's   choice   falls   on   various 

groups  of  pictures,  each  group  being  treated  in  a  separate 


(Hodder  and 
Stoughton 
25s.  net) 


274 


The    Connoisseur    Hooks/;: 


PORTRAIT    OF    PETER    PAUL    KL'I 


BY     HIM-t 1  I" 


FROM         THE    UFF1ZI    GALLERY 


(T.   C.    AND    E.   C.    JACK) 


essay,  or  series  of  essays,  having  little  connection  with 
each  other.  Thus  the  book  opens  with  a  couple  of 
chapters  on  "  Portraits  of  Civic  Life,"  illustrated  with 
five  examples  taken  exclusively  from  the  Dutch  seven- 
teenth-century school  ;  this  is  followed  by  sections  de- 
voted to  ''War.  ■;>.■  ims  of  Happiness,"  -  Portrait- 
of  Children,"  "Triumphs,"  "  Allegorii  "The  Flem- 
ish Primitives,"  '■  I'nknown  Portraits,"  "Portraits  of 
Fashion,"  "The  Romantic  School,"  "Sacred  Com 
tions,"    "Annunciations,"  "The    Madonna,'   "Portraits 


of  Sadness,"  "The   Stan/e  of   the   Vatican,"  and  " 

i  Rooms."  It  will  be  seen  that  the  sections 
are  arranged  in  inconsequent  Fashion,  and  the  author 
writes    much    in    the    same    way,   while   I  >h    is 

frequently  ambiguous.     The  ch  of  the  work  is 

that    it   contain-   a    more  or  less  full    description    of  a 
hundred    important    pictures,    many   of   which    are   not 
readily   accessible,    while    all    the    examples   cited 
illustrated    by  half-tone  reproductions,  the  majority  of 
which  arc  of  good  quality. 


The    Connoisseur 


In   his   illustrations   to   .Esop's   Fables    Mr.    Arthur 
Rackham  has  hardly  been  so  happy  as  usual.     It  goes 
without  saying  that  he  has  evolved 


"./Esop's  Fables,' 


illustrated  by 
Arthur  Rackham 
(Heinemann 
6s.  net) 


many  beautiful,  quaint,  and  humor- 


ous fancies,  yet  the  very  qualities 
which  would  make  these  delightful 
accompaniments  to  a  fairy  story  often 
mar  them  for  their  present  purpose. 
A  fable  is  an  elementary  truth  expressed  by  the  juxta- 
position of  certain  eternal  types,  symbolised  by  human 
beings,  animals,  and  inanimate  objects.  Anything  which 
tends  to  endow  these  types  with  individualism,  and  so 
convert  them  from  examples  of  fixed  rules  into  exceptions, 
clouds  instead  of  elucidates  the  teaching  of  the  fabulist. 
To  accept  the  majority  of  Mr.  Rackham's  figures  as  types 
would  be  an  impossibility;  he  is  often  wilfully  grotesque, 
and  endows  .Esop's  characters  with  such  weird  forms 
that  occasionally  it  is  necessary  to  consult  the  fable  to 
find  out  the  meaning  of  the  illustration.  The  artist  is 
perhaps  at  his  best  in  some  of  the  black-and-white  plates 
—  the  one  of  the  Cat  and  the  Cock  is  excellent,  as  are 
The  Fox  and  the  Crow  and  many  of  the  smaller  examples  ; 
while  of  the  colour-plates,  The  Shipwrecked  Man  and 
the  Sea  and  Venus  and  the  Cat  show  the  artist  in  a 
thoroughly  congenial  mood.  The  volume  is  decidedly 
one  of  the  best  colour-books  of  the  year,  even  if  it  is  not 
so  great  a  success  as  some  of  Mr.  Rackham's  previous 
efforts. 

Arabic  Spain  has  been  the  theme  of  much  romance, 

but  its  history  still  remains  to  be  written.     The  accounts 

of  the  period  which  have  come  down 

"Arabic  Spain,"        tQ   us  are   mvar;ably  partial,  im- 

lY„BiZhwdtnd       Perfect'   and  strongly  prejudiced. 


Ellen  M.  Wishaw 
(Smith,  Elder  and 
Co.     ios.  6d.  net) 


As  yet  no  attempt  has  been  made 
to  compile  from  original  sources  the 


chronicle  of  the  decline  and  extinct  ion 
of  Moslem  power  in  Western  Europe — a  power  once  so 
formidable  that  Gibbon  tells  us,  if  it  had  not  been  checked 
at  the  battle  of  Tours,  "  perhaps  the  interpretation  of 
the  Koran  would  now  be  taught  in  the  schools  of 
Oxford,  and  her  pulpits  might  demonstrate  to  a  circum- 
cised people  the  sanctity  and  truth  of  the  revelation  of 
Mahomet." 

Mr.  and  Mrs.  Wishaw,  if  they  have  not  entirely  bridged 
this  noteworthy  gap  in  history,  have  shown  us  at  least 
in  their  Arabic  Spain  how  it  should  be  bridged,  and 
furnished  for  the  first  time  a  logical  and  coherent  account 
of  the  death-throes  of  the  Moslem  empire  in  Spain. 
They  show  that  its  downfall  was  largely  brought  about 
by  internal,  racial,  and  religious  animosities.  Islam  in 
Spain  was  practically  divided  into  the  two  sects  of  Shiites 
and  Sunnites,  the  former  being  Yemenite  Arabs,  the 
latter  Mudarite.  Between  the  two  there  existed  a  more 
intense  hatred  than  between  either  sect  and  the  Christians, 
with  the  result  that  the  Arabs,  instead  of  presenting  a 
united  front  against  the  common  adversary,  were  half  of 
them  on  its  side.  Their  conquest  was  thus  only  a  matter 
of  time.  Besides  their  differences  in  theology  and  race, 
the  Arabs  were  divided  on  matters  of  art.     According  to 


Mr.  and  Mrs.  Wishaw,  the  Yemenites  always  looked  to 
Egypt  for  artistic  inspiration,  and  in  what  was  once 
known  as  the  Kingdom  of  Seville,  Egyptian  influence 
was  predominant,  as  exemplified  not  only  in  its  archi- 
tecture, but  in  its  glass,  furniture,  and  draperies,  the 
Mudarites  of  Cordova,  on  the  other  hand,  following 
the  Byzantine  traditions  of  Damascus.  The  authors 
advance  what  appears  to  be  an  overwhelming  mass  of 
evidence  in  support  of  this  theory,  and  though,  unfor- 
tunately, neither  being  acquainted  with  Arabic  nor 
having  the  original  records  of  Moslem  Spain  at  their 
command,  they  cannot  establish  their  contentions  be- 
yond the  reach  of  cavil,  yet  they  may  well  be  accepted 
as  substantially  correct,  and  the  book  valued  as  the 
most  reliable  and  illuminative  work  on  the  subject  which 
has  yet  been  written. 

THE  difficulty  with  children's  books  nowadays  is  that 
they  are  so  many  and  so  good  that  juveniles  are  likely 
to   be   surfeited   with  a   plethora  of 
"White-Ear  and       entertainment.      Two   of  the   latest 
reter,     by  which   are   likely   to    prove    popular 

Neils  Heiberg,         wkh    a    wide    drde    of  readers   are 

illustrated  by  ,,,-,  ■.      r~  j    n    i         u      %t   •, 

'  White-Ear  and  Peter,  by   Neils 

,,  _,      ,-      .  Heiberg,  and  The  Magic  World,  by 

Ihe   Magic 
„,     ,  ,  „  ,  E.  Xesbit.     The  former  is  the  story 

p.    «,   ',  .  of  a  fox  and  a  fox-terrier — a  legend 

(Macmillan&Co.  of  an  undyinS  feud>  wl"ch  ends  ™ 
6s   each  net)  t'ie  vanquishment  and  death  of  the 

vulpine  marauder.  It  is  well  told, 
and  there  are  numerous  thrilling  incidents,  tinctured  by 
some  moral  reflections  which  the  reader  will  probably 
skip.  The  illustrations  in  colour  by  Cecil  Alden  are 
decidedly  good  ;  better,  indeed,  than  are  to  be  found  in 
many  a  volume  issued  at  thrice  the  cost.  The  Magic 
World,  by  E.  Nesbit,  is  to  be  strongly  recommended. 
It  is  a  book  of  short  stories,  most  of  which  have 
already  appeared  in  magazines,  but  which  arc  well  worth 
collecting  in  a  permanent  form.  They  are  delightfully 
whimsical  and  quaint  :  full  of  unexpected  situations,  true 
to  child-life,  and  healthy  in  tone  without  being  namby- 
pamby.  The  illustrations  by  H.  R.  Millar  and  Spencer 
Pryse  are  generally  well  drawn  and  effective. 

The  latest  edition  of  that  fund  of  irresistible  humour 
Mr.  Jacobs's  Many  Cargoes  is  also  one  of  the  most 
attractive.  Perhaps  the  qualifying 
"  Many  Cargoes,"  pmase  might  even  be  omitted,  for  it 
by  W.  W.  Jacobs,  is  difficult  to  see  how  the  book  could 
illustrated     y  be  presented  in  a  guise  more  adapted 

Maurice  ^  (he  rea(}er>s   enjovment— tvpe, 

Greiffenhaeen  .  ,  ,     .  ... 

,™  ,u         I  r  setting,  and  paper  being  everything 

(Metnuen  oc  ^o.  . 

,  .  that  could   be  desired  ;  and,  best  of 

all,  Mr.  Maurice  Greiffenhagen's 
illustrations,  showing  how  it  is  possible  for  an  artist  to 
embody  realism  and  humour  in  a  beautiful  form.  He  is 
not  afraid  to  set  before  us  the  characters  as  they  would 
have  appeared  in  actual  life,  making  them  pictorially 
attractive,  not  by  a  cheap  idealism  of  types,  but  by 
placing  them  in  compositions  spaced  with  consummate 


276 


r  >VWS»WMA!  J»AlJVA>*W 


The    Connoisseur 


remarkably   clear  and  well   shaped, 
with  decorative  initial  letters  in  red. 


to  400) 


they  were  tedious  to  construct,  the  wheels  in  the  earlier 
examples  being  cut  out  with  a  fine  saw  and  jack-knife  : 
they  would  not  stand  a  sea  voyage,  and  were  easily 
affected  by  the  weather.  The  introduction  of  machinery 
cheapened  their  construction,  but  presently  it  was  dis- 
covered that  clocks  could  be  made  with  movements  of 
stamped  sheet  brass  at  an  even  cheaper  rate,  and  the 
wooden  timepieces  were  doomed.  Mr.  N.  Hudson 
Moore  describes  many  interesting  types  of  clocks  of  all 
styles  and  periods  in  his  work,  and  gives  full  accounts  of 
a  number  of  the  better-known  makers.  The  book,  while 
in  no  sense  superseding  Mr.  F.  J.  Britton's  valuable  work 
on  the  same  subject,  forms  a  useful  supplement  to  it, 
most  of  the  information  it  contains  being  fresh,  and  evi- 
dently obtained  at  first  hand.  It  is  well  illustrated,  and 
contains  good  lists  of  makers'  names,  that  of  American 
makers  being  especially  well  compiled. 

An  example  of  fine   modern   printing  is  to   be  found 
in  the  sumptuous  edition  of  Poesie  Volgari,  by  Lorenzo 
de'   Medici,   issued   by  Mr.  Joseph 
"  Poesie  Volgari,"    M   Dent.    The  work  is  set  up  in  type 
by  Lorenzo  designed  by  the  publisher,  showing 

de'  Medici  j        affinity  to  the  Elzevir  style,  and 

(J.  M.  Dent,  25s.; 
and   21s.  net 

edition   limited 

As  a  specimen  of  beautiful  typo- 
graphical art,  the  work  recalls  the 
traditions  of  the  best  periods.  The  volumes  are  taste- 
fully bound  in  antique  style.  Only  four  hundred  copies 
of  the  edition  are  being  issued,  after  which  the  type  is  to 
be  distributed. 

It  has  been  averred,  and  not  without  reason,  that  it  is 

impossible  to  illustrate  a  poet.     To  endeavour  to  put  in 

colour  what  a  poet  has  sung  in  verse 

The  Bells  and  ;s  a  task  which  has  never  yet  been 

other  Poems,"  by       wnolly  successful,  for  the  reason  that 

Edgar  Allan  Poe,        (he    maker    of   yerse    has    a    much 

with  Illustrations  r  ,  ,■         c 

more  powerful  medium  tor  expres- 
by  Edmund  Dulac  ,      ,  r 

'      ,  sion — and  adequate  expression — 01 

(Hedder  and  ,  .       ,  ,  .     ,.  ,  , 

_         .  his   thoughts   or  feelings   than   the 

Stoughton  °    ,  .       ,  °     ,  . 

painter.     This    does    not   hint   that 
15s.  net)  .  .     .   ,    . 

the  painter  is  inferior  to  the  poet — 

far  from  it :  both  are  artists,  both  have  souls,  and  both 

may  be  giving  utterance  to  the  same  feelings  ;  but  the 

vehicle   for  conveying  those  feelings  to  an  audience   is 

almost  limitless  with  the  poet,  while  it  is  decidedly  limited 

with  the  painter.     But  this  only  bears  out  the  statement 

that  there  is  a  trades  unionism  in  all  culture.     There  can 

be   no   meddling  or  confusing  in   the   arts,   though,  no 

doubt,  the  birth  of  the  book-illustrator  was  brought  about 

by  a  vulgar  demand  on  the  part  of  unimaginative  minds. 

The  difficulty  of  placing  in  form  and  colour  the  written 

thoughts  of  a  poet  depends  obviously  on  the  work  of  a 

poet,   and   few   poets  are   more  difficult  to  illustrate — if 

illu-trated  they  can  be — than  Edgar  Allen  Poe.    Edmund 

Dulac  has  undertaken  this  task  in  a  handsomely  produced 

volume  which  emanates  from  the  house  of  Hodder  & 

Stoughton.     This  gift-book  contains  twenty-eight  water- 


colour  drawings,  in  the  majority  of  which  the  colour  of 
blue  predominates.  Perhaps  the  illustrator,  recognising 
he  was  dealing  with  a  poet  whose  work  was  wilfully 
wrought  in  sadness,  and  also  of  a  poet  who  wilfully  lived 
in  sadness,  allowed  the  vulgarism  of  "the  blues  "  to  take 
hold  of  him.  In  the  water-colour  drawing  to  The  Raven 
Edmund  Dulac  has  caught  something  of  the  atmosphere 
of  that  remarkable  "  exercise  in  harmony  "  of  Poe's.  The 
artist  has  taken  it  that  the  lamp  is  just  above  the 
chamber-door,  and  as  to  the  raven,  he  appears  to  have 
hesitated.  There  is  only  a  suggestion  of  the  raven  in 
the  illustration.  The  artist  seems  to  be  more  in  sympathy 
with  the  penultimate  verse  of  The  Raven:  "Take  thy 
beak  from  out  my  heart."  The  two  drawings  to  Tamer- 
lane are  worthy  essays,  and  the  one  illustrating  the  few 
lines  "Alone"  is  impressive. 

Several  of  the  other  plates  are  obscure,  notably  those 

illustrating  To (Mrs.  Marie  Louise  Shaw),  Ulalume, 

and  The  Valley  of  Unrest.  The  one  to  The  Haunted 
Palace  is  somewhat  grotesque  in  its  attempt  at  the 
gruesome.  Most  of  the  women's  faces  and  nude  figures 
in  the  other  plates  are  spoilt  by  the  unnatural  and  dis- 
pleasing blue  colour,  which  in  some  instances  reminds 
the  viewer  of  the  stage-limelight  attempt  at  moon- 
sheen.  The  horse  in  the  water-colour  to  Eldorado  is 
bad,  but  the  artist  was  quite  privileged  to  take  the  horse 
of  the  poem  as  an  unnatural  beastie.  But  this  much 
must  be  said  of  the  plates  in  this  volume,  that  the  artist's 
work  is  of  a  sufficiently  striking  nature  to  make  those 
who  have  hitherto  cursorily  read  Poe's  verses  read  them 
more  carefully  and  with  a  higher  appreciation  ;  and  this 
comment  partly  applies  to  his  three  water-colour  draw- 
ings to  The  Bells. 

It    is   a   nice   point  whether   pictures    by  the  earlier 

masters,  because  of  their  preponderance  in  the  primary 

colours,   do  not   lend  themselves  to 

1  he  Uliizi  process  reproduction  better  than 

Gallery,"  by  paintings  of  a  later  date.     Certainly 

Paul I  G.  Konody       the  fifty  fu„.page  illustrations  to  Mr. 

(T.  C.  and  E.  C.        „     „     .,  ,    ,  ,  ., 

;     ,  ,     P.  G.   konodv  s    volume    on    the 

Tack.     £1  is.  net)  . 

Uffizt  Gallery  would  seem  to  con- 
firm this  theory.  High  as  was  the  standard  attained 
in  the  plates  in  the  companion  volumes  on  the  Louvre 
and  the  National  Gallery,  it  is  certainly  surpassed  by 
those  in  the  present  work,  which  forms  one  of  the 
most  beautiful  books  of  the  year,  and  certainly  con- 
tains the  finest  series  of  reproductions  from  the  Italian 
masters  of  the  great  periods  of  any  works  of  its  kind. 
The  Uffizi  Gallery  is,  of  course,  exceptionally  rich  in  works 
of  this  character,  and  Mr.  Konody  is  taking  no  licence 
when  he  styles  it  "  unquestionably  the  most  important 
picture  gallery  in  Italy,  and,  as  regards  Italian  art,  of 
the  whole  world."  In  the  varied  nature  of  its  treasures 
it  more  resembles  the  Louvre  than  the  National  Gallery, 
as  it  contains,  besides  examples  of  oil  paintings,  master- 
pieces of  antique  statuary  and  gems  and  a  unique  collec- 
tion of  drawings  by  the  Old  Masters.  Considerations  of 
space  have  prevented  the  author  from  including  all  these 
latter  sections  within  the  scope  of  his  work  ;  he  has  also 


278 


Tlie   Connoisseur   Bookshelf 


nated  the 
works  belong- 
ing to  the  late 
Italian  schools 
of  t  he  decad- 
ence and  other 
i  little 

Mr.    Konody   is 
very   seve:' 
the  official  cata- 

i e  of  the 

ery ;    but 

wonders  if 
he  has  availed 
himself  of  the 
latest  revised 
edition.  Speak- 
ing from  mem- 
ory, several  of 
the  attributions 
—  professedly 
not  in  accord- 
ance with  that 
com  pi  lation — 
have  aire  a  d  y 
been  adopted  in 
it.  If  this  be  so, 
it  only  confirms 
the  general 
soundness  of  the 
author's  views. 
But  the  glory  of 
the  I  Iffizi  is  not 
i  n  w  o  r  k  o  t 
doubtful  a" 
tion  —  interest- 
ing as  are  many 
of  the  latter  as 
beinj^  by  artists 
whose  talents  are  only  beginning  to  be  fully  appreciated 
— but  in  the  possession  of  a  number  of  acknowlei     i 

i  pieces  by  the  greatest  Italian  painters.  The 
list  might  be  made  a  long  one.  Iiotticelli  is  represented 
as  he  is  represented  in  no  other  gallery,  his  Venus  rising 
from  the  Sea,  Madonna  oj  the  Magnificat,  Adoration  of 
tin-  Magi,  and  the  Calumny  of  Afpeles  forming,  with  his 
other  fully  authenticated  works  here,  a  superb  illustration 
of  every  phase  of  his  art.  Of  Raphael  there  is  the 
beautiful  Madonna  del  Cardellino,  ami  what  is  most 
generally  accepted  as  the  original  of  tin-  several  versions 
of  his  Portrait  of  Pope  fulius  11.  Mr.  Konody.  though 
he  does  not  commit. himself  to  a  definite  opinion,  appears 
to  favour  the  claims  of  this  work  ;  its  most  formidable 
rival  is  practically  in  the  same  building,  for  the  Pitti 
Gallery  where  it  hangs  is  united  to  the  1'ffizi.  The 
Holy  Family,  by  Michael  Angelo,  is  of  undoubted 
authenticity,  and  possesses  the  distinction  of  being  the 
only  finished  easel  picture  by  him  at  present  known. 
Among  the  several  works  by  Andrea  del  Sarto — all  of 


B     Of      THKODORIC,      RAVENNA 
FROM      "BYZANTINE      ARCHITECTURE' 


(A.     ANIi     C.     m.ACK) 


the    galletj 

Madonna 

the  fault- 

acknowli 
masti 

i  ,  org    me  and 
both 
superbly  repre- 
sented ;  but,  in 

lid  ol 

all    the 

greater    Italian 

■    .    and    "I 
not  a  few  of  the 

I-  1 ,  in  i    h    an  d 

| in 

i        a.   II     i 
R  U  1:  e  n  i     a  II  d 

Holbein.      The 
quality 
plates   illustral 

e  wo 
the    e    mastei 
has    already 
been  alt' 
and    it    in. i 

added   that  the 

e  x  a  in  ]>  1  e  s 
u    lor   re- 
action  have 
been  sell- 
with  great  judg 
m  e  n  t .     M  r 
Konoi 

is    always 

I    |  and 


well  informed,  though  he  has  devoted  a    somewhat  un- 
due   proportion   of  his    limited    space    in   recapitul 

details  already  will   known   concerning    the    i 

some  ot  the  greater  masters.  This,  perhaps,  is  hardly 
a  fault  in  a  work  which  appeals  to  the  general  n 
as  well  as  m  the  expert,  and  the  fbrmei  may  with 
ntidence  rely  upon  his  criticisms,  which  are  appre- 
ciative without  being  laudatory,  and  alwa\  thoroughly 
sound  and  just. 

"  Great  Engravers  Series":  "  Rembrandt,"  "  Holbein," 
"  Marcantonio,"  edited  by  A.  M.  Hind 
(William   Heinemann,  each  2s.  6d.   net) 

Tni.  "  Great  I  es,"  edited  bj  Mr.  Arthui 
M.  Hind,  are  continued  by  works  respectively  dealing 
with  Rembrandt,  Holbein,  and  Marcantonio  and  the 
of  the  Sixteenth  Century.  In  some 
of  the  earlier  works  of  this  series  there  was  a  tendency 
to  compress  the  account  of  too  many  engravers  into 
volume.      This  fault  is  not   apparent  in  the 


7' 


The    Connoisseur 


"  Picturesque 
Nepal,"  by 
Percy  Brown 
(Adam  and 
Charles  Black 
7s.  6d.  net) 


The  illustrations,  which  are  of  exceptional  quality,  are 
taken  from  a  wide  range  of  examples,  while  Miss  Browne's 
introductory  chapters  are  completely  expository. 

KIPLING  tells  us  that  "  the  wildest  dreams  of  Kew  are 
the  facts  of  Katmandhu."  A  good  deal  of  light  is  thrown 
on  this  statement  in  Mr.  Percy  Brow  n's 
interesting  book  on  Picturesque  Nepal, 
of  which  frontier  dependency  Kat- 
mandhu is  the  capital.  Western 
civilization  is  already  beginning  to  set 
its  stamp  upon  the  country,  and  many 
of  the  old  arts  and  handicrafts  are 
deteriorating  under  the  effects.  Nepal  derives  its  art 
inspiration  from  both  India  and  China,  but  its  architects 
and  craftsmen  have  succeeded  in  evolving  what  may  be 
considered  as  a  distinct  style  of  their  own  ;  and  the 
author  has  done  good  service  in  describing  and  illus- 
trating many  beautiful  examples  of  their  work.  The 
book  is  ably  and  brightly  written,  and 
gives  a  thorough  idea  of  the  manners 
and  customs  of  the  country  and  of  its 
picturesque  features. 

"  Mary,  the  Mother  of  Jesus,"  by  Alice 
Meynell.  Illustrated  by  R.  Anning  Bell, 
R.W.S.      (Philip  Lee  Warner.     16s.net) 

Mr.  R.  Anning  Bell  is  one  of  the 
few  modern  artists  who  could  essay  the 
I  i^k  of  illustrating  the  life  of  the  Virgin 
Mary  with  anything  like  success.  It  is 
not  only  that  he  is  a  superb  craftsman, 
but  he  also  has  the  gift  of  investing  his 
work  with  that  dignified  and  reverential 
feeling  which  distinguished  the  art  of  the 
pre- Renaissance  painters  of  Italy,  and 
without  which  the  painting  of  no  re- 
ligious theme  can  carry  conviction.  In 
the  volume  issued  by  Mr.  Lee  Warner 
these  qualities  of  Mr.  Bell's  art  are 
splendidly  exemplified;  no  more 
beautiful  book  has  been  published 
this  season;  indeed,  one  might  have 
to  go  back  to  the  time  of  Blake  to 
find  a  religious  work  illustrated  with 
designs  so  lofty  in  their  conception  or 
si.  line  in  their  execution.  Miss  Alice 
Meynell's  text  is  thoroughly  sympathetic, 
and  quite  worthy  of  the  illustrations. 

"The  First  Annual  Volume 
of  the  Walpole  Society  " 
(The  Walpole  Society 
Issued  to  Subscribers  only) 

The  First  Annual  Volume 
0/  the  Walpole  Society  alone 
would  justify  the  existence  of 
the  latter;    the  contents   of 


the  gloucester  candlestick 
lethaby's  "mediaeval  art 


the  publication  form  valuable  additions  to  the  history  of 
various  phases  of  British  art.     The  articles  are  all  con- 
tributed by  experts  on  the  different  themes  treated,  and 
are  superbly  illustrated  in  collotype  and  photogravure. 
The  place  of  honour  is  given  to  A  Treatise  concerning  the 
Art  of  Limning,  by  Nicholas  Hilliard,  now  for  the  first 
time  printed  in  full  from  a  manuscript  in  the  library  of 
Edinburgh   College,   though   it  has    been   quoted   from 
by  Sir  Richard  Holmes  and  other  recent  writers.    The 
manuscript    was    formerly   in    Walpole's    collection    at 
Strawberry  Hill.     Mr.  Philip  Norman,  to  whom  must  be 
largely  given  the  credit  of  bringing  this  work  to  public 
notice,  contributes  a  valuable  introductory  article  con- 
cerning it,  and  has  put  it  into  a  guise  to  make  it  present- 
able to  modern  readers.    A  Sketch  of  Englisli  Mediaval 
Figure  Sculpture,  by  Professor  Edward  S.  Prior,  gives 
in  a  concise  form  a  history  of  this  little  studied  phase 
of  English   art,   on  which  the  author's  important  work, 
written  in   conjunction   with    Mr.   Gardner,   is   the   chief 
authority.     Mr.  W.  R.  Lethaby,  in  a  short 
paper   on     London    and     Westminster 
Painters  in  the  Middle  Ages,  enters  a  field 
of  research  already  partially  explored  by 
Dr.   Shaw    in    the    pages   of  The   CON- 
NOISSEUR.     An  interesting  article  by 
Mr.   Leonard  O'Malley,  supplemented 
by  a  note  by  Mr.  C.  H.  Collins  Baker, 
deals    with    the   interesting  portrait   ot 
Keppel    by   Reynolds  —  the   first   of  the 
many  painted  by  the  artist — which  was 
described  in  The  Connoisseur  when 
it   was  on    exhibition    at    Messrs.   Shep- 
herds gallery  shortly  after  its  discovery 
and  identification.  The  volume  concludes 
with  a  series  of  excellent   plates,  repro- 
ducing practically  the  entire  contents  of 
what  is  known  as  Turner's  Isle  of  Wight 
Shetch-Book,   though   not  a  few   Hamp- 
shire and  Wiltshire  scenes  are  included 
on  its  pa6es.    As  Mr.  A.  J.  Finberg  states 
n  his   illuminating    introductory   article, 
the  book  is  not  only  of  artistic  value,  but 
also  of  considerable  biographical  interest. 


"English  Furniture  of  the   Eighteenth 
Century,"  by  H.   Cescinsky 

Under  the  review  of  the  third  volume 
of  this  work  in  our  last  number,  the 
publisher's  name  should  have 
been  given  as  the  Waverley 
Book  Co.,  5-6,  Old  Bailey, 
to  whom  all  enquiries  should 
be  addressed.  This 
important  work  can  be  ob- 
tained on  The  Times  instal- 
ment system  of  payment  it 
desired. 


CIRCA     I  I  10  FROM 

(DUCKWORTH) 


282 


The.    Connoisseur 


CORRESPONDENCE 


Special     Notice 

Enquiries  should  be  made  upon  the  coupon  which  will  be  found  in  the  advi  While, 

owing  to  our  enormous  correspondence  and  the  fact  that  every  number  of  The  Conn  r    Mm. a.. 

printed  a  month  in  advance,  it  is  impossible  for  us  to  guarantee  in  ■  .nipt  reply  in  these  columns, 

an  immediate  reply  will  be  sent  by  post  to  all  readers  who  desire  it,  upon  payment  of  a  nominal  fee.      I 
opinions    and   valuations    can    be    supplied    when    objects   are   sent  to  our   offices  for  insp  ml,   where 

necessary,  arrangements  can  be  made  for  an  expert  to  examine  single  objects  and  collections  in  the  country, 
ami  give  advice,  the  fee  in  all  cases  to  be  arranged  beforehand.  Objects  sent  to  us  may  be  insured  whilst 
they  are  in  our  possession,  at  a  moderate  cost.     All  communications  and  goods  should  to  the 

"  Manager  of  Enquiry  Dept.,  The  Connoisseur,  35-39,   Maddox  Street,  VV." 


ANSWERS    TO    CORRESPONDENTS 


Painting   by  Maclise.— A6,i6g    -  ill         Your 

picture  was  exhibited   at    thi  ■  •  ;:.   but  at 

present  the  demand  fur  thi-.  artist's  work  is  very  small,  and  its 
dimensions  would  render  it  only  tit  for  a  public  gallery.  It 
placed  in  at  ve  fear  the  result  would  be  disappointing, 

and  we  should  advise  you  to  otter  it  to  a  dealer  for  exhibition. 

Pottery  and  Porcelain.      A6.I79  fudging 

(a)  the  jug  is  not  Davenport.     It  . 
tory,  dating  back  to  thi 
part  of  last  century,  and  it  may  In-  worth  about   .;,  1 

Liver]  mid  be  worth  about  £4,     [c]   It  thi    plates  are 

in  hard  whit  in,  they  may   be  Chine  11    some 

regimental   11  for  iciety.     They  11  at  was 

erroneously  eal lei  1   Lowestoft,   but   is  now    known  to  have 
from  Canton  extensively  in   the  eighteenth  century,     [d]   The 
description    reads  as  if   the  <lisli  is  Chit  eighteenth 

century,  and  it  may  be  worth  /.,  or  £6.     (e)  The  jug  is  ol  what 
I     is  much  collected,  but  the  value 
has    depreciated    during    recent    years.       The    jug    is    pro 
worth   35s. 

Historical   Prints  by  \V.  Ward.  -A6,i82  (Harpenden). 
—Your  two  prints  are  not  of  a  class  for  which  there  is  an; 
demand  at    1  rid   their  value  in  consequence  would  be 

unlikely  to  excei 

Old    Bible,   1608.  1 

your  description,  the  value  of  your  Bible  would  be  unlikely  to 
exceed  £l   to   'Us. 

"The   Works  of    Thomas    (iray."— A6.21S     1 

.    -Your  edition   is   of  little  im|  or  value  to  a  col- 

lector. One  of  the  most  important  is  that  published  in  i7''s- 
which  is  worth  £"]  or  £S. 

(irandfather    Clock,    by    William    Hall.      An. 251 
(Blackheath). — There  are   several  this  name, 

notably  William  Hall,  apprei  t6i         Cot  I 

who  was  Master  of  the  Clockroakei  in  1727  ;  William 

Hall,  who  was  working  between   1814  and   1819,  and  William 
Hall,   who  about   the  same  period  was  working  at  93. 
Street,  Marylebone. 

Wine  Coolers.      ^6,232    Blackheath).     Mr.  C.  J.  Jackson, 
in  his  work  on  English  recot       that  wine 

made  in  large  numbers  in  the  last  qu 
century.      Many  of  thi  over  1,000 

Baxter  Prints.   -A6.235  (Watford).     If  your  print 
of  the   '■  mplete,  it   is  worth  about  two 

guine 

"Mrs.    Bonfoy,"-  by  James   McArdell,   after  Sir 
Joshua    Reynolds. —  A6.249   [H  1 

lady    was   the  daughter    of   F  I  I  Kliot,   and 

married  Capt.  Hugh   Bonfoy,   R.N. 

Engravings,  after  Alorland.     A6.257     I 
Your  engravings  by  Ward   tnd   I.  K.  Smith,  after  Mortal 
all  of  considerable  valt  fi  tnuine  impressions,  b 

impossible  to  give  a  definiti   1  eeing  them.     The 

approximate  price-  are  as  follows,  though   much   di 
the  quality  and  general  condition   of  the  prin 


id  Girl  and  Calves,  ■_  i 
Barn  Door,  £  15  to  £10  ;  (3)  Inside  of  a  Country  Ale 
and   Outside  a   Country  Ale  House,  Irom  £\o  to   ,£50  • 
while  ilia,   even  though   uncol 

be  worth  ,£20  to  £<x>. 
Leeds   Tea  and  Coffee  Service. 

m  the  photograph    you   -end    it    is  evident    that  the 
is   a    good  I      ids    ware,    and    it    should    be   worth 

.£20. 
I  ngravings.      ^6,263  (Weston 

r.  Philips, 
lize  more  than  £1.    We  ty  print 

titer   Singleton,  answering  your  description.      I 
haps  you  colli  n  our  inspe 

Dessert     Service.  (1 

mark  is  not  01  mnd  in  any  book  of  marks, 

thai  it  is  a  very  commo  Many  manufacture 

marks  of  this  character   to  distinguish   particular  pal 

patterns  are  ne  has  though;  it  worth 

I  was  probably  produced 

by  Rid  Co  ago.  had  1 

than  six   works   in   and  about    Hanley  and   Shelton.      It   would 
not  have  any  special  va  lu 

Smollett's  Works,  1845.  > 

of  Smollett  reprint,   and   ha-    little 

interest  to  a  collector.     The  edition  of   [831,  n   four 

I  ier  b  loks  you  mi 

lue. 
Plate   after    Bartolozzi.     A". 271    (H  H 

fear  il  m possible  to  tell  you  the  process  used  in 

et    Bat  lolozzi  withoul  seeing  it,  as 
presen  1  many  mechanical  pn 

Prints  by  Le  Bas.      V    278     1        1    Vthenaeum  Cli 
Your  two   prints   by    Le  Bas  are   par!    ol    a    set.    but, 
complete,  the  demand  for  this  engraver's  work  ill  that 

the  value  of  the  set  would   not   exceed    15s.  to   £\.      A.  1 
paintings  by  T.   Hudson,   the  works  of  this  artist,  who  « 
ail   Joshua    Reynolds,    ii  .ably  apprei 

It    would    be  quite  worth  your  while  I 
up  the  portrait  for  inspection. 
Mulready  Wrapper.     A0.2S1   I ..  1 1.      r he  val 

Mulready  wrapper  is  not  more  than  Is.  6 

"  Once   a    Week."      16,290 
first  number  of  Once  a   Week  appeared  on  July  zntl 
il  was  continued  to  1X70. 

Dinner     Service.     A0.299    (Crowborough)      The 
•■Chine-e  Marine  "  marked  on  tie  islinguishes 

eing  given  by  the  manu  I 

lacing  them.      If  the  | 

a  kind  that  is  ri-ing  in 
value 

Id  judge  t*  alien, 

ul  that  we  can   only  roughly  estimate   th 
and  imperfect,  may  be  worth  .  £10. 


2S3 


HE  CONNOISSEVR. 

GENEALOGICAL  AND 
LDIC  DEPARJMENT 


Special    Notice 

Readers  of  The  Connoisseur  who  desire  to 
take  advantage  of  the  opportunities  offered  herein 
should  address  all  letters  on  the  subject  to  the 
Manager  of  the  Heraldic  Department,  Hanover 
Buildings,   35-39,   Maddox  Street,    W. 

Only  replies  that  may  be  considered  to  be  of 
general  interest  will  be  published  in  these  columns. 
Those  of  a  directly  personal  character,  or  in  cases 
where  the  applicant  may  prefer  a  private  answer,  will 
be  dealt  with  by  post. 

Readers  who  desire  to  have  pedigrees  traced,  the 
accuracy  of  armorial  bearings  enquired  into,  or  other- 
wise to  make  use  of  the  department,  will  be  charged 
fees  according  to  the  amount  of  work  involved. 
Particulars  will  be  supplied  on  application. 

When  asking  information  respecting  genealogy  or 
heraldry,  it  is  desirable  that  the  fullest  details,  so  far 
as  they  may  be  already  known  to  the  applicant,  should 
be  set  forth. 

List  of  the  Mayors  of  Bristol.— This  is  to  be  found  in 
Pryce's  History  of  Bristol,  1861.  Commencing  in  1216,  it 
brings  us  down  to  i860. 

Cape  Family  01    Co.  Somerset.— There  are  no  less  than 


22  Cape  wills  printed  in  Humphreys'  History  of  Wellington, 
besides  references  to  members  of  the  family  in  the  wills  of  other 
residents  of  Wellington.  The  first  will  is  that  of  Fohn  Cape, 
(it  Wellington,  husbandman,  dated  8th  May,  1542. 

POLLEN. — Since  the  answer  to  your  query  in  the  November 
number  appeared,  a  correspondent  lias  sent  the  pedigree  printed 
below.  This  should  certainly  be  worth  following  up.  A  search 
oi  thr  various  parish  registers  in  the  districts  mentioned  would 
lie  advisable,  if  the  desired  information  is  not  to  be  obtained 
from  the  register  at  Petworth. 

Queries. 

Under  this  heading  we  will  in  future  insert  two  or  three 
questions  from  correspondents.  Such  questions  must  be  short, 
as  the  space  devoted  to  this  subject  is  limited,  and  for  the  same 
reason  correspondents  may  have  to  wait  some  time  lor  the  inser- 
tion of  their  query. 

Shaw  Family. — Can  any  reader  supply  the  link  between 
the  families  of  Shaw,  of  Mosshead,  Baronets,  of  Kilmarnock, 
Co.  Ayr,  anil  Shaw,  of  Sornbeg,  in  the  same  county  ;  or  any 
particulars  relating  to  the  former  family  previous  to  1690? 

Hesketh  Family  OF  Lancashire. — Any  particulars  relat- 
ing to  the  Hesketh  family,  of  Ruffbrd,  before  i6co,  and  after 
of  North  Meols,  will  Lie  much  appreciated. 


Thomas  Pullen,  of  West  Tarring,  =  Jane   ,  ob.  at  West 


co.  Sussex,  butcher  ;  ob.  21  Sept. 
1 80 1,  ret.  64. 


Tarring,  April,  1791, 
set.  56. 


John  Pullen,  of 
West  Tarring. 


1  homas  Pullen, 
oi  West  Tarring, 

her;  ob.  26 
February,  1802. 

set.  31. 


William  Pullen, 
of  West  Tarring, 

butcher  ;  ob. 

April,   1S16. 
tet.  41. 


:  Charlotte, 

obit,  lime, 

1  Si  9, 

set.  38, 

at  West 

Tarring. 


I 
John  Pullen, 
of  Worthing, 

butcher. 


t  ieorge  Pullen, 

of  Worthing, 

butcher. 


1 
Henry  Pullen, 
of  Worthing, 

butcher  : 

afterwards  a 

seaman   on 

H.M.S. 

Bulwark. 


I 


I 


Elizabeth.     Sarah.     Mary.     Ann. 


Thomas  Pulli  n,  of 
Fareham,  draper, 
in  1829  and  1851. 


I 
James     Pullen,    of 
Worthing,  butcher, 
in  1S29  and  1851. 


John  Pullen, 

ob.  before  his 

father. 


Frances,  of  Gosport : 
unm,  in  1S29. 


Jane,  ob.  26  Sept., 
[827,  ret.  18,  at 
West  Tarring. 


en,  of  Gosport, 
n  1828. 


2S4 


THE 


©ISSEVR 


A   MAGAZINE    FOR   COLLECTORS 

Edited    by   J.   T.   HERBERT    BAILY 


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CONNOISSEUR 

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A   MAGAZINE    FOR   COLLECTORS 

Edited    by  J.   T.    HERBERT    BAILY 


LA    SURPRISE  BY    S.    COUSINS.    AFTER    C.    M.    DUBUFE 


DAN  I  ELL 


BY   SPECIAL   APPOINTMENT 


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A  very  rare  specimen  of  17th  Century  Carved  Ivory,  In  the  possession  of  Messrs.   Daniell. 


A   Fine   Collection    of  garly   finglish    Furniture  on    view   in   our  Qalleries 

42,  44,  46,  Wigmore  St.,  W. 


(ILLUSTRATED) 


i  ■*  vy  t  i^muiJiv,     1  «^  l  _ 


vol.  aaaiv.    nu.   IJO 


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A   MAGAZINE    FOR   COLLECTORS 

Edited    by  J.   T.   HERBERT    BAILY 


LADY    DOUGLAS    IN    THE    GARDEN 


By    Thomas    Gainsborough 


From    the    Engraving    by  A.  Jamas 


Published  by   Messrs.   Henry   Graves    &    Co. 


\ 


NOVEMBER.    1912 


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DANIELL 

Old  Oak  Rooms        :: 


BY   SPECIAL  APPOINTMENT 


TO   H.M.   THE    KINO 


Oak  Panelling 


vYTS 


■    ","ifii)i»m  'HF"-  "         :    '  ""  rl!|! j^'i'"    _ 


'.T^TcTfoT^rLurKo  Lou  I  m > . 

Oulton   men   House  Ancient  Mantel  Piece 


Copy  of  E.n§t-uviny  in  the  Hiatorjf  of  the  County  of  Suffolk 

fVi     the     Res      Alfrocl     Si.iclJino  L.UB  . 


k.lb.Q auiod  6     ion 

IV. -I  M^Wl'cill  I  ur<  5n 


Fine  Old  Oak  Mantelpiece,  circa  1550,  in  the  possession  of  Messrs.   Daniell. 

A   Fine  Collection   of   <$arly   gnglish   Furniture  on   view   in   our  Qalleries 

42,  44,  46,  Wigmore  St.,  W. 


— r 


- 
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a 


—j  > 


I 


4 


DANIELL 

Old  Oak  Rooms         :: 


BY   SPECIAL   APPOINTMENT 


TO    H.M.    THE    KING 


Oak  Panelling 


ANTIQUES  for  XMAS  PRESENTS 


A  very  line  Old  Sheraton 

Grandfather  Clock  in  Mahogany, 

carved  and    inlaid.      Works  by 

Hiwviod  of  Northwich. 


Set  of  3  Old   Worcester  Vases,   date   INK),  rich  blue  ground,   painted  views  and  gilt.         Centre  Vase.   10]  in. 

high.         Side  Vases.  8J  in.   high.  Pair  Old    Worcester    Barr,  Flight    and    Hair,    marbled    ground,   gilt,  with 

panels  of  painted  dead   birds,  1\  in.   high. 


Oval   Mahogany  Tray,  with  fine  Fretwork  Gallery, 

with  Old  Waterford  Cut-glass  Bowl  and  pair 

of  Old  Waterford  Cut-glass  Decanters. 


Pair  richly  decorated 

Old   Rockingham  Vases,  21  in.  high. 

with  painted  Silk  Shades. 


Grand   Old   Oak   Mantelpiece,   circa   1550,   in  the  possession  of  Messrs.    Daniell.       (For  illustration  see  November  Number). 


A   Fine   Collection    of  &arly   English    Furniture  on   view   in   our  Qalleries 

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