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-^•tH^ 


'<^an^"  u^ 


F.  WHEATLEY  R  A 


BY 
W.  ROBERTS. 


"Connoisseur    Extra  Number. 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


Francis  Wheatley,  R.A. 


FRANCIS     WHEATLEY,      R.A. 

From  the  painting  by  himsclj  in 
the  Saiional  Portrait  Gallery 
(15  in.  X  12)^  in.) 


F.WHEATLEY,R.A. 


His  Life  and  Works 

With  a  Catalogue  of  His  Engraved  Pictures, 

By 

W,  Roberts 

(Joint  Author  of  "  Romney,"  "John  Hoppner,"  &c.) 


tTCCWNOISSEVR 

J^  AMAGAZINEFOR  COLLECTORS 

W  1 

;      .  ■■  ^  — 

^^4 

, 

M    / 

LONDON : 
Published  by 

OTTO  LIMITED. 


1910 


Kht  Cranforb  |3rE55. 

GEO.     PULMAN     ANP    SONS,     LTD, 
LONDON         AND         WHALDSTONK. 


THE    MINIATUKlL    (MRS.    WHEATLliV) 

From  a  Draioing  by  Francis  WUeallcy,  K.A.,  in  tin-  Btilisli  Mnsmn 

Engravcii  hy  R.  Sliinifr 


Alt 
Library 


CONTENTS. 

List  of  Illustrations  ,  ,  ,  , 

I. — Early  Life  .  ,  ,  ,  , 

II. — In  Ireland         ,  ,  ,  ,  , 

III- — Return  to  London      .  ,  ,  . 

IV. — Work  for  Boydell,  Bell,  Bowycr  and  Macklin 
V. — Wheatley  and  the  Royal  Academy  ' 
VI.—"  The  Cries  of  London  "      > 
VII. — Pictures  Exhibited  by  Wheatley     - 
VIII.— Wheatley's  Sale  at  Christie's 
Engravings  after  F.  Wheatley      ,  ,  . 

Addenda       .,'.,, 
Index  ....,, 


Illustrations 


PAGE 

Preceding  Text 
I 
9 

12 
21 
24 
28 

33 
35 
37 
51 
52 

i.-zlviii. 


835182 


LIST    OF    ILLUSTRATIONS. 


IN   COLOURS. 


Cribs  of  London  — 

Milk  below  Maids        ..... 

Two  bunches  a  penny  primroses,  two  bunches  a  penny 

Sweet  China  Oranges,  sweet  China 

Do  you  want  any  Matches  ?  -  -  - 

New  Mackrel.    New  Mackrel 

Knives,  Scissors,  and  Razors  to  Grind 

Fresh  Gathered  Peas,  Young  Hastings 

Old  Chairs  to  mend     .... 

A  New  Love  Song,  only  ha'penny  a  piece     - 

Hot  Spice  Gingerbread  Smoaking  hot! 

Turnips  and  Carrots,  ho  •  -  - 

The  Schoolmistress      -  -  -  - 

Summer  (Mrs.  Trovvard)    -  -  -  - 

The  Fair  ...... 


Facing  page     i 

•2 

4 

6 

8 

lo 

..  „  12 

14 
i6 

„        iS 

.<  ,.  20 

24 

„       30 

.>       iii 


Francis  Wheatley,  R.A.     Portrait  of  himself 

Mrs.  Wheatley  ("The  Miniature"),  a/tir  F.  WheatUy,  R.A. 

The  Mistletoe  Bough  (by  permission  of  Messrs.  Shepherd) - 

The  Marriage  ....... 

The  Harvc&t  Home  {by  permission  of  Messrs.  Shepherd)    - 

The  Rustic  Lovers  ...... 

The  Disaster  {by  permission  of  Messrs.  Colnaghi)- 

Cries  of  London  :  Hot  Spice  Gingerbread 

Sir  Henry  Pigot,  G.C.M.G.  {by  permission  of  Messrs.  Agiietc) 

The  Volunteers  of  Dublin.     Interior  of  the  Shakespeare  Gallery 

The  Sailor's  Return.     The  Soldier's  Return 

The  Woodman's  Return  {by  permission  of  Messrs.  Maggs) 

The  Itinerant  Potters  {by  permission  of  Messrs.  Miiggs)    - 

Spring  {lifter  R.  Westall)    --..-- 

Autumn  {after  R.  Westall)  ..---- 

Winter  {Mrs.  Wheatley)      ...... 

The  Encampment  at  Brighton       ..... 

The  Departure  from  Brighton  {by  permission  of  Messrs.  Maggs)  - 

Going  out  Milking.     The  Return  from  Milking    • 

Nymphs  Bathing.     Rural  Repose  .... 

The  Relentless  Father       ....-- 

The  Tender  Father  ...... 


PAGE 

. 

F, 

ont 

ispiece 

- 

ii. 

. 

iii. 

■ 

IV. 

. 

V. 

- 

vi. 

. 

vii. 

- 

viii. 

- 

ix. 

- 

.\. 

- 

xi. 

- 

xii. 

- 

xiii. 

" 

xiv. 

XV. 

- 

xvi. 

- 

xvii. 

- 

xviii. 

- 

xix. 

" 

XX. 

xxi. 

. 

xxii. 

LIST    OF    ILLUSTRATIONS— conf/noed. 


The  Milkmaid  .... 

The  Goldfinch         .... 

Setting  off  to  the  Fair.     The  Fairings 

Alms-giving  -  -  - 

St.  Preux  and  Julia.     The  companion  plate 

Fisherfolk.      Fidelity  Rewarded    - 

The  Temptation  {by  pt:rmission  of  Messrs.  Maggs) 

Love  in  a  Mill.     The  Discovery     .... 

The  Careless  Servant  {by  permission  of  C.  Bechmann,  Esq.) 

Preparing  for  Market.     Returned  from  Market  - 

Rustic  Sympathy.     Rustic  Benevolence 

The  Deserted  Village  ..... 

The  Full  of  the  Honeymoon.     The  Wane  of  the  Honeymoon 

View  in  Priory  Gardens.     Cottage  in  Cumberland 

The  Watercress  Girl.     Shakespeare,  The  Tempest 

Four  Title  Pages  to  Bell's  "  Theatre  "      - 

The  Basket  Makers.     The  Alpine  Lovers 

Preparing  for  Market.     Thais.     Sigismunda 

The  Return  from  Shooting 

Portrait  of  Henry  Grattan,  by  F.  Wheatley,  R.A. 

The  Benevolent  Cottagers.     Watercress  Gatherers 

Preparing  for  Market  {by  permission  of  Messrs.  Shepherd) 

The  Mower.     Haymaking  .... 

The  Riots  in  1780.     Irish  Peasantry 

Shakespeare,  Winter's  Tale.     Juvenile  Opposition 

Itinerant  Peasants  ..... 


PAGE 

-  xxiii. 

-  xxiv. 

XXV. 

-  xxvi. 

•  xxvii. 

•  xxviii. 

-  xxix. 

XXX. 

-  xxxi. 

-  xxxii. 

-  xxxiii. 

-  xxxiv. 

-  XXXV. 

-  xxxvi. 
xxxvii. 

xxxviii. 

-  xxxix. 

xl. 
xli. 
xlii. 

-  xliii. 
xliv. 

-  xlv. 

-  xlvi. 

-  xlvii. 

•  xlviii. 


rairOtd   6y/J^.  »%.a^y/A4 


J:'n</ra\^'^c'.'>ifJj  sc/uavoneftiy 


FRANCIS     WHEATLEY,    R.A. 

I.— EARLY  LIFE. 

VERY  many  ai'tists,  in  common  with  so  many  people  in  other  ranks  of 
hfe,  owe  their  posthumous  fame  to  some  particular  incident  in  their 
careers.  They  become  associated  for  all  time  with  some  special 
personal  event.  Romney  is  known  as  the  painter  of  Lady  Hamilton, 
Gibbon  inevitably  suggests  the  decline  and  fall  of  the  Roman  Empire, 
Cruden  is  almost  synonymous  with  Concordance,  and  how  is  it  possible 
to  think  of  Dr.  Johnson  without  Boswell  ?  Francis  Wheatley,  R.A.,  is  now 
chiefly  remembered  as  the  artist  of  "The  Cries  of  London";  and,  apart 
from  print  collectors  and  dealers,  probably  few,  even  of  those  who  have 
made  a  special  study  of  English  art,  could  name  off-hand  half  a  dozen  of  his 
works  other  than  the  "  Cries."  And  yet  his  career  as  an  artist  was  neither 
brief  nor  unprolific.  A  constant  exhibitor  at  the  Society  of  Artists,  at  the 
Royal  Academy  and  elsewhere  from  1765  to  1801 — a  period  of  36  years — his 
works,  when  engraved,  enjoyed  an  immediate  and  widespread  popularity. 
In  respect  to  numbers  and  popularity,  prints  after  his  works  are  probably 
second  only  to  those  of  George  Morland.  The  engravings  after  these  two 
artists  must  have  been  the  chief  pictorial  decorations  of  the  homes  of  the 
less  wealthy  classes  of  English  folk  during  the  last  quarter  of  the  18th  and 
the  earlier  part  of  the  19th  century — until,  indeed,  the  tasteless  horrors  of 
the  early  Victorian  period  crowded  the  Wheatleys  and  Morlands  to  the 
bedrooms,  the  garrets,  or— best  fate  of  all — to  the  portfolios.  Having 
regard  to  the  enormous  quantity  and  variety  of  his  work,  it  seems  strange 
that  Wheatley  has  never  attracted  much  attention  from  writers  on  art. 
Morland  had  scarcely  been  dead  a  year  when  four  or  five  substantial 
biographies  of  him  appeared,  and  at  the  present  time  Morland  books  form 
quite  an  imposing  array  on  the  shelves  of  an  art  library.  Beyond  two 
notices  in  The  Gentleman''s  Magazine,  which  have  served  as  the  source  of 
subsequent  biographies,  Wheatley  has  been  left  severely  alone. 

Wheatley  was  by  no  means  a  recluse  or  an  anchorite.  He  was,  says  the 
writer  of  the  notice  mentioned  above,  "  a  very  personable  man,  fond  of 
dress,  and  polite  in  his  manners,  which  made  him  a  great  favourite  ";  and 
"  Mrs.  W.  is  a  very  handsome  woman,"  continues  his  biographer  with 
a  charming  naivete.  Of  his  early  career  very  few  particulars  have  come 
down  to  us.  He  was  the  son  of  a  master  tailor,  and  was  born  in  1747,  in 
Wild  Court,  Covent  Garden,  where  doubtless  his  father's  business  was 
situated.  Wild  Court,  according  to  Elmes'  "Topographical  Dictionary 
of  London,"  1831,  was  not  in  Covent  Garden,  but  in  Clare  Market,  "  about 
twelve  houses  on  the  left-hand  side  of  Great  Wild  Street,  going  from  Great 
Queen  Street."  Great  Wild  Street,  according  to  the  same  authority,  was 
"  the  first  turning  on  the  right-hand  side  of  Great  Queen  Street,  going  from 
Drury  Lane,"  and  Little  Wild  Street  "  is  the  second  turning  on  the  left- 
hand  side."     All  these  courts  have  long  since  been   swept   away ;    but  in 


Wheatley's  time  they  were,  if  not  exactly  aristocratic  quarters,  at  least 
good  residential  and  business  parts.  Wild  (or  Weld)  Court  com- 
memorated the  site  of  the  handsome  residence  in  the  latter  part  of  the 
17th  century  of  Mr.  Humphrey  Weld,  of  the  ancient  family  of  Lulvvorth 
Castle,   Dorsetshire. 

Wheatley's  father  appears  to  have  encouraged  the  youth  in  his  artistic 
bent,  and  sent  him  to  Shipley's  Drawing  School  for  a  course  of  lessons. 
William  Shipley  (1714-1803),  it  may  be  mentioned,  was  the  originator 
of  the  Society  of  Arts,  and  the  founder  of  the  famous  St.  Martin's 
Academy,  better  known  in  the  early  days  as  "  Shipley's  School,"  where 
so  many  artists  of  the  latter  part  of  the  18th  century  received  their 
training.  Francis  Wheatley  was  one  of  these,  and  he  appears  to  have  made 
rapid  progress.  The  following  entries,  extracted  from  the  archives  of  the 
Society  of  Arts  by  the  well-known  author  and  former  assistant  secretary  of 
that  institution,  Air.  Henry  B.  Wheatley,  F.S.A.,  will  be  read  with  interest, 
seeing  that  they  are  now  printed  for  the  first  time  : — 

1762.  Premium  for  Academy  Figures — first  share  to  Francis 
Wheatley,  pupil  of  Mr.  Wilson. 

1763.  Premium    of   7    guineas    for    Historical    Painting,   to 
Francis  Wheatley.     Abroad. 

1767.     Premium  for  Views  from  Nature — 2nd  share  to  Francis 
Wheatley.     In  Ireland.     Subject  unknown. 

From  the  first  of  these  entries  it  will  be  seen  that  Wheatley  was  a  pupil 
of  "  Mr.  Wilson,"  who  was  doubtless  none  other  than  Richard  Wilson,  one 
of  the  original  members  of  the  Royal  Academy,  and  perhaps  the  greatest 
landscape  painter  of  the  Early  English  school.  To  him  it  may  be  assumed 
that  Wheatley  owed  much  of  his  excellence  in  landscape  painting,  in  which, 
as  Redgrave  tells  us,  he  evinced  "considerable  taste."  In  1769  Wheatley 
was  studying  in  the  Royal  Academy  School,  to  which  he  was  one  of  the  first 
students  to  be  admitted.  "The  first  essays"  of  Wheatley,  according  to 
Anthony  Pasquin  {i.e.,  John  Williams)  in  his  "  Memoirs  of  the  Royal 
Academicians,"  1794  (p.  135),  "were  of  that  inferior  class  as  not  to  ensure 
much  promise  ;  his  original  principles  of  the  art  were  exceedingly  erroneous  ; 
and  I  have  much  reason  to  believe  that  his  principal  attainments  have  been 
made  since  he  turned  the  corner  of  his  thirtieth  year." 

With  Wilson  as  an  instructor  in  landscape  drawing,  Wheatley  also  had 
the  advantage  of  the  early  and  intimate  friendship  and  counsel  of  John 
Hamilton  Mortimer  (1741-1779),  who,  as  Anthony  Pasquin  tells  us,  "left  a 
high  reputation  behind  him  as  an  historic  painter."  In  company  with 
Mortimer  and  Durno,  Wheatley  assisted  in  the  decoration  of  Lord 
Melbourne's  fine  seat  at  Brocket  Hall,  Herts ;  and  as  Durno  left  England 
for  Italy  (where  he  died)  in  1774  the  decorations  at  Brocket  Hall  must  have 
been  done  before  that  date.  These  decorations  were  of  the  ceiling  of  the 
saloon,  and  consist  of  panels  of  paintings  representing  the  signs  of  the  Zodiac, 
set  in  Adam's  designs  of  plaster  work.  Brocket  Hall  is  and  has  long  been  the 
residence  of  Lord  Mountstephen,  and  Lady  Mountstephen  informs  us  that 
the  ceiling  is  exactly  as  it  was  originally  put  up.  It  is  also  known — but 
not  to  what  extent  —  that  Wheatley  was  employed  in  the  decoration  of 


Vauxhall  Gardens  ;  that  he  was  on  terms  of  intimacy  with  Tyers,  the  owner 
of  the  Gardens,  we  shall  have  occasion  to  show  later  on.  Wheatley  did  not 
suffer  his  acquaintance  with  Mortimer  "  to  pass  away  without  reaping  some 
advantages  from  the  connection,  as,  by  continually  copying  his  drawings 
and  paintings,  he  gradually  acquired  a  style  more  pure  than  that  which  he 
originally  practised,  which  was  something  between  the  manner  of  Hayman 
and  Gravelot." 

Wheatley  made  much  progress  in  his  studies,  and  at  the  age  of  18  was 
"hung"  at  the  Society  of  Artists,  his  exhibit  in  1765  being  a  three-quarter 
{i.e.,  30in.  by  25in.)  portrait  of  a  gentleman.  At  this  time,  and  until  1770,  he 
was  living  in  Duke's  Court,  Bow  Street,  Covent  Garden,  one  of  ten  London 
courts  of  the  same  name,  this  particular  court  being  then  and  for  many 
years  afterwards  "nine  houses  southward  of  Long  Acre."  His  earlier 
exhibits  varied  considerably :  sometimes  it  was  a  miniature,  at  others  the 
medium  was  crayon,  but  generally  he  followed  Hayman,  Zoffany  and  others 
in  painting  small  whole-length  portraits  and  in  producing  what  are  generally 
called  conversation  pieces,  varied  with  an  occasional  scene  from  a  play. 
Unfortunately,  all  earlier  portraits  of  a  "lady"  and  a  "gentleman" 
remain  unidentified,  and  if  they  are  still  in  existence  it  is  more  than 
probable  that  they  have  now  been  given  to  some  better  known  artist  such 
as  Zoffany  or  Beechey.  It  is  possible,  however,  that  some  of  these  early 
works  may  be  signed,  either  with  initials  or  in  full,  inasmuch  as  Wheatley 
was  one  of  the  few  artists  of  the  Early  English  school  who  realised  the 
virtue  of  signatures.  His  progress  was  so  rapid  that  in  1771  he  was 
elected  a  Fellow  of  the  Society  of  Artists,  and  in  the  following  year  he  was 
chosen  Director  of  that  Society. 

These  small  groups  and  figures  are  constantly  turning  up  in  the  market. 
The  Heniy  G.  Bohn  collection  included  a  group  described,  probably 
incorrectly,  as  "Children  of  George  IIL  in  a  Landscape,"  three  girls, 
including  the  Princess  Amelia  in  the  arms  of  the  Princess  Royal,  and  two 
boys,  one  of  whom,  afterwards  George  IV.,  is  trundling  a  hoop  (canvas 
16in.  by  20in.) ;  a  family  group,  called  "  George  III.  and  his  Family  "  (an  oval 
24^in.  by  30in.),  was  in  the  Hasket  Smith  sale  in  May,  1896,  and  realised 
160gs.  Henry  G.  Bohn  owned  a  second  portrait  group  by  Wheatley — three 
children  in  a  garden,  the  centre  one,  a  girl  with  a  flower  in  her  hand ;  on 
her  right  is  a  boy  with  a  basket  of  flowers ;  the  other  boy  is  behind,  grasping 
a  branch  of  a  tree.  This  picture  has  been  enamelled  on  a  piece  of  Worcester 
porcelain.  On  July  13th,  1901,  a  group  of  Sir  George  and  Lady  Prescott 
and  their  children,  on  canvas  28in.  by  25in.,  was  sold  at  Christie's,  and  to 
the  "Fair  Children"  Exhibition  at  the  Grafton  Galleries,  1895,  Mr.  F.  T. 
Cobb  lent  a  group  of  portraits  of  the  children  of  Mr.  Ralph  Winstanley 
Wood.  All  these  pictures  were  probably  early  examples  of  Wheatley. 
Quite  the  finest  example  of  these  small  whole-length  pictures  which  we 
have  seen  is  the  equestrian  portrait  of  Sir  Henry  Pigot  (1750-1840),  who, 
when  Major  of  the  8th  or  the  King's  Royal  Irish  Regiment  of  Light 
Dragoons,  may  have  met  Wheatley  in  Ireland;  this  picture,  which  is  signed 
with  initials  and  dated  1782,  is,  by  the  courtesy  of  Messrs.  Thos.  Agnew 
and  Sons,  here  reproduced ;  it  is  on  canvas,  30in.  by  25in.  This  dis- 
tinguished officer  commanded  at  the  blockade  of  Malta  in  1800,  was 
appointed  General  in  1812,  and  G.C.M.G.  in  1837. 


We  may  now  turn,  for  a  short  period,  from  Wheatley's  artistic  career 
to  his  domestic  concerns.  Nearly  all  the  accepted  authorities  mention  but 
one  wife  of  the  artist,  but,  according  to  Edward  Edwards's  "  Anecdotes  of 
Painters,"  1808,  pp.  268-270,  there  seems  to  be  no  doubt  that  Wheatley 
was  married  twice.  Edwards,  who  probably  was  intimately  acquainted 
with  the  artist,  does  not,  however,  mention  the  first  one  by.  name.  The 
registers  of  St.  Paul's  Church,  Covent  Garden,  in  which  the  name  of 
Wheatley  frequently  occurs  throughout  the  18th  century,  contains  the 
entry  of  a  mari'iage  which  seems  to  be  that  of  the  artist*  : — 

1774,  Dec.  8.  Francis  Wheatley,  of  this  parish,  in  the  County 
of  Middlesex,  batchelor,  and  Rosamond  Mann,  of  this  parish, 
spinster.  Ezekiel  Rouse,  curate.  Witnesses,  J.  H.  W. 
Fisher,  Elizabeth  Fisher. 

It  will  be  noticed  that  Wheatley  exhibited  nothing  at  the  Society  of 
Artists  or  at  the  Royal  Academy  of  1781  and  1782,  and  there  can  be  no 
doubt  that  some  time  in  1779  he  eloped  to  Dublin  with  the  wife  of  a 
brother  artist,  John  Alexander  Gresse,  born  in  London,  the  son  of  a  native 
of  Genoa.  Gresse,  who  studied  at  the  Academy  in  St.  Martin's  Lane, 
and,  like  Wheatley,  obtained  premiums  from  the  Society  of  Arts,  died  in 
1794,  and  among  his  legatees  was  Edwards,  the  writer  of  the  above- 
mentioned  "Anecdotes."  Edwards  tells  us  that,  as  a  consequence  of  this 
elopement,  Gresse  sued  for  a  divorce ;  that  in  connection  with  this 
Wheatley  was  "prosecuted  and  cast  in  the  Court  of  King's  Bench,"  and 
that  the  divorced  wife  survived  her  husband. 

The  second  Mrs.  Wheatley  was  an  undoubtedly  beautiful  woman,  as 
may  be  seen  from  the  artist's  portrait  of  her  engraved  by  Bartolozzi,  with 
the  fancy  title  of  "  Winter."  Clara  Maria  Leigh  was  the  daughter  of  Jared 
Leigh,  an  amateur  artist,  who  regularly  exhibited  at  the  Free  Society  of 
Artists  from  1761  to  1767,  chiefly  views  on  land  and  at  sea.  His 
daughter  was  born  "  about  the  middle  of  the  18th  century,"  according 
to  Bryan.  But  she  was  probably  born  late  in  the  "  sixties,"  for  she 
was  married — "about  1787,"  according  to  Anderdon — at  an  early  age 
to  Francis  Wheatley.  To  the  Royal  Academy  of  1788  the  artist 
sent  a  portrait  of  his  wife  (No.  396) ;  and  this  is,  presumably,  the  picture 
engraved  by  R.  Stanier,  in  an  oval,  with  four  lines  of  verse,  and  published 
in  March  of  the  same  year.  The  original  drawing,  in  pencil  and  water 
colours  (8|  by  7^),  is  in  the  British  Museum,  where  it  is  catalogued  as 
"  The  Miniature  "  :  the  model  is  lying  in  bed,  her  neck  and  shoulders 
uncovered,  and  a  blue-ribboned  night-cap  over  her  curling  hair  ;  she  is 
looking  intently  at  a  miniature  held  in  her  hands,  her  face  is  seen  nearly  in 
profile  turned  to  left.  This  drawing,  which  was  purchased  in  1887,  is 
reproduced  herein.  The  picture  of  "Winter,"  engraved  by  Bartolozzi 
and  published  in  February,  1789,  is  also  of  Mrs.  Wheatley,  and  is  an 
engaging  portrait  of  a  beautiful   English  girl  of  about  20,  holding  a  large 

*  Curiously  enough,  the  register  of  the  same  church,  eight  years  later,  registers  the 
marriage  of  another  man  of  the  same  name,  i.e.,  "  1782,  24  Dec,  Francis  Wheatley,  of  this 
parish,  a  Batchelor,  and  Ann  Wroe,  Spinster,  of  this  parish.  By  license.  E.  Embry,  curate. 
Witnesses,  J.  S.  Wheatley,  James  Brounton,  M.  Wheatley." 


r-i-ingTiV'^-.y 


Cffaf'aiirc^  i'Y  jC(i/r-^/^r,rn,T/^' 


ILOMDOA' 


i/^'a^/a'^  ^i/i:>^e^  Cyi^ana^  /^n&ef 


miifF,    as    if    in    very    cold    weather,    and    exclaiming,    "Bless   me!    how 

cold    it    is!"  \ 

Some  reference  may  conveniently  be  made  here  to  Mrs.  Wheatley's 
suhsc(|iiont  career.  She  iicrsclf  developed  into  an  artist,  and  first  exhibited 
at  the  Royal  Academy  in  17^)1),  and  continued  to  be  "  hung  "  there  for  over  40 
years.  From  17J)«  to  1807  she  exhibited  as  Mrs.  Wheatley,  and  from  1808 
to  1S;<H  as  Mrs.  Alexander  Pope.  Siie  died  at  29  Stone  Street,  London,  on 
Uecembcr  21th,  IH.'<8.     "  1  Icr  peculiar  forte,"  says  the  writer  of  her  obituary 

notice  in  The  Art  Union  of    March,   1839,  "was   tlower-painting   in  water-  1 

colotu's  ;  and  slic  was  for  a  long  lime  constantly  employed  by  Mr.  Curtis,  the 
botanical  publisher  [of  J'/ic  lyotanical  Mai^iV.iiic  and  other  works] .  Her 
pictures  were  drawn  and  painted  with  botanical  accuracy,  and  at  the  same 
time  with  a  brilliance  ami  truth  of  coloui'  and  character  and  artistical 
feelings  inferior  to  none  of  her  contemporaries.  I  Icr  bold  and  richly 
coloured  grouped  compositions  at  the  annual  exhibitions  of  the  Royal 
Academy   will    long   bo   rcmombercd.     She   was   universally  esteemed   and 

respected  by  a  large  circle  of  friends  and  patrons   in  every   relation  of  life,  | 

and,  being  left  by  Mr.  Wlieatley's  death  a  widow,  with  an  interesting  family  I 

[of  seven  children] ,  she  had  the  satisfaction  of  seeing  her  children  well 
established  in  life,  through  the  unweai'ied  exertions  of  her  own   talents  and 

industry.       At  this  time  she   reckoned   among  her  patrons  and  pupils  tiie  ,  , 

Princess  Sophia  of  (^loticosUr.  llie  I.itc   Hiichess  of  St.  Albans,  and   many  ■{ 

other  persons  of  distinction Siie  possessed  in   early  life  much  j 

personal  beauty;  and  she  was   supported   through    many   trying  situations  | 

by    great     energy     of    character     and     hi.uhly     virtuous      principle.      Her  *^ 

poi'lrait    of  Madame  Catalani    [exhibited  at   the    Royal    Academy  of  1812,  i 

and  engi'aved   by   A.  Cardon]  had  an  enormous  sale  and  was  exceedingly  ] 

popular,  though    she    never   paid    much    attention    lo    this   brancli    of   the  ^ 

profession." 

Her  second  husband,  Alexander  Pope  (he  died  in   1835) — she  was  his  ' 

third    wife — was   also   an    artist   and    a   constant    exhibitor  at   the    Royal  | 

Academy  from  17S5  to  1821,  chieily  of  miniatures,  but  he  was  also  an  actor  ] 

of  considerable  talent,  playing  the  chai'acters  of  Othello  and  Henry  \  III. 
with  great  success.  A  number  of  portraits  of  N\rs.  Wheatley  appeared  in 
the  Royal  Academy  at  various  times.  In  1793  Mrs.  CatheiMnc  Bell 
exhibited  owe  (N(V  100) ;  six  years  later  her  mini.iture  was  painted  by  Lady 
neechey,  and  exhibited  in  1799  (No.  783),  and  in  1803  one  was  exhibited  by 
Martin  Archer  Shoe,  who,  it  may  be  added,  exhibited  portraits  of  Alexander 

Pope    (long     before    his    marriage     with    Mrs.    Wheatley)    in    1792,    and  ! 

again  in   1797.  ■ 

To    return    to   the   earlier   years   of  Wheatley's  career:     one   of    his  i 

biographers  refers  to  the  artist's  early  association  with  actors,  and  it  is  ^ 

curious  to  note  that  his  first  engraved  pictui'c  was  inspired  by  the  production 
of  Shakespeare's  "Twelfth  Night  "  (.\et  IV.),  in  which  Miss  Younge  (after- 
wards Mrs.  Alexander  Pt)pe),  with   ^\essrs.  Dodd,   Love  and  W^aldron,  as 

Viola,  Sir  Andrew  Aguecheek,  Sir  Toby  Belch  and  L'abian,  whole-length,  \ 

figures  in  a  landscape,  Miss  Vovmge  in  a  turban  with  plume.  This  was 
engraved  by  ,1.  R.  Sniith,  and  published  by  Robert  Sayer  in  1774.  Two 
years  previously  WM\eatley  had  exhibited  a  picture  of  the  Duel  Scene  in  the 
same  play  at  the  Society  of  Artists?. 


It  was  in  connection  with  this  exhibition  of  1772  that  we  have  the 
eadiest  contemporay  criticism  of  Wheatley's  work,  a  fact,  combined  with  his 
election  to  membership  of  that  Society,  which  shows  that  he  had  attained  to 
considerable  prominence  in  his  profession.  The  criticism  is  to  be  found 
in  a  pamphlet  entitled  "  Candid  Observations  on  the  Principal  Performances 
now  exhibited  at  the  New  Rooms  of  the  Society  of  Artists,  near  Exeter 
Change,"  1772.  The  notices  are  very  curious  as  illustrations  of  what  passed 
as  art  criticism  138  years  ago.  Of  the  above-mentioned  Duel  Scene,  the 
writer  observes  :  "  Pictures  of  this  nature  are  always  pleasing,  when  a  good 
choice  is  made;  this  gentleman  has  been  very  happy  in  that  particular.  The 
portraits  are  all  very  like,  the  actions  spirited,  but  upon  the  whole  an  effect 
is  wanted."  Of  No.  375,  a  small  whole-length  of  a  lady,  we  are  assured 
"  there  is  great  merit  in  this  picture,  it  is  boldly  pencilled,  but  has  the  same 
defect  as  the  last-mentioned";  whilst  Nos.  376-7  "are  both  very  clearly 
coloured,  and  touched  with  spirit.  This  artist  bids  to  be  one  of  the  first- 
class,  especially  in  this  walk." 

We  have  already  briefly  referred  to  Wheatley  as  a  landscape  painter. 
The  art  centre  of  London  in  the  mid-eighteenth  century  was  so  close  to 
the  country,  that  the  artist  could  obtain  his  rural  inspiration  in  the  course 
of  an  easy  walk.  Wheatley  was  not  content  with  the  suburbs.  He  was 
constantly  making  expeditions  into  remote  parts  of  England,  and  his 
exhibited  and  other  works  give  us  some  notion  of  his  wanderings.  In 
1774,  for  instance,  he  was  in  the  Isle  of  Wight,  for  in  that  year  he  sent  to 
the  Society  of  Artists  a  study  of  the  coast  of  that  island,  with  figures 
painted  in  by  his  friend  Mortimer,  and  the  two  other  studies  were  doubtless 
inspired  by  the  same  place.*  In  1775  five  of  his  exhibits  were  landscape 
studies  from  nature.  In  1776  we  have  views  of  Rochester,  Sheerness  and 
the  Medway,  and  in  1778  the  Royal  Academy  contained  transcripts  of 
rural  life  at  Ivybridge  (Devonshire)  and  BexhiU  (Sussex);  and  a  water- 
colour  drawing  at  the  South  Kensington  Museum  is  a  view  near  Ilfracombe, 
signed  and  dated  1778.  In  one  of  the  several  Wheatley  pictures  in  the 
possession  of  Messrs.  Shepherd  Brothers,  and  reproduced  with  their  per- 
mission, we  have  a  charming  view  of  a  cottage  in  Cumberland  (16in.  by  22in.) 
which  is  interesting  as  showing  that  the  artist  knew  his  own  county 
thoroughly. 

The  large  share  which  Francis  Wheatley  took  in  assisting  in  the 
emancipation  of  English  water-colour  art  "  from  its  old  subserviency  to 
engraving"  was  not  fully  recognised  until  the  late  J.  L.  Roget  published 
his  exhaustive  "History  of  the  Old  Water-colour  Society"  in  1891. 
Referring  to  the  three  Irish  artists  of  the  name  of  Malton,  and  to  the  series 
of  "  Picturesque  Views  of  the  City  of  Dublin,"  published  between  1791  and 
1795,  Mr.  Roget  points  out  that  their  streets  "are  well  peopled,  and 
enlivened  with  the  incidents  of  the  daily  life"  of  the  time;  "within  their 
limits,  they  continue  the  illustrative  record  of  domestic  history  which 
Sandby  had  been  jotting  down  from  an  earlier  date.  The  figures  are, 
indeed,  more  conventional  than  Sandby's,  though  both  these  draftsmen  are 
said  to  have  been  assisted  in  this  important  element  by  the  same  artist.     .     . 


*  The  earliest  signed  and  dated  picture  known  to  us  "  The  Harvest  Waggon,"  50iin.  by  40in.  wide, 
in  the  Nottingham  Museum,  "F.  Wheatley,  1774." 

6 


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TL  OJN  O  O  N 


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^  //hrca(7Mcm^(/(I///n/?f^e/.  acAs^  ^2^^Smn£a 


G/V'/m,;^^-' 


X,;,ri,„  yW,  d,  !/^aci:/Xr,:f.,  :C4y       /y^  4  '.,iCaUyiiJ.Co'.lt'l3S.'/yycJA,/i 


namely,  FrancisWheatley,  R.A."  And, again:  "Asapainter  of  rustic  landscape, 
wherein  his  talent  chiefly  lay,  he  must  be  included  among  a  group  of  artists 
with  whom  the  Maltons  and  their  brother  topographers  had  little  in  common." 
Of  the  many  evidences  of  the  friendship  of  Wheatley  and  Mortimer, 
perhaps  the  most  interesting  is  the  water  colour  drawing,  "A  View  in  the 
Priory  Gardens,  Whitehall,"  now  in  Sir  John  Soane's  museum,  Lincoln's 
Inn  Fields  and  here  reproduced.  It  must  have  been  done  in  or  before  1779, 
and  is  the  joint  work  of  Wheatley,  J.  H.  Mortimer  and  Thomas  Sandby. 
We  are  indebted  to  Mr.  Walter  L.  Spiers,  A.R.I. B. A.,  the  curator  of  the 
Soane  Museum,  for  the  following  documents  concerning  it  now  printed 
for  the  first  time  : — 

"  The  above  Picture  was  executed  under  the  following  circumstances.  Wheatley  and 
Mortimer  being  threatened  with  arrest,  were  for  many  weeks  sheltered  under  the  Roof  of 
Mr.  Tyers  at  his  House  in  Vauxhall  Gardens.  After  the  fear  of  the  Bailiffs  was  over,  they 
agreed  to  Paint  the  above  Picture,  and  present  it  to  their  kind  Host.  At  the  death  of 
Mr.  Tyers,  it  became  the  property  of  his  Daughter,  Mrs.  Barrett,  who  dying  in  March,  1834, 
left  it  to  Mr.  Wm.  Freeman.  By  this  Gentleman  it  was  sold  on  his  going  to  the  West 
Indies  in  Sept.,  1835,  to  Sir  John  Soane. 

"  {Signed)    J.  Moore,  M.D. 

"  Lincolns  Inn  Fields." 

"  Bridge  Street, 

"7  March,  1836. 
"  My  dear  Doctor, 

"  On    looking   over  some  old    papers   this    evening,    I    have    found   a    memorandum 
respecting  the  Drawing  which  Sir  J.  Soane  has,  and  which  belonged  to  Mr.  Wm.   Freeman. 
I  mean  the  "  View  of  the  back  of  the  Banqueting  house  at  Whitehall,"  the  architecture  was 
painted  by  Thos.  Sandby,  the  figures  by  Mortimer  and  Wheatley. 
"  I  hasten  to  communicate  this,  and  am, 

"  Dear  Sir, 

"  Very  truly  and  sincerely  yours, 

"(Signed)     John  Knowles. 
"  Doctor  Moore." 

To  these  interesting  facts  it  may  be  added  that  the  drawing  is  a  large 
one,  235-  by  37^  inches,  and  is  reproduced  in  this  work.  This  interesting 
view  of  an  historic  part  of  London  shows  us  the  Old  Lottery  Office  (now 
covered  by  the  United  Service  Institution),  next  to  which  is  a  vacant  space, 
subsequently  covered  by  Gwydr  House,  a  view  of  the  back  of  the  Banqueting 
House,  and  of  the  frequently  removed  statue  of  James  II.  On  the  opposite 
side  is  Pembroke  House  (now  the  Board  of  Trade  offices),  the  Countess  of 
Portland's  House,  and  in  the  distance  the  town  residence  of  the  Duke  of 
Richmond  with  his  famous  gallery  of  pictures  and  statues,  which  occupied 
such  a  prominent  part  in  the  education  of  young  artists  in  the  18th  century. 
The  Soane  Museum  possesses  a  second  drawing  by  Wheatley,  a  charming 
little  whole-length  figure  of  "A  Milkmaid,"  SJ  by  5|  inches,  signed  and  dated 
1793,  which  is  also  here  reproduced. 

In  scenes  from  rustic  life  Wheatley  was  the  precursor  of  George 
Morland,  who  unquestionably  owes  much  to  the  older  artist — a  debt  which 
is  not  generally  recognised.  What  was  the  contemporary  opinion  of 
Wheatley's  landscapes?  We  have  a  fairly  clear  idea  of  this  from  the  two 
short   obituary   notices   which    appeared   in    The    Gentleman's   Magazine   of 


August  and  September,  1801.  "He  was  not"  (says  the  writer  of  the 
earlier  notice,  who  was  evidently  thinking  of  Morland)  "  so  correct  in  his 
representations  of  rural  imagery  as  a  favourite  landscape  painter  of  the 
present  day ;  but  he  was  not  so  vulgar  in  his  conceptions,  nor  so  gaudy  in 
his  execution,  as  other  living  artists,  who  have  contrived  to  raise  their 
talents  into  higher  reputation."  The  second  notice  states:  "Many  of 
Mr.  Wheatley's  late  pictures  present  a  pleasing  display  of  rusticks,  in  all 
the  variety  of  simplicity  of  rural  avocation.  His  manner  is  easy  and 
interesting ;  but  there  is  a  sameness  of  countenance  and  figure,  which, 
however  pleasing,  ought  to  be  varied.  His  colouring  has  more  delicacy 
than  force,  and,  in  aiming  at  elegance,  he  frequently  .  .  .  dresses  our 
English  peasants  in  French  frippery."  It  is  interesting  to  note  that  Sir 
Thomas  Lawrence  apparently  had  a  high  opinion  of  W'heatley  as  an  artist, 
for  at  his  sale  on  May  21st,  1830,  lots  143-154  consisted  of  original  drawings 
of  domestic  scenes  and  sketch-books  of  Wheatley. 

Mention  may  be  here  made  to  a  companion  pair  of  pictures,  painted 
probably  before  Wheatley  left  England,  and  engraved  in  his  absence — 
"  Sigismunda,"  a  small  half-length  figure,  which  Chaloner  Smith  suggests 
may  represent  Mrs.  Siddons ;  and  "  Thais,"  also  a  small  half-length, 
which  Smith  suggests  may  be  of  Emma  Hart  (Lady  Hamilton),  whom  it 
probably  does  not  represent.  These  two  pictures  were  engraved  by 
T.  Watson,  and  published  on  March  10th,  1779. 


x^UfU^<^  /y   T--'.  riAra// 


7       ■'"^'^■ 


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f.ffn^on  /)if/'^ a-f  fhr  ^^t  D/n-cts  J<ui  ^i/^f.fy  Mna^bi  .f/''',V':i.'  lii'.' M^H 


1 


II.— IN  IRELAND. 

We  are  not  concerned  with  the  morality  of  Wheatley's  elopement  to  Ireland 
with  the  wife  of  his  fellow-painter,  Gresse.  This  event  probably  took  place 
in  the  summer  of  1779.  The  visit  had  a  very  considerable  bearing  on  the 
artist's  career,  and  he  developed  from  the  painter  of  pretty  rural  scenes  and 
small  portraits  into  the  more  ambitious  and  difficult  line  of  large  groups. 
He  appears  to  have  at  once  found  full  employment  for  his  talents,  but 
his  earliest  great  picture  entirely  overshadows  all  the  others.  The  title  of 
this  picture,  which  is  now  in  the  National  Gallery,  Dublin,  is  "The  Volun- 
teers of  the  City  and  County  of  Dublin  as  they  met  on  the  College  Green 
on  the  4th  of  November,  1779."  It  is  unquestionably  one  of  the  most 
important  and  historically  interesting  groups  ever  painted  in  Ireland. 
The  meeting  was  held  to  celebrate  the  anniversary  of  the  birth  and 
landing  in  England  of  William  III.  On  the  occasion  of  this  celebration 
the  Volunteers  of  Dublin  (so  runs  the  official  Catalogue)  marched  to  College 
Green  and  drew  up  round  the  statue  of  King  William,  and  at  the  word  of 
command  from  the  Duke  of  Leinster,  fired  three  rounds  of  musketry,  which 
was  followed  by  a  salute  from  the  Artillery.  The  corps  which  took  part  in 
the  ceremony  are  fully  set  out  in  the  Catalogue  and  occupy  two  pages  ;  among 
the  portraits  which  have  been  identified  are  the  following  : — William,  second 
Duke  of  Leinster ;  Sir  Edward  Newenham,  Luke  Gardiner  (so  well  known 
in  connection  with  Sir  Joshua  Reynolds'  great  group  of  the  "  Three  Graces  " 
in  the  National  Gallery)  afterwards  Lord  Mountjoy ;  John  Fitzgibbon, 
afterwards  Earl  of  Clare;  David  La  Touche,  John  Armit,  Sir  John  Allen 
Johnston;  two  booksellers,  William  Porter  and  Richard  Moncrieff;  James 
Napper  Tandy,  and  others ;  in  the  window  overlooking  the  scene,  with  a 
parasol  held  over  her,  is  the  famous  Russian  Princess  Daschkow,  and  in 
another  window  is  Captain  Sir  Alexander  Schomberg,  who,  from  1771  to 
1804,  commanded  the  Lord-Lieutenant's  yacht  "  Dorset." 

This  picture,  which  is  69  in.  by  127  in.,  was  painted  for  the  Duke  of 
Leinster,  and  was  exhibited  at  the  Society  of  Artists  in  William  Street, 
Dublin,  in  1780.  It  was  lent  to  the  two  great  Exhibitions  in  Dublin  in  1853 
and  J872,  and  was  deposited  in  the  Irish  National  Gallery  on  loan  by  the 
fourth  Duke  of  Leinster  in  1875,  and  presented  to  the  Gallery  by  the  fifth 
Duke  in  1891.  It  was  engraved  by  J.  Collyer  and  published  on  May  10th, 
1784,  by  R.  Lane,  who  dedicated  it  to  the  Duke  of  Leinster,  and  also  in 
London  by  J.  Boydell.  The  engraving  differs  in  some  details  from  the 
picture,  and  was  evidently  done  from  a  water-colour  drawing  (16J  in.  by 
25  in.)  by  the  artist,  and  now  in  the  South  Kensington  Museum,  for  which 
it  was  acquired  in  1873,  and  from  which  our  reproduction  has  been  done. 
The  subject  was  repeated  or  the  engraving  copied  in  aquatint  as  one  of  a 
series  of  nine  views  and  scenes  in  Dublin,  published  in  London  in  1784. 

Wheatley  had  no  sooner  finished  this  great  group  than  he  started  on 
another,  a  companion  picture,  done  also  in  1779  or  1780,  of  the  interior  of 
the  Irish   House  of  Commons,  with  portraits  of  the  members.     The  time 


selected  by  the  artist  for  his  picture  was  when  Grattan  was  making  his 
motion  for  the  repeal  of  Poyning's  Act.  Some  of  the  members  first  painted 
in  the  group  were  rubbed  out  to  give  place  to  others  who  had  apparently 
promised  to  subscribe  for  the  engraving.  The  work,  which  was  disposed  of 
by  raffle  in  Dublin,  was  unfinished.  It  was  apparently  at  one  time  in  the 
possession  of  Dr.  Charlton,  of  Bath,  at  whose  sale,  in  1790,  Redford  records 
it  as  having  appeared,  but  no  price  is  stated,  nor  is  the  purchaser's  name 
given,  from  which  it  may  be  assumed  that  it  did  not  find  a  purchaser.  It 
appeared  at  the  Dublin  Exhibition  of  1853,  and  then  again  disappeared.  In 
The  Athenceum  of  December  22nd,  1906,  a  note  stated  that  it  had  been 
recovered,  and  it  was  anticipated  that  it  would  be  acquired  for  the  Irish 
National  Gallery,  but  so  far  this  hope  has  not  been  realised. 

Wheatley  must  have  paid  at  least  one  visit  to  England  during  his  exile, 
for  he  was  in  London  during  the  Gordon  Riots  early  in  June,  1780.  Fully 
alive  to  the  "  actuality  "  of  the  event,  he  appears  to  have  made  a  number  of 
studies,  particularly  of  the  military  firing  on  the  mob  at  the  corner  of  New 
Broad  Street,  on  June  7th.  From  these  he  painted  a  large  picture,  probably 
in  the  intervals  of  his  work  after  he  returned  to  Ireland.  From  some 
unexplained  cause,  the  picture  was  not  engraved  until  1789,  when  the  Riots 
had  passed  into  history.  Writing  on  this  engraving,  Edwards,  in  his 
"Anecdotes  of  Painters,"  1808,  says: — "To  those  who  collect  prints, 
particularly  portraits,  it  may  be  satisfactory  to  know  that  the  figure 
which  in  the  prints  is  represented  as  giving  orders  was  painted  from 
Sir  Barnard  Turner ;  that  which  is  receiving  them  is  intended  for 
Henry  Smith,  Esq.,  at  this  time  one  of  the  Bank  Directors,  and 
Major  Commandant  of  the  Camberwell  Volunteers ;  and  the  figure 
represented  as  assisting  the  wounded  person  was  painted  from  Sir  W. 
Blizzard,  surgeon,  Vv'ho  then  served  in  the  corps,  and  was  at  that  time 
Lieutenant-Colonel  of  the  Bishopsgate  Volunteers.  But  it  must  be 
acknowledged  that  the  two  last-mentioned  portraits  are  not  such  good 
likenesses  as  the  first."  Anthony  Pasquin  did  not  think  very  highly  of 
the  picture :  "  His  grouping  of  the  figures is  not  truly  com- 
mendable   when   I   last  saw   it,    it  struck  me  as  an    attempt   to 

prove  how  very  completely  an  artist  could  make  a  sky  in  a  composition 
eclipse  every  other  consideration."  The  engraving  was  done  for  Boydell, 
who  gave  the  artist  £200  for  the  right  to  engrave  the  picture,  which  was 
subsequently  burnt  in  the  house  of  James  Heath,  the  engraver.  Bromley 
(p.  351)  mentions  a  whole  length  portrait,  after  Wheatley,  of  Sir  Barnard 
Turner,  one  of  the  principal  figures  in  the  Gordon  Riots  picture,  as  having 
been  engraved  by  J.  Walker  in  1783,  this  was  probably  done  from  the  group 
now  under  consideration. 

Another  ambitious  group  followed  that  of  the  Irish  House  of  Commons. 
This  time  it  was  of  a  "  Review  of  Troops  in  Dublin  by  Sir  John  Irwin,  K.B." 
(1728-1787).  This  group  was  painted  in  1781,  and  comprises  five  figures  : 
Sir  John  Irwin,  wearing  the  Ribbon  and  Star  of  the  Bath,  stands  by  the 
side  of  a  horse,  and  is  receiving  a  paper  from  an  officer  ;  other  officials  and 
a  servant  are  close  by ;  in  the  distance  cavalry  drawn  up,  and  a  carriage 
with  two  persons  in  it.  It  is  signed  and  dated,  and  measures  93J  in.  by  69j  in. 
It  is  doubtless  the  only  picture  exhibited  in  London  by  Wheatley  whilst  in 
Dublin,  and  this  must  be  the  "  Review  of  Irish  Volunteers  in  the  Phcenix 

10 


r.ond'Tn   at'-''  at  Che^'^fr  Du-acCi   Jan  .  ,/^.t   Oy   f.-^naqh   A  C  A^fji  A/.'   .if.^/i . 


(  '/I'jmt^^^  /y     (y     t"/'fi'/ru,n- 


^^ 


[/j/y///.,r0iajfyri  /i  ■?'i^/a/0fir. 


Park,  Dublin,"  which  formed  the  artist's  sole  exhibit  at  the  Society  of 
Artists,  London,  in  1783.  This  picture  was  for  many  years  in  the  National 
Portrait  Gallery,  London,  whence  it  was  transferred  to  the  National  Gallery, 
Dubhn,  in  1898. 

Another  large  picture,  done  probably  about  the  same  time,  calls  for 
notice — a  Review  in  Belam  Park,  Co.  Kildare,  the  seat  of  Lord  Aldborough, 
who  is  seen  on  horseback,  in  the  foreground  carriages  with  ladies  and 
gentlemen,  house  in  the  background,  beyond  a  review  is  going  on.  This 
work,  60  in.  by  90  in.,  was  lent  to  the  Old  Masters  in  1888  by  Mr.  William 
Vokins. 

We  know  from  Anthony  Pasquin  that  Wheatley  "met  with  gre£ft 
encouragement  from  the  persons  of  taste  and  fashion  in  Ireland;  he  chiefly 
painted  in  small  whole-lengths."  A  few  of  his  Irish  portraits  have  come 
down  to  us.  The  most  important  of  all,  that  of  Henry  Grattan  (1746-1820), 
the  orator  and  statesman  who  vehemently  opposed  Pitt's  projected  union 
with  Great  Britain,  is  now  in  the  National  Portrait  Gallery,  to  which  it  was 
presented  in  1888  by  the  executors  of  Mr.  Doyne  Courtenay  Bell ;  it  is  on 
canvas,  10-i  in.  by  8i  in. ;  and  a  mezzotint  of  it,  by  Valentine  Green,  was 
published  on  September  10th,  1782.  A  portrait  of  Anthony  Webster,  the  actor 
and  writer,  a  whole-length,  in  a  grove  as  "  Com  us  "  covered  with  vine-leaves, 
was  mezzotinted  by  Henry  Kingsbury,  and  published  on  January  10th,  1781. 
Webster  died  shortly  before  the  print  was  issued.  It  is  dedicated  : — 
"  To  the  Gentlemen  of  the  Anacreontic  Society,  with  intent  to  recall  to  the 
mind  past  scenes  of  convivial  gaiety,  enriched  by  a  convivial  friend."  His 
own  portrait,  a  small  three-quarter  figure,  15  by  12|  in.,  in  the  National 
Portrait  Gallery,  for  which  it  was  acquired  in  1900,  and  is  reproduced  in 
this  book,  was  evidently  done  at  about  this  time,  as  it  shows  him  as  a  young 
man  of  about  30,  holding  palette  and  brush. 

Wheatley's  progress  in  Dublin  was  the  subject  of  an  occasional 
paragraph  in  the  London  newspapers.  Among  some  undated  paragraphs  in  a 
collection  of  "cuttings"  on  art,  we  find  the  following: — "Wheatley,  whose 
pencil  is  indefatigable,  is  painting  the  inside  of  the  House  of  Commons  of 
Ireland,  which  is  to  contain  the  portraits  of  all  the  members." 

The  above-mentioned  works  do  not  by  any  means  exhaust  the  sum 
total  of  Wheatley's  accomplishments  in  Ireland.  He  appears  to  have  visited 
and  made  sketches  of  some  of  the  most  interesting  country  seats  and  places 
in  the  country.  Many  of  these  were  reproduced  in  The  Copper-Plate 
Magazine,  and  a  full  list  will  be  found  in  the  section  of  this  book  in  which 
engravings  after  him  are  grouped  together.  As  will  be  seen,  he  visited 
Kildare,  Enniskerry,  Malahide  Castle,  Howth,  Marino,  and  other  places, 
and  must  have  returned  to  London  with  a  number  of  well-filled  sketch 
books.  One  of  his  Irish  pictures  was  not  engraved  till  some  years  after  his 
death — "  Irish  Peasants  crossing  a  Brook,"  engraved  by  R.  Earlom,  was 
issued  on  March  12th,  1807,  by  the  well-known  London  print  publishers, 
Laurie  and  Whittle.  Probably  very  many  of  the  rustic  and  other  scenes 
which  are  now  accepted  as  of  English  life  belong  to  the  period  of  his 
residence  in  Ireland,  to  which  doubtless  belong  the  "Girl  Driving  Cattle 
through  a  Brook  "  and  "  View  of  the  Black  Rock,"  which  realised  £3  5s. 
and  19  guineas  respectively  at  the  Matthew  Mitchell  sale  in  1819. 


11 


III.— RETURN    TO    LONDON. 

We  know  from  the  Catalogue  of  the  Society  of  Artists,  1783,  that  Wheatley 
was  in  Dublin  in  that  year,  and  from  that  of  the  Royal  Academy  of  1784 
that  he  was  then  in  London,  his  address  being  36  Gerard  Street,  where  he 
probably  took  temporary  lodgings,  and  whence  he  removed  soon  afterwards 
to  23  Welbeck  Street,  which  was  his  address  up  to  and  including  1788.  The 
scandal  in  connection  with  the  elopement  had  blown  over,  and  the  artist 
probably  felt  that  London  was  the  only  possible  centre  for  the  full  employ- 
ment of  his  talents.  Two  of  his  Irish  scenes,  "  Donnybrook  Fair  "  and  "  The 
Salmon  Leap  at  Leixlip,"  with  three  portraits  of  gentlemen  (two  of  which 
were  of  a  Mr.  or  Messrs.  Swiney,  an  obviously  Irish  name),  were  in  the 
Academy  of  1784.  He  again  made  lengthy  excursions  into  rural  England, 
this  time  going  North.  A  drawing  of  Keswick,  Cumberland,  in  the  South 
Kensington  Museum,  signed  and  dated  1784,  and  a  number  of  views  of 
Windermere,  Ambleside,  subsequently  reproduced  in  Tlie  Copper-Plate 
Magazine,  indicate  the  locality  and  the  date  of  his  wanderings.  To  the 
Academy  of  1785  he  sent  one  of  these  Northern  pictures,  "  A  View  in 
Lancashire."  Probably  many  of  the  rustic  scenes  which  were  subsequently 
engraved  and  published  with  such  success  date  from  the  first  year  or  two 
after  his  return  from  Ireland. 

Wheatley  executed  quite  an  extraordinary  number  of  companion  pairs 
of  drawings  in  water-colours  and  chalks  at  about  this  period  of  his  career. 
Examples  are  constantly  occurring  at  exhibitions  and  in  sale-rooms,  and  so 
great  is  the  present  demand  for  them  among  collectors  that  dealers  have  no 
sooner  purchased  them  than  they  are  again  sold.  Mention  may  be  made  of 
a  few.  One  of  the  first  companion  pairs  of  drawings  to  appear  at  a 
retrospective  art  exhibition  was  at  Manchester  Art  Treasures  in  1857,  when 
Mr.  E.  G.  Martin  lent  "  Children  with  Birds  "  and  "  Children  with  Spaniel," 
one  of  which,  signed  with  initials,  is  now  in  the  National  Gallery  of  Ireland. 
On  June  17th,  1905,*  a  sale  at  Christie's  contained  three  companion  pairs  of 
drawings,  each  of  which  measured  14in.  by  lOin. — "The  Morning  Meal  "  and 
"  The  Mid-day  Meal"  (72  guineas  the  pair),  "  The  Faggot  Gatherers"  and 
"The  Milkmaid"  (66  guineas),  and  "The  Picture  Book"  and  "The  Kitten" 
(58  guineas). 

The  artist's  "  story  "  pictures  date  from  the  Academy  of  1785,  when 
he  exhibited  "  The  Amorous  Sportsman,"  and  thenceforward  nearly  every 
year's  exhibition  contained  one  or  more  pictures  with  a  "  moral" — sometimes 
it  is  one  suggestive  of  charity,  and  at  others  of  industry.  Many  of  these 
exhibited  pictures  have  been  engraved,  but  it  sometimes  happened  either 
that  Wheatley  repeated  his  subject  or  used  a  title  more  than  once.  Portrait- 
painting  appears  to  have  occupied  very  little  of  his  time,  but  in  September, 
1786,  he  drew  and  engraved  a  half-length  portrait  ("  F.  Wheatley,  ad  vivum 
delint  et  fecit  ")   of  Christian  VII.  of  Denmark.     In  this  year  also  he  etched 

*  On  the   same  day  a  large   picture,   in  oils,   of   "  Two  Young   Girls   with  a  Dog   in   a 
Landscape,"  67in.  by  75in.,  realised  105  guineas. 

12  < 


CRIES 


-l'6WOiJ 


y?/A'^rfJ  /^^  ^^c£  JMrcft   Atyi  ^^r  ly  U/t'l^A,  <t  CJV^tjr  jH//'  Jf^t/ 


several   plates    in    the    style   of     Rowlandson — "  A   Gipsy    Encampment," 
"  Fisher  Folk,"  and  its  companion,  and,  in  1787,  "A  Bacchante." 

In  1786.  also,  he  designed  and  etched  two  illustrations  to  Rousseau's 
"  Nouvelle  Heloise,"  of  one  of  which  the  original  drawing  (20jin.  by  14|in.), 
in  Indian  ink  wash  and  pen,  is  in  the  Print  Room  of  the  British  Museum  ; 
one  of  these,  with  St.  Preux  and  Julie  standing  on  a  rocky  ledge  over- 
hanging a  torrent,  and  with  the  name  "Julia"  inscribed  on  a  rock,  is  dated 
1785 ;  and  the  other,  with  Julie  and  St.  Prieux  in  a  wooded  dell,  the  girl 
seated  and  weeping,  the  youth  standing  and  bending  over  her,  remonstrating. 
The  Print  Room  contains  a  third  illustration  to  this  story,  a  drawing  with 
Julie  sitting  on  the  ground,  and  her  lover  seated  beside  her;  this  is  dated 
1786,  and  apparently  was  not  etched  by  the  artist. 

In  common  with  many  of  the  other  leading  artists.  Sir  Joshua  Reynolds, 
Gainsborough,  Sandby,  Mortimer,  Peters  and  others,  Wheatley  contributed 
to  the  second  exhibition  of  the  Society  for  Promoting  Painting  and  Design 
in  Liverpool,  opened  in  August,  1787;  his  two  exhibits.  No.  110,  "The 
Cruel  Father,"  a  stained  drawing,"  and  No.  Ill,  "The  Kind  Father,"  ditto, 
were  undoubtedly  the  originals  of  W.  N.  Gardiner's  by  no  means  uncommon 
pair  of  prints,  "The  Relentless  Father"  and  "The  Tender  Father."  The 
original  drawings,  each  13gin.  by  11  Jin.,  and  dated  1786,  are  now  in  the 
South  Kensington  Museum,  and  are  catalogued  as  "The  Dismissal"  and 
"  The  Reconciliation  "  respectively. 

The  subject  of  country  markets  attracted  the  versatility  of  Wheatley. 
The  first  of  these,  "  Girl  Returning  fi'om  Market  and  Counting  her  Money," 
is  signed  and  dated  1786,  but  was  not  exhibited  at  the  Royal  Academy  until 
1788.  It  was  exhibited  at  the  Old  Masters  in  1877  by  Mr.  A.  McKay,  and 
shows  a  young  woman  standing  under  a  tree  counting  her  money ;  beside 
her  a  little  girl  seated  on  a  donkey  laden  with  paniers  (canvas  29iin. 
by  24 Jin.).  "This  was  engraved  in  stipple  by  C.  Knight,  and  published  in 
April,  1789.  Another  picture  with  the  title  of  "Returned  from  Market" 
(30in.  by  25in.)  was  in  the  J.  H.  Maclaren  sale  at  Christie's  on 
February  22nd,  1902,  and  realised  the  Wheatley  "  record  "  of  530  guineas  ; 
it  had  previously  been  sold  in  1893  for  215  guineas;  this  picture  discloses 
a  country  lane  with  an  officer  in  a  red  coat  offering  money  to  a  peasant 
girl :  this  is  doubtless  the  original  of  R.  Stanier's  engraving  "The  Recruiting 
Officer." 

The  originals  of  very  few  of  the  engraved"  Market  "  and  "Fair"  pictures 
have  been  traced,  and  others  inspired  by  the  same  themes,  and  not  engraved 
are  probably  in  existence.  In  many  instances  where  the  original  pictures 
may  be  compared  with  the  colour-prints,  it  must  be  admitted  that  the  latter 
are  often  much  more  attractive  than  the  former.  The  finest  companion  pair 
of  pictures  of  "domestic"  subjects  which  we  have  ever  seen  from 
Wheatley's  brush  now  belong  to  Mrs.  W.  K.  D'Arcy,  of  Bylaugh  Park, 
Norfolk,  and  these  are  worthy  to  rank  with  Morland  at  his  best.  They  are 
respectively  titled  "  Return  from  Market"  and  "Return  from  the  Fair," 
and  each  measures  19  by  25|  in.,  the  latter  is  signed  with  initials.  The 
"  market "  picture  is  a  group  of  four  figures  by  a  cottage  door,  a  young  man 
and  woman,  a  boy  and  girl  and  dog,  with  trees  and  church  in  the  distance, 
the  man  is  holding  a  two-prong  fork,  and  a  cat  is  seen  in  the  doorway.  The 
"fair"  picture  is  also  a  group  in  front  of  a  rustic  ivy-clad  cottage,  a  peasant 

13 


youth,  a  man  seated  in  porch  of  cottage  holding  a  roll  of  blue  ribbon  which 
is  also  held  by  a  woman,  a  child  with  uplifted  hands  is  also  shown,  and 
through  the  open  door  of  the  cottage  a  woman  is  seen  at  a  wash-tub. 

A  set  of  four  "market"  pictures  remain  to  be  noticed;  they  were 
engraved  in  mezzotint  in  1803,  shortly  after  the  artist's  death,  by  W.  Annis, 
the  "  Preparing  for  Market  "  (doubtless  in  the  Academy  of  1790)  is  one  of 
them,  and  the  four  will  be  found  described  on  page  45.  Still  another  picture 
of  this  class  calls  for  notice,  the  "  Preparing  for  Market,"  a  large  Morland- 
like  group  of  peasants  and  farm  buildings,  with  market  cart,  etc.;  this  was 
engraved  in  mezzotint  by  Richard  Earlom,  and  published  in  January,  1799. 
Messrs.  Shepherd's  picture  with  this  title  is  18in.  by  22in. 

The.  years  1787-9  were  the  artist's  most  prolific  periods.  His  pictures 
and  drawings  were  being  engraved  almost  as  fast  as  he  could  turn  them 
out.  The  subjects  are  mostly  of  humble  life  such  as  would  appeal  to  those 
who  could  afford  to  invest  a  few  shillings  in  engravings.  Soldiers,  sailors 
and  fishermen  all  in  turn  attracted  him.  His  affection  for  these  subjects 
was  possibly  influenced  by  his  knowledge  that  in  their  engraved  form  they 
would  prove  remunerative  undertakings.  He  probably  sold  these  pictures 
outright  to  the  engravers  or  to  print  publishers,  as  very  few  remained  in  his 
possession.  "  This  gentleman,"  remarks  Anthony  Pasquin,  "  appears  to 
have  too  small  a  portion  of  ambition  in  his  system  to  accomplish  any  great 
and  durable  undertaking ;  to  copy  a  mean  model  satisfies  his  unaspiring 
soul.  To  be  coldly  perfect  on  a  vulgar  theme  was  the  peculiar  characteristic 
of  the  Flemish  school ;  yet  the  productions  of  that  school  are  not  of  the 
first  order ;  and,  if  we  except  Rubens,  Vandyke,  and  Jordaens,  they  had 
scarce  any  association  of  ideas,  originating  from  a  nice  observance  of 
nature,  and  regulated  by  the  glow  of  fancy  and  prevalence  of  abstract 
thinking ;  for  even  Teniers,  with  all  his  merit,  was  a  painter  without 
learning  "  ;  and,  again,  according  to  the  same  writer,  "  as  a  drawback  on  his 
merits,  Mr.  Wheatley  is  too  much  a  mannerist." 

One  of  Wheatley's  earliest  "soldier"  pictures  was  the  original  of  the 
well-known  engraving  "The  Soldier's  Return,"  which  shows  a  cottage 
interior,  a  soldier  in  large  hat  and  feathers,  bandolier  crossing  from  right  to 
left,  his  left  arm  round  the  waist  of  a  peasant  girl ;  her  father,  seated  to  the 
left,  joins  his  hands  to  that  of  the  lover;  it  was  engraved  by  William  Ward 
and  published  by  J.  R.  Smith  in  June,  1787,  with  the  legend,  "  Honour, 
Beauty,  Love  and  Wealth  are  his  Rewards."  The  original  picture  is 
probably  that  recorded  by  Seguier  as  having  occurred  in  an  anonymous  sale 
in  1830,  when  it  sold  for  the  small  sum  of  £5  15s.  It  is  apparently  a 
companion  to  an  unengraved  work,  "The  Soldier's  Departure,"  which  was 
in  Mr.  J.  B.  Behrens'  sale  at  Christie's  on  July  26th,  1861,  when  it  formed  lot 
102.  The  two  works,  each  13|  by  lOjin.,  were  among  the  many  pictures 
lent  by  the  executors  of  the  late  Major  C.  P.  Teesdale  to  the  exhibition  of 
"A  Century  of  British  Art,"  held  at  the  Grosvenor  Gallery  in  1888,  Nos.  141 
and  145.  "The  Tired  Soldier"  was  the  title  of  a  picture  (24j  by  29  in.) 
which  realised  95  guineas  at  Christie's  on  May  8th,  1897;  "Soldiers  in 
Action"  (20  in.  by  16  in.)  was  in  the  W.  H.  Forman  sale  at  Sotheby's  on 
June  6th,  1899.  At  Christie's  on  November  19th,  1892,  there  were  two 
camp  scenes,  one  with  an  officer  buying  ribbons  and  another  with  an 
officer  buying  chickens,  and  these    realised    185   guineas  and  145  guineas 

14 


PMnmi  by  F-  W/im^ir  MA. 


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respectively,  and  to  have  realised  such  high  prices  they  must  have  been 
exceedingly  good  examples  of  this  artist.  One  of  them  may  have  been 
the  "Scene  from  the  Camp  at  Bagshot  Heath,"  in  the  Academy  of  1793. 
"The  Deserter"  (2Uin.  by  18^ in.),  which  also  realised  a  high  price — 111 
guineas — at  Christie's  on  May  7th,  1898,  is  another  picture  of  military  life. 
It  is  said  to  be  engraved,  but  we  have  not  seen  the  engraving.  Then,  again, 
there  was  "The  Recruiting  Officer,"  exhibited  at  the  Royal  Academy  of  1787. 

But  Wheatley's  two  most  famous  pictures  in  this  respect  were  painted 
— or  at  least  engraved — quite  towards  the  end  of  his  life.  "  The  Encamp- 
ment at  Brighton"  and  "The  Departure  from  Brighton"  were  both 
engraved  in  mezzotint  by  J.  Murphy,  and  published  by  Colnaghi  &  Co.  in 
1796.  The  former,  dedicated  to  the  Prince  of  Wales,  shows  a  broad  view 
of  the  Downs,  with  camps,  gun-carriages,  etc.,  a  group  of  three  mounted 
soldiers  in  the  foreground,  with  a  number  of  peasants  with  baskets  of  eggs, 
fowls  and  other  marketable  merchandise.  The  second  scene  is  another 
view  of  the  Downs,  with  camps,  military  baggage,  horses,  with  a  group 
of  soldiers  and  three  women,  one  of  whom  is  holding  an  infant;  this  print 
was  dedicated  to  the  Duke  of  York.  The  two  were  issued  in  black  and  in 
colours.  It  is  said  that  the  former  was  also  engraved  by  W.  Ward,  but  we 
have  found  no  record  of  this.     There  are  modern  reprints  of  both. 

The  story,  in  two  pictures,  of  "  Lindor  and  Clara"  falls  also  into  the 
category  of  military  subjects.  Wheatley's  story  is  of  a  jealous  lover. 
Lindor,  a  young  officer,  at  a  public  ball  fell  violently  in  love  with  Clara, 
daughter  of  one  of  the  principal  inhabitants  of  the  city  ;  but  the  moment  he 
received  the  consent  of  her  father  to  the  engagement,  he  is  ordered  to  join 
the  regiment  of  which  his  father  was  Colonel.  In  the  sequel,  Clara 
disguised  herself  as  a  soldier  and  followed  her  lover  as  a  private  in  his 
regiment.  Lindor  was  often  visited  by  his  sister,  whom  Clara  suspects  to 
be  "the  other  woman."  Determined  to  be  revenged,  Clara,  discovering  the 
brother  and  sister  together,  made  an  attempt  to  shoot  Lindor,  but  is 
disarmed,  and  in  the  scuffle  her  sex  and  identity  were  discovered.  The  "  plot  " 
of  the  story  was  a  popular  one  in  the  eighteenth  century,  and  Wheatley's 
two  pictures  are  based  on  James  Fennell's  "Lindor  and  Clara;  or.  The 
British  Officer,"  a  comedy  in  five  acts,  produced,  or  at  all  events  printed,  in 
1791  ;  and  so  we  may  safely  assign  the  pictures  either  to  that  year  or  the 
next.  The  first  of  these  pictures  was  engraved  by  F.  Bonfoy,  and  the 
"sequel"  by  R.  Stanier,  and  colourprints  of  both  were  published.  The 
original  of  the  second  of  the  pair  (lejin.  by  13|in.)  was  in  the  Sedelmeyer 
sale  held  in  Paris,  1907,  and  realised  900  francs.  It  should  be  pointed  out 
that  R.  Stanier  engraved  a  totally  different  picture  with  the  title  of  "The 
Discovery,"  by  Wheatley ;  this  is  an  interior  with  two  figures,  mother  and 
daughter,  the  former  having  discovered  and  is  reading  a  letter  sent  to  her 
daughter.  "  Soldiers  Refreshing,"  20in.  by  17in.,  is  the  title  of  a  picture  at 
Nottingham. 

From  soldiers  to  sailors  is  an  easy  step,  and  as  a.  pendant  to  W.  Ward's 
"The  Soldier's  Return,"  J.  R.  Smith  published,  in  1787,  "The  Sailor's 
Return,"  which  shows  us  the  interior  of  a  hovel,  with  a  bed-ridden  woman 
attended  by  a  young  girl,  whose  right  hand  holds  that  of  the  sick  woman, 
whilst  the  left  is  raised  in  astonishment  at  the  sudden  appearance  of 
the  visitor;  the  print  bore  the  legend,  "  Her  FiHal  Duty  Paid,  Virtue  and 

15 


Love  shall  Reward  his  Constancy  and  Toil."  Another  "sailor"  picture, 
"Sailors  in  Port,"  16in.  by  21in.,  was  in  the  W.  H.  Forman  sale,  already 
mentioned.  "The  Fisherman's  Departure"  and  "The  Fisherman's  Return  " 
are  the  titles  of  a  companion  pair  engraved  by  Barney ;  they  were  in 
Macklin's  sale  of  May  5th,  1800,  and  eventually  passed  into  the  collection  of 
Wells,  of  Redleaf,  at  whose  sale  in  May,  1890,  they  were  purchased  by  Messrs. 
Agnew  at  145  guineas;  each  was  18in.  by  22in.  According  to  a  statement 
in  The  Monthly  Magazine  oi  March,  1801,  p.  155,  Macklin  paid  "J.  Barny  " 
£280  for  engraving  these  two  pictures.  A  picture  of  "  Fisherman's  Wife 
and  Children  alarmed  at  a  Storm  "  was  lent  to  the  British  Institution 
in  1843  by  a  Mr.  C.  Brown. 

A  little  work,  presumably  a  drawing,  4^in.  by  4in.,  "The  Oyster 
Woman,"  may  be  mentioned ;  it  was  lent  to  the  Grosvenor  Gallery  in  1888  by 
the  executors  of  the  late  Major  C.  P.  Teesdale,  and  was  sold  for  the 
ridiculously  small  sum  of  11  guineas  at  Christie's  in  1889,  a  companion  pair 
of  ovals,  heads  of  girls,  going  for  £3  15s.  at  the  same  time.  A  companion 
pair,  "  Death  of  a  Bird  "  and  "  Burial  of  a  Bird"  in  the  Victoria  Galleries, 
Dundee,  are  further  instances  of  the  artist's  fondness  for  subjects  of 
"simple  domestic  pathos,"  which  he  handled  "  vvith  considerable  freedom, 
yet  never  loses  the  sense  of  delicacy  and  beauty  which  by  nature  they 
require." 

To  the  Academy  of  1788,  Wheatley  contributed  not  only  the  beautiful 
portrait  of  his  wife  and  "Girl  Returning  from  Market,"  both  of  which  have 
already  been  described,  but  also  a  picture  of  "  Mr.  Howard  Offering  Relief 
to  Prisoners."  This  is  a  group  of  a  dozen  figures  of  men,  women  and 
children  in  a  dungeon,  with  the  philanthropist,  John  Howard,  in  their  midst ; 
the  picture  was  engraved  by  James  Hogg,  and  published  in  April,  1790.  The 
original  (on  canvas  40in.  by  50in.)  was  lent  to  the  British  Institution  in  1849, 
and  to  the  Old  Masters  in  1873  by  the  Earl  of  Harrowby.  "The  Girl  with 
Water  Cresses,"  in  the  same  year's  Academy,  must  have  been  the  picture 
which  was  in  the  Wheatley  sale  in  1795,  when  it  was  purchased  by  Molteno, 
the  well-known  print  dealer  and  publisher,  for  £3  7s.,  and  is  no  doubt  the 
picture  engraved  by  Bartolozzi  and  published  in  January,  1796.  "The  Flower 
Gatherers,"  exhibited  at  the  Grafton  Gallery  in  1895  by  Mr.  F.  Davis,  may 
have  been  the  pendant.  "The  Cress  Gatherer"  is  the  title  of  a  drawing 
exhibited  at  Messrs.  Gooden  «&  Fox's,  57  Pall  Mall,  in  1908,  No.  35.  The 
same  subject  is  repeated  in  a  work  now  at  Turner  House,  and  reproduced 
here :  there  are  in  this  two  figures,  both  very  young  girls,  with  a  dog. 

Of  the  large  number  of  engravings  after  Wheatley  which  were  published 
in  1787-8,  two  companion  pairs  may  be  noticed.  Both  are  based  on  a  passage 
in  the  "Moral  Tales,"  by  Marmontel.  "The  Four  Phials"  and  "The 
Samnite  Marriages  "  were  both  engraved  by  William  Ward,  and  published 
by  J.  R.  Smith,  in  June,  1787.  The  former  is  an  illustration  of  the  passage : 
"  Selina — where  are  you  going — yours,  allow  me  but  one  minute.  The 
Credulous  Alcidonias  having  retired  into  a  corner,  drank  up  the  elixir  in  the 
purple  phial  to  the  very  last  drop."  The  text  of  the  latter  is  :  "  These  tender 
Mothers  interweaved  with  vine-leaves  and  Myrtle,  the  beautiful  tresses  of 
these  Young  Virgins,  and  gave  to  the  fouldings  of  their  veil,  that  air  and 
turn  which  was  most  favourable  to  the  character  of  their  beauty."  A  third 
picture   was   founded    on    an    incident    in    Marmontel's    "Tales" — "The 

16 


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Goldfinch,"  engraved  by  Bartolozzi  in  March,  1789,  an  oval  with  figures  on 
a  balcony,  the  lady  in  light  dress  and  large  hat  with  feathers,  holding  a 
goldfinch,  the  youth  leaning  forward  to  seize  the  bird,  of  which  he  declares 
"  I  am  jealous."  The  original  pictures  have  not  been  traced.  The  second 
pair  of  this  same  year  were  "  The  Lovesick  Maid  " — a  girl  attired  in  white  is 
reclining  on  a  trestle  bedstead,  a  surgeon  leaning  over  her — and  "The 
Marriage,"  the  central  figure  of  which  is  the  bride  in  white,  with  pink  skirt, 
and  the  husband  by  her  side,  with  other  figures  around.  Both  pictures 
(each  18in.  by  13jin.)  were  at  Christie's  on  March  22nd,  1902,  and  realised 
50  guineas  and  280  guineas  respectively.  Both  were  engraved  by  J.  Dean 
for  the  "  Progress  of  Love"  series  in  1787,  and  that  of  "The  Marriage" 
is  here  reproduced  from  his  engraving.  An  oval  drawing  of  "  Bride  and 
Bridegroom,"  16in.  by  I4in.,  was  in  the  J.  James  sale  at  the  same  place  in 
1880,  and  realised  the  small  sum  of  eleven  guineas.  A  picture  also  with  title, 
"  The  Lovesick  Maid,"  was  painted  by  J.  Opie,  and  engraved  by  W.  Ward. 
"  Love  in  a  Mill,"  engraved  by  Delatre,  dated  June  1,  1787,  and  its  undated 
pendant  engraving,  "  The  Discovery,"  by  R.  Stanier,  are  two  other  domestic 
scenes  of  rural  life. 

Wheatley  varied  his  fancy  pieces  with  an  occasional  group  of  portraits. 
To  the  Academy  of  1789  he  sent  a  "  Portrait  of  a  Nobleman  returning  from 
Shooting  "  (No.  17).  This  is  a  group  of  Henry  Pelham  Clinton,  second  Duke 
of  Newcastle,  and  a  shooting  party,  with  Colonel  Litchfield  in  red  coat, 
Mansell,  the  keeper,  with  the  Clumber  spaniels,  and  Clumber  House  in  the 
background.  This  picture  was  painted  in  1788,  and  measures  63in.  by  84in.; 
it  was  lent  by  the  Duke  of  Newcastle  to  South  Kensington  in  1867,  and  to 
the  Old  Masters  in  1879.  Whilst  this  picture  was  on  view  at  the  Academy, 
"  proposals  "  for  engraving  it,  under  the  title  of  "  Return  from  Shooting," 
were  advertised  in  the  papers  "  by  F.  Wheatley  and  J.  Barney."  The  size 
was  to  be  24|in.  by  19in.,  "the  portraits  to  be  engraved  in  the  manner  of 
chalke  by  F.  Bartolozzi,"  and  "  the  animals,  landscape,  etc.,  in  the  aqua- 
tinta  by  S.  Aiken  "  ;  the  price  was  to  be  15s.,  10s.  6d.  with  the  order  and 
the  remainder  on  delivery  of  the  print ;  proofs  were  one  guinea.  Apparently 
the  engraving  did  not  appear  until  1803.  The  picture  may  be  described 
as  having  been  published  in  two  instalments  in  The  Sporting  Magazine :  in 
the  number  of  that  periodical  for  March,  1807,  the  equestrian  figure  of  the 
duke,  with  two  dogs,  was  engraved  as  a  full-page  plate  by  William  NichoUs 
(a  pupil  of  A.  Cardon)  ;  whilst  in  the  issue  for  May  of  the  same  year, 
another  plate  by  the  same  engraver  shows  us  W.  Mansell,  the  duke's 
gamekeeper,  and  the  group  of  "  springers  or  cockflushers  by  which  the 
gamekeeper  is  so  tastefully  surrounded  in  the  picture,  was  a  gift  to  the 
Duke  Henry  when  in  France  by  the  Duke  de  Noailles."  The  Duke  or 
Mansell's  breed  of  spaniels  was  an  especial  favourite  of  P.  Reinagle  the 
artist,  and  may  be  seen  in  some  of  his  pictures. 

Whilst  on  the  subject  of  hunting  reference  may  be  made  to  a  picture 
in  the  possession  of  Messrs.  Fores  &  Fores  of  41  Piccadilly :  this  represents 
a  hunting  party  with  11  figures  and  a  pack  of  hounds,  in  a  landscape  (36in. 
by  29in.)  ;  this  was  at  one  time  in  the  late  Lady  Currie's  collection. 
Unfortunately  the  identity  of  the  party  has  not  been  established. 

A  later  group  was  "The  Lord  Mayor  proceeding  by  water  to  West- 
minster, on  November  9th,  1789  (canvas  61in.  by  85in.),  in  which,  however, 

17 


only  the  figures  were  painted  by  Wheatley,  the  rest  of  the  picture  being  by 
R.  Paton.  This  work  was  presented  to  the  Guildhall,  London,  by  Alderman 
J.  Boydell,  in  1793.  The  companion  pair,  "  Love  "  and  "  Interest,"  engraved 
by  Picot,  and  "The  Benevolent  Cottager,"  engraved  by  Nutter,  were  pub- 
lished in  1788.  The  large  group,  exhibited  by  J\lr.  Arthur  Oliver  at  the  Old 
Masters,  in  1886,  and  known  as  "The  Garden  Party,"  probably  belongs  to  this, 
or  a  somewhat  earlier,  period  of  the  artist's  career.  It  represents  Airs.  Ward 
and  family,  with  Dr.  Layard,  Dean  of  Bristol,  and  Mr.  and  Mrs.  Oliver  ;  some 
of  the  party  appear  to  be  about  to  enter  a  boat  on  the  river,  in  which  one  of 
their  number  is  already  seated  ;  the  canvas  is  48in.  by  62in.  Reference  may  be 
here  made  to  a  group  called  "  The  Duke  of  Bedford  distributing  Alms,"  a 
drawing  15|  by  24  in.,  which  was  sold  at  Christie's  on  July  23,  1909,  and 
purchased  by  Messrs.  Gooden  &  Fox.  The  subject  of  alms-giving  is  also 
treated,  but  in  a  totally  different  manner,  in  the  picture  engraved  by 
Delatre. 

One  of  Wheatley's  most  popular  pictures  of  1789  was  "  The  Disaster," 
a  lady  in  yellow  skirt,  white  bodice,  and  large  black  hat,  entering  a  room 
from  a  garden,  to  find  a  bird-cage  overturned  and  a  cat  with  the  bird  in  its 
mouth  ;  beside  her  stands  a  girl  in  white.  This  picture,  which  was 
engraved  by  \V.  Ward  in  1789,  and,  like  so  many  other  Wheatley  engravings, 
published  by  J.  R.  Smith,  was  lent  to  the  Grosvenor  Gallery  in  1888,  and 
to  the  Old  Masters  in  1906,  by  the  late  Sir  Charles  Tennant ;  it  is  on  canvas, 
31  in.  by  26 Jin.,  and  was  at  one  time  in  the  collection  of  Sir  Edward 
Marwood  Elton,  Bart.  Two  drawings,  but  much  later  in  date,  may  be 
mentioned  here :  one,  an  interior  with  a  woman  showing  a  bird-cage  to 
two  children,  13|in.  by  lOin.,  signed  and  dated  1795;  and  a  girl  feed- 
ing a  swan,  11  Jin.  by  8iin.,  dated  1794,  which  was  at  Christie's  on 
December  1st,  1906. 

The  famous  set  of  four  pictures  of  "The  Seasons"  dates  from  1789, 
and,  engraved  by  Bartolozzi,  appeared  in  February,  of  that  year.  Two  of 
these,  "Spring"  and  "Autumn,"  were  by  Westall,  and  the  other  two, 
"  Summer  "  and  "  Winter,"  were  by  Wheatley.  In  their  engraved  form  they 
had  an  immense  vogue,  and  their  popularity  with  collectors  is  greater  than 
ever.  A  set  of  proofs  is  worth  over  50  guineas,  and  the  "  W'inter  "  alone,  in 
colours,  has  realised  nearly  that  sum.  As  already  stated  on  pp.  12-13, 
"  Winter  "  is  a  portrait  of  the  artist's  beautiful  wife.  The  engraved  plates 
are  still  in  existence — or  were  a  few  years  ago — and  are  in  sufficiently 
good  condition  for  reprints  to  deceive  all  but  expert  collectors.  The 
originals  of  both  "Summer"  and  "Winter"  were  in  the  possession  of 
Mr.  Maskelyne,  who  exhibited  them  at  the  British  Institution  in  1867, 
Nos.  195  and  200  respectively.  The  "  Winter"  was  in  the  Academy  of  1788 
as  the  "Portrait  of  a  Lady;"  curiously  enough  in  1794,  Wheatley 
exhibited  another  picture  with  the  same  title,  and  also  one  with  that  of 
"Spring." 

Another  important  and  still  exceedingly  popular  pair  of  engravings 
appeared  in  1789,  "The  Full  of  the  Honeymoon"  and  "The  Wane 
of  the  Honeymoon,"  engraved  by  R.  Laurie,  and  published  by  Robert  Sayer, 
the  one  a  domestic  interior  and  the  other  the  annex  of  a  ball-room,  each  a 
scene  with  two  figures,  the  "moral"  of  each  of  which  is  conveyed  in  the 
"legends,"  which  respectively  run: — 

18 


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Engraved  by  Vendjumam 


1 


(1)  "The  Honey-moon  scarce  full,  the  Bridegroom  cloys, 

And  seeks  a  Wanton's  arms  to  prove  new  joys  ; 
The  Bride  discovers  all,  and  in  vexation, 
Resolves  to  punish  by  retaliation." 

(2)  "  Fair  opportunity.  Love's  constant  friend, 

Soon  offers  to  accomplish  Madam's  end; 

At  masque  she  meets  a  Spark,  they  both  retire — 

Unmask — my  wife  !  my  spouse  !     Hell  flames  and  fire  I  " 

The  original  canvas  of  only  one  has  been  traced,  that  of  "  The  Full  of 
the  Honeymoon,"  which  now  belongs  to  Messrs.  Colnaghi  &  Co.,  it  measures 
20|-  by  24|  in.  There  was  quite  a  lull  in  engravings  after  Wheatley  from 
1790  to  1792.  One  of  his  three  exhibits  at  the  Royal  Academy  of  1791  was 
a  portrait  of  Mr.  Bond  Hopkins,  with  a  horse  and  spaniel,  and  another  was 
"  A  Pedlar  at  a  Cottage  Door."  Wheatley  was  probably  busily  engaged 
during  this  year  on  his  "  Cries,"  for  in  the  Academy  of  1792  six  of  the  series 
were  among  his  13  exhibits.  The  "Cries"  are  dealt  with  together 
on  pp.  28-32.  Among  the  numerous  exhibits  of  this  year  were  four 
domestic  scenes  which  attracted  the  notice  of  the  critic  of  The  Morning 
Herald,  and  in  the  issue  of  that  paper  of  May  5th,  these  four — 107,  "The 
Maternal  Blessing,"  119,  "The  Offer  of  Marriage,"  137,  "The  Wedding 
Morning,"  and  155,  "The  Happy  Fireside" — are  thus  noticed:  "To  Mr. 
Wheatley  belongs  the  great  and  peculiar  praise  of  blending  the 

' utile  dulci 

Lectorem  deledando  parieterqiie  nionendo,'* 

and,  by  elevating  the  arts  to  the  dignity  of  a  moral  in  this  series  of 
pictures,  he  has,  with  singular  felicity,  employed  his  pencil  in  delineating 
the  progress  and  manners  of  humble  life — pursuing  and  attaining  happiness 
through  the  channels  of  prudence  and  industry.  .  .  .  The  story  is  well  told, 
and  the  scene  in  No.  155  is  particularly  interesting.  If  we  knew  a  man 
whose  mind,  soured  and  contracted  by  the  presence  of  undeserved  calamity, 
was  verging  to  misanthropy,  we  should  place  this  picture  before  him,  and 
we  think  his  social  affections  would  revive."  The  Public  Advertiser,  in  its 
notice  of  the  exhibition,  admitted  that  "Wheatley,  in  his  way,  has  been 
unusually  successful." 

Two  companion  pairs  of  engravings  made  their  appearance  this  year. 
"Setting  out  to  the  Fair"  and  "The  Fairing,"  they  were  engraved  by  J. 
Eginton,  and  published  by  Jee  and  Eginton  in  November.  The  former 
is  a  picture  with  three  figures — the  mother  in  the  doorway  of  a  cottage,  the 
two  lovers  setting  out,  the  girl  in  blue  skirt  and  light  bodice  cut  low,  straw 
bonnet  with  pink  ribbons ;  the  youth,  in  light  dress  and  red  waistcoat,  has 
taken  off  his  hat  to  the  mother,  who  is  represented  as  saying  :— 

"  Beware,  my  daughter,  a  warm  lover's  wiles. 
Lest  faithless  flattery  thy  soul  deceive  ; 
Trust  not  too  easily  his  sighs  or  smiles, 
Nor  ev'ry  vow,  nor  ev'ry  oath  believe." 


*  "  He    has    carried   every    point  who  has  blended  the  useful  with   the   agreeable,   amusing   his 
reader  while  he  instructs  him." — Horace. 

19 


The  companion  is  a  view  of  the  interior  of  the  cottage,  the  mother  seated 
reading  a  Bible,  and  the  young  people  have  returned ;  the  verse  to  this  is 
supposed  to  be  spoken  by  the  young  man : — 

"Thy  daughter's  injury  I  never  meant; 
1  flatter'd  not,  for  flattery  always  lies; 
See  in  her  hand  the  proof  of  my  intent, 
1  never  sought  for  selfisli  transient  joys." 

The  latter  may  be  identical  with  "The  Pedlar,"  20in.  by  25in.,  exhibited  by 
Mr.  J.  F.  Crush,  at  the  Grosvenor  Gallery,  1889,  in  the  second  series  of 
"  A  Century  of  British  Art,"  No.  15.  The  pair  was  lent  to  the  Suffolk 
Street  Gallery  in  1833,  by  Mr.  R.  P.  Renall,  Nos.  169  and  175.  These  are 
not  Wheatley's  only  "  Fair"  pictures,  for  Mr.  G.  F.  Lyster  exhibited  at 
Wrexham,  in  1876,  a  picture  of  a  young  man  giving  a  fairing  of  a  ribbon  to 
a  girl ;  it  is  signed  and  dated  1799. 

The  second  companion  pair  of  1792,  also  engraved  by  J.  Eginton,  had 
for  titles  "  Filial  Piety"  and  "  The  Affectionate  Daughter."  The  theme  of 
parental  affection  was  frequently  illustrated  by  Wheatley,  particularly  in  his 
later  years.  In  Macklin's  sale  there  was  a  pair  of  drawings  "  The  Tender 
Father "  and  "  The  Relentless  Father."  The  former  of  these  may  be 
identical  with  "  The  Father's  Admonition,"  engraved  by  Schiavonetti  in  1803. 
The  original  water-colour  drawing  was  sold  at  Foster's,  Pall  Mall,  on  March 
20th,  1901,  for  42  guineas,  and  is  signed  and  dated  1798.  It  appears  to  have 
been  engraved  also  by  Field ;  examples  in  colours  sometimes  occur  in 
the  salerooms.  "Father's  Supper"  (35in.  by  27^in.)  was  the  title  of  a 
picture  in  the  Haskett  Smith  sale  of  May  9th,  1896,  and  realised  95  guineas. 

Domestic  scenes  of  nearly  every  description  attracted  Wheatley's 
attention  at  one  time  or  another.  Lord  Wolverton  possesses  two 
characteristic  examples,  "  The  Cottage  Pump,"  and  "  Fruit  Gatherers,  each 
llin.  by  14in.  ;  and  two  others,  "The  Mistletoe  Bough,"  and  "The  Harvest 
Home,"  are  reproduced  in  this  book  by  permission  of  Messrs.  Shepherd 
Bros.,  each  measures  22in.  by  ISin. 


20 


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IV.— WORK  FOR  BOYDELL,  BELL,  BOWYER,  AND  MACKLIN. 

In  no  instance  was  Wheatley's  extraordinary  versatility  and  industry  more 
marlied  than  in  connection  with  Boydell's  great  Shaliespeare  enterprise,  to 
which  he  was  one  of  the  most  prolific  contributors.  It  may  be  recalled 
that  in  1786  Boydell  elaborated  a  scheme  for  a  magnificent  edition  of 
Shakespeare's  works,  to  be  illustrated  by  all  the  most  eminent  masters  of 
the  English  school.  In  this  scheme  Boydell  embarked  a  capital  of  £150,000. 
A  number  of  commissions  were  given  out,  and  the  first  34  pictures  were 
exhibited  at  the  Shakespeare  Gallery,  Pall  Mall,  in  the  spring  of  1789, 
and  included  works  by  Wright  of  Derby,  the  Rev.  W.  Peters,  Rigaud, 
Hamilton,  Smirke,  Fuseli,  Wheatley,  Downman,  Hodges,  Opie,  Barry,  West, 
Northcote,  Sir  Joshua  Reynolds,  and  others.  Wheatley  was  represented 
by  no  less  than  three  works :—"  Midsummer  Night's  Dream,"  Act 
IV.,  Sc.  1;  "Taming  of  the  Shrew,"  Act  III.,  Sc.  2;  and  "Winter's 
Tale,"  Act  IV.,  Sc.  3.  In  1790  two  more  of  his  were  added  to  the  exhibition — 
"Tempest,"  Act  V.,  Sc.  1  ;  and  "All's  Well  that  Ends  Well,"  Act  V., 
Sc.  3.  These  five  do  not  anything  like  represent  Wheatley's  contribution 
to  Boydell's  great  scheme,  for  which  he  painted  13  pictures.  Not  all  of 
these  were  engraved,  but  they  were  all  included  in  the  sale  of  the 
Shakespeare  Gallery  at  Christie's  on  May  17th,  18th,  and  20th,  1805.  The 
artist  probably  received  an  average  of  not  much  less  than  £200  each  for  the 
larger  pictures,  a  distressing  contrast  to  the  prices  which  they  realised  at 
auction.  From  an  interesting  autograph  receipt  in  the  Anderdon  collection, 
in  the  British  Museum  (Print  Room),  we  have  an  idea  of  what  Wheatley 
received  for  the  smaller  Shakespeare  pictures.  The  receipt  is  dated 
October  28th,  1793,  and  runs  thus: — 

Received    from    Messrs.    Boydell    eighty-four    pounds   for    four 
pictures  from  "All's  Well  "  and  "  Much  Ado,"  in  full. 

£84.-  F.  Wheatley. 

As  the  sale  catalogue  is  very  rare,  we  cannot  do  better  than  quote  the 
whole  of  the  entries,  so  far  as  Wheatley  is  concerned,  with  their  respective 
lot  numbers  each  day,  the  prices  realised,  and  the  buyers'  names,  omitting 
only    Mr.   Christie's    commendations  : — 


Lot.  Title. 

May  17.     18  Antonio,  Heio  and  Beatrice       ..         ..         .. 

,,  19  Barocliio,  Conrade  and  Watcliin,  the  companion    .. 

,,  40  Theseus  and  Hippolyta     .. 

May  18.       8  The  Countess  and  Helena 

,,  9  The  King,  Helena  and  Lords 

,,  39  Polixenes  and  CamiUe  disguised  at  the  Shepherd's  Cottage 

,,  46  Ferdinand  and  Miranda  playing  at  Chess 

May  20.     12  Dull  Holophernes,  Sir  Nathaniel,  Janquetta  and  Costard 

,,  13  The  Princess  and  Ladies,  from  "  Love's  Labour  Lost"    .. 

,,  22  Scene  from  "  The  Comedy  of  Errors  " 

23  The  Duke  of  Ephesus,  from  ditto  

,,  36  Katherine  and  Petruchio  leaving  Baptista's  House 

37  Scene  from  "All's  Well  that  Ends  Well" 


Price. 


Buyer. 


None  given. 

— 

5J  gs. 
18  gs. 

Brown 
Gladstone 

5    gs. 

Conway 
Salteri 

41  gs. 

Newton 

45  gs. 

Donaldson 

124  gs. 

9    gs. 

7Jgs. 
104  gs. 

50  gs. 

Conway 

Do. 
Green 
Page 
Smith 

52  gs. 

Do. 

21 


The  first  of  the  Shakespeare  pictures  to  be  engraved  was  the  scene 
from  "Winter's  Tale,"  Act  IV.,  So.  3  [i.e.,  4],  illustrating  the  passage 
spoken  by  Perdita  : — 

"  Sir,  welcome: 
It  is  my  father's  will  I  should  take  on  me 
The  hostess-ship  o'  the  day." 

This,  a  composition  of  18  figures,  was  engraved  by  James  Fittler,  and 
dated  August  1st,  1792. 

Two  more  of  the  Shakespeare  Gallery  pictures  were  published  in  1793, 
both  dated  June  4th,  and  each  inspired  by  passages  in  "  Love's  Labour  Lost  " 
— one.  Act  IV.,  Sc.  2,  engraved  by  J.  Neagle  ;  and  the  other.  Act  V.,  Sc.  2, 
by  W.  Skelton. 

One  only  appeared  in  1794,  and  this  illustrated  a  passage  in  "  All's  Well 
that  Ends  Well,"  Act  V.,  Sc.  3  :— 

"  O  my  good  lord,  when   I  was  like  this  maid, 
I   found  you  wondrous  kind.     There  is  your  ring ; 
And,  loots  you,  here's  your  letter." 

In  this  picture  there  are  14  figures,  and  the  engraving,  by  G.  S.  and  F.  G. 
Facius,  is  dated  June  4th. 

Five  appeared  in  the  following  year,  1795,  the  earliest  on  January  1st — 
"Taming  of  the  Shrew,"  Act  II.,  Sc.  2,  engraved  by  J.  P.  Simon  ;  and  this 
was  followed  by  a  pair  from  "Much  Ado  About  Nothing,"  Act  III.,  Sc.  3, 
engraved  by  George  Noble,  and  Act  V.,  Sc.  4,  engraved  by  James  Fittler, 
both  dated  June  4th  ;  and  two  on  December  1st,  "Tempest,"  Act  V.,  Sc.  1, 
engraved  by  C.  Watson,  and  "All's  Well  that  Ends  Well,"  Act  I.,  Sc.  3. 

During  1796  and  the  two  succeeding  years  three  more  plates  were 
published:  "Comedy  of  Errors,"  Act  I.,  Sc.  1,  engraved  by  J.  Neagle; 
another  scene  from  "All's  Well  that  Ends  Well,"  engraved  by  L. 
Schiavonetti,  and  another  from  "  The  Comedy  of  Errors,"  engraved  by 
J.  Stow.  Out  of  the  thirteen  pictures  painted  for  Boydell's  Shakespeare 
Gallery,  nine  were  actually  engraved  and  published,  and  two  others  were 
published  by  John  Murray  in  1817,  many  years  after  the  artist's  death. 

But  long  before  Boydell,  Wheatley  had  been  attracted  by  Shakespeare, 
for  Redford  records  the  sale  in  1781  of  a  scene  from  "Twelfth  Night" 
(probably  "the  duel"  picture  exhibited  at  the  Society  of  Artists  in  1772, 
No.  374)  for  ten  guineas  to  a  Mr.  Tassant.  It  would  be  interesting  to 
trace  the  present  whereabouts  of  Wheatley's  Shakespeare  pictures,  but 
this  is  not  now  possible.  Doubtless  many  of  them  have  appeared  in  the 
various  picture  sales  held  since  1805,  changing  hands  at  small  prices,  "  Pros- 
pero  and  Miranda  "  for  instance,  sold  for  the  small  sum  of  20  guineas  in 
the  Fitzherbert  sale  of  1811.  "Catherine  and  Petruchio,"  from  "The 
Taming  of  the  Shrew,"  was  lent  to  the  British  Institution  in  1817,  by 
Mr.  Thomas  Pares.  One  of  the  engraved  pictures  in  the  Boydell  series 
was  in  the  J.  B.  Behrens  sale  at  Christie's,  July  26th,  1861,  "Scene  from 
Shakespeare,"  a  composition  of  four  figures,  signed  and  dated,  but  the 
entry  in  the  catalogue  is  not  very  illuminating.  At  the  W.  Cox  sale  of 
1862,  a  scene  from  "The  Two  Gentlemen  of  Verona  "  sold  for  9  guineas, 
and  this,  with  that  of  "Antonio,  Hero,  and  Beatrice,"  appears  to  have  been 
owned  at  one  time  by  a  Mr.  Clark  who  lent  both  to  an  exhibition  in  Suffolk 

22 


Street  in  1832,  where,  in  the  following  year,  the  picture  of  "The  Countess 
Rousillon  and  Helena"  appeared,  on  loan,  from  Mr.  L.  Dulacher. 

In  connection  with  the  Shakespeare  Gallery,  afterwards  and  for  many 
years  the  British  Institution,  Pall  Mall,  there  is  at  the  South  Kensington 
Museum  a  water-colour  drawing  (12^in.  by  18;|in.),  by  Wheatley,  of  the 
Interior  of  the  Gallery  as  it  was  in  1790;  it  includes  portraits  of  the 
Dukes  of  York  and  Clarence,  the  Duchess  of  Devonshire,  Countess 
of  Jersey,  Sir  Joshua  Reynolds,  Sheridan,  Alderman  Boydell,  and  his 
nephew,  Josiah  Boydell.  A  reproduction  of  this  historically  important 
drawing  will  be  found  among  our  plates. 

Concurrently  with  work  for  Boydell,  Wheatley  was  also  engaged  by 
John  Bell,  the  publisher,  to  execute  a  number  of  vignettes  for  the  charming 
little  series  of  "  Bell's  Theatre,"  and  five  of  these  vignettes  are  by  him — a 
complete  list  of  these  will  be  found  in  the  section  dealing  with  Engravings — 
and  the  dates  extend  from  1791-1792.  Whilst  on  the  subject  of  plays, 
reference  may  be  made  to  the  J.  James  sale  of  1880,  when  a  scene  from 
Colley  Gibber's  "  Careless  Husband,"  circle,  sold  for  £20,  and  two  small 
portraits  of  actresses  for  33  guineas. 

Although  not  in  strict  chronological  order,  we  may  group  together  here 
a  brief  reference  to  the  work  which  Wheatley  did  for  Bowyer  and  Macklin. 
To  Bowyer's  ambitious  "  History  of  England,"  the  pictures  for  which 
were  exhibited  at  the  Historic  Gallery,  87,  Pall  Mall  (a  house  in  which 
Gainsborough  had  resided),  in  1793,  or  earlier,  the  artist  painted  two 
subjects,  "Alfred  in  the  House  of  the  Neatherd"  (Hume,  Vol.  I.,  p.  80, 
octavo  edition),  and  "The  Death  of  Richard  the  Second" — "it  was  the 
prevailing  opinion  that  Sir  Piers  Exton,  with  others  of  his  guards^  fell  upon 
him  in  the  castle  of  Pomfret,  where  he  was  confined,  and  dispatched  him  " 
(Hume,  Vol.  III.,  p.  49).  Macklin  was  a  generous  customer  of  Wheatley, 
for  at  his  sale  in  May,  1800,  there  were  three  of  his  pictures,  "  Fisherman 
Going  Out"  and  the  "  Return,"  and  "  The  Schoolmistress,"  and  two  pairs 
of  companion  drawings,  "The  Tender  Father"  and  "The  Relentless 
Father,"  and  "Lauretta"  and  "Goldfinches";  to  some  of  these  more 
extended  references  will  be  found  elsewhere  in  this  volume. 


23 


v.— WHEATLEY  AND  THE  ROYAL  ACADEMY. 

We  may  for  a  moment  turn  aside  from  the  constant  stream  of  Wheatley's 
engravings  to  his  connection  with  the  Royal  Academy.  He  was  elected  an 
Associate  in  1790,  and,  with  an  unusual  rapidity,  a  full  member  in  1791. 
The  higher  distinction  was  not  owing  to  any  extraordinary  progress  in  his 
career  as  an  artist,  but  to  an  accidental  circumstance  which  caused 
widespread  discussion  and  comment  at  the  time.  The  facts  were  briefly 
these  :  The  Royal  Academy,  by  a  law  of  its  own,  could  not  elect  a  member 
under  the  age  of  24.  The  King,  who  had  "taken  up"  Thomas  Lawrence 
with  an  enthusiasm  which  largely  contributed  to  his  early  success,  was 
anxious  that  he  should  become  a  member  of  the  Royal  Academy.  But 
Lawrence  was  only  21,  and  therefore  ineligible.  A  way  out  of  the  difficulty 
seemed  to  have  presented  itself  when  it  was  suggested  that  Lawrence 
should  be  elected  a  supplementary  Royal  Academician  ;  this  was  supported 
both  by  Sir  Joshua  Reynolds  and  Benjamin  West,  but  opposed  by  37 
members,  who  brought  forward  "  one  Wheatley  "  (as  Allan  Cunningham 
phrased  it)  and  elected  him  in  teeth  of  the  Royal  and  Presidential 
candidate.  According  to  Peter  Pindar,  who  celebrated  the  event  in  the 
following  verses,  only  three  votes  were  cast  for  Lawrence,  as  against 
16  for  Wheatley  : 

"  So  dear  to  monarchs  is  that  idol  pow'r  I 
So  dear  is  prompt  obedience  to  a  King ! 
Far,  of  resistance  be  the  trying  hour  ! 
God  help  us  !  what  a  melancholy  thing  ! 

"  Yet  opposition-fraught  to  royal  wishes, 

Quite  counter  to  a  gracious  King's  commands, 
Behold  I  th'  Academicians,  those  strange  fishes, 
For  Wheatley  lifted  their  unhallow'd  hands. 

"  So  then,  those  fellows  have  not  learnt  to  crawl, 
To  play  the  spaniel,  lick  the  foot,  and  fawn — 
Oh  !  be  their  bones  by  tigers  broken  all ! 

Pleas'd,  by  wild  horses  could  I  see  them  drawn." 

Wheatley  appears  to  have  discharged  his  duties  as  a  member  of  the 
Royal  Academy  with  diligence  and  zeal,  so  that  during  the  last  few  years  of 
his  life,  when  poverty  overtook  him,  owing  to  his  long  and  frequent  attacks 
of  illness,  he  was  helped  from  the  funds  of  the  Academy.  His  Diploma 
work  was  a  picture  of  a  peasant  boy. 

A  few  of  his  pictures  of  1793-4  have  come  down  to  us.  In  the 
Albertina  collection  is  one  with  the  title  "The  Letter"  ("  Der  Liebesbt;ief  "), 
a  rustic  scene,  with  a  small  whole-length  figure  of  a  young  girl  in  pinkish 
white  low  dress  with  red  straw  hat,  seated  on  a  stile,  holding  a  letter ;  it  is 
signed  and  the  date  1793  (the  last  figure  is  somewhat  indistinct)  on  a  milk- 
pail  (see  also  p.  46).       A  companion  pair  of  water-colour  drawings,  signed 

24 


o  j: 

o  ^ 

t  ^ 
</>    . 

«^ 


and  dated  1793,  "Wood  Gatherers"  and  "The  Apple  Gatherers,"  were 
sold  at  Foster's  on  February  20th,  1901,  the  purchaser  being  Mr.  F.  Sabin. 
About  this  period  he  painted  several  pictures  of  school  life,  village 
scenes,  and  cottage  life.  One  of  the  most  popular  of  these  at  the  time  in  its 
engraved  form  was  "The  Schoolmistress,"  in  illustration  of  a  passage  in 
Shenstone's  poem : 

"  In  every  village,  marked  with  little  spire, 
Embower'd  in  trees  and  hardly  known  to  fame, 
There  dwells  in  lowly  shed  and  mean  attire, 
A  matron  old  whom  we  schoolmistress  name. 
Who  boasts  unruly  brats  with  birch  to  tame." 

This  was  purchased  by  Macklin,  who  published  an  engraving  of  it  by  Coles, 
in  March  1794;  it  was  afterwards  in  Macklin's  sale  in  1800.  "The  School 
Door"  (with  the  second  title  of  "Tenderness  persuading  Reluctance")  is 
another  work  by  this  genre;  it  shows  us  the  exterior  of  a  dame's  school, 
with  a  young  woman  persuading  two  children  to  enter,  one  a  boy,  the  other 
a  little  girl,  who  is  crying ;  a  church  spire  is  seen  in  the  distance.  This  was 
engraved  by  G.  Keating,  who  also  engraved  the  pendant,  "The  Cottage 
Door"  ("The  Family  Dinner"),  in  which  a  peasant  is  seated  at  table,  whilst 
the  mother  and  two  children  are  standing  round.  The  two  children  are  the 
same  in  both  pictures,  and  were  probably  the  artist's  own.  The  former  plate 
is  dedicated  to  the  Marquis  of  Hartington,  and  the  other  to  Lady  Georgina 
Cavendish.  Among  the  drawings  at  the  Grosvenor  Gallery,  1877-8,  was  one 
by  Wheatley,  "  Going  to  School,"  lent  by  Mr.  J.  E.  Taylor.  A  much  larger 
picture,  embodying  the  sentiment  expressed  in  "The  School  Door,"  was 
engraved  by  J.  Alais  in  1804,  and  published  by  Falser;  the  title  was 
"  Juvenile  Reluctance,"  it  is  a  group  of  two  women  and  two  children  by 
the  side  of  a  cottage,  with  view  of  extensive  landscape  to  left,  a  little  girl 
crying  and  being  persuaded  by  her  little  brother  to  go  to  school.  There 
was  a  companion  to  this,  and  by  the  same  engraver,  with  the  title  "  Juvenile 
Opposition,"  a  group  of  five  figures  by  a  cottage,  three  children  with  two 
boys  fighting.  Within  the  last  few  years,  quite  a  number  of  these  cottage 
scenes  by  Wheatley  have  come  into  the  market;  "Cottage  Interior,"  with 
figures,  a  drawing  16^in.  by  21in.,  dated  1794,  realised  100  guineas  at 
Christie's  in  December  1906;  "Village  Gossips,"  canvas  20in.  by  26in., 
realised  480  dollars  in  New  York,  in  February  of  the  same  year ;  whilst 
"  Benevolent  Cottagers,"  a  picture  30in.  by  25in.,  engraved  by  Nutter, 
was  sold  at  Christie's  in  June,  1900. 

Haymaking  and  other  scenes  of  farm  life  were  the  subject  of 
Wheatley's  pencil  or  brush.  One  of  these,  "  Morning  :  Cottagers  going  out 
to  Haymaking,"  was  engraved  in  mezzotint  by  J.  Yeatherd  (a  pupil  of 
Valentine  Green)  in  1794;  another,  on  a  smaller  scale,  "Haymakers  Going 
Out "  with  "  Cottagers  Returned,"  formed  a  companion  pair  of  engravings 
by  J.  J.  Van  den  Berghe  (a  pupil  of  Bartolozzi),  issued  by  Molteno  in  1800. 
"The  Pretty  Haymaker"  is  the  title  given  to  an  unfinished  proof  (and  one  in 
colours)  of  a  picture  of  a  hayfield  with  a  young  girl  making  hay,  and  looking 
coyly  down  as  a  young  waggoner  comes  up  close  behind  her,  a  waggon  and 
horses  seen  in  the  middle  distance ;  of  this  plate  only  two  or  three  are 
known,  one  of  which  is  in  the  collection  of  Mr.  E.  E.  Leggatt.  "  The  Little 
Gleaners,"  the  title  of  a  drawing  in  the  British  Museum,  is  a  group  of  three 

25 


children  in  a  cornfield,  and  is  reproduced  in  G.  R.  Redgrave's  "  History  of 
Water-colour  Painting  in  England,"  1894,  p.  41.  A  companion  pair  of 
water-colour  drawings,  "  The  Mower  "  and  "  Haymaking,"  each  8.Un.  by  6in., 
are  in  the  British  Museum  and  will  be  found  reproduced  among  our  illustra- 
tions ;  as  each  of  these  is  signed  and  dated  1800,  they  are  among  the  artist's 
latest  works,  done  a  few  months  before  his  death.  "Gleaner  and  Child" 
was  the  title  of  a  picture  sold  at  Christie's  on  June  24th,  1861. 

"  Going  out  Milking  "  and  "  The  Return  from  Milking  "  are  the  titles  of 
a  companion  pair  of  large  mezzotints  engraved  by  Charles  Turner  in  1800  ; 
"The  Milkmaids,"  17^in.  by  21  in.,  was  the  title  of  a  picture  sold  at 
Christie's  on  December  17th,  1904,  for  80  guineas.  In  1894,  M.  C.  Sedelmeyer 
was  the  owner  of  "The  Visit  to  the  Farm,"  a  landscape,  the  background 
of  which  consists  of  trees  with  dense  foliage ;  in  the  centre  the  farmer's 
wife  is  pouring  out  milk  into  a  jug  which  a  lady  is  holding ;  another 
lady  presents  a  cup  to  the  child  sitting  in  her  lap,  and  several  children  are 
filling  their  jugs  from  a  large  tub,  whilst  animals  and  several  figures  are 
seen  in  the  distance;  the  canvas  measures  24iin.  by  30in.  This  is  one  of 
several  pictures  by  Wheatley  which  have  passed  through  M.  Sedelmeyer's 
hands.  Another  is  a  Morland-like  scene  on  a  lake,  with  a  ferry-boat  con- 
taining several  figures,  two  cows  on  the  edge  of  the  water,  and  low  buildings 
and  trees  in  the  distance  ;  this  picture,  17iin.  by  21iin.,  realised  1,850  francs 
at  the  Sedelmeyer  sale  in  1907.  Other  rustic  scenes — or  such  as  have  been 
engraved — will  be  found  in  the  chapter  on  "  Engravings  after  Wheatley"  ; 
and  the  titles  of  yet  others  will  be  found  in  the  list  of  his  exhibits  at  the 
Royal  Academy. 

A  few  portraits  were  exhibited  at  the  Royal  Academy  by  Wheatley 
during  the  last  six  or  seven  years  of  his  fife.  The  names  of  those  which 
have  been  identified  will  be  found  in  the  list  of  his  exhibits.  Mention  may 
be  here  made  of  a  portrait  of  Charlotte,  youngest  daughter  of  the  Right 
Hon.  E.  Goulding,  in  white  dress  with  blue  sash,  a  water-colour  drawing, 
29in.  by  24iin.,  which  realised  30  guineas  at  the  Goulding  sale  on  May  13th, 
1899.  After  the  sale  of  his  furniture  and  effects  in  1795,  the  artist  retired 
to  Bath,  probably  in  the  hope  that  the  waters  would  effect  a  cure  for  his 
chronic  enemy,  the  gout.  He  sent  nothing  to  the  1796  Academy,  and  only 
one  picture  to  that  of  the  following  year,  when  he  had  returned  to  London 
and  was  living  at  20  Charles  Street,  Middlesex  Hospital. 

To  the  Academy  of  1800  he  sent  two  scenes  from  Goldsmith's  "  Deserted 
Village,"  executed  for  Du  Roveray's  edition  of  Goldsmith.  One  of  these, 
described  as  "  a  scene  from  a  novel,  circle,  admirably  painted,"  and  as  "  from 
Duroveray's  collection  "  was  in  the  Matthew  Hutchinson  sale  of  February 
22nd,  1861.  William  Hamilton  also  contributed  illustrations  to  the  same 
edition  of  Goldsmith,  and  the  Academy  of  1800  contained  three  of  his 
original  designs,  which,  with  those  of  Wheatley,  gave  that  edition,  published 
in  the  same  year,  an  excellent  advertisement.  Curiously  enough,  five  years 
before  the  appearance  of  these  Academy  pictures,  Bartolozzi  engraved, 
and  Macklin  published,  an  engraving  after  Wheatley  with  the  title  "  The 
Deserted  Village,"  with  the  lines  : 

"  Good  heavens !  what  sorrows  gloom'd  that  parting  day, 
That  call'd  them  from  their  native  walks  away." 

26 


Wheatley's  last  exhibit  appeared  in  the  Academy  of  1801,  the  set  of  four 
pictures,  "  Morning,"  "  Noon,"  "  Evening,"  "  Night,"  of  which  engravings  by 
H.  Gillbank  appeared  in  the  autumn  of  the  same  year.  Traces  of  this 
series  of  paintings  were  lost  until  the  present  year  ;  at  the  Barrett  Sale  at 
Milton  House,  Steventon,  Bucks,  on  June  8,  1910,  the  four  oil  paintings,  each 
17^in.  by  21in.,  dated  1799,  were  purchased  by  Messrs.  Parsons,  for  200 
gns.  In  this  year  (1910)  also  two  of  them,  "  Morning  "  and  "  Evening  "  were 
reproduced  in  colours  from  Gillbank's  engravings  in  The  Practical  Teacher, 
February,  pp.  435  and  438. 

At  the  time  of  Wheatley's  death,  on  Sunday,  June  28th,  1801,  several  of 
his  pictures  were  being  engraved.  The  most  important  of  these,  perhaps, 
is  "  Mary's  Dream,"  an  interior  of  a  bedroom  ;  a  young  woman  in  bed  is 
starting  up  at  the  apparition  of  a  young  man  standing  by  her  bedside,  the 
legend  being : 

"  She  from  her  pillow  gently  raised 
Her  head  to  ask  who  there  might  be, 
And  saw  young  Sandy  shiv'ring  stand, 
With  pallid  cheek  and  hollow  eye.'' 

This  was  engraved  by  W.  Ward,  and  published  by  R.  Ackermann  at  the 
Repository  of  the  Arts,  Strand.  The  original  picture,  now  in  the  National 
Gallery  of  Ireland  (17|in.  by  21|in.),  is  doubtless  identical  with  that  in  the 
W.  H.  Forman  sale  at  Sotheby's  on  June  27th,  1899. 

The  Montague  Guest  sale  of  April  8th,  1910,  revealed  the  existence  of 
a  companion  pair  of  drawings  by  F.  Wheatley,  signed  and  dated  1800, 
"The  Farmer's  Daughter"  and  "The  Miller's  Daughter"  (each 
8|in.  by  6in.),  which  Messrs.  Ellis  &  Smith  purchased. 


27 


VI.— "THE    CRIES    OF    LONDON." 

The  series  of  pictures  of  "  The  Cries  of  London,"  which  appeared  at  the 
Royal  Academy,  1792-5,  if  not  exactly  the  rock  on  which  the  artistic  fame  of 
Wheatley  is  erected,  may  at  least  be  described  as  the  chief  factor  in  the 
preservation  of  his  name  from  oblivion.  Street  cries  cannot  be  described 
as  a  lofty  source  of  inspiration,  but  they  have  in  all  countries  in  the  Old 
World  for  centuries  past  attracted  artists  and  versifiers.  The  earliest  recorded 
reference  to  London  street  cries  is  found  in  Lydgate's  "  London  Lickpenny," 
or  Lackpenny  (Harl.  MSS.,  367,  written  probably  early  in  the  15th  century), 
and  of  which  a  modernised  form  of  one  verse  may  be  quoted  : — 

"  Then  unto  London  I  did  me  hie, 

Of  all  the  land  it  beareth  the  prize ; 
Hot  peascods  1  one  began  to  cry ; 

Strawberry  ripe  1  and  cherries  in  the  rise  I 
One  have  me  come  near,  and  buy  some  spice  ; 
Pepper  and  saffron  they  gave  me  heed  ; 
But  for  lack  of  money,  I  might  not  speed," 
("  Cherries  in  the  rise  "  meaning  cherries  on  a  bough  or  twig.) 

The  literary  and,  so  far  as  it  goes,  the  artistic  history  of  London  cries 
may  be  read  in  the  late  Charles  Hindley's  little  book  on  the  subject, 
published  in  1881,  although,  curiously  enough,  Wheatley's  "Cries"  are  not 
even  mentioned.  In  1885  the  late  A.  \V.  Tuer  published  a  curious  little 
volume,  "  Old  London  Street  Cries,"  with  "  heaps  of  quaint  cuts,"  and  here, 
again,  the  variety,  antiquity  and  longevity  of  street  cries  are  demonstrated, 
both  by  text  and  by  illustration. 

In  the  more  important  Continental  cities,  as  in  London,  street  cries 
have  received  the  attention  due  to  their  antiquity  and  to  their  human 
interest.  Annibal  Caracci  (who  died  in  1609)  has  preserved  for  us  records 
of  the  street  cries  of  Bologna,  although,  as  may  he  seen  from  a  long  and 
interesting  article  (with  numerous  facsimiles)  in  //  Libro  e  la  Stampa  of 
Gennaio-Febbraio,  1907,  there  were  picturesque  street  cries  long  before  his 
time.  The  most  famous  collection  of  all  Italian  "  Cries  "  was  the  series  of  40 
plates  by  Gaetano  Zompini,  "  Le  Ariiche  vaiino  per  via,  nclla  Cittadi  Vc7iezia," 
published  in  Venice  in  1785.  In  Paris  also,  particularly  during  the  earlier 
part  of  the  18th  century,  the  "  Cries  "  attracted  the  notice  of  leading  artists, 
and  we  have  a  series  of  twelve,  engraved  after  Bouchardon,  and  another  dozen 
after  F.  Boucher.  Many  of  these  "  Cries  "  have  their  English  counterparts, 
the  chief  exceptions  being  "  floor  polishers,"  vinegar  and  charcoal  vendors. 

Many  pages  might  without  difficulty  be  written  on  street  cries  in  the 
various  cities  of  Europe,  and  of  the  changes  which  the  ever-altering 
conditions  of  life  among  the  humbler  classes  have  brought  about — the 
decline  of  some  of  these  curious  industries  and  the  rise  of  others.  But  we 
must  return  to  Wheatley  and  his  "  Cries."  A  mere  glance  through  any  of 
the  published  books  of  "  Cries  " — Hindley's  and  Tuer's  more  particularly — 
will   sufficiently  demonstrate   the   exceedingly   inartistic   character  of  the 

28 


illustrations  which  preceded  Wheatley's.  They  are,  indeed,  so  far  as 
England  is  concerned,  of  the  chap-book  order,  and  utterly  devoid  of  that 
touch  which  only  a  clever  artist  could  impart.  This  Wheatley  accom- 
plished with  his  unfailing  artistic  instinct,  and  at  once  removed  the  whole 
thing  from  the  banal  to  the  picturesque.  Books  of  the  Italian  and  French 
"  Cries  "  had  found  their  way  into  this  country — brought  home,  doubtless,  by 
many  a  wealthy  traveller  on  his  return  from  the  Grand  Tour — and  it  is 
probably  these  which  suggested  to  Wheatley  the  idea  for  his  series.  Six  of 
his  pictures  were  at  the  Royal  Academy  of  1792,  six  in  that  of  the  following 
year,  and  two  in  1795.  The  series,  therefore,  consists  of  fourteen  pictures, 
and  fourteen  were  actually  engraved  ;  but,  as  there  are  two  versions  of  one 
subject  ("  Gingerbread  "),  it  may  be  that  one  of  the  set  of  fourteen  exhibited 
pictures  never  was  engraved.  It  is  impossible  to  tell  the  sequence  of  the 
series  from  the  Royal  Academy  catalogues,  as  each  is  entered  as  "  One  of 
the  Cries  of  London,"  but  the  order  of  the  published  engravings  may  be 
taken  to  indicate  that  of  the  pictures  in  the  Academy  lists.  The  published 
set  of  thirteen  was  issued  in  a  portfolio,  with  the  title,  "  The  Itinerant 
Traders  of  London,  in  thirteen  engravings,  from  the  first  artists,  after 
paintings  by  Wheatley.  London  :  Published  by  Colnaghi  &  Co.,  Pall  Mall" 
(no  date).  In  the  British  Museum  a  set  of  the  first  two  plates  are  not 
numbered,  but  both  appeared  together,  the  list  of  plates  being  as  follows  : — 


f- 


"CRIES    OF    LONDON." 


Title  of  Subject. 

Date. 

Engraver. 

I ' 

Milk  below  Maids   ... 

July  2nd,  1793. 

L.  Schiavonetti. 

2.* 

Two  bunches  a  penny,  primroses 

July  2nd  [year  not 

stated]       the  same. 

3. 

Sweet  China  Oranges 

July,  1794. 

the  same. 

4. 

Do  you  want  any  Matches  ? 

July,  1794. 

A.  Cardon. 

5. 

New  Mack'rel  [sic] ..; 

Jan.  1st,  1795. 

R.  Schiavonetti,  jun. 

6. 

Knives,  Scissors,  and  Razors  to  Grind 

Jan.  1st,  1795. 

G.  Vendramini 

7. 

Fresh  Gathered  Peas.Young  Hastings 

Jan.  1st,  1795. 

the  same. 

8. 

Round  and  sound,  fivepence  a  pound, 

[Directed  by  L.  Schiavonetti] 

Duke  Cherries     ... 

June  25th,  1795. 

A.  Cardon. 

9. 

Strawberries,  scarlet  Strawberries  ... 

June  25th,  1795. 

[Directed  by  L.  Schiavonetti] 
Vendramini. 

10. 

Old  Chairs  to  mend 

Sept.  1st,  1795. 

the  same. 

11. 

A  New    Love    Song,    only    ha'penny 

a  piece 

March  1st,  1796. 

A.  Cardon. 

12. 

Hot  Spice  Gingerbread,  Smoaking  hot 

May  1st,  1796. 

Vendramini. 

13. 

Turnips  and  Carrots,  ho 

May  1st,  1797. 

T.  Gaugain. 

The  extra  plate  of   "  Gingerbread,"  to  which  reference  has  already  been  \ 
made,  differs  from  the  usual  one  in  having  a  different  background  and  an 
additional  figure.     The  tradition  at  Messrs.  Colnaghi  &  Co.'s  is  that  after 
a  time  the  engraved    plate   was   damaged,  •  and,  to  make   it  good,  it  was 
in  part  re-engraved.     This  extra  plate,  however,  is  extremely  rare. 

It  is  reasonably  certain  that  Wheatley's  six  "  Cries  "  in  the  Academy  of 
1792  attracted  a  good  deal  of  attention  and  comment,  and  the  idea  of 
engraving  them  was  warmly  taken  up  by  Messrs.  Colnaghi  &  Co.  In  a 
newspaper  cutting  of  June,  1795,  we  find  the  following  advertisement :  "  In 

*  Note. — The  most  beautiful  set,  in  colours,  and  in  the  origfinal  cardboard  case,  that  we 
have  ever  seen  of  the  "  Cries  "  belongs  to  Mr.  P.  T.  Sabin,  There  are  two  states  of  the  first  and 
second  plates.  In  the  earlier,  there  is  printed  at  the  bottom  left-hand  corner  of  the  one, 
"  First  Plate  of  the  Cries  of  London,"  and  in  the  other  "  Second  Plate  of  the  Cries  of  London," 
and  in  the  centre  of  each  of  the  English  and  French  titles  there  is  a  script  flourish.  It  maybe 
here  mentioned  that  the  rarest  single  plate  of  the  set  is  the  "  Turnips  and  Carrots." 


29 


the  civilized  countries  of  Europe,  the  prevalence  of  polite  manners  softens 
down  the  rough  originality  of  feature,  and  produces  a  similarity  very 
unfavourable  to  the  picturesque.  It  is  among  the  lower  ranks  of  life  we 
are  to  look  for  the  strong  trait  of  national  character.  The  Courts  of 
St.  James  or  St.  Petersburg,  or  Vienna  or  Rome,  equally  produce  gentle- 
men, but  the  peasant  of  Switzerland,  the  poissard  of  Paris,  and  the  lazzarone 
of  Naples  are  genuine  and  original  characters ;  and,  in  this  point  of  view, 
few  natural  characters  are  more  boldly  marked  than  the  lower  order  of 
people  in  the  City  of  London.  With  a  view  to  delineate  these  features,  so 
striking  to  the  foreigner  of  every  country,  and  to  the  philosopher  of  this, 
Messrs.  Colnaghi  &  Co.  respectfully  beg  leave  to  inform  their  friends  and 
public  that  they  have  undertaken  an  uncommonly  beautiful  and  highly 
ornamental  work,  which  is  purposed  to  consist  of  a  series  of  plates  engraved 
by  L.  Schiavonetti,"  and  so  forth.  The  advertised  prices  of  the  plates 
were  :  7s.  6d.  each  plain,  or  16s.  coloured,  and,  at  the  time  of  the  advertise- 
ment, the  six  plates  ready  were:  "Sweet  Pinmroses,"  "New  Milk," 
"  Card  Matches,"  "  China  Oranges,"  "  Knives  to  Grind,"  and  "  New 
Mack'rel." 

The  demand  for  the  engravings  must  have  been  so  great  that  the 
plates  got  worn  out ;  and  some  years  afterwards  Messrs.  Colnaghi  &  Co. 
issued  anew  series  engraved  by  "  Tam  Alliprandi,"  whoever  he  may  have 
been;  the  plates  measure  llfin.  by  9xVn.,  and  are  of  very  little  commercial 
value.  In  the  "eighties"  of  the  last  century  Messrs.  Field  and  Tuer 
published  a  "  List  of  Plates  engraved  by  and  after  Bartolozzi  and  School," 
and  in  this  list  there  were  six  "  after  Wheatley,"  dated  1812;  these  were 
"Potatoes,  full  Weight,"  "All  a  Blowin',"  "Milk  O!"  "Fresh  Straw- 
berries," "Chairs  to  Mend,"  and  "Fine  Rabbits."  These  were  described 
as  belonging  to  "The  Cries  of  London,"  and  the  plate  measurement 
of  each  was  5iin.  by  5^in.  But  "  after  Wheatley "  may  have  been  a 
bookseller's  flight  of  imagination ;  and,  as  we  have  neither  seen  these 
engravings  nor  those  of  "Alliprandi,"  they  are  mentioned  here  "without 
prejudice." 

Six  of  Wheatley's  "  Cries,"  and  perhaps  more,  were  engraved  by 
P.  Bonato  and  A.  Gabrielli,  and  examples  sometimes  occur  in  French 
salerooms,  but  we  have  not  come  across  them  in  this  country. 

The  pictures  were  doubtless  purchased  as  they  were  painted  by 
Colnaghi,  who,  having  had  them  engraved,  would  in  the  course  of  business 
dispose  of  them  to  his  customers.  And  yet,  so  far  as  we  are  aware,  only 
two  or  three  of  them  have  been  seen  in  a  public  exhibition  since  their  first 
appearance  at  the  Royal  Academy  upwards  of  a  century  ago.  "  Oranges  " 
was  lent  to  the  Grosvenor  Gallery  in  1888,  No.  229,  by  the  executors  of  the 
late  Major  C.  P.  Teesdale,  and  at  the  Teesdale  sale  in  the  following  year 
it  realised  only  21  guineas — scarcely  the  price  of  a  good  impression  of 
the  engraving  to-day  !  In  1896,  Mr.  Greville  Douglas  lent  to  the  Old 
Masters  Exhibition  at  Burlington  House  one  of  them,  "  Primroses  "  (canvas 
14in.  by  llin.).  Anderdon  was  at  one  time  the  owner  of  the  original  of 
"  Chairs  to  Mend." 

In  common  with  all  classes  of  18th  century  colourprints,  the  "  Cries  of 
London,"  after  Wheatley,  have  enormously  increased  in  value  during  the 

30 


^,i»^e</  iy  S'fySta^i,, 


,v        \ 


C-7rf^^ra,^<)  ^jU  ^'.  /yivrf^^z/^e  /t^  On^r-/i  ve'^  i^  /lui  .^^^u/d^ 


'mri^  m  ^^m/6/A 


'Mi£^  (Muzar  OM^  L&zi/m^:^ 


last  quarter  of  a  century.     When  Mr.  Tuer  published  his  little  book  on  the 

various  cries  of  the  metropolis  in  1885,  he  then  declared  that  the  set  after 

Wheatley  "  will  now  readily  fetch  £20,"  and  "  if  coloured,  £30  would  not  be 

considered  too  high  a  price,  though  five-and-twenty  years  ago  they   might 

easily  have  been  picked  up  for  as  many  shillings."     Even  within   the  last  I 

ten  or  fifteen  years  the  advance  has  been  great,  and  a  single  fine  impression 

in  colours  will  realise  as  much  as  a  complete  set  in  1885.     In   1892  a  set  in  n 

colours  was  worth  about  £200  ;  in  1899  a  set  realised  610  guineas;  in  1900,  '■''^   Af»«^  e:*v»u^^^     j 

810  guineas  was  paid,  and  in  the  year  following  the  record   figure  of    1,000  7-  ?Vv  ^r^'%K>*fiu^K^ 

guineas  was  reached.     They   form,  when   appropriately   framed,  charming  llicrp  f-r^  *i  U4-J,j2  ! 

wall  decorations  and  harmonise  well  with  the  old-fashioned  furniture  now  ^^oO^i^^^  4r*^^firtit 

so  popular.  (^ti.  ^^.  S-L^'<^.  ^^ 

Complete  sets  of  uniformly  fine  impressions  rarely  occur  together,  and  '   '■ 

the  difficulty  of  making  up  sets  is  only  too  well  known  to  the  collector.     In 

1906,  Messrs.  Graves  published  the  13  "  Cries  "  engraved,  for  the  first  time,  in  I 

mezzotint,  by  the  well-known  engraver,  Mr.  Thos.  G.  Appleton,  who  devoted 
many  years  of  careful  labour  to  their  production  ;  the  edition  was  limited  to 

250  sets  of  artist's  proofs  in  black,  and  250  sets  printed  in  colour  direct  from  1 

the  engraved  plates  ;  the  price  of  each  set  was  30  guineas. 

Reference  has  already  been  made  to  the  obsolete  character  of  nearly 
all  the  various  "  Cries  "  as  pictured  by  Wheatley.  The  knife  and  scissors 
grinder  and  the  hawker  of  turnips  and  carrots  are  the  sole  survivors  of  the 
13  trades  ;  but  the  former  no  longer  "  cries  "  his  calling,  and  the  raucous- 
throated  hawker  of  carrots  and  turnips  is  not  at  all  reminiscent  of  the 
picturesque  ruffian  of  Wheatley's  time. 

Books  and  portfolios  of  "London  Cries"  constitute  a  considerable 
literature,  but  we  can  only  refer  to  a  few.  In  1804,  Richard  Phillips,  the 
well-known  publisher,  issued  a  folio  of  29  coloured  plates  of  the  "  Cries  of 
London,"  by  Craig  and  others,  each  figure  depicted  before  a  noted  building, 
street  or  square  of  the  Metropolis,  i.e.,  St.  James's  Palace,  Portman,  Hanover 
and  Russell  Squares,  Newgate  and  Billingsgate,  Covent  Garden,  Blackfriars 
Bridge,  and  so  forth,  with  text  describing  both  the  subject  and  the  district. 
Another  work,  published  in  1819,  was  T.  L.  Busby's  "  Costumes  of  the 
Lower  Order  of  London,"  designed  and  engraved  from  nature,  with 
descriptive  letterpress;  there  are  24  coloured  plates  of  "Cries"  in  this 
book.  One  of  the  last  books  of  "  Cries  of  London  "  was  published  in  1824 
by  Harvey  and  Darton  (a  new  edition  was  printed  12  years  later),  and  in 
this  little  book  44  "Cries"  are  illustrated,  and  of  these,  only  two — 
"  Muffins  "  and  "  Sweep  " — have  survived.  A  still  later  book  on  the  subject, 
and  one  of  the  best  of  its  kind,  was  published  in  1839,  with  30  fine  etchings, 
from  rare  engravings  or  drawn  from  the  life,  by  John  Thomas  Smith,  at  one 
time  keeper  of  the  prints  in  the  British  Museum. 

Mr.  W.  G.  Menzies  has  compiled  an  interesting  list  of  the  sales  in 
London  since  1901  of  the  separate  "  Cries,"  and  these  prices  will  show,  not 
only  the  various  fluctuations  during  the  past  eight  years,  but,  in  a  way,  act 
as  a  guide  to  those  who  are  collecting.  The  examples  quoted  were 
all  printed  in  colours: 


31 


Title. 

Year. 

Price 

Title. 

Year. 

Price. 

C    s. 

'd. 

& 

s.       d. 

Mack'rel 

...     1901 

17   17 

0 

Milk  Below,  Maids 

..     1904 

13 

13     0 

Cherries 

...     1902 

24     3 

0 

Sweet  China  Oranges ... 

..     1904 

15 

4     6 

New  Mack'rel 

...     1902 

28     7 

0 

Primroses 

..     1904 

12 

12     0 

Sweet  China  Oranges  ... 

...     1902 

46     4 

0 

New  Mack'rel 

..     1904 

18 

7     6 

Milk  Below,  Maids 

...     1902 

18     0 

0 

Milk  Below,  Maids       ... 

..     1904 

20 

0     0 

New  Mack'rel 

...     1902 

39  18 

0 

Sweet  China  Oranges  ... 

..     1904 

20 

0     0 

Primroses 

...     1902 

17  17 

0 

Primroses 

..     1904 

16 

10     0 

Primroses 

...     1902 

13  13 

0 

Milk  Below,  Maids 

..     1905 

13 

2     6 

Oranges 

...     1902 

35  14 

0 

Primroses 

..     1905 

12 

1     6 

Primroses 

...     1902 

30     0 

0 

Sweet  China  Oranges ,. 

..     1905 

47 

5     0 

Primroses 

...     1902 

32  10 

0 

Primroses 

..     1905 

13 

13     0 

Sweet  China  Oranges... 

...     1902 

32  10 

0 

Primroses 

..     1907 

60 

18     0 

Primroses 

...     1902 

23  10 

0 

Sweet  China  Oranges ... 

..     1907 

50 

8     0 

Milk  Below     ... 

...     1902 

26  10 

0 

New  Mack'rel 

..     1907 

50 

8     0 

Sweet  China  Oranges... 

...     1903 

35   14 

0 

Milk  Below,  Maids 

..     1907 

62 

0     0 

New  Mack'rel 

...     1903 

40  19 

0 

Sweet  China  Oranges  ... 

..     1907 

60 

0     0 

New  Mack'rel 

...     1903 

23  12 

6 

New  Mack'rel 

..     1907 

86 

0    0 

Primroses 

...     1903 

25     4 

0 

New  Mack'rel 

..     1908 

19 

19     0 

Primroses 

...     1903 

29     8 

0 

Milk  Below  Stairs 

..     1908 

21 

0     0 

Milk  Below,  Maids 

...     1903 

33  12 

0 

Sweet  China  Oranges  ... 

..     1908 

25 

4    0 

New  Mack'rel 

...     1903 

30     9 

0 

Sweet  China  Oranges: 
and  New  Mack'rel 

..     1908 

16 

5    6 

Oranges 

...     1903 

15     4 

6 

New  Mack'rel 

...     1904 

21     0 

0 

New  Mack'rel 

..     1908 

13 

10    0 

[Proof  with  single  line  of  inscription  in  etched  letters.] 


32 


VII.— PICTURES  EXHIBITED  BY  WHEATLEY. 

[It  must  be  pointed  out  that  the  earlier  Catalogues  of  the  Royal  Academy  were  compiled  with  the 
greatest  carelessness.  Different  issues  of  that  of  one  year  frequently  show  serious  differences.  The 
same  remark  applies  to  the  Catalogues  of  the  Society  of  Artists;  in  the  case  of  the  latter,  some  of  those 
of  1775  only  enumerate  nine  exhibits  by  Wheatley,  in  others  twelve  works  are  given  under  his  name. 
The  Anderdon  set  of  Catalogues  of  both  institutions  in  the  British  Museum  appear  to  be  of  the  earlier 
issues.  We  have  taken  Mr.  Algernon  Graves'  entries  in  the  "  Royal  Academy  Exhibitors,"  and  the 
companion  volume  of  "The  Society  of  Artists"  as  likely  to  be  the  fullest.] 

SOCIETY    OP    ARTISTS. 


Duke's  Court,  Bow  Street,  Covent  Garden. 

1765.  155     Portrait  of  a  gentleman  ;  three-quarters. 

1766.  184     Miniature  of  a  gentleman. 

1768.     179     Small  whole-length  of  a  gentleman. 

At  Mr.  Turner's,  Surgeon,  St.  Martin's  Lane. 

1770.  148     A  Conversation. 

149  Portrait  of  a  child  ;  in  crayons. 

150  ditto     gentleman  ;     ditto 

1771.  184*   Portrait  of  a  lady  ;  in  crayons. 
185*  ditto 

186*  ditto 

(Elected  F.  S.  A.) 

The  Corner  of  the  Little  Piazza,  Covent 
Garden. 

1772.  374     A  Scene  in   "  Twelfth  Night,"  Act  III. 

(The  Duel). 

375  A  small  whole-length  of  a  lady. 

376  A  portrait  of  a  lady  ;  in  crayons. 

377  ditto     gentleman  ;  ditto 
(Director  F.S.A.) 

1774.  322     A  portrait  of  a  gentleman  ;  small  whole- 

length. 

323  ditto  ditto 

324  ditto  ditto 

325  A   Study  on   the  Coast  of  the   Isle   of 

Wight,  the  figures  by  Mr.  Mortimer. 

326  ditto     from  nature  ;  a  landscape. 

327  ditto  ditto 

328  A  Kitcat ;  small  whole-length. 

1775,  299     A  portrait  of  a  gentleman. 

300  ditto      small  whole-length. 


1777. 


301 

A 

302 

A 

303 

A 

304 

A 

305 

306 

307 

308 

309 

A 

310     A 


portrait  of  a  lady. 
n  Offering  to  Concord — A  family, 
small  whole-length  of  a  gentleman. 
Landscape — A  study  from  nature. 

ditto  ditto 

ditto  ditto 

ditto  ditto 

ditto  ditto 

portrait  of  a  lady,  whole-length  {large 

as  life,  in  the  character  of  the  Muse 

Erato). 
View  near  Battersea. 


Jermyn  Street. 


133 
134 
135 
136 
137 
138 
139 
160 


1776.     133     Portrait  of  an  Officer. 

Mr.  Webster  in  the  character  of  Comus. 
Gentlemen  Returned  from  Hunting. 
A  View  of  the  Breakwater  at  Sheerness. 
Ditto,  part  of  Rochester  Bridge  Castle. 
A  Landscape  ;  study  from  nature. 
Ditto,  view  on  the  Banks  of  the  Medway. 
A  lady  and  her  two  children  ;  small 
whole-length, 

161  A  family  ;  ditto. 

162  A  Landscape  ;  a  study  from  nature. 

163.  Ditto. 

164.  Portraits  of  two  gentlemen. 

Dublin. 

1783.    320.     Review  of  the  Irish  Volunteers  in  the 
Phoenix  Park,  Dublin. 


FREE  SOCIETY  OP  ARTISTS. 

1779.     176    A  whole-length  of  a  lady. 


ROYAL 

Jermyn  Street. 

1778.     333     Portraitsofa  family;  small  whole-length 

334  ditto  ditto 

335  A  Wood  Scene,  with  Gypsies  Telling  a 

Fortune. 

336  View  near  Ivy  Bridge,  Devonshire. 

337  View     near      Boxhill,      Surrey ;      and 

drawing. 
1780.     407    View  of  Conway  Castle  ;  and  drawing. 
408  ditto  ditto 

36  Gerrard  Street. 

1784.       55     Portrait  of  a  gentleman  (Mr.  Swiney). 
91     Part  of  Donnybrook  Fair,  in  Ireland. 


ACADEMY. 

1784.  100    View  of  the  Salmon  Leap  at  Leixlip,  in 
Ireland. 

178     Portrait  of  a  gentleman  (Mr.  Swiney). 
214     Portrait  of  a  gentleman. 

23  Welbeck  Street. 

1785.  147     View  in  Lancashire. 
163     An  Amorous  Sportsman. 

1786.  66     Portrait  of  a  gentleman  ;  small  whole- 
length. 

107  ditto  ditto 

194     Brickmakers. 

237    Girl  Making  Cabbage  Nets  at  a  Cottage 

Door. 
458     Portrait  of  a  lady  ;  drawing. 


33 


1 


PICTURES     EXHIBITED     BY    WHEATLEY—conliuued. 


1787.     133  A  Girl  Feeding  a  young  Bird. 

212  The  Recruiting  Officer. 

178S.         8  Girl  with  Water  Cresses. 

12  The  Rescue. 

31  Mr.  Howard  offering  Relief  to  Prisoners 

37  Girl  Returning  from  Market,  and  Count- 
ing her  .Money. 

95  Peasants  Relieving  an  Old  Soldier. 

39S  Portrait  of  a  lady  (Mrs.  Wheatley). 

49  Upper  Charlotte  Street. 

1789.  17     Portrait  of  a  nobleman  returning  from 

shooting.  (Duke   of   Newcastle),  and 
Col.    Litchfield;     View  of     Clumber 
(VValpole)." 
60     Children  with  a  Bird-catcher. 

145     Study;  from  nature. 

217     Wheelwrights  Shop ;  study  from  nature 

1790.  34     The  Charitable  Milkmaid. 
161     Preparing  for  Market. 

196     Jaques  and  the  Wounded  Stag.     From 

"  As  you  Like  It." 
241     Evening.     From  Cuningham's  Poem. 
247     A  Cottage  in  Cumberland. 
290     A  Pilgrim. 

436  Portrait  of  a  gentleman. 

(Elected  R.A.) 

1791.  30     Cottage  Children  called  to  Supper. 

85     Portrait  of  a  gentleman  with  a  horse 
and  spaniel  (Mr.  Bond  Hopkins). 
223     A  Pedlar  at  a  Cottage  Door. 

1792.  56     One  of  the  Cries  of  London. 
72  ditto  ditto 

107     The  Maternal  Blessing. 
116     One  of  the  Cries  of  London. 
119     The  Offer  of  .Marriage. 
137     The  Wedding  .Morning. 
147     A  Harvest  Dinner. 
155     The  Happy  Fireside. 
169     One  of  the  Cries  of  London. 
383*  ditto  ditto 

384*  ditto  ditto 

437  Morning — a  farmyard. 
453     Evening — a  farmyard. 

1793  8     One  of  the  Cries  of  London. 

10         ditto  ditto 

14         ditto  ditto 

27         ditto  ditto 

81     Portrait  of  a  gentleman,  his    lady  and 
children. 


1794. 


1795. 


114  Ploughing. 

125  Companion. 

131  One  of  the  Cries  of  London. 

135  ditto                 ditto 

202  Baptism. 

303  Morning — Cottagers    going    out    Hay- 
making. 

314  The  Fairing. 

326  Scene  from  the  Camp  at  Bagshot  Heath. 

547  The  Farmyard. 

66  Queen  Anne  Street,  East. 

122  Spring. 

187  Winter. 

215  Portrait  of  a  lady  (.Mrs.  Donaldson). 

312  Portrait  of  a  lady  (.Mrs.  Woodcock). 

407  The      Redbreast  ;      vide       Thomson's 
"  Seasons  " — Winter. 

53  One  of  the  Cries  of  London. 

63  The  Good-natured  Boy. 

92  The  Hospitable  Farmer.  , 

97  One  of  the  Cries  of  London. 

412  Portrait  of  a  lady  (.Mrs.  Monro). 

610  Portrait  of  a  lady  (.Mrs.  Wheatley). 

Bath,  or  at  Mr.  Farington's. 

1797.  126     A  Gypsie's  Theft  Detected. 

51  Warren  Street,  Fitzroy  Square. 

1798.  568    A  Landscape. 

20  Charles  Street,  Middlesex  Hospital. 

1800.     311     Scene  from  the  "  Deserted  Village,"  for 

Du  Roveray's  edition  of  Goldsmith's 

Poems. 
"The  good   old   sire,  the   first   prepar'd 

to  go 
To   new  found   worlds,  and   wept   for 

others'  woe,  "  etc. 
Scene  from  the  "  Deserted  Village,"  for 

Du  Roveray's  edition  of  Goldsmith's 

Poems. 
'Ah,  turn  thine  eyes 
Where   yon    poor   houseless   shiv'ring 

female  lies,"  etc. 
Morning. 
Noon. 
Evening. 
Night. 


1801. 


313 


68 
70 
87 
90 


♦  The  Times  of  May  28.  1789,  in  noticing  this  picture  said  :  *'  Wheatley  shines  in  his  portrait  of  the  Duke  of  Newcastle  returning 
from  Shooting,  The  lilteness  of  his  Grace  is  inimitably  well-preserved,  and  the  horses,  dogs  and  dead  game  are  excellent.  This  is  one  of 
the  best  in  the  room." 


34 


VIII.— WHEATLEY'S    SALE    AT   CHRISTIE'S. 

Although  the  last  decade  of  the  18th  century  appears  to  have  been  the  artist's  most  prosperous 
period,  his  increasing  infirmities,  owing  to  the  repeated  attacks  of  his  old  enemy,  the  gout,  would  seem 
to  have  greatly  curtailed  his  money-earning  talents.  It  is  difficult  otherwise  to  account  for  the  two 
days'  sale  of  the  "elegant  household  furniture,"  plate,  linen,  china,  books,  a  "fine-toned  organised 
pianoforte,"  and  indeed  the  whole  contents  of  the  artist's  residence  generally,  held  by  Mr.  Christie  on 
Monday  and  Tuesday,  January  12th  and  13th,  1795,  on  the  premises,  at  "No.  14,  on  the  west  side  of 
Russell  Place."  The  following  list  of  drawings  and  pictures,  with  prices  realised  and  purchasers 
names,  are  taken  from  Mr.  Christie's  own  catalogue,  in  which,  it  is  curious  to  note,  that  lots  58  to  67 
are  marked  as  being  the  property  of  Mrs.  Wheatlcy,  whilst  lots  68  to  70  are  marked  as  the  property  of 
a  Mr.  MiUington,  who  apparently  bought  in  lot  68. 


DRAWINGS. 


Lot. 

18  Maria,  a  fine  drawing  in  colours 

20  Two  views  in  colours,  Conway  Castle 

25  Rural  Life  ;  domestic  scene,  two  interiors 

58  Farm  Yard 

59  Cottage,  evening 

60  Labourer's  Return. . 

61  Winter 

62  ditto 

63  Camp  Scene 

64  ditto 

65  Cottage  and  figures 

66  Ryswick  Lake 

67  Girl  with  Water  Cresses 


Prices  Realised. 

Buyer. 

..      £1     3s. 

Clark 

..      £1      7s. 

Barrett 

..      £1    17s. 

Dr.  Munro 

. .      £3     3s. 

Seguier 

..      £3  10s. 

H.  P. 

..      £3  10s. 

Goodrich 

14s. 

ditto 

18s. 

Colnaehi 

14s. 

T. 

..      £1     Is. 

Goodrich 

..      £1     3s. 

Esdail 

..      £3  10s. 

Molteno 

..      £3     7s. 

ditto 

PICTURES. 


68  Stable 'Vard  with  Horses  and  Pigs   ..  ..  ..  ..     £16  5s.  6d.         Millingtcn 

69  The    Potter   Going   to   iVIarket,  with  a  Storm  Approaching;] 

morning  ..  ..  ..  ..  ..  •      £24  3s.  Thompson 

70  A  Woodman  Returning  Home  ;  evening  . .  . .  j 


rHE  Fa  I 


THE    MISTLETOE    BOUGH   (canvas,  22111.  X  i8in.) 

Bv  Francis  Wheatlcy,  R.A. 

Reproduced  by  kind  permission  of  Messrs.  Slieplierd  Bros. 


THE    IIAKUIAGE 

By  y.  Dean,  after  F.  Wluatley 


THE    HARVEST    HOMP;    (canvas,  22111,  X  iSin.j 

By  Francis  M'hcatlty,  K.A. 

Keprodiuc-:/  hy  kinJ  pcnxisiiiin  nf  Missis.  Slu-plienl  liros. 


IIIE     KL'SriC     LOVERS 
[?l    (ifUi  F.  W  lua:Uy,  R  A. 


Vl. 


THE    DISASTER 

By  II'.    Il'«r,/,  aft,-r  F.  Wlu-alln',  K-A. 

From  II  Print  in  tlw  [^osses^iiin  nf  Messrs.  P.  >j^  D.  Colnai^lii  ts^  Co. 


c:Kn;S    OK    LONDON,  PLATE    XU.       HOT    SPICE    GINGERBREAD,    SMOKING    HOT 
By  Vcndraiiiliii,  after  F.  IVIicalIfy,  R.A. 


SIR    HENRY    PIGOT,    G.C.M.G.    (I75O — 184O) 

By  Fiaiuis  U'lualley,  R.A. 

From  a  Ptiinlin^  in  llu'  f'osst'sslon  ol   Messrs.  TIios.  Agticrc  (s^  Sons 


THE    VOLUNTEERS    OF    THE    CITY    AND    COUNTY    OF    DUBLIN    AS    THEY    MET 

ON    COLLEGE    GREEN,    THE    4TH    NOVEMBER,     1779 

B\'  I'raiicis  \Vhi-atlf\\  R.A.  (From  a  Drmving  16J /h.  x 'i.S.V  jy/.  in  lite  Victoria  and  Albert  Miisfiiii 


INTERIOR     OF    THE    SHAKESPEARE    GALLERY     I  79O    (AFTERWARDS     I  HE    UKUlSll     IN  S  1  11  U  I  ]l)N  J 
By  Francis  Wheatley,  R.A.  (From  a  Drawing  12Jih.  x  18J  in.  in  the  Victoria  and  Alheit  Muscnm) 


X. 


2     ^ 

OS  r= 


3  = 

a  — 


ft; 


a!  ^ 

a     . 

<^ 

in     . 

a  — 


THK    WOODMAN'S    RETURN 

Ftom  n  Print  by  J.   WhesseH,  afUr  F.  \Vlicat!,y,  R  A. 

Ill  the  possissioti  of  Messrs.  Maggs  Bros. 


THE    ITINERAN'T    POTTERS 

From  a  Print  by  J.  Wliessell,  aft-r  F.  IVIuatUy,  R.A. 
In  the  possession  of  Messrs.  Mag^s  Bros. 


•*^^^:t  jr~  ^ 


SIKING 

From  a  Print  by  Bartolozsi,  after  Westall 

In  the  possession  of  Messrs.  Parsons  &>  Sons 

One  of  the  Set  of  Seasons,  by  Wheatley  &■  Wesfnll 


AUTUMN 

From  a  Py'nit  by  B  irtolo:.'/i.  n/'tir  A'.  W'tsltill 

In  Iht'  possissiuH  of  Mi'isis.  Parsons  i^  Sons 

Lhu-  of  the  S.t  of  Stusons,  hv  WhfatUy  f-  Wtstall 


X\'. 


WINILK    (MRS.    \VHEATLE\;. 

F.    WhealUy,  R.A. 

Fmn  llie  engiariiig  ii  F.  Bartolozzi 


0.      .' 

V.  -5 

w   "^ 


xvu. 


XVlll. 


GOING    OUT    MILKIN'I, 

By  C.  Turner,  after  F.  Wheatley.  R.A. 


THli    KHIL'KX     IKO.M     MILKING 

By  C.  Turner,  after  F.  Wheatley,  R.A. 


NYMPHS    BATIHN-i,        /; ,    R     /  , 


/      Wluc,ll,y.  K  A. 


RURAL     REl'OSE     By  T .  Gcremia,  after  F .  WluatUy,  R.A. 


THE    RELENTLESS    FATHER,    OR    THE     DISMISSAL 

By  Francis  Wheatley,  R.A. 

From  a  Drawing  182 '"•  X  1 1  J/h.,  17S6,  in  llic  Viitona  and  Albert  Mnseiin 


THE    TENDER     FAIHEN,    OR    THE    RECONXILI ATION 

Bv  Francis  W'licatUy,  R.A. 

Iwom  a  Drawing  13^  oi.  x  llJJ;i.,  17S«,  in  tin-  Victjria  ami  Albeit  Museum 


\X11. 


THE    MILKMAID 

By  F.  W/iealhj,  K.A. 

From  a  Druj^-ing  8^ ///.  v  ,S;^ ///.,  17H;i,  in  t'u-  Soauc  Museum 


THE    GOLDFINCH 

From  a  Print  by  Barloluzzi  after  F.  Wlu-atUy,  R.A., 

in  till-  fiossfssion  of  Messrs.  Parsons  &■•  Sons 


-   0) 


Si 


ALMS-GIVIXr, 

Ftnm  a  Print  by  J.  .U.  Delaire,  aftc>-  /•'.  Whtatley,  R.A. 

In  the  posscssinn  of  Missis.  Pidsons  &-  Suns 


a 

H 

< 

0. 
O 

z 


o 

u      . 
Q  := 


■■.nKA 


■*f        .f^^^ 


5>« 


X.W  111. 


THE    IIlMI' I'A]  ION 

STERNE'S  SENTIMENTAL  JOURNEY 

Bv  y.  M.  Delatrc.  after  /•".  Wkcatlcy,  R.A. 

Fioiii  a  Priiil  ill  ///(■  possession  of   Mfssrs.  M{i<^gs  Bros. 


8-2  2 
a  ^  tl 


' '■  ■ '— -  '■■  •  "'""^  '•  '• 


\ 


as 

O     =s  ^ 


XXX. 


THE    CAIiELESS    SEKVANl" 

Ffoni  a  Painting  by  Francis  Wheatley,  R.A. 

In  the  pussi:,siou  of  Clias.  Bulnnaun,  Esq. 


a:     . 


ssxii. 


RUSTIC  SYMPATHY.     By  C .  Kfatiiii;.  nflir  F.  Wlii-alhy.  R.A 


RUSTIC    tiENEYOLENCK.      By  0  .  Kcattllg  ,  UJ  tir  1-  .    \\  licatiiy ,  1<  ^A  . 

xxxiii. 


O 
< 

a  6.~ 


j^^^^g^^mymi 


^m^mMm 


2    -^ 

O    '^ 


2    '^ 

o  a- 
o     . 


r,         "^ 

a:    ^ 


VIEW  IN  PRIORV  GARDENS.     By  SiUulby,  \Vli,:allcy  iS-  Mortimer. 
From  the  Water-colour  Drau-iiig,  23J()i.  x37.i;H.,  in  The  Soaiie  Museum. 


A    COTTAGE    1  .\    L  L  Ml'.L  KLAN  1  >.      I  r.iiii  a  Painting  by  !■' .   WJuatley,  R.A.     {Canvas,  \(.t  in.  \22  in.) 
By  permission  of  Messrs.  Shepherd  Bros.,  21  King  Street,  St.  jfanies's,  London 


PS  = 

<  S 

w  ■-■ 

a.  K° 

[/)  — 


o 


(A    D3 


F 


J  — 


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OS    -^ 


r-     )^ 


H    2; 


J  ^-'^J     Heart  ^.  >5^  Xi^  ///fViA/  /^/^/r  4rr^  /.i  1^ 


Engraved  hyjieatli 


l:ii^i  arfii  i>y  Hal: 


Engraved  by  Delatre  Eugiaied  by  (hignuii 

TITLE-PAGES    DESIGNED    BV    WHEATLEV    FOR    BELL's    "BRITISH    THEATRE" 


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PREPARING    FOR    MARKET 

By  R.  Earlom,  after  F.  Wluatlry,  R.A. 


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By  T.  Waliou,  after  F.  Wluallry,  R.A. 


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lUCNRY    G  RATTAN 

Front  tlie  PainUng  by  Francis  Wlwatley ,  R.A., 

In  llie  National  Poilrnit  Cuillery  (IO\in.  by  S^in.) 


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Nliii. 


PREPARING    FOR    MAKKliT    (Canvas,  l8in.  X  22in.) 

From  a  Painting  by  F.  Wlicutley,  R.A. 

By  permission  of  Messrs.  Shifi/icrd  Bros.,  27  King  Street,  St.  James's,  London 


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xlv. 


Till;  RIOTS  IN    1780.      By  yaiiics  Hcalh,  ajtcr  F.   Wheatlcy ,  R  A. 


IRISH  PEASANTRY  CROSSING  A  BROOK.     By  K.  Earlom,  after  !•'.  W'healU) ,  K.A. 

xlvi. 


SHAKESPEARE.      WlNTEn's    TALE,    ACT  IV.,  SCENE    111.     By  J .  Fittlfr,  after  I- .  W  lieath-r ,  R.A  . 


JIVENILI.    OlT'USnToX.      By  J  ■  Mar.,.  ,,ju  i   1  .  Wluallcy,  K.A. 

xlvii. 


ITINERANT    I'EASANTS 

By  Francis  Whralley,  R.A. 

From  a  Draii'iii"  in  the  posscssiuii  of  Messrs.  Thos.  Ai^juir  &•  Sons 


xlviii. 


Engravings  after  F.  Wheatley. 

THE  following  list  of  Engravings  is  drawn  up  from  a  number  of  sources,  the  chief  of  which  is  the 
collection  in  the  Print  Room  of  the  British  Museum.  It  does  not  claim  to  be  complete,  but  the 
number  which  have  escaped  notice  cannot  be  large.  Many  of  the  titles  are  derived  from  such 
unsatisfactory  sources  as  sale  and  print-sellers'  catalogues,  in  which  dates  are  rarely  given  ;  in 
some  cases  the  dates  of  publication  are  not  given  on  the  prints  themselves,  and  in  others  the  prints  have 
been  cut  so  close  to  the  margin  that  the  dates  are  wanting.  The  arrangement  here  followed  is  chrono- 
logical where  the  dates  are  obtainable,  and  aphabetical  according  to  the  titles  of  undated  pictures. 
Generally  speaking,  and  except  where  otherwise  mentioned,  the  engravings  are  in  stipple  or  line,  and  the 
measurements  are  of  the  engraved  surface,  height  being  given  first  and  width  following.  The  chief 
abbreviations  are  c.p.  (colourprints)  ;  p.b.l.  (proof  before  letters) ;  and  o.p.b.l.  (open  proof  before  letters). 
Companion  engravings  are  grouped  together.  Owing  to  the  haphazard  way  in  which  prmts  are  sometimes 
catalogued,  and  the  difficulty  of  examining  all  which  come  into  the  market  at  long  intervals,  it  is  possible 
that  a  few  appear  in  the  following  list  under  two  titles.  The  "  Cries  of  London  "  will  be  found  dealt 
with  together  on  pp.  28-32  ;— 

1.— DATED  ENGRAVINGS. 

Date.  Title.  Engraver. 

Christian  VII.  of  Denmark  (1749-1808). 
1768,  Sept.  19  -  •  -  -  -  -  F.  \Vheati.e\,  ad  vivumdelint  et  fecit. 

Half-length,  in  oval  frame,  directed  to  front,  facing  and  looking  to  right,  star,  sash. 

13gin.  by  lOin. 
[Christian   VII.   married   Nov.   8th,    1766,   Caroline   Matilda,   daughter    of 
Frederick,  Prince   of  Wales,  and  was   in   England  for  a  time,  during  which 
Wheatley  would  have  seen  him.     This  print  was  published   at  one   shilling] 

Miss  Younge,  with  Messrs,  Dodd,  Love,  and   Waldron  in  the  characters  of  Viola,  Sir  Andrew 

Aguecheek,  Sir  Toby  Belch  and  Fabian.     "Twelfth  Night,"  Act  IV. 
1774,  March  1  -  -  -  -  -  -  -  -  -       J.  R.  Smith. 

Whole  lengths,  standing,  towards  left  Miss  Younge  as  Viola,  turban  and  plume,  right  hand 
holding  sword,  which  trails  on  ground,  supported  by  Waldron  on  left,  black  dress,  white 
collar;  Dodd  towards  right,  unwillingly  trying  to  draw  his  sword  ;  Love  behind  him  to  right, 
endeavouring  to  encourage  him  ;  in  background  large  trees,  landscape  in  distance. 

20in.   by  17in. 

Sigismunda. 
1779,  March  10        -  -  -  -  -  T.  Watson. 

Half  figure,  directed  and  facing  to  left,  looking  upwards,  hair  in  large  pleats,  veil,  dress  loose, 
exposing  bosom,  holding  vase  containing  the  heart  of  Guiscardo. 

Mez.   login,  by  SJin. 
[  ?  Mrs.  Siddons.]  1903,  1st  state,  5  guineas. 

Thais. 
1779,  March  10        -  -  -  -  -  -  .  -  -  T.  Watson. 

Nearly  to  waist,  directed  to  right,  looking  to  front,  flowers  twined  in  hair,  loose  dress,  left 
hand  holding  lighted  torch,  gold  band  round  right  arm. 

Mez.  10|in.  by  5Jin. 
["Conjectured"   to  be  Emma  Hart,  afterwards  Lady  Hamilton,  whom  it 
certainly  does  not  represent.] 

Artemis. 
1779  ..........         T.Watson. 

[Mentioned  by  Le  Blanc,  probably  in  error  for  one  of  the  two  preceding.] 

Old  English  Baron. 
1779-80.  -  -  -  -  .  .  .  .  -        p.  Delatre. 

Interior  with  three  figures — monk,  youth  and  girl  holding  a  pearl  necklace  and  locket  ("  Old 
English  Baron,"  p.  97). 

14Jin.  by  llin. 
["  The  Old  English   Baron,"  a   novel  by  Clara  Reeve,  was  first  published 
in  1777,  underthe  title  of  "  The  Champion  of  Virtue  :  A  Gothic  Story,"  which, 
in  the  second  and  subsequent  editions,  was  renamed  with  the  more  familiar 
title.    The  engraving  was  probably  published  circa  1779-80.] 

37 


DATED     EJiGRXVlNGS— continued. 
Date.  Title.  Engrraver. 

Rustic  Happiness. 
]7gQ  _...----■-  J.  Lauder. 

Scene  at  a  rustic  stile  beneath  an  aged  tree,  with  distant  landscape  to  left;  peasant  youth 
in  smock  holding  large  stick  ;  on  opposite  side  of  stile,  girl    in  low  dress,  blue   bodice  and 
pink  skirt,  with  inilk-pail  on  right  arm,  left  hand  held  by  youth  ;  dog  to  right. 
^  ISJin.  by  i:»Jin. 

[A  companion  to  "  Rustic  Contentment,"  after  Backer,  by  W.  H.  Brooke.] 

Antliony  Wcbsler  as  "  Coiiius." 

1781,  Jan.  10  -  ■  -  -  -  "  "  "  "    "•  Kingsbury. 

Whole-length  mcz.,  20in.  by  14. 

1906,  £1  15s. 

Henry  Gmtlnii,  M.P. 

1782,  Sept.  10         -  -  -  •  -  -  -  -  -  V.  Green. 

Mez.,  14|in.  by  lOf  in. 

Sir  Barnard  Turner,  Kt.  (1784). 

J783  .  .  i  .  -  -  -  .  .  James  Walker. 

Whole-length  as  Major  or  Colonel  of  the  Hon.  Artillery  Co. 

1908,  £8  15s. 

Volunteers  of  the  City  and  County  0/ Dublin. 
1784,  May  10  -  -  -  -  -  -  -  "  -         J.  CoLLYER. 

le^in.  by  25in. 

The  Amorous  Sportsman. 

J7S6  -  •  -  -  -  •  ■  -    C.  H.  HODOBS. 

Scene  in  a  wooded  dell,  with  three  children,  two  of  whom  are  standing  by  a  donkey,  whilst 

the  other  is  on  the  donkey's  back ;  the  sportsman  is  embracing  a  young  woman  in  low  dress 

and  white  head-dress  ;  dogs,  gun  and  rabbits  or  hares  to  left. 

1907,  7  guineas. 

A  Lover's  Auger. 
1786,  August  29      ..-------  P.Simon. 

Interior  with  two  figures— young  man  in  dark  coat,  breeches,  fancy  waistcoat,  white 
stockings,  and  curly  wig,  seated  at  a  table  with  books  and  writing  material,  holding  his 
watch  and  pointing  at  the  time  ;  young  woman  dressed  in  white  with  large  Gainsborough 
hat  ;  she  is  standing  beside  his  chair  and  exposing  her  bosom. 

"  '  Lord  bless  me,'  said  she  ;  '  let  a  body  but  speak  : 
Here's  an  ugly  hard  rose-bud  fall'n  into  my  neck; 
It  has  hurt  me,  and  vex'd  me  to  such  a  degree — 
See  here  I  for  you  never  believe  me  ;  pray  see. 
On  the  left  side  of  my  breast  what  a  mark  it  has  made  ! ' 
So  saying,  her  bosom  she  careless  display'd: 
That  seat  of  delight  I  with  wonder  survey'd. 
And  forgot  every  word  I  design'd  to  have  said." 

Prior's  "  A  Lover's  Anger." 
I2Jin.  by  lOin. 

Celadon  and  Celia. 
1786   August  29  "  Love  is  a  jest  and  vows  are  vain."  P.Simon. 

fnterior  with  table,  on  which  is  tea-urn  ;  young  man,  with  left  hand  lifted,  making  a  vow  to 
young  woman  in  white  dress  ;  another  man  crouching  under  bed  to  left. 
"  He  thank'd  her  on  his  bended  knee  ; 
Then  drank  a  quart  of  milk  and  tea  : 
And  leaving  her  ador'd  embrace, 
Hasten'd  to  court,  to  beg  a  place. 
While  she,  his  absence  to  bemoan, 
The  very  moment  he  was  gone, 
Call'd  Thyrsis  from  beneath  the  bed  1 
Where  all  this  time  he  had  been  hid." 

Prior's  "  To  a  'Young  Gentleman  in  Love." 

[This    is    probably    the    print    sometimes    catalogued    with    the    title    of 

"  Deception,"  by  P.  Simon."]  ^^^^^  ^^  ^3  ^^^ 

St.  Preux  and  Julia. 

From  Rousseau's  "  New  Eloisa,"  Vol.  III.  p.  8. 

1786  Designed  and  etched  by  Wheatley.  R.  Pollard. 

20in.  by  H^in. 

38 


DATED     ENGRAVttiGS— continued. 
Date.  Title.  Engraver. 

The  Companion. 
1786  Designed  and  etched  by  Wheatley.  R.  Pollard . 

20in.  by  14|in. 

[A  third  engraving  inspired  by  the  same  story,  "  Eloisa  Meditating  on  St. 
Preux's  Letter,"  an  oval,  lljin.  whole  length,  figure  in  white  dress  seated 
under  a  tree,  holding  a  letter,  without  engraver's  name  and  date,  is  some- 
times met  with.] 

1899,  c.p.  5  guineas. 

Rustic  Lovers. 

1787,  March  31  [?  after  F.  Wheatley.]  No  name. 

Interior  with  young  woman  in  while  low  dress,  striped  under-dress,  yellowish  shawl,  and 
white  mob  cap  with  red  ribbon,  seated  at  a  spinning-wheel,  feeding  a  cat  with  milk  ;  youth 
in  blue  coat  leaning  over  chair  and  slyly  pulling  cat's  tail. 

17in.  by  14in. 

Love  in  a  Mill. 
1787,  June  1  -  -  -  -  -  -  -  -  -  J.  M.  Delatre. 

Interior  with  two  young  peasants,  the  man  pouring  flour  into  a  sack  held  by  the  woman  ; 
dog  to  right. 

16|in.  by  13Jin. 

The  Discovery. 
[The  Companion,  undated]  -  -  -  -  -  -  -  -  R.  Stanier. 

Interior  with  two  figures,  mother  and  daughter,  the  former  discovering  and  reading  letter 
which  begins  "Dear  Sue." 

16iin.  by  ISJin. 

1903-5,  £25  to  28  guineas. 

The  Four  Phials. 
From  Marmontel's  "  Moral  Tales." 
1787,  June  14  ---------  W.  Ward. 

12in.  by  12in. 

The  Samnite  Marriages. 

From  Marmontel's  "  Moral  Tales." 

1787,  June  14  ---------  W.  Ward. 

12in.  by  12in. 

1902,  c.p.,  the  pair  £34. 
The  Sailor's  Return. 
1787,  June  14  -  -  ......  W.  Ward. 

20in.  by  14in. 

The  Soldier's  Return. 
1787,  June  14  ---------  W.  Ward. 

20in.  by  14in. 

1899,  the  pair,  c.p.,  20  guineas. 

Adelaide. 
1787,  July  21  -  .  ..-----  J.  HoGG. 

Beautiful  young  girl  under  trees,  in  white  low  dress,  with  blue  sash  and  slippers,  straw  hat 
bound  with  white  ribbon,  right  hand  on  open  rustic  g-'Ue,  left  hand  offering  clover  or  grass 
to  sheep.  "  As  they  advanced  towards  one  of  the  huts,  they  saw  a  flock  going  that  way, 
conducted  by  a  shepherdess  whose  gait  astonished  them." 

From  Marmontel's  Tales,  "  Shepherd  of  the  Alps." 
12iin.  by  12iin. 

1908,  in  brown,  £17  5s. 

The  Love-sick  Maid. 
1787,  Nov.  15  ---------  J-  Dean. 

The  Marriage. 
1787,  Nov.  13  ---------  J-  Dean. 

[Two  in  "The  Progress  of  Love"  series,  of  which  the  other  two  were  after 
G.  Morland,  "Valentine's  Day"  and  "The  Happy  Family,"  by  the  same 
engraver,  and  published  by  him  on  the  same  day.] 

1901,  0.1. p.,  8  guineas. 

The  Relentless  Father. 

[?  1787-8]  -  -  -  •  -  -  -  -  W.  N.  Gardiner. 

Cottage  door  scene,  with  three  figures— father,  in  blue  coat,  refusing  shelter  to  his  daughter 

holding  infant,   and  in  pink  low  skirt  with  yellowish  overdress  and  mob-cap;  behind  her  a 

youth  in  brown  coat,  blue  waistcoat  and  breeches,  left  hand  round  girl's  waist. 

12in.  by   lOin. 

39 


DATED     ENGRAVmCS— continued. 
Date.  Title.  Engraver. 

The  Tender  Father. 
Cottage  interior  ;  elderly  father  with  long,  grey  hair  ;  girl  in   pink  skirt,   white  low   bodice 
and  mob-cap,  weeping  and  holding  apron  up  to  her  eyes  ;  beside  her  youth  kneeling,  in  blue 
coat  and  reddish  waistcoat,  and  knee-breeches. 

12in.  by  lOin. 

1909,  the  pair,  c.p.,  £3  15s. 

Mrs.  Wheatley. 
1788,  March  4  -  -  -  •  -  -  -  -  -         R.  Stanier. 

Oval  lengthways,  with  four  lines  of  verse. 

1903-7,  c.p.,  16  guineas  to  21  guineas. 

Benevolent  Cottagers  ;  or,  Cottagers  Relieving  a  Beggar. 

1788,  March  21        -  -  -  -  -  ■  -  ".         '^^'-  Nutter. 

Scene  by  cottage  door,  with  peasant  woman,  surrounded  by  three  children,  pouring  alms 
into  the  hat  of  a  beggar,  who  is  seated  to  left. 

17in.  by  13Jin. 

1906,  bistre,  5^  guineas. 

Love. 
1788  -  -  -  -  -  -  -  -  -  -        V.  M.  PicoT. 

Two  lovers  surprised  in  a  shed  by  the  girl's  mother,  who  is  waving  a  broom  in  a 
threatening  manner. 

9in.  by  11  Jin. 

Interest. 
1788  -  -  -  -  -  -  -  -  -  -        V.  M.  PicoT. 

Interior  of  a  bedroom,  with  two  girls,  one  of  whom  is  showing  the  other  gifts  which  she  has 
received  ;   through  the  open  door  the  mother  and  father  are  seen  approaching. 

9in.  by  llAin. 

Silvia. 

1789,  Jan.  1  -  -  -  -  -  -  -  •  '      .  ''•  HOGO. 

Girl  in  low  cut  dress  holding  lamb  which  she  has  rescued  from  the  water.  "  She  was  in  the 
happy  moment  to  rescue  the  little  innocent  from  the  irresistible  violence  of  the  torrent,  and 
as  she  fondly  hurried  with  it  up  the  precipice,  a  smile  of  ineffable  sensibility  triumphed  in 
her  eyes." 

12in.  by  12in. 

Summer  (Mrs.  Troward). 
1789,  Feb.  1  -  -  -  -  -  -  -  •  F.  Bartolozzi. 

7Jin.  by  Sin. 
[The  model  for  this  picture  was   Mrs.  Whcatley's  sister,  Sarah   Leigh,  wife 
of  Richard  Troward.] 

Winter  {Mrs.  Wheatley). 
1789,  Feb.  1  -  .  -  -  •  -  -  -  •    F.  Bartolozzi. 

[The  plates  of  both  these  engravings,  with  the  companion  pair  of  "  Spring  " 
and  "Autumn,"  after  Westall,  appear  to  have  been  in  existence  up  to  a 
few  years  since,  as  a  firm  of  booksellers  was  offering  impressions  at  12s.  6d. 
each.  The  size  of  each  plate  is  given  as  6Jin.  by  4Jin.,  and  so  the  originals 
may  have  been  cut  down.] 

7Jin.  by  6in. 

48  guineas. 

Lauretta  and  the  Goldfinch. 
1789,  March  1  -  -  -  ■  -  -  -  -    F.  Bartolozzi. 

From  Marmontel's  "  Moral  Tales." 
I2in.  by  12in. 

The  Return  from  Market. 
1789,  April  21  --■-■-■-  C.  Knioht. 

16Jin.  by  ISJin. 

The  Disaster. 

1789,  July  26  -  ■  -  -  •  ■  -  •  ^V.  Ward. 

[A  pendant  of  "  The  Widow's  Tale,"  after  J.  R.  Smith,  by  W.  Ward  ;  both 

published  by  J.  R.  Smith,  King  Street,  Covent   Garden,  one  on  June  2nd, 

and  the  other  on  July  26th,  1789.] 

21Jin.   by  20iin. 

1903-5,  27  guineas  to  28  guineas. 

40 


DATED    ENGRAVINGS— continued. 

Date.  Title,  Engraver. 

The  Temptation. 

1789,  Aug.  1  -  -       From  Sterne's  "  Sentimental  Journey "  (Vol.  II.)         -         -  J.  M.  Delatrb. 

Interior,  with  two  figures — middle-aged  man  wearing  grey  wig,  seated  at  a  writing  bureau 
and  holding  pen,  looking  up  at  a  young  woman  in  white  low  dress  and  mob-cap;  she  is 
leaning  on  top  of  desk  and  is  holding  out  the  small  ink-pot  to  her  companion.  "The  fair 
fille-de-chambre  came  close  up  to  the  bureau  where  I  was  looking  for  a  card — took  up  first 
the  pen  I  cast  down,  then  offered  to  hold  me  the  ink  ;  she  offered  it  so  sweetly,  I  was  going 
to  accept  it — but  I  durst  not — I  have  nothing,  my  dear,  said  I,  to  write  upon — Write  it,  said 
she,  simply,  upon  anything — I  was  just  going  to  cry  out.  Then  I  will  write  it,  fair  girl  1  upon 
thy  lips." 

["  The  Act  of  Charity"  is  the  title  of  a  print  by  the  same  engraver  (?  after 
Wheatley),  sometimes  sold  with  the  above  as  a  companion.] 

llfin.  by  llfin. 

1908,  c.p.,  p.b.l.,  with  large  margins,  £22  10s. 

Alms  Giving. 
1789,  Aug.  1.    -  -  -  -  -  -  -  -  -  -  -  -  J.  M.  Delatre. 

[Apparently  the  companion  print  of    "  The  Temptation,"   and   published 
by  Ann   Bryer,  5  Poland  Street,  Soho.] 

12in.  circle. 

The  Full  of  the  Honey-moon. 
1789,  Sept.  1  ..-..-.-.  R.  Laurie. 

The  Wane  of  the  Honey-moon. 
1789,  Sept.  1  .........  R.  Laurie. 

The  pair,  1904,  £22. 
The  Show. 

1789,  Nov.  25  .  -  .  -  -  .  .  -  .p.  Bartolozzi. 

Group  of  seven  children  in  landscape,  one  boy  acting  as  showman  ;  to  right  rustic  cottage 
with  birdcage.     (Tuer,  No.  964.) 

The  Fair. 
Group  of  five  children  outside  a  stall,  and  playing  with  various  toys,  the  boy  in  centre  with 
small  drum  ;  trees  and  cottages  to  right.     (Tuer,  No.  963.) 

5|in.  by  B^in. 
These  are  two  of  four  pictures  of  child-life,  engraved  after  Wheatley,  by  Bartolozzi.    The  others  are  : 

Children  Playing  and  Children  at  Play.     (Tuer,  Nos.  934,  957.) 

The  Riots  in  1780. 

1789  --........    James  Heath. 

The  Gorden  Riots,  on  June  7th,  with  the  military  firing  on  the  mob  at  the  corner  of  New 
Broad  Street. 

16|in.  by  23Jin. 

1901,  p.b.l.,  10  guineas. 

jfohn  Howard  Relieving  Prisoner. 

1790,  April  9  ..--....  .      James  Hogo. 

22Jin.  by  17Jin. 

Abiia. 

1790  .  -  .  .  .  .  .  .  .  -  J.  F.  Bolt. 

A  folio  print  mentioned  in  a  German  catalogue. 

Van  der  Myn,  "  The  Smoker." 
circa  1790  .  -  (After  Van  der  Myn)  -  -  -     F.  Wheatley. 

Half-length,  seated,  directed  and  facing  in  profile  to  right,  right  hand  holding  pipe  to  candle 
on  table,  left  hand  holding  copy  of  The  Daily  Advertiser. 

Mezzotint,  12Jin.  by  9in. 
[Herman  Van  der  Myn   (1684-1741),  portrait  painter,  born  in  Amsterdam; 
resided  in  London  1718-36  and  1741.] 

The  Wheelbarrow. 

1791,  Jan.  8  -  .  .  -  .  .  .  .  .   J.  M.  Delatre. 

Group  of  five  children  in  a  landscape,  boy  wheeling  barrow,  in  which  one  of  the  little  girls 
is  seated. 

5Jin.  by  6Jin. 

1906,  bistre,  p.b.l.,  5J  guineas  ;  c.p.,  £13. 

41 


DATED    ENGRAVINGS— cDn^«tt^</. 


Date.  Title.  Engraver. 

The  Turkey-cock. 

1791,  June  8  .--..---  -   J.  M.  Delatre. 

Group  of  five  children  in  a  landscape  near  a  cart,  small  boy  protecting  the  others  from  a 
turkey-cock  seen  to  left. 

Sfin.  by  6Jin. 

1907,  the  pair  in  bistre,  12J  guineas. 

Filial    Piety, 

1792,  March  12        -  ■  -  -  -  -  -  '     .  "  f  EoiNTON. 

Father  in  sick  bed,  child  in  white  dress  and  mob-cap  with  pink  ribbons,  kneeling  by  bedside. 

12in.  by  lOin. 

The  Affectionate  Daughter. 
1792,  March  12        --------  -  J.  Eointon. 

Two  small  whole-length  figures  in  a  cottage,  mother  seated  at  a  spinning-wheel,  daughter  in 
light  low  dress,  offering  her  money  in  outstretched  hand. 

12in.   by  lOin. 


[?  1792,  May  5] 

[?  1792] 
1792,  Nov.  10 

1792,  Nov.  10 

1793,  Feb. 


Lindor  and  Clara. 

I3Jin.    by   lUin. 

The  Companion. 

Setting  out  to  the  Fair. 

21|in.  by  ISin. 

The   Fairings. 

21|in.  by  18in. 

Morn  ing. 


F.  BONFOY. 
F.  BONFOY. 

J.  Eginton. 

J.  Eointon. 
1905,  c.p.  the  pair,  42J  guineas. 

J.  Barney. 


Group  outside  farm  buildings;  two  youthful  carters,  one  on  white  horse,  the  other  leading 
dark  horse  and  carrying  small  basket  in  one  hand  and  pitchfork  in  the  other  ;  girl  in  white 
low  dress  drawing  water  from  a  rustic  well. 

Mez.,  ISin.  by  23|in. 

Evening. 
1793,  Feb.  ...---...  j.  Barney. 

Group  of  four  figures  outside  farm  buildings  ;  carter  on  horseback  watering  three  horses  in 
shallow  pond;  three  women,  one  holding  harvest  rake  on  shoulder  and  small  harvester's 
beer-barrel;  a  second  is  pouring  milk  from  a  small  wooden  pail  into  a  larger  one,  the  third 
woman  conversing  ;  broom  and  barrow,  with  rustic  shed  to  left. 

Mez.,  ISin.  by  23^in. 


1793,  Jan. 


1795,  Feb.  20 


1794,  March  20 


1794,  March  27 


Death  of  Richard  II. 

12iin.  by  SJin. 

Alfred  at  the  House  of  the  Xeatherd. 


The  Schoolmistress. 

From  Shenstone's  "  Schoolmistress. 

13|in.  by  17|in. 


Spring 


A.  Smith. 

VV.  Bromley. 

J.  Coles. 
1908,  c.p.,  £6  103. 

-   F.  W.  TOMKINS. 


Whole-length  of  a  child  in  a  garden,  holding  with  right  arm  pinafore  of  roses,  and  plucking 
other  flowers  with  left  hand  ;  basket  of  flowers  on  ground. 

Sin.  by  3Jin. 

[This    is    probably    an    engraving   of    "Spring"    exhibited   at    the    Royal 

Academy  of  1794.] 


1794,  April  18 


Morning  :  Cottagers  going  out  Haymaking. 

■    J.  Yeathbbd  (pupil  of  V.  Green). 
Mez.,  20in.  by  25in. 


42 


DATED     ENGRAVltiGS— continued. 


Date.  Title.  Engraver. 

The  Smitten  Clown. 

1795  [?  1794]  Jan.  1  -  -  .  -  -  .  -  S.  W.  Reynolds. 

Rustic  scene  with  two  youthful  figures  in  foreground  ;  youth  in  long  smock  declaring  his  love 

td  a  girl  in  light  dress,  white  apron,  and  straw  hat,  fastened  with  ribbon,  holding  rake  ;   load 

of  hay  with  horses  in  background,  cottage  and  labourer  in  distance. 

"  The  Little  God  of  soft  desires, 
Who  wounds  kings,  lords  and  country  squires, 
At  Colin's  heart  let  fly. 
O  gen'rous  maid,  assuage  his  pain, 
The  lad  is  honest,  fond  and  plain, 
'Twere  pity  he  should  die." 

Mez.,  13in.  by  14fin. 
[This  exceedingly  scarce  engraving,  which  is  not  recorded  in  Whitman's 
"  S.  W.  Reynolds,"  is  very  rarely  found  other  than  cut  close  to  the  plate. 
It  has  been  ascribed  to  W.  Ward.  Mr.  F.  T.  Sabin  has  an  example  with 
the  names  of  artist  and  engraver,  the  date  and  the  verses  above  quoted. 
The  above  title  may  not  be  strictly  accurate,  as  there  is  none  on  Mr, 
Sabin's  impression.     The  date  of  year  is  indistinct.] 


1796,  Jan.  1 


1797,  Jan.  1 


Rustic  Sympathy. 

Mez. 

Rustic  Benevolence, 

Mez. 
Watercress  Girl. 


1796,  Jan.  6  -  -  -  - 

Barelegged  child,  with  dog,  by  a  river. 


G.  Keating. 

G.  Keating. 
1903-5,  c.p.  the  pair,  36  guineas  to  £50. 

-  F.  Bartolozzi. 


1796,  May  1 


1796,  May  1 


lOJin.  by  8in. 

The  Encampment  at  Brighton. 

Mez.,  19Jin.  by  25Jin. 
The  Departure  from  Brighton. 


1903,  p.b.!.,  £2  10s. 

J.   MUHPHV. 

J.  Murphy. 


[There  are  two  states  of  this;  one  with  the  dedication,  and  the  other  a 
proof  with  open  letters  without  the  dedication.] 
Mez.,  19,^in.  by  25^in. 

1905,  c.p.,  the  pair  42  guineas  ;  1906,  £22  10s. 

Credulity. 

1796,  Aug.  1  -  -  -  -  -  -  -  -  -  A.  Cardon. 

Whole-length  figure  of  young  peasant  girl,  seated  on  a  rustic  style  under  a  tree,  looking  up 
to  right,  and  holding  a  letter  in  both  hands,  white  dress,  yellow  bodice,  straw  bonnet; 
milk  pail  by  tree  to  right.  1903,  £2. 

llin.  by  S^in. 

The  Itinerant  Potters. 

1797,  Jan.  1  -  -  -  -  -  -  -  -      J.  Whessell. 

Group  of  man  and  woman,  with  donkey  and  paniers  containing  pots  and  pans;   landscape 
and  trees  in  the  background  ;  stormy  sky. 

2]ain.  by  18in. 

1905,  c.p.,  46  guineas. 
The  Woodman's  Return. 
1802,  March  25  [The  Companion]        -  -  -  -  -  -  -      J.  Whessell. 

Peasant    man    and   woman    carrying   wood,    two   children    and   dog   to    right,    sheep   and 
trees  behind. 

21|in.  by  ISin. 

1905,  c.p.,  20  guineas. 
Preparing  for  Market. 
1799,  Jan.  7  -  -  -  -  -  -  -  -  -  R.  Earlom. 

From  the  original  picture  in  the  possession  of  B.  B.  Evans,  in  the  Poultry,  who  published 
the  engraving. 

Mez.,  18in.  by  23|in. 
["  Going  to  Labour"  is  the  title  of  a  print,  which  we  have  not  seen,  by  the 
same  engraver,  sometimes  sold  with  the  above  as  a  companion.] 

1907,  the  pair  £25. 


43 


DATED     EJiGHAVlNGS— continued. 
Date.  Title.  Engraver. 

Rustic  Conversation. 

1799,  Jan.  23  -  -  -  -  -  -  -  •  -       T.  RiCKARDS. 

Landscape  with  groups  of  trees  and  rustic  gate  in  the  foreground ;  three  figures,  two 
women,  one  of  whom  is  standing  and  holding  a  rake,  man  seated  ;  cows  and  cottage,  etc. 
to  left. 

Sin.  by  lOin. 

Itinerant  Tinker. 

[?  as  above]  -  -  -  -  •  -  -  -  '  .      ^-  FREschi. 

Cottage  under  trees,  a  tinker  seated  in  the  roadway  mending  kettle,  two  women  looking  on. 

8in.  by  lOin. 
(Perhaps  a  companion  pair.) 

Going  out  Milking. 

1800,  Jan.  l  .--.-----  C.  Turner. 

Group  of  three  figures,  a  young  woman  and  two  children. 

Mez.,  19in.  by  16in. 

The  Return  from  Milking. 
1800,  Jan.  1  ---------  C.  Turner. 

Three  figures,  the  children  apparently  older  than  those  in  the pnidani. 

Mez.,  19in.  by  16in. 

1903,  c.p.,  the  pair,  27  guineas  ;  1905,  m.,  10  guineas. 

[A  pair  of  oil  paintings,  13in.  by  lljin.,  with  the  abo%e  titles  were  in  the 
Barrett  sale  referred  to  on  p.  27,  and  were  sold  together  for  100  gns.] 

Haymakers  Going  Out. 
1800,  Jan.  15  -  -  -  -  -  -  -  -    J.  J.  Van  Den  Berohe. 

Cottage  doorway  with  two  children  and  young  peasant  woman  holding  rake  and  carrying 
basket  of  provisions. 

12in.  by  14in. 

Cottagers  Returned. 
1800,  Jan.  15  -  -  -  -  -  -  -  -    J.  J.  Van  Den  Berohe. 

Rustic  scene  at  entrance  of  cottage,  with  cottager,  wife  and  two  children. 

12in.  by  14in. 

Rustic  Hours  :  Morning. 
1800,  May  3  -  -  -  -  -  -  -  -      H.  Gillbank. 

Five  figures,  churning. 

Noon. 

1800,  June  29  -  -  -  -  -  -  -       H.  GiLLBANK. 

Five  figures  at  repast  in  cornfield. 

Evening. 
1800,  Sept.  29  -  -  -  -  ■  -  -  -      H.  Gillbank. 

Figures  of  labourers  returning  from  work,  and  other  peasants. 

Night. 
1800  -  -  -  -  -  •  -  -  -  -      H.  Gillbank. 

Six  figures  in  cottage  interior,  woman  putting  baby  in  cradle,  labourer  asleep  with  his  head 
leaning  on  table. 

Each  njin.  by  22|in. 

1902,  set  of  4,  c.p.,  62  guineas. 

[At  least  two  of  this  series  of  four  appear  to  have  been  again  engraved  by 
Thouvenin,  published  under  the  titles  "Rustic  Employment"  and  "The 
Happy  Family,"  the  latter,  15.Jin.  by  21iiD.,  is  apparently  the  same  as 
"  Evening  "  in  the  above  series.     They  realise  about  £3,  in  colours.] 

The  Basketmakers. 

1802,  Jan.  21  -  -  -  -  -  -  -  -  -  J.Baker. 

Two  female  figures  in  the  open,  one  carrying  bundle  of  willows,  the  other  seated,  in  low 
dress,  and  mending  basket,  dog  by  her  side. 

ISJin.  by  12in. 

44 


DATED     ENGRAVINGS— continued 

Date.  Title.  Engraver, 

The  Alpine  Lovers, 
1802  --..---         Branson  [?  A.  R.  Branston]  . 

Mountainous  scene  with  two  lovers  seated  beneath  tree,  sheep  to  right,  cottage  to  left. 

13Jin.  by  12in. 
[A  pair,  published  by  MacUlin,  of  the  Poets'  Gallery.] 

The  Dipping  Well  in  Hyde  Park. 

1802  ....-.---.  GODBY. 

Group  of  fine  female  figures  bathing,  children,  man  behind,  trees  and  landscape. 

20Jin.  by  25Jin. 
[Companion  to  "  The  Drinking  Well  in  Hyde  Park,"  after  Spilsbury,  and  by 
the  same  engraver.] 

The  Return  from  Shooting. 
1803,  Jan.  1  -  -  -  -  -  -   F.  Bartolozzi. 

Group  of  five  figures,  Henry,  second  Duke  of  Newcastle,  and  others. 

Stipple,  18Jin.  by  24Jin. 

1905-6,  etched,  l.p.,  4  guineas  to  5J  guineas. 
[The  companion  engraving  to  "The  Return  from  Coursing,"  after  W.  Hamilton.] 

1905,  the  pair,  c  p.,  £39. 

Preparing  for  Market. 

1803,  April  •  -  -  •  -  -  -  W.  Annis. 

Rustic  house  covered  with  climbers,  trees  to  left,    white  horse    partly  harnessed,  against 

which  a  girl  is  leaning  and  talking  to  driver;  young  mother  and  child  on  steps  of  entrance 

to  cottage  to  right. 

Going  to  Market. 
1803,  April  .........  W.  Annis. 

Two  figures  in  a  landscape,  peasant  man  on  brown  horse,  young  woman  in  blue  dress, 
old-gold  bodice  and  bonnet,  on  grey  horse. 

At  Market. 
1803,  April  ■  -  -  -  -  -  -  -  ■  VV.  Annis. 

Market  scene  in  country  town,  church  in  distance,  a  waggon  ;  a  stall  with  woman  holding  a 
fowl  and  bargaining  with  man  in  red  coat. 

Returned  from  Market. 

1803,  April  ..-..-.--  W.  Annis. 

Porch  doorway  of  same  house,  with  old  woman  at  a  spinning-wheel  and  examining  some 
material  which  the  girl  has  apparently  brought  back  from  market ;  horse,  cart,  and  empty 
baskets  to  left. 

A  set  of  four,  mez.,  each  20^in.  by  18in. 

1904,  c.p.,  tlie  four,  185  guineas. 

The  Father's  Admonition. 

1803,  July  1  -...-.--  L.  SCHIAVONETTI. 

13in.  by  16^in. 
[The  companion  print  of  "The  Country  Clergyman,"  after  R.  Westall.] 

1897,  in  colours,  £16. 

Juvenile  Reluctance. 

1804,  June  24  .........  J.  Alais. 

17Jin.  by  21Jin. 

Juvenile  Opposition. 
1804,  June  24  .........  J.  Alais. 

17|in,  by  21Jin. 

1906,  the  pair  15  guineas 

Irish  Peasantry  Crossing  a  Brook. 

1807,  March  12        -  -  -  .  ,  -  -  R.  Earlom. 

Landscape  with  cottage  to  left,  and  woman  hanging  out  clothes,  river  in  centre  with  horse 

and  loaded  dray,  woman  holding  child,  the  elder  child  wading  ;  drover  fording  ;  on  left  peasant 

with  two  cows. 

Mez.,  18in.  by  23Jin. 

45 


2.— UNDATED    ENGRAVINGS. 


Title.  Erigrraver. 

Attention. 


Inattention. 

Belinda. 
The  Careless  Servant. 


R.  M.  Meadows. 

R.  M.  Meadows. 
1906,  c.p.,  the  pair  19  guineas. 

J.  Barney. 


C.  Playter. 
Group  of  two  figures  in  an  out-house  ;   girl  in  low  white  dress  baling   out  pigs-meat  from  a 
trough  ;  pig  drinking  from  a  running  beer-barrel  ;  youth   leaning  over  trough  and  whispering 
to  the  girl ;  well  seen  on  the  outside. 

12Jin.  by  lOiin. 

1897,  4  guineas. 

The  Careless  Milkmaid. 

J,  Eginton. 
1899,  5  guineas. 

The  jealous  Rival. 

J.  EOINTON. 

A  pair  of  ovals. 

1897,  c.p.,  20  guineas. 

Christening. 

Michael  Sloane. 
Group  of  nine  figures  around  a  church  font,  clergyman  in  white  gown  holding  infant,  aged 
clerk  behind  reading  the  christening  service. 

22Jin.  by  HJin. 

The  Conujiunion. 

SUNTACH. 

Group  of  nine  figures,  mostly  young  people,  kneeling  and  taking  communion  ;  figure  in  black 
seen  leaving  church. 

22Jin.   by    17Jin. 


Calculation, 


1902-5,  pair  in  colours,  £5  10s.  to  £6. 


-     [?  A.  Cardon.] 
1908,  the  pair,  c.p.,  1908,  £13  6s. 


Fidelity  Rewarded. 

J.  Ogborne. 
Female  figure  in  light  dress  and  mob-cap,  seated  at  a  well,  giving  water  to  a  dog. 

Sin.   by  6\\a. 

Fisherman  Going  Out. 
•  •  -  -  -  -  -  -  -  J.  Barney. 

Group  of  six  figures  (three  children)  in  front  of  rustic  cottage  overhung  with  trees  and  by  the 
side  of  river  or  sea,  boat  anchored,  boy  hoisting  sail. 

17^in.  by  21Jin. 

In  colours,  £12. 

The  Fisherman's  Return. 

J.  Barney. 
1908,  the  pair,  c.p.,  £15  10s. 

Girl  Reading  a  Letter. 

-  •  -  -  ■  ■  -  -  .  -  J.  Barney. 

Girl  in  low  red  dress  and  mob-cap  with  blue  ribbon,  seated  on  a  stile,  holding  a  letter,  milk 
tub  beside  her. 

[The  original    drawing,   12in.  by    lOin.,   is  the   property  of  Mr.    F.    Sabin. 
A  picture  of  the  same  subject  is  referred  to  on  p.  24  ] 

1908,  in  brown,  margin  cut  to  an  oval,  £3. 

Group  of  Peasants. 

T.H. 
Group  of  five  peasants  in  a  landscape,  at  foot  of  the  gnarled  trunk  of  an  old  tree,  at   foot  of 
which  a  bare-legged  woman  is  seated  ;  cows  to  left. 

7|in.  by  9|in. 
[An  example  of  this  engraving  is  to  be  found  in  Anderdon's  copy  of  Edwards' 
"Anecdotes  of  Painters,"  Print  Room,  B.M.] 

46 


UNDATED     ENGRAVINGS— i-oH//«»fci. 

Title 

Henry  and  Jessy. 


The  Industrious  Cottager. 
I6Jin.  by  13in, 

The  Rustic  Lover, 

16Jin.  by  ISgin. 

Lady  on  Horseback. 
Lady  on  horseback,  with  servant  following. 

Nymphs  Bathing. 


Engraver. 

J.  Hogg,  acquatint  by  Jukes. 
1905,  12  guineas. 


C.  Knight. 


C.  Knight. 
The  pair,  1908,  £8. 


G.  T.  Stubbs. 
1908,  £3  5s. 


R.  Pollard,  acquatint  by  F.  Jukes. 
Five  females,  two   of  whom  are  bathing  in  a  stream  beneath  trees  and  near  waterfall,  two 
dressing  and  the  other  dressed. 

Hjin.  by  19Jin. 

Recruiting   Officer. 

R.  Stanier. 
Two  whole  length  figures  in  a  landscape,  officer  in   iinifo!m   oflering  a  purse  to  country  girl, 
who  is  in  low  dress  and  cape,  broad-brimmed  straw  hat,  holding  in  left  arm  market  basket 
in  which  the  head  of  a  dead  fowl  is  seen. 

16Jin.  by  ISjin. 

O  tempt  me  not,  sir  1  pray. 
Or  wish  to  lead  an  innocent  astray 
To  ruin  first ;  you  are  inclined, 
And  then  desert  the  injur'd  maid. 
In  virtue's  path  I  wish  to  move 
A  stranger  to  ungenerous  love. 

Rural  Repose. 

T.  Geremia. 
Landscape  with  haymakers  ;  in  the  centre  two  women  resting,  one  of  whom  is  asleep  ;  in  the 
background  two  peasants  are  lovemaking,  dog  to  right. 

Stipple,  IS^in.  by  16|i.n. 

Rustic  Courtship. 
Two  figures  of  a  shepherd  and  shepherdess  seated  beneath  a  tree,  dog  lying  at  their  feet; 
sheep  to  right,  cottage  seen  in  the  distance. 

14in.  by  ll|in. 
[A  closely  cut  copy  of  this  engraving  at  Christie's,  22nd  March,  1909,  lot  137.] 


The  School  Door. 
(Otherwise  "  Tenderness  Persuading  Reluctance.") 


G.  Keating. 


The  Cottage  Door. 

G.  Keating. 
1901-3,  c.p.,  the  pair  from  29  guineas  to  36  guineas. 
["  The  Curate  of  the  Parish   Returned  from  Duty,"  after  Singleton,  by  T. 
Burke,  is  sometimes  sold  with  "  The  Cottage  Door"  as  a  pair.] 


The   Strawberry   Girl. 

Newly  Married  Couple  taking  Farewell  of  the  Mother. 
Visit  to  the  Mother  with  the  Grandchild. 


T.  Watson. 
1905,  £1   Is. 


Wright. 


Wright. 


47 


ILLUSTRATIONS  TO  SHAKESPEARE. 


Date. 


1793,  June  4 


Title. 

"Love's  Labour  Lost." 
Act  v.,  Sc.  2. 

Stipple,  lO^in.  by  6Jin. 


Engraver. 
\V.    SivELTON. 


1793,  June  4 


■Love's  Labour  Lost." 
Act  IV.,  Sc.  2. 

Stipple,  lOJin.  by  6Jin. 


J    Neagle. 


1795,  June  4 


1795,  June  4 


1795,  Dec.  1 


1797,  Sept.  1 


1795,  Dec.  1 


1796,  Sept,  29 


1798,  April  23 


"Much  Ado  About  Nothing." 

Act  III.,  Sc.  3. 
Borachio,  Conrade  and  Watchman. 

Stipple,  17Jby  23J. 

"Much  Ado  About  Nothing." 

Act  v.,  Sc.  4. 

Antonio,  Hero,  Beatrice  and  Ursula,  masked. 

Stipple,  17Jin.  by  23Jin. 


"All's   Well  that  End's   Well." 

Act  I.,  Sc.  3, 
Countess  of  Rousillon  and  Helena, 

Stipple,  lO^in.  by  6|in. 

"All's   Well  that  End's   Well." 
The  King,  Helena  and  Lords. 

Stipple,  lO^in.  by  6.Jin. 

"  Tempest." 

Act  v.,  Sc.  1. 

Ferdinand  and  Miranda  playing  Chess. 

Stipple. 

"  Comedy  of  Errors." 

Act  I.,  Scene  1. 

The  Shipwreck  and  Rescue. 

Stipple,  lOiin.  by  B^in. 

"  Comedy  of  Errors." 
Antipotes  of  Ephesus,  Dromio,  Countryman,  &c. 

Stipple,  lOJin.  by  6Jin. 


Geokgb  Noble. 


Ja.mes  Fittler. 


F.  Legat. 


L.  SCHIAVONETTI. 


Caroline  Watson. 


J.  Neagle. 


J.  Stow 


1817,  Jan.  1 


1817,  Jan.  1 


Pitt. 


"  Tvso  Gentlemen  of  Verona." 
Act  v.,  Sc.  4. 

"  Ruffian,  let  got  that  rude  uncivil  touch." 

Stipple,  9}in.  by  Sin. 
(Published  by  J.  Murray.) 

"Henry  IV. "—Part  IL 
Act  IV.,  Sc.  5. 

"There  is  your  crown  ; 
And  He  that  wears  the  crown  immortally 
Long  guard  it  yours." 

Stipple,  Sj'in.  by  Sin. 
(Published  by  John  Murray.) 


R.  Rhodes. 


G.  Noble. 


48 


Date. 

1791, 

Jan. 

6 

1791, 

Apri 

127 

1791 

Aug. 

10 

1791 

Sept 

.30 

1791 

Dec 

12 

1792 

Jan. 

7 

ILLUSTRATIONS    TO     BELL'S    THEATRE. 
Vignettes  for  "Bell's  British  Theatre." 

Title  of  Subject.  Engraved  by 

Bickerstaff's  "  Love  in  a  Village  "      -  -                 -  Grionion. 

Beaumont  &  Fletcher's  "  Rule  a  Wife  and  Have  a  Wife  "  -  Hall. 

Dryden's  "Spanish  Friar"             -  -                 -  Delatre. 

Gibber's  "  Careless  Husband "          -  -                 -  Delatre. 

Goldsmith's  "She  Stoops  to  Conquer"  -                -  Hall. 

Johnston's  "Country  Lasses "           -  -                -  Heath. 


ILLUSTRATIONS  TO  GOLDSMITH'S  "  POEMS. 

rWHEATLEY's  picture,  engraved  by  Bartoloz^i,  and  published  with  the  title  of  "The  Deserted  Village,"  may 
ir  maynorhave  been  inspired  by  Goldsmith's  poem;  at  all  events  it  was  ut.hsed,  greatly  reduced,  many 
vears  afterwards,  as  an  illustration  to  the  edition  of  Goldsmith  published  by  F.  J.  Du  Roveray,  1800.  Three 
^f  the  lustrations  were  after  Wheatley,  and  the  rest  were  after  W.  Ham,lton.  The  foUowmg  list  mcludes 
the  BartoTozr.i  engraving  of  1785.  The  original  drawing  of  the  first  named,  HJrn.  by  25m.,  .s  the  property  of 
Mr.  Herbert  H.  Raphael,  M.P.] 

"  The  Deserted   Village" 

1785    M       1  -  -  •  "  ■  "  '  ^'  ^ARTOLOZZI. 

'  ^Cottage  door,  with  trees  and  flowering  hollyhock  ;  in  foreground,  group  of  six  flgures-two 
men  and  two  women,  one  of  the  latter  holding  infant,  her  right  arm  round  necU  of  elder 
child  ;  dog  to  right ;  in  distance,  donkey-cart,  with  two  women  and  child  ;  steeple  and  church 

in  distance. 

ISiin.  by  17|in. 
*        ■'  1903,  28  guineas. 

[Another  issue  is  dated  May  1st,  1795.] 

"  The  Deserted  Village." 

,„„„  ^       ,  -----[?]  A-  Smith. 

1800,  Dec.  1  -  -  -  -  ^  ^ 


'y 


^Female  figure  in  white  low  dress,  seated,  and  in  distress,  on  the  steps  of  the  entrance  to  a 
mansion  ;  carriage  with  footman  seen  in  distance  ;  in  illustration  of  the  passage  : 

"Ah  I  turn  thine  eyes 
Where  the  poor  houseless  shiv'ring  female  lies." 
4in.  by  Sin. 

The  same. 
n      I  .....--  A.  Smith. 

[This  is  a  manipulation  of  the  Bartolozzi  engraving.  The  father  of  the 
family  is  here  seen  to  left,  and  is  raising  his  hands  in  despair  and  grief.  It 
illustrates  the  passage  : 

"  Good  heaven  !  what  sorrows  gloomed  that  parting  day, 
That  called  them  from  their  native  walks  away  ; 
When  the  poor  exiles,  every  pleasure  past. 
Hung  round  the  bowers,  and  fondly  looked  their  last." 

'•The  Traveller." 
1800   D       1  -  -  -  -  ■  •  "  -       T.  Medland. 

Small  whole-length  figure  of  a  man  seated  by  a  river  with  high  banks,  leaning  on  his  walking- 
stick  ;  hat  on  ground  to  right ;  illustrating  the  passage  : 

"  E'en  now,  where  Alpine  solitudes  ascend, 
I  sit  me  down,  a  pensive  hour  to  spend ; 
And,  placed  on  high,  above  the  storm's  career. 
Look  downward  where  an  hundred  realms  appear." 
4Jin.  by  Sin. 
[Anderdon  suggests  that  this  is  an  engraving  of  the  picture,  "  Evening,  from  Cuningham's 
Poems,"  exhibited  at  the  Royal  Academy  in  1790.] 

[A  pair  of  scenes  from  "  The  Vicar  of  Wakefield,"  c.p.  proofs  before  letters, 
1906,  42  guineas.] 


49 


TOPOGRAPHICAL  DRAWINGS. 

Wheatley  contributed  to  three  collections  of  topographical  prints:  (1)  Thomas  Milton's  "Collection 
of  Select  Views  from  the  different  Scats  of  the  Nobility  and  Gentry  in  Ireland,"  published  in  London 
and  Dublin  before  1794;  (2)  "Copper-Plate  Magazine,  or  Monthly  Cabinet  of  Picturesque  Prints,  consisting 
of  Sublime  and  Interesting  Viewsof  Great  Britain  and  Ireland,"  1792-1804  ;  and  (3)  S.  Middiman's  "  Select 
Views  in  Great  Britain,"  1784.  The  re-issue  of  1813  of  this  work  contains  inferior  impressions  of  the 
plates.  The  views  are  all  oblong  quarto  in  form,  and  perfect  sets  of  each  production  are  now  rarely 
met  with.  So  far  as  Wheatley  is  concerned,  his  contributions  range  in  date  from  1783  to  1795,  and 
were  respectively  as  follows  : — 

MILTON'S  "COLLECTION  OF  SELECT  VIEWS." 

Date.  Title  of  Subject.  Engraver. 

1783,  July  1  Malahide  Castle,  Co.  Dublin    -  -  -  -  .    T.  Milton 

1783,  July  1  Marino,  seat  of  the  Earl  of  Charlemont  -  -  -     T.Milton 

1786,  March  1      Howth  House  -  -  -  -  -  .     T.  Milton 

1786,  March  1      Castle  of  Lismore      -  -  -  -  -  -     T.  Milton 

[This  drawing  is  stated  on  the  engraved  plate  to  be  by  W.   Pars,  but  Mr. 
H.  M.  Barnes,  of  57  Kelvinside  Gardens,  Glasgow,  has  the  original  water- 
colour  drawing,  signed  and  dated  by  Wheatley.] 
1786,  March  1      Glen  Molaur  ......     T.Milton 

1786,  March  1      The  Salmon  Leap,  near  Lcixlip  .  .  -  -     T.  Milton 

[Examples  of  this  engraving,  dated  July  1st   1831,  are   in  existence.     The 
original  drawing  was  exhibited  at  the  Royal  Academy  in  1784.] 
1793,  June  1         Tarbut        .  -  .  -  -  .  .    T.  Milton 

S.  MIDDIMAN'S  "SELECT  VIEWS." 

1785,  Jan.  21  Coniston  Lalie             ..... 

1785,  May  25  View  near  Dalton       ..... 

1785,  May  25  Coniston  Lake  (another  view) 

1785,  Dec.  12  View  near  Ambleside                 .... 

1786,  May  25  Windermere  Lake      .                 -                 .                 -                 . 

1787,  Jan.  25  View  near  Keswick    -                 -                 -                 .                 - 
1787,  May  23  Windermere  Lake  (another  view) 
1787,  July  2  View  near  Lancaster  Sands     .....     w.  Ellis 


S.  MiDDIMAN 
S.  MlDDIMAN 
MiDDIMAN 
MiDDIMAN 
MiDDIMAN 
MlDDI.MAN 
MiDDIMAN 


1792,  April  2 
1792,  June  1 
1792,  Sept.  1 


"COPPERPLATE   MAGAZINE. 

St.  Wolstan's,  Kildare 
Enniskerry 


W.  and  J.  Walker 
W.  and  J.  Walker 
Howth,  seashore  with  boats,  etc.  -  -  .      W.  and  J.  Walker 

[The  original  drawings,  6^in.  by  lOJin.,  of  the  first  and  third  of  these  three 
engravings  are  in  the  South  Kensington  Museum] 
Two  other  similar  engraved  drawings.  Combe  Bank,  Kent,  engraved  by  W.  Angus,  dated  Februarj'  1st, 
1787,  and   Broom,  Kent,  dated  September  1st,  1789,  are  in   the  Print   Room,  British  Museum,   and  were 
apparently  done  for  some  similar  publication  of  which  we  do  not  know  the  title. 


ETCHINGS. 

Gipsies. 

1785  Group  in  the  open  of  three  gipsies  or  peasants,  and  three  children,  one  of  a  woman  blowing 
at  a  fire  with  a  bellows,  man  seated  opposite,  close  to  her  another  woman  with  two  children 
standing  ;  trees  to  right,  shrubs  to  left. 

5Jin.  by  8Jin. 

Seashore. 

1786  Seashore  with  beached  fishing  boats,  two  fishermen  seated,  one  conversing  with  fisher, 
woman,  who  is  standing  and  carries  a  fish-basket  on  her  back ;  ruined  tower  to  right. 

lOiin.  by  8|in. 

1786  Seashore  with  stranded  i.shing  boat  (only  partly  seen)  to  left,  two  peasant  women,  man 
lighting  pipe,  fish  baskets,  etc. 

11  in.  by  9in. 
[These  three  etchings  are  in  the  volume  entitled  Rowlandson's  "Imitations 
of  Modern  Drawings,"  in  the  Print  Room  of  the  British  Museum.] 

1786        Gipsy  encampment,  with  numerous  figures. 

7|in.  by  9in. 

1786        Fisher-folk,  three  figures,  two  men  and  one  woman. 

11  in.  by  9in. 

1786  Companion,  two  women  and  one  man. 

llin.  by  9in. 

1787  Bacchante,  whole-length  female  nude  figure,  seated  under  a  tree. 

7iin.  by  Sin. 


50 


ADDENDA. 

The  greater  portion  of  this  book  has  been  in  type  for  several  months,  and  in  the  interval   the 
following  engravings  have  come  under  our  notice  ;  others  will  doubtless  come  to  light  from  time  to  time. 

The  Storm, 

1791,  Jan.  1  -  -  -  -  -  -  -  -  -   M.  C.  Prestel. 

Stormy  landscape  with  figures. 
13in.  by  19in. 

The  Pet  Lamb,  or  Folding  the  Flock. 

1792,  Nov.  1  ...-.-..  .        [J.]  Barney. 

Two  young  girls  in  a  landscape,  by  a  rustic  fence,  one  holding  lamb,  the  other  leaning  on  a 
gate,  through  which  a  flock  of  sheep  is  passing  ;  little  child  and  dog  to  left. 

llfin.  by  11  Jin. 

The  Country  Girl  going  Reaping. 

1797,  Jan.  10  -  -  -  -  ■  -  -  -   F.  Bartolozzi. 

Whole  length  figure  of  a  girl  standing  by  a  rustic  stile,  sickle  in  right  hand,  bucket  (or  small 
beer-keg)  and  dog  to  right. 

lOfin.  by  Sin. 

Rural  Tranquillity. 

1799,  Jan.  23  -  -  -  -  ■  -  ■  -  -        A.  Freschi. 

Scene  with  dilapidated  out-house,  market  cart,  white  horse  partly  harnessed,  bare-legged 
peasant  woman  holding  jug,  boy  lying  on  the  ground. 

7iin.  by  lOJin. 


51 


INDEX. 

[The  pictures  marked  with  an  asterisk  are  reproduced  in  this  book. 


Ackermann,  R. 

Act  of  Charity,  The 

Addenda... 

Adelaide... 

Affectionate  Daughter,  The     ... 

Agne%v  and  Sons,  Messrs.  T.  ... 

Alais,  J.... 

Albertina  Gallery    ... 

Alfred  and  the  Neatherd 

Allien,  S. 

Alliprandi,  Tam 

Alma 

•  Alms  giving 

'  Alpine  Lovers 

Amorous  Sportsman,  The 

Anacreontic  Society 

Anderdon  Collection 

Annis,  W. 

Appleton,  Mr.  T.  G. 

Armit,  J. 

Artemis 

AthcncFum,  The 

Attention 

•Autumn 

B 

Bacchante,  A. 

Backer's  "  Rustic  Contentment  " 

Bagshot  Heath 

Baker,  J. 

Barnes,  Mr.  H.  M. ... 

Barney,  J. 

Barrett  Sale 

BartolozEi,  F.        4,  16,  17,  18,  26, 

•  Basket  Makers,  The 
Bcechey,  Lady 
Bedford,  Duke  of     ... 
Behrens,  J.  B. 
Belam  Park,  Review  in 
Belinda  ... 

Bell,  Catherine 

•  Bells  "Theatre,"  Vignettes  for 

•  Benevolent  Cottagers 
Black  Rock,  View  of 
Bohn,  H.  G. 

Bolt,  J.  F. 

Bonato  and  Gabrielli 

Bonfoy,  F. 

Botanical  Magazine,  The 

Bowyer's  "  History  " 

Boydell,  J. 

Branston,  A.  R. 

Brickmakers 

Brighton,  Pictures  of 

British  Institute 

British  Museum 

•  Broad  Street  Riots 
Brocket  Hall 
Bromley,  W. 
Brooke,  W.  H. 
Burke,  T. 


PAGE 

27 

41 

51 

39 

20,  42 

3,  16 

25,  45 

24 

42 

17 

30 

41 

41 

45 

12,38 

II 

21,30 

14,45 

31 

9 

37 

10 

46 

40 


13 

38 

15,  34 

44 

50 

16,  17,  42,  46,  51 

27,  44 

40,41,  43,45,  49,  51 

44 

5 

18 

14,  22 
11 
46 

5 

23,  49 

25,  40 

11 

3 

41 

30 

15,  42 

5 

23 

9,  18 

45 

33 

15,  43 

...      16,  18,22 

4,  13,  21,  25,  26 

10.  41 

2 

42 

38 

47 


Calculation 
Camp  Scenes 
Cardon,  A. 

•  Careless  Milkmaid 

•  Careless  Servant,  The 
Catalani,  Madame  ... 
Celadon  and  Celia  ... 
Child  Life,  Picture  of 
Christening 

Christian  VII.  of  Denmark 

Christie,  Messrs. 

Clark,  Mr. 

Clown,  The  Smitten 

Clumber... 

Cobb,  Mr.  F.  T. 

Coles,  J.... 

Collyer,  J. 

Colnaghi  &  Co.,  Messrs. 

Communion,  The     ... 

Concord,  An  offering  to 

Conway  Castle,  Views  of 

Copper-Plate  Magazine 

Cottage  Door  Pictures 

Country  Girl  going  Reaping 

Cox,  \V, 

Credulity 

•  Cries  of  London    ... 
Crush,  Mr.  J.  F.      ... 

•  Cumberland,  Views  in 
Currie,  Lady 


PAOB 

46 

35 

29,43 

46 

46 

5 

38 

12,  41 

46 

12,37 

12,  14,  17,  18,  21,22,25,35 

22 

43 

17 

3 

25,42 

9   38 

15,  19,  29,30,35 

46 

33 

35 

...      11,12,50 

...       25,  34  47 

51 

22 

43 

...      28-32, 34 

20 

6,  12,  50 

17 


D'Arcy,  Mrs.  W.  K. 
Daschkow,  Princess 
Dean,  J.... 
Death  of  Richard  II. 
Delatre,  J.  M. 

*  Departure  from  Brighton 
Devonshire,  Views  in 
Devonshire,  Duchess  of 
Dipping  Well  in  Hyde  Park 

*  Disaster,  The 

*  Discovery,  The 

*  Dismissal,  The 
Dodd,  J.  W. 
Donaldson,  Mrs. 
Donnybrook  Fair     ... 
Douglas,  Mr.  G. 
Dublin     ... 

Dublin  National  Gallery 

*  Dublin  Volunteers 
Dulacher,  L. 
Dundee,  Pictures  at 
Durno,  James 

Du  Roveray's  Goldsmith 

E 

Earlom,  R. 

Edward's  "  Anecdotes  " 

Eginton.  J. 


>.■ 

13 

... 

9 

39 

42 

37,  39 

,41,  42,  49 

15,43 

6 

... 

23 

... 

45 

18,  40 

15,  17,  39 

•  •• 

13 

37 

34 

... 

33 

30 

... 

9  et  Seq. 

11,  12,  27 

9,  10,  38 

... 

23 

16 

... 

2 

26,49 

11, 

14,  43,  45 

4,   10,  46 

19, 

20,  42,  46 

52 


INDEX — continued. 


Elton,  Sir  Edward  M. 

"  Encampment  at  Brighton 

Engravings  after  Wheatley 

Erato,  Lady  as 

Etchings 

Evans,  B.  B. 

Evening  ... 


PAGE 
18 
15,  43 
37  et  Seq. 
33 
50 
43 
42 


Facius,  G.  S.  &  F.  G. 

22 

•"Fair"  Pictures  ...                 ...          13,   1< 

1,  20,  41, 

42 

Farmer,  The  Hospitable 

34 

Farmer's  Daughter,  The 

27 

Farm  Scenes 

34, 

35 

Father's  Admonition 

45 

*  Fidelity  Rewarded 

46 

Field 

20 

Field  &  Tuer 

30 

Filial  Piety 

20, 

42 

Fishermen  Going  Out 

46 

Fisherman's  Return 

46 

•  Fisherfolk 

16, 

23 

Fittler,  James 

22, 

48 

Fitzgibbon  (Earl  of  Clare) 

9 

Fores  &  Fores 

17 

Forman,  W.  H. 

14,  16, 

27 

Foster,  iVlessrs. 

20, 

25 

Four  Phials 

16, 

39 

Free  Society  of  Artists,  exhibits 

33 

Freschi,  A. 

44, 

51 

Fruit  Gatherers 

25 

PAGE 

34 

20 

6  Note 

25,  44 

'.'.'.    10, 

41,  49 

47 

38 

6,  39,  40, 

41,  46 

...    18, 

19,  41 

18,  34 

16,  41 

Harvest  Dinner,  A  ... 

*  Harvest  Home,  The 
Harvest  Waggon,  The 

*  Haymaking  Scenes 
Heath,  James 
Henry  and  Jessy 
Hodges,  C.  H. 
Hogg,  James 
'  Honeymoon  Pictures 
Hopkins,  Mr.  B. 
Howard,  The  Philanthropist    ... 
Hutchinson,  M.        ...  ...  ...  26 


I 

Inattention                ...                 ...  ...  46 

Industrious  Cottager,  The        ...  ...  47 

Interest  ...                 ...                 ...  ...  40 

Irish  House  of  Commons,  Interior  ...  9 

*  Irish  Peasantry  Crossing  a  Brook  ...  11,45 
Irish  Scenes              ...                 ...  ...      15,  33,  50 

Irwin,  Sir  John         ...                 ...  ...  10 

*  Itinerant  Peasants 

*  Itinerant  Potters...                ...  ...  35,43 


James,  J.                    ...  ...  ...  23 

Jealous  Rival,  The  ...  ...  ...  46 

Jee            ...                 ...  ...  ...  19 

Jersey,  Countess  of...  ...  ...  23 

Johnston,  Sir  J.  A.  ...  ...  9 

Jukes,  F.                   ...  ...  ...           46,  47 

•Juvenile  Reluctance  and  Opposition       ...  45 


Garden  Party,  The 

Gardiner,  Luke 

Gardiner,  W.  N. 

Gaugain,  T. 

Gentleman's  Magazine,  The    ... 

George  HI.,  Chirdren  of 

Geremia,  T. 

Gillbank,  H. 

Girl  Driving  Cattle ... 

Girl  Reading  a  Letter 

Godby     ... 

•Going     out      Milking      (see      "Milking" 

pictures) 
•Goldfinch,  The       ... 
*  Goldsmith's  "  Deserted  Village  " 
Gooden  &  Fox,  Messrs. 
Gordon  Riots 
Goulding,  Charlotte 
Grafton  Galleries     ... 
•Grattan,  H. 
Graves  &  Co.,  Messrs. 
Green,  V. 
Gresse,  J.  A. 
Grignion,  C. 
Grosvenor  Gallery  ...  ...  14, 

Guest,  Montague     ... 


H 

Hall,  John 
Hamilton,  Lady 
Hamilton,  \V. 
Harrowby,  Earl  of  ... 


•  •■ 

IS 

... 

9 

13,  39 

29 

7 

... 

3 

47 

27,44 

11 

46 

45 

,» 

s 

16 

'.'.'    26, 

34,  49 

16,   18 

10 

26 

3,   16 

■.■.'.    10, 

11,  38 

31 

11,  38 

4 

49 

i's,  20, 

25.  30 

... 

27 

49 

8 

26,  45 

16 


K 

Keating,  G.  ...  ...  ...  25,  43,  47 

Kent,  Views  in  ...  ...  ...  6 

Kingsbury,  H.  ...  ...  ...  11,  38 

Knight,  C.  ...  ...  ...  13,  40,  47 

Knowlcs,  John  ...  ...  ...  7 


Lady  on  Horseback  ...  ...  47 

La  Touche,  D.          ...  ...  ...  9 

Lauder,  J.                  ...  ...  ...  38 

Lauretta  and  the  Goldfinch      ...  ...  16,  40 

Laurie,  R.                  ...  ...  ...  18,  41 

Laurie  and  Whittle  ...  ...  11 

Lawrence,  Sir  T.     ...  ...  ...  8,24 

Layard,  Dean           ...  ...  ...  17 

Legat,  F.                   ...  ...  ...  48 

Leggatt,  Mr.  E.  E. ...  ...  ...  25 

Leigh,  Jarcd              ...  ...  ...  4 

Leinster,  William,  Duke  of      ...  ...  9 

Leixlip,  Salmon  leap  at  ...  ...  33 

Lindor  and  Clara     ...  ...  ...  15,42 

Litchfield,  Colonel  ...  ...  ...  17 

Little  Gleaners,  The  ...  ...  25 

Liverpool,  Exhibition  at  ...  ...  13 

Lyster,  Mr.  G.  F.    ...  ...  ...  20 

Lord  Mayor  proceeding  to  Westminster  ...  17 

Love,  James             ...  ...  .■•  40 

•Love  in  a  Mill         ...  ...  ••■  39 

Lover's  Anger,  A     ...  ...  ...  38 

Lovesick  Maid         ...  ...  •••  17.  39 


53 


INDEX— continued. 


16,  20,  21,  23, 


13,   14,  16,  34, 


M 


Macklin,  T. 

Maclaren,  J.  H. 

Manchester  Art  Treasures 

Mansell,  W. 

•"  Market  "  Pictures 

Marraontel's  "Tales" 

•Marriage,  The 

Mary's  Dream 

Haskelyne,  Mr. 

Meadows,  R.  M. 

MedUnd,  T. 

Melbourne,  Lord 

Menzies,  Mr.  W.  G. 

Middiman's  "  Select  Views  "  ... 

"Milking"  Pictures 

•Milkmaid,  The 

Miller's  Daughter  ... 

Hillington 

Milton's  "  Select  Views  " 

•Mistletoe  Bough,  The 

Mitchell,  M. 

Molteno,  J.  A. 

Moncrieff,  R. 

Monthly  Magazine,  The 

Moore,  Dr.  J. 

Morland,  G. 

Morning  Herald,  The 

Morning,  Noon,  Evening  and  Night 

Mortimer,  J.  H. 

"Mower,  The  {see  "  Haymaking  "  pictures) 

Murphy,  J. 

Murray,  J. 

N 

National  Portrait  Gallery 

Neagle,  J. 

•Newcastle,  Henry,  Duke  of   ... 

Newenham,  Sir  E.  ... 

Newly  Married  Couple 

NichoUs,  'W. 

Noailles,  Due  de 

Noble,  G. 

Nottingham  Museum 

Nutter,  W. 

•Nymphs  Bathing  ... 


27, 


PAGE 

25,  26,  45 

13 

12 

17 

40,  43,  45 

16,  39,  40 

39 

27 

18 

46 

49 

2 

31 

50 

26,  44 

7 

27 

35 

50 

20 

11 

25,  35 

9 

16 

7 

1,  7,  39 

19 

34,  42,  44 

2,  6,  7,  33 

15,  43 

22 


11 
22,  48 

17,  34,  45 

9 
47 
17 
17 
22,  48 
15 

18,  25,  40 

47 


Ogborne,  J. 

Old  English  Baron  ... 

Old  Masters  Exhibition 

Oliver,  Mr,  and  Mrs. 

Opie,  John 

Oyster  Woman 


Pares,  T. 

Parsons,  Mrs. 

Pasquin,  A. 

Paton,  R. 

Peasants,  Group  2  ... 

Pedlar  at  Cottage  Door 

Pet  Lamb,  The 

Picot,  V.  M. 

"  Picturesque  Views  in  Dublin  " 

•Pigot,  Sir  Henry   ... 

Pindar,  Peter 

Playter,  C. 

Pollard,  R. 


46 
37 
13,  16,  17,  30 
IS 
17 
16 


22 

27 

2,   10,   11,   14 

17 

46 

19 

51 

18,  40 

6 

3 

24 

46 

38,  39 


Pope,  Alex. 

Porter,  W. 

'Potters 

Prescott  Family 

Prestel,  M.  C. 

'Priory  Gardens,  View  in 

Progress  of  Love  Series 

Public  Advertiser,  The 


Raphael,  Mr.  H.  H. 

"Reconciliation,  The 

Recruiting  Officer,  The 

Redbreast,  The 

Redgrave,  G.  R. 

Reeve's  "  Old  English  Baron" 

•Relentless  Father,  The 

Renall,  Mr.  R.  P.    ... 

Rescue,  The 

*Return  from  Milking  {see  "  Milking  ' 

•Return  from  Shooting 

Review  in  Belam  Park 

Review  of  Volunteers,  Phoenix  Park 

Reynolds,  Sir  J. 

Reynolds,  S.  VV.       ... 

Rhodes,  R. 

Rickards,  T. 

•Riots,  The 

Rochester  Castle     ... 

Rogct,  J.  L. 

Rousseau's  "  Nouvelle  H^loise  '' 

Royal  Academy,  The 

•Rural  Repose 

Rural  Tranquillity  ... 

Rustic  Conversation 

Rustic  Courtship     ... 

Rustic  Happiness    ... 

Rustic  Hours 

•Rustic  Lovers 

Rustic  Lover 

•Rustic  Sympathy  and  Benevolence 


PAGE 

5 

9 
35,  43 

3 
51 

7 
39 
19 


49 
13 

13,  15,  34,  47 
34 
26 
37 
20,  39 
20 
34 


pictures) 


45 
11 

10,  12,  33 

23,  24 

43 

48 

44 

10,  41 

6,  33 

6 

13 

24  et  seq. 
47 
51 
44 
47 
38 
44 
39 
47 
43 


Sabin,  Mr.  F.  T.      ... 
"  Sailor  "  pictures   ... 

*  Sailor's  Return,  The 
Samnite  Marriages,  The 
Sandby,  T. 

Sayer,  R. 

Schiavonetti,  L.  and  R. 
Schomberg,  Sir  A.  ... 
School  Door,  The    ... 

*  School  Mistress,  The 
Seasons,  The  Four... 
Sedelmeyer,  M.  C.  ... 
Seguier,  F.  P. 
•Shakespeare,  Illustrations  to 

*  Shakespeare  Gallery  Interior 
Shee,  M.  A. 

Sheerness  Breakwater 
Shenstone's  "Schoolmistress" 
Shepherd,  Bros.,  Messrs. 
Shipley,  W. 

*  "  Shooting  "  Pictures 
Show,  The 
Siddons,  Mrs. 

*  Sigismunda 
Silvia       ... 
Simon,  J.  P. 
Simon,  P. 


29  note,  43,  46 

...     14,  15,39 

15 

16,39 

7 

5,  18 
20,  22,  29,  30,  45,  48 

19 

47 

25,  42 

18,34 

15,  26 

14 

...      5,21,48 

23 

5 

6,  33 
42 

6,14,20 

2 

17 

41 

8 

8,  37 

40 

22 

38 


54 


iNDEX-continued. 


Singleton,  H. 

Skelton,  W. 

Sloane,  M. 

Small  whole  lengths 

Smith,  A. 

Smith,  Haskett 

Smith,  Henry 

Smith,  J.  R. 

Smith,  J.  T. 

Soane  Museum 

Society  of  Artists,  Exhibits  at... 

"  Soldier  "  pictures... 

•  Soldier's  Return,  The 
Sophia  of  Gloucester,  Princess 
Sotheby,  Messrs.    ... 

South  Kensington  Museum 

Spiers,  Mr.  W.  L.   ... 

Spilsbury 

Sporting  Magazine,  The 

Sportsman,  The  Amorous 

•Spring... 

St.  Albans,  Duchess  of 

Stanier,  R. 

•  St.  Preux  and  Julia 
Sterne's  "  Sentimental  Journey  " 
Storm,  The 

Stow,  J.  ... 
Strawberry  Girl 
Stubbs,  G.  T. 
Suffolk  Street  Gallery 

•  Summer 
Suntach  ... 
Sussex,  views  in 
Swiney,  Mr. 


Tassant,  Mr. 

Taylor,  J.  E. 

Teesdale,  Major 

•Temptation,  The  ... 

•Tender  Father,  The 

Tennant,  Sir  C. 

•Thais     ... 

Thouvenin 

Tinker,  Itinerant     ... 

Tomkins,  F.  W. 

Topographical  Drawings 

Troward,  Mrs. 

Tuer,  A.  W. 

Turner,  Sir  Barnard 

Turkeycock,  The     ... 

Turner,  C. 

Tyers  of  Vauxhall  ... 


5, 


..4,  13, 


PAGE 

47 

22,48 

46 

3,33 

42,  49 

20 

10 

14,  15,  18,  37,  40 

31 

7 

33 

...     13,  14,  15 

14 

5 

14 

6,  9,  13,  17,  23 

7 

45 

17 

33 

40,  42 

5 

15,  17,  39,  40,  47 
...      13,  38-39 

41 
51 

22,  48 
47 
47 

20,  22 

40 

46 

6 

33  {bis) 


14 


22 

25 

16,  30 
41 

20,  40 
18 
8,  37 
44 
44 
42 
50 
40 
28 

10,  38 
42 

26,  44 
3,  7 


Van  Den  Berghe,  J.  J. 

Van  dcr  M\  n,  H. 
Vendramini,  G. 
Vauxhall  Gardens    ... 
Visit  to  the  Mother 
•Volunteers  of  Dublin 

w 


PAGE 

25,  44 

41 

29 

3,  7 

47 

9,  10,  38 


Waldron,  F.  G. 

37 

Walker,  J. 

10,  38 

Walker,  W.  &  J.      ... 

50 

Ward,  W.                  ...                ...  14,  15, 

17 

27 

39,  40 

Water-colour  Drawings 

6 

•"Watercress"  Pictures 

16, 

34, 

35,  43 

Watson,  C. 

22,  48 

Watson,  T. 

8, 

37,  47 

Webster,  A. 

11, 

33,  38 

"Wedding"  Pictures 

19, 

34,  47 

Wells  of  Redleat     ... 

16 

Westall,  R. 

18 

40,45 

•  Wheatley,  Francis  :— 

Early  Life 

... 

1 

Student  at  Shipley's 

2 

Premiums  from  the  Society  of  Arts 

2 

First  Exhibits 

3 

Marriage 

•  •■ 

4 

In  Ireland 

9 

Return  to  London 

12 

Etcher  and  Engraver 

12,  13 

Royal  Academy    ... 

24 

Death... 

27 

•Wheatley,  Mrs.     ...              I,  4,  5,  16, 

i*8. 

34 

[bis)  40 

Wheelbarrow,  The  ... 

41 

Whessell,  J. 

43 

Wilson,  R. 

2 

•Winter 

4,  40 

Wolverton,  Lord 

... 

20 

Wood  Children,  The 

3 

Woodcock,  Mrs. 

34 

Woodman,  The 

35 

•Woodman's  Return,  The 

... 

43 

Wrexham  Exhibition 

>•• 

20 

Wright    ... 

... 

47 

Y 

Yeatherd,  J. 

25,  42 

Younge,  Miss 

... 

37 

z 

Zompini,  G. 


28 


55 


i 


I 


3 


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Japanese  and  (^hin<25e 
Work5  of  .Art 


NEW  YORK  JAPAN  BOSTON 


Telephone:     1546,   Mayfair 
Telegraphic  Address:    "  Yamanaka,    London" 

VII. 


Fi-ainis    ]]'hcatlcv.    R.A. 


John  Barker  £fd:  ^^^nsington, w. 


:  :  Fine  :  : 
Reproductions 

A  pair  of  Semi- 
Circular  Sheraton 
Sideboards,  made  up 
from  old  mafiogany, 
beautifully    .    finished 

£15  =  10  =  0 


No     better     value 
ever  offered 


An    interesting    collection    of    Genuine 
Antiques  at  commercial  prices 


G.  R.  PRIOR  8  SONS 


Khul/v  note  our  ONLY  addrcs 


'SS 


Rstiihlished  ^o  r 


eivs 


50  Stamford  Hill,  London,  N. 


KiNKLY  Cauxed  Chii'I'Endale  Stooi.,  in  Needi.ework 


Experts  in 
Old  English 
Furniture 

ADVICE  GIVEN 


D     000  190  124 


^.