£ R HALLM^GORMICK 
 ECnON OF PAINTINGS 
 
 EXHIBITEDBYTHE 
 BOSTON ART STUDENTS 
 ASSOCIATION 
 
 I 
 
 OOPLEY HALL BOSTON 
 
Digitized by the Internet Archive 
 in 2014 
 
 https://archive.org/details/exhibitionofrhalOObost 
 
Portrait of Sir Henry Guildford 
 
 By Hans Holbkin 
 
ILLUSTRATED CATALOGUE 
 
 EXHIBITION OF THE 
 
 R. HALL Mccormick 
 
 COLLECTION OF PAINTINGS 
 CHIEFLY OF 
 THE ENGLISH SCHOOL 
 
 UNDER THE AUSPICES OF THE 
 BOSTON ART STUDENTS ASSOCIATION 
 COPLEY HALL, BOSTON, MASSACHUSETTS 
 M DCCCC 
 
Press of Geo. H. Ellis, Boston 
 
PREFACE. 
 
 Before the reign of Henry VIII. but few pictures in the modern 
 sense of the word were to be found in England. "John Pruddle, 
 Glazier," had painted the chapel windows in Westminster, and "John 
 Brentwood engages to paint on the west wall of some chapel ' our 
 Lord Jesus and all manner of imagery thereunto belonging.' " The 
 illuminators of missals had also done very beautiful work. The opu- 
 lent and magnificent Henry VIII., however, called many painters 
 into his employ, and even tried to tempt Raphael and Titian to come 
 to him. Therefore, when Holbein arrived in Kngland with letters of 
 recommendation from Erasmus, the king gladly took him into his 
 service as court painter, which position he held until his death in 
 
 1543- 
 
 Holbein was followed by Rubens, Janssens, Van Dyck, etc., and 
 finally by Sir Peter Lely and Sir Godfrey Kneller, most of whom 
 were employed as painters to the English court. But, as Walpole 
 says of Inigo Jones, England adopted Holbein and Van Dvck, and 
 borrowed Rubens, but she produced Hogarth, whose robust genius 
 broke through the conventionalities of Lely and Kneller, and laid the 
 foundations of the distinctively English school of painting. In 1768 
 the Royal Academy was founded, and Sir Joshua Reynolds, with his 
 greater refinement and education and his independence of thought, 
 "ransomed portrait painting from insipidity." Indeed, the growth of 
 the English school has always been attained through individuality 
 rather than through the leadership of schools. What the steps have 
 been the pictures before us will best show. 
 
 Redgrave says in his " Century of English Painters," " 1 f the great 
 painters with whom our school commenced left no actual successors 
 and rivals in their particular branches, a host of men of great original- 
 ity of aim, of new modes of thought, who were to cultivate fresh fields, 
 were ready for the work." And again, " The talent rising up to 
 succeed that which is passing away is abundant ; and, if it is different, 
 is it not best that it should be so ? " 
 
 The Committee wish to express their sincere appreciation of Mr. 
 McCormick's generosity in entrusting his valuable collection of pictures 
 to the Association for exhibition. Mr. McCormick began to form 
 
 [3] 
 
this collection between twenty and thirty years ago, and with untiring 
 zeal has continued the quest up to the present moment, having just 
 added to his list nineteen pictures by Byam Shaw. In response to 
 the inquiries of the Committee as to where and how he had been able 
 to make his collection, Mr. McCormick writes, in part, as follows : — 
 
 Three of my first purchases — the Verboeckhoven, Hertzog, and 
 Litschauer — I bought in 1871, as the nucleus of a future collection. 
 * * * I have often been asked how I have been able to secure family 
 portraits. A lady explained to me once, in selling me the portrait of 
 her ancestor, that she had several other family portraits by the same 
 artist. She had never cared very much for this particular ancestor, 
 and thought she would rather have the money to use in a pet charity 
 than to have the lady's portrait hanging on the wall. * * * In study- 
 ing the pictures in the National Gallery of London, I concluded that 
 it would be possible for me to form an interesting collection by con- 
 fining myself exclusively to one School. The pictures of the Italian 
 School had been very closely picked over, and a great uncertainty ex- 
 isted as to their authenticity, which was also the case with the old 
 Dutch pictures. The Barbizon pictures were held at very high prices, 
 and were difficult to get ; and, there being but little demand for Eng- 
 lish pictures at that time outside of England, I concluded to try to get 
 together a retrospective collection of the old English School. 
 
 I have had some very interesting experiences in collecting. I 
 have bought my pictures on the continent of Europe, many of them 
 in London ; and on account of the demand which has sprung up in 
 this country I have been able to buy not a few in New York. 
 
 By Mr. McCormick's kind permission the catalogue has, for the 
 most part, been compiled from his very comprehensive one. The 
 biographical notices have of necessity been so condensed that they 
 bear but slight resemblance to the originals. It is hoped, however, 
 that they may serve as legends on the mile-stones which mark the 
 more important turns in the road of Art in England from 1497 to 
 the present day. 
 
 [4] 
 
C ATA L O G U E . 
 
 HOLBEIN (Hans). 1497-1543. 
 
 Hans Holbein was born in Augsburg, and educated in Basle, 
 where he formed a friendship with Erasmus, the result of 
 which was an invitation to him from Henry VIII. to visit 
 England. He soon became the King's favorite painter and 
 not the least glory of his reign. In 1536 he was appointed 
 court painter, and, with the exception of two or three years 
 which he spent in Basle, he lived in England until his death, 
 in 1543. Holbein painted in oils, distemper, and water-colors, 
 and was also the author of a series of designs for wood-cuts 
 (known as " The Triumph of Death ") which were published 
 at Lyons in 1538. His portraits are somewhat stiff and hard, 
 but brilliant and rich in color, and full of character and 
 individuality. 
 
 1 Portrait of Sir Henry Guildford. 
 
 MIEREVEL T (Michael Janszen). 1567-1641. 
 
 His first work was a series of altar-pieces in Utrecht, but he 
 became so successful in portrait painting that he decided to 
 make that his profession. He is said to have been invited by 
 Charles I. to visit England, but declined to do so on account 
 of the prevalence of the plague. 
 
 2 Portrait of a Young Girl. 
 
 JANSSENS (CoRNELis Van Keulen). i 590-1663. 
 
 He was born in Amsterdam, and was already famous in his 
 native land when he visited England in 1618. He was well 
 received, and painted many portraits of many distinguished 
 people, among them several of King James. " His pictures 
 are easily distinguished by their clearness, neatness, and 
 smoothness. They are generally painted on board (panel), 
 
 [5] 
 
and, except being a little stiff, are often strongly marked with 
 a fair character of nature, and remarkable for a lively tran- 
 quillity in the countenance " (Horace Walpole). 
 
 3 Portrait of a Woman. 
 
 4 Portrait of a Young Girl. 
 
 VAN GOYEN (Eugen). i 596-1666. 
 
 He was born in Leyden, and studied under Van de Velde. After 
 a short stay at Haarlem he returned to Leyden, and went to 
 The Hague in 1631. Ten years later was made a member 
 of the Painters' Guild. He was one of the earliest of the 
 Dutch landscape painters. 
 
 4a A Ferry. 
 
 VAN DYCK (Sir Anthony). 1599-1641. 
 
 Born at Antwerp. He is the most distinguished of Rubens' 
 numerous pupils. He travelled in Italy, and on his 
 return to Antwerp at once became famous as a painter of 
 portraits and historical subjects. In 1632 he was knighted, 
 and became " principal painter to their Majesties at St. James." 
 " Van Dyck imbibed so deeply the tints of Titian that he is 
 allowed to approach nearer to the carnations of that master 
 even than Rubens. Sir Anthony had more delicacy than the 
 latter, but, like him, never reached the grace and dignity of 
 that antique." He had a genius for portrait painting. 
 
 5 Portrait of a Lady. 
 
 LELY (Sir Peter). 1618-80. (Pieter Van der Faes.) 
 
 A native of Westphalia, who came to England in 1641. He 
 was court painter during the reigns of Charles I. and Charles 
 II., and also during the protectorate. His portraits, though 
 slight and somewhat mannered, are pleasing in color and well 
 drawn. 
 
 [6] 
 
Portrait of a Young Girl [4] 
 
 By CoRNELis Van Keulen Janssens 
 
6 The Duchess of Portsmouth (nee Louise 
 
 de Queroualle), one of the beauties of 
 the court of Charles II. 
 
 7 Madame Aphra Behn. 
 
 (From the collection of Philip H. Howard, Esq., of Cosby 
 Castle, Carlisle, England.) Exhibited by him in the National 
 Portrait Exhibition. 
 
 RILEY (John). 1646-1691. 
 
 A man of modest, unassuming nature, his talents were ob- 
 scured during his lifetime by the fame of Kneller, while many 
 of his best pictures were afterwards attributed to Lely. Me 
 painted the portraits of Charles II., James II., and William 
 and Mary, being appointed court painter to the latter. Wal- 
 pol^ays, "His art was original, founded on his own obser- 
 vation of nature ; his drawing careful ; expression natural and 
 pleasing; and his heads and hands well painted." 
 
 8 Sacharissa. 
 
 (From the Grindley Collection.) 
 
 KNELLER (Sir Godfrey). 1646-1723. 
 
 Studied in the school of Rembrandt, at Amsterdam, and later 
 in Italy, returning to London in 1674, where he enjoved an 
 unrivalled reputation as a portrait painter. His greatest fault 
 is an absence of simplicity and too great a love of con- 
 ventionality. 
 
 9 The Duchess of Portland. 
 10 A Lady of Qiiality. 
 
 (From the Collection of William Walton, Esq., of Harry- 
 town Hall, Romilly, Cheshire.) 
 
 [7] 
 
HOGARTH (William). 1697-1764. 
 
 Was early apprenticed to a silversmith, and later became an 
 engraver of Coats of Arms, shop bills, and finally engravings 
 for books. A firm believer in the truthful delineation of life, 
 his belief found expression in a series of satirical pictures, re- 
 flecting on the social abuses of his time. His refusal to flatter 
 his subjects seems to have stood in the way of his success as 
 a portrait painter, but in his own range of art he was a master 
 draughtsman. 
 
 1 1 Portrait of a Young Girl. 
 
 I 2 Modern Midnight Conversation. 
 
 (Formerly the property of Mr. Samuel Ireland, author of 
 " Hogarth's Life.") 
 
 DI ROTARI (CoNTE PiETRo). 1707-1762. 
 
 Born in Verona, studied in Venice and Rome, and in 1756 
 became painter to the court of St. Petersburg. He was 
 especially skilful in the arrangement of his draperies, and un- 
 surpassed by any painter of his time in the expressiveness of 
 his heads and elegance of his figures. 
 
 13 Portrait of Count Marcolini. 
 
 WILSON (Richard), R.A. 1714-1782. 
 
 First began his career as a portrait painter, but later, in Italy, 
 devoted himself to the study of landscape. " Purely classic 
 and noble in his conception, he gave a new aim and impulse 
 to the English school." He loved his work and was master 
 of his materials. 
 
 14 The Bridge of Augustus at Rimini. 
 
 (From the Collection of J. Langham Burton, Esq., ot 
 Somersby, Lincolnshire.) 
 
 15 Landscape. 
 
 [8] 
 
REYNOLDS (Sir Joshua), P.R.A. 1723-1792. 
 
 Studied in England and later in Italy, where he developed his 
 powers of criticism and became imbued with the beauties of 
 the Italian school. On his return to London he soon became 
 prominent as a portrait painter. He was chiefly instrumental 
 in obtaining the charter of the Royal Academy, of which he 
 was appointed the first president in 1768. Breaking away 
 from conventionality, he seized every new action or expression 
 that nature offered him. In all his works we note great 
 power, a rare beauty of background, and, above all, a warmth 
 and richness of color, which was his greatest characteristic. 
 To Reynolds, the English school owes its escape trom me- 
 chanical monotony in color and technique. 
 
 16 Portrait of Mrs. Baldwin. 
 
 In a costume worn by her at a fancy dress ball given b\ 
 George III. (From the Strawberry Hill and Wertheimer 
 Collections.) 
 
 17 Elizabeth, Lady Turner, of Glints, York- 
 
 shire. 
 
 (From the Graves Collection and that of Baron Alfred de 
 Rothschild.) 
 
 COTES (Francis), R.A. 1725-1770. 
 
 One of the earliest members of the Royal Academy and a 
 member of the incorporated Society of Artists. He was 
 a portrait painter in oils, and also very skilful in the use of 
 crayon. 
 
 I 8 i^ortrait of a Young Girl. 
 
 GAINSBOROUGH (Thomas), R.A. 1727-1788. 
 
 An artist by nature, whose love of art was nourished by the 
 beauties of the Suffolk scenery, bv which he was surrounded 
 
 [9] 
 
from early childhood. After an unsuccessful struggle in Lon- 
 don, both as a portrait and landscape painter, he returned 
 to Bath, but went back to London in 1774, and won such a 
 reputation that he was considered the rival of Sir Joshua in 
 portraiture and of Wilson in landscape painting. Ruskin 
 calls him " the purest colorist of the English school," and 
 again, in speaking of his technique, he says : " Turner is a 
 child to him. His forms are grand, simple and ideal. His 
 excellence is based upon principles of art long acknowledged, 
 and facts of nature universally apparent. In a word, he is an 
 immortal painter." 
 
 19 Portrait of a Lady of Quality. 
 
 (From the Collection of the late William Winch, Esq., of 
 Wyminus Park, Hatfield, Herts.) 
 
 20 Landscape. 
 
 2 1 Landscape. 
 
 22 Mrs. Robinson (nee Elizabeth Fortescue). 
 
 (From the Collection of Lord Arthur Hill.) 
 
 ROMNEY (George). 1734-1802. 
 
 During his apprenticeship to a cabinet-maker Romney showed 
 an inclination toward art by making sketches of his fellow- 
 workmen. After painting portraits in London, he went 
 to Italy for two years of study, which was of great benefit to 
 him. Romney was in all respects an enthusiast. His mind 
 teemed with designs for important works. His best character- 
 istics are grace, a warmth and beauty of color, and a great 
 breadth of treatment. His method of painting was simple and 
 solid, and his colors stand well. 
 
 23 Portrait of Alexander Blair. 
 
 24 Lady Hamilton. 
 
 25 Lady Beauchamp. 
 
WEST (Benjamin), P.R.A. i 738-1 820. 
 
 Born in Chester County, Pennsylvania. He early showed a 
 taste for art, and after studying in Italy he went to London, 
 where he met with a flattering reception, and for nearly sixty 
 years held a most important position among English artists. 
 He exerted a strong influence in favor of realism and natural- 
 ness in art by his refusal to paint, according to usage, the actors 
 in his " Death of Wolfe " in classic costume. In 1765 he 
 became a member and Director of the Incorporated Societv of 
 Artists, in 1772 " Historical Painter to the King," and in 1792 
 was made President of the Royal Academy. 
 
 26 The Death of King David. 
 
 (From the Magnic Collection.) 
 
 SMIRKE (Robert), R.A. 1752-1845. 
 
 One of the principal early English painters of genre. He was 
 made an Academician in 1792, but rarely exhibited, devoting 
 his time chiefly to book illustration, for which his art was well 
 adapted. " His works are marked by a quiet, graceful 
 humor, are well drawn, cleverly painted, and always pleasing." 
 
 27 The New Page. 
 
 28 The Obdurate Mother. 
 
 BEECHEY (Sir William), R.A. 1753-1839. 
 
 Admitted as a student to the Royal Academy in 1772; and, 
 after distinguishing himself in London in portraiture, he be- 
 came portrait painter to Queen Charlotte and Instructor to 
 the Princesses. His portraits are celebrated for their truth 
 and accuracy, and for the delicacy and sweetness of their 
 coloring. 
 
 29 Lady Becchey. 
 
 (Exhibited in the Royal Academy in 1800.) 
 [■■] 
 
STOTHARD (Thomas), R.A. 1755-1834. 
 
 Entered the school of the Royal Academy in 1777, was 
 elected Academician in 1794, and contributed to its exhi- 
 bitions from 1798 until his death. These contributions were 
 chiefly book designs, with occasionally a work of more impor- 
 tance. Although his figures are somewhat conventional, they 
 possess a classic beauty of line. Grace and sweetness are his 
 distinguishing characteristics. 
 
 30 The May Queen. 
 
 RAEBURN (Sir Henry), R.A. 1756-1823. 
 
 Born in Stockbridge, near Edinburgh. He visited Italy, but 
 later established himself permanently in Edinburgh, and was 
 made president of the Edinburgh Society of Artists in 18 12. 
 In 1815 he became a member of the Royal Academy, and in 
 1822 was appointed "His Majesty's Limner for Scotland." 
 His portraits are distinguished for great breadth of treatment 
 and character. Although influenced by Reynolds, his manner 
 of execution was more like that of Gainsborough, yet lacking 
 in that pearly freshness which characterizes Gainsborough's 
 work. 
 
 3 1 Portrait of Jean, daughter of Sir Ewen 
 
 Cameron, of Fassiefern, and wife of 
 Roderick McNeill, of Barra. 
 
 32 Doctor Welsh Tennent, of Tennent 
 
 House, Fyfe. 
 
 33 Lord Hamilton. 
 
 HOPPNER (John), R.A. 1758-1810. 
 
 A student at the Royal Academy in 1775, associate member 
 in 1793, and two years later elected an Academician. His style 
 
Portrait of Jean, Daughter ot Sir Ewen Cam- 
 eron [3 i] 
 
 By Sir Henry Raebi rn, R.A. 
 
was formed somewhat on that of Sir Joshua Reynolds, but 
 he was far from being an imitator. Although essentially a 
 portrait painter, a powerful rival of Sir Thomas Lawrence, 
 and peculiarly happy in his treatment of women and children, 
 he also excelled in landscape painting. 
 
 34 Portrait of a Young Girl. 
 
 OPIE (John), R.A. 1761-1807. 
 
 Born near Truro, Cornwall. Having already shown many 
 proofs of his genius, he became a protege of Dr. Wolcott 
 (Peter Pindar), under whose auspices he visited Lon- 
 don in 1780, and became known as the "Cornish Wonder." 
 His work is remarkable for vigor and truth rather than for 
 dignity and grace. The best of his historical and romantic 
 subjects show a curious sense of style, which is lacking in many 
 such pictures of the period. He was elected professor in the 
 Royal Academy in i8o6. 
 
 35 Lady Hamilton. 
 
 36 Portrait. 
 
 MORLAND (George), i 763-1 804. 
 
 His early youth gave evidence of strong artistic power, which 
 grew with time, but he became a victim of dissipation. " His 
 genius, his moral character, and the circumstances under which 
 he produced his works, many of them to discharge an ale 
 score, entitle him to be regarded as the Sheridan of artists." 
 As a painter of rustic subjects he has attained almost unexam- 
 pled popularity, and has had this influence upon the progress 
 of English art, — that he showed there was a store of subjects 
 in his native surroundings, and a public to appreciate them. 
 
 37 Noonday. 
 
 Was in Exhibition of Old Masters at Royal Academy in 
 1876. 
 
 ['3] 
 
38 Contentment. 
 
 Was exhibited at World's Columbian Exhibition in 1893. 
 
 39 Interior of a Stable. 
 
 40 Portrait of H. Wright, Esq. 
 
 LAWRENCE (Sir Thomas), P.R.A. i 769-1 830. 
 
 Was early influenced by Sir Joshua Reynolds, and after an 
 attempt at classical art devoted himself to portrait painting. 
 He was appointed "Painter in Ordinary" to the King in 
 179a, and succeeded West as President of the Royal Academy 
 in i8ao. No English painter, except perhaps Reynolds, has 
 been happier in his portrayal of groups of mothers and children. 
 His portraits of men were apt to be less well drawn and lack- 
 ing in character. Nevertheless, those of the Emperor Francis, 
 of Pius VII., and of Cardinal Gonsalon, at the Waterloo Gallery 
 at Windsor, are among the greatest masterpieces of portraiture 
 extant. 
 
 41 Miss Barron. (Afterwards Mrs. Ramsay.) 
 
 42 Marchioness of Ely. 
 
 43 Lady Dunmore. 
 
 44 Mrs. Charles James Fox. 
 
 45 Canova. 
 
 (Exhibited at the Midland Counties Art Museum, Not- 
 tingham Castle, in 1881.) 
 
 BARKER (Thomas). (" Barker of Bath.") 1 769-1 847. 
 
 In drawing and painting, Barker never took a lesson, yet his 
 numerous productions show abundant marks of genius, being 
 bold and firm in outline and correct in modelling. In early 
 years he copied the works of old Dutch and Flemish masters, 
 and later visited Rome. He was an occasional exhibitor at 
 
 [14] 
 
the Royal Academy and at the British Institution for nearly 
 half a century, and while in full vigor, no artist stood higher in 
 popular favor. 
 
 46 The Shepherd Dog. 
 
 (Painted in 1837.) 
 
 CROME (John). ("Old Crome.") 1769-1821. 
 
 As a youth he struggled against poverty and lack of education, 
 but under the patronage of Sir William Beechey he was enabled 
 to satisfy his thirst for art to some degree. He founded the 
 Norwich Society of Artists, of which he was made President in 
 1 8 10. His landscapes were generally painted in his studio 
 from careful studies and sketches from nature, and show a won- 
 derful power of observation and a keen appreciation of beauty. 
 
 47 The Edge of the Wood. 
 
 (From the Collection of Dawson Turner, Esq., of Norwich, 
 who purchased it from the artist.) 
 
 48 Landscape. 
 
 CONSTABLE (John), R.A. 1776-1837. 
 
 Born at East Bergholt, Suffolk. He was first widely esteemed 
 in France, and did much to influence French landscape paint- 
 ing. His friend and biographer, Leslie, thus writes of his 
 works : " I cannot but think that they will attain for him, 
 when his merits are fully acknowledged, the praise of having 
 been the most genuine painter of English landscape that has 
 ever yet lived." At the beginning of his career, being asked 
 by Sir George Beaumont what style he proposed to adopt, he 
 replied," None but God Almighty's style. Sir George." He 
 represents English landscape, not " trimmed and frounced," 
 but as it holds its own on wild heaths or ferny commons. 
 
 49 Hampstead Heath. 
 
 (From the Murietta Collection and formerly in the pos- 
 session of the Marchesa de Santuse.) 
 
 ['5] 
 
CALCOTT (Sir Augustus Wall), R.A. 1779-1844. 
 
 Studied under Hoppner, at first giving his attention to por- 
 traiture, but later exclusively to landscape, the true bent of his 
 genius. He was elected a Royal Academician in 18 10. His 
 early Dutch and English landscapes are among his best works. 
 They show great purity of tone and color, and represent 
 nature in her most placid and gentle moods. His marine pict- 
 ures, though beautiful as to subject, are sometimes monot- 
 onous in color. His Italian landscapes charm by their 
 graceful composition and tasteful rendering. He is sometimes 
 called " the English Claude." 
 
 50 Warwick Castle. 
 
 (From the Collection Lucy.) 
 
 5 I View of Greenwich. 
 
 COTMAN (John Sell). 1782-1842. 
 
 Exhibited in the Royal Academy from 1800 to 1806, but re- 
 turned to Norwich, where he became a member of the Nor- 
 wich Society of Artists, and vice-president of the same in 18 10. 
 His landscapes are broad and masterly, his light and shade 
 good, and his coloring rich, although a hot yellow occasionally 
 predominates. 
 
 5 2 Signal Tower at Yarmouth. 
 
 (From the Collection of Frederick Chapman, Esq., of 
 Dudley Hall, Gloucestershire.) 
 
 WILKIE (Sir David), R.A. 1785-1841. 
 
 Born at Cults, Fifeshire, Scotland. He early showed so keen 
 a love of art that his father placed him in the Trustees' 
 Academy in Edinburgh in 1799, where he worked faith- 
 fully, and acquired much technical skill. He studied later in 
 the Royal Academy, and in France, Italy, and Spain. He 
 was elected full Academician in 18 11, and succeeded Sir 
 Thomas Lawrence as " Painter in Ordinary " to the King in 
 
 [16] 
 
1 830. His early pictures, full both of humor and pathos, 
 attract and interest the unschooled observer, while by their art 
 and finish they satisfy the critic and connoisseur. His finest 
 works are rivals on canvas of the poems of Robert Burns and 
 the stirring incidents of Sir Walter Scott's stories. 
 
 5 3 Market Day at St. Andrew's, Scotland. 
 
 (From the Collection of Alfred Woodewiss, Esq., Derby.) 
 
 NASMYTH (Patrick). 1787-183 i. 
 
 He early showed a decided predilection for landscape paint- 
 ing, first exhibiting in the Royal Academy in 1 809, and be- 
 coming a member of the Society of British Artists in 1824. 
 He painted English scenery in her simplest moods, yet with 
 great force and truth, taking as his models the two masters of 
 Dutch landscape, Hobbema and Wynants. 
 
 54 Dunkeld Ferry. View on the Tay. 
 
 (From the Albert Levy Collection.) 
 
 ETTY (William), R.A. 1787-1849. 
 
 A constant student in the Royal Academy, and also a pupil of 
 Sir Thomas Lawrence. Visited Italy in 1822, finding his 
 greatest attraction in Venice, which he described as *' the 
 birthplace and cradle of color, the hope and idol of my pro- 
 fessional life." He became an Academician in 1828, and 
 studied constantly in the life school until 1848. Etty de- 
 lighted in painting the nude, especially the female form, and, 
 as a colorist, has few equals in the English school. His land- 
 scape backgrounds never fail to be well in character with his 
 subjects. His perseverance was unswerving, as was his love 
 of art. 
 
 55 A Study of the Nude. 
 
 (From the Deunstone Collection.) 
 
 [>7] 
 
COLLINS (William), R.A. 1788-1847. 
 
 Student at the Royal Academy in 1 807 and Academician in 
 1820. He later visited Italy for two years. He was a de- 
 vout imitator of nature and a good colorist, though a some- 
 what indifferent draughtsman. He loved to paint English 
 coast scenes and landscapes, and upon these works his fame 
 chiefly rests. 
 
 56 Children Playing with a Bird's Nest. 
 
 (From the Charles Wells Collection.) 
 
 LINTON (William). 1788-1876. 
 
 Attracted by art, he studied the works of Claude and Wilson, 
 and first exhibited in the Royal Academy in 18 17. He was 
 a landscape painter of the classic school, and made a great 
 many sketches on the Continent, from which his pictures were 
 later composed. 
 
 57 The Mountain Lake. 
 
 INSKIPP (James). 1790-1868. 
 
 A frequent contributor to the Royal Academy and the Society 
 of British Artists. He first painted landscapes, and later 
 portraits and domestic subjects; but his temper was ill fitted to 
 contend with the trials of portrait painting. 
 
 58 A Surrey Peasant Girl Returning from 
 Market. 
 
 LINNELL (John). 1792- 
 
 He showed a remarkable aptitude for art in his early years, and 
 by the advice of Benjamin West he became a student in the 
 Royal Academy at Somerset House, into which he was admitted 
 in 1805. He painted both portrait and landscape, and was pre- 
 eminently a colorist, whose fame rests chiefly on his warm and 
 glowing atmospheric effects. 
 
 [18] 
 
Miss Barron, afterwards Mrs. Ramsay 
 
 By Sir Thomas Lawrence, P.R.A. 
 
59 Noonday. 
 
 (From the John Gibbons Collection.) 
 
 STANFIELD (William Clarkson), R.A. 1794-1867. 
 
 While a boy he entered the naval service and there gained that 
 knowledge of the sea which makes his marine sketches so true to 
 life. Having been disabled by a fall, he turned his attention to 
 art, and his reputation as a marine painter grew steadily. He 
 became a member of the Royal Academy in 1835, and in 18J9 
 he visited Italy, which impressed him greatly. He was a master 
 of his art. 
 
 60 Coast Scene. 
 
 STARK (James). 1794-1859. 
 
 Belonged to the Norwich School and studied under " Old 
 Crome," and also in the Royal Academy. His subjects are 
 woodland, river, and coast scenes, which are truthfully depicted, 
 although sometimes lacking in richness and force. 
 
 6 1 Near Thorpe. 
 
 (From the Collection of Arthur Anderson, Esq.) 
 
 62 Landscape. 
 
 HERRING (John Frederick). 1795-1865. 
 
 The son of American parents, and when a young man he drove 
 the coach between York and London. He devoted his leisure 
 time to painting, often choosing his subjects from the scenes 
 with which he became familiar on the road. He became a mem- 
 ber of the Society of British Artists in 1841, and occasionally 
 exhibited at the Royal Academy. His work was very popular, 
 and he often received commissions from George IV., the Duch- 
 ess of Kent, and Queen Victoria. 
 
 [•9] 
 
63 Landscape. 
 
 (From the Collection of T. W. Woodhouse, Esq., ot 
 Wolverhampton.) 
 
 VINCENT (George). 1796-1830. 
 
 Belonged to the Norwich School, and exhibited in the Royal 
 Academy from 18 14 to 1823. He rarely introduced trees or 
 foliage as prominent objects in his pictures, and in his later 
 works preferred, like Constable, to represent the sun as over- 
 head, or with the light streaming through a rift in warm gray 
 masses of cloud, 
 
 64 Landscape. 
 
 (From the Collection of A. W. Dunn, Esq., of Liver- 
 pool.) 
 
 65 Leith Harbor. 
 
 66 Landscape. 
 
 BONINGTON (Richard Parks). 1801-1828. 
 
 Studied in England and at the Louvre, and when twenty- 
 one years of age went to Italy. Although he had achieved 
 a reputation in France, he was practically unknown in Eng- 
 land until 1826, when he exhibited two French coast scenes 
 in the British Institution, which were immediately appreciated. 
 His influence upon the French school of genre and dramatic 
 art was very great. His works were marked by their origi- 
 nality, their rich color, and by their broad masses of light 
 and shade. 
 
 67 Italian Landscape. 
 
 LANDSEER (Sir Edwin), R.A. i 802-1 873. 
 
 Early showed a genius for drawing, which was developed under 
 his father's teaching. Entered the Royal Academy as a stu- 
 
 [20] 
 
dent in 1816, having already exhibited there his " Heads of a 
 Pointer Bitch and Puppy," and in 1831 became a full mem- 
 ber. " His skill endowed animals with something more than 
 instinct, sometimes highly pathetic, sometimes of the most 
 subtle humor. His power of execution was dexterous and 
 rapid ; the facile treatment of his textures, fur, wool, skin, or 
 feathers, unsurpassed ; his composition without effort, yet 
 always good." 
 
 68 The Dog Jolly. 
 
 DAWSON (Henry). 1811-1878. 
 
 With the exception of a few lessons from Pyne, he was en- 
 tirely self-taught. In later life he was somewhat influenced by 
 Turner's methods, and tried to get his brilliant effects ; but 
 there is so much originality in his work that he hardly should 
 be ranked as an imitator. His work was comparatively little 
 known, except to artists and connoisseurs, until the year of his 
 death, when the Nottingham Exhibition brought him wider 
 fame. 
 
 69 Landscape. 
 
 MUELLER (William James). 1812-1845. 
 
 A landscape painter whose brief career was crowned with suc- 
 cess. He exhibited in the Royal Academy in 1833, and made 
 a large number of interesting sketches in Germany, Switzer- 
 land, and Italy, and later in Greece, Egypt, and Lycia. He 
 had a lively imagination. His style was broad and simple, 
 and his color rich. 
 
 70 A View in North Wales. 
 
 (From the Baring Collection.) 
 
 7 1 Landscape. 
 
 [21] 
 
WATTS (George Frederick), R.A. Born February 23, 18 17. 
 
 One of the distinguished masters of the English school. He 
 was elected an Associate of the Royal Academy in 1867, and 
 an Academician shortly afterwards. With rapid steps he 
 attained the highest honors of his profession, and still works 
 on, constantly developing new interests and powers. " What- 
 ever stirs this mortal frame, whether passions high or low, 
 beauty or intellect, religion or philosophy, — these have ever 
 been, and still are, the true objects of his art." 
 
 72 Mrs. Prinsep. 
 
 (Mrs. Prinsep was a sister of Countess Somers and aunt 
 of Lady Henry Somerset.) 
 
 MASON (George Hemming), A.R.A. 18 18-1872. 
 
 Studied for the medical profession, but abandoned it for art 
 in 1 844, studying and painting in Rome. Returned to Eng- 
 land in 1857, and exhibited in the Royal Academy from 1862 
 to the time of his death. Palgrave says of his work : " The 
 colors are uncommonly tender and bright. The greys are 
 managed with a skill which all who have handled the brush 
 will envy." 
 
 73 Spring Ploughing. 
 
 WILLCOCK (George Barrett). 
 
 74 A Thunderstorm at Hampstead Heath. 
 
 INMAN (Henry), i 802-1 846. 
 
 Born in Utica, N.Y. Portrait, genre, and landscape painter. 
 Displayed decided talents for art as a lad, and studied 
 under Jarvis, in New York. He went to Europe in 1845, 
 and while there painted Wordsworth, Macaulay, Dr. Thomas 
 Chalmers, and others. 
 
 75 Portrait of Mrs. J, W. Wallack. 
 
WALDO AND JEWETT. 
 
 Samuel Waldo was born in Connecticut (1783-1861) and 
 studied there. Later painted in Charleston, S.C. In 1806 
 he went to London, painting portraits there for three years. 
 He returned to the United States in 1809, when he opened 
 a studio in New York. 
 
 76 Portrait of a Lady. 
 
 PARKER (Stephen Hills). 
 
 77 Portrait of a Lady. 
 
 78 Portrait of a Lady. (Artist unknown.) 
 
 PHILLIPS (Thomas), R.A. 1770-1845. 
 
 Born at Dudley, Warwickshire. In 1790 he went to London 
 with a letter to Benjamin West, who employed him to paint 
 the glass for St. George's Chapel, Windsor. He soon took 
 up oil painting, in which he acquired distinction, and exhibited 
 at the Royal Academy. His portraits are dignified, truthful, 
 and good in color. He became a member of the Roval 
 Academy in 1808, and later Professor there. 
 
 79 Portrait of Thomas Moore. 
 
 STUART (Gilbert Charles). 1756-1828. 
 
 Born in Narragansett, R.I. He studied with Alexander, and 
 in 1778 he set sail for London, arriving there "full of 
 poverty, enthusiasm, and hope." When West heard of him 
 and his circumstances, he sent him money and an invi- 
 tation to his studio. While under his roof he painted a full- 
 length portrait of West, which was greatly admired. A strong 
 desire to paint Washington's portrait alone induced him to 
 
return to America, and in 1794 he went to Philadelphia for 
 that purpose. As a painter of heads, Stuart stands in the 
 highest rank. His work shows that exquisite sense of unity 
 which only a man of genius can express. It is not only 
 harmonious in color and line, but also in light and shade. 
 
 80 Portrait of George Washington. 
 
 PEALE (Rembrandt). 
 
 Born in Pennsylvania in 1778, and in 1795 painted a portrait 
 of General Washington, which has been frequently copied by 
 himself and others. He studied art with his father, Charles 
 Wilson Peale, and with Benjamin West in London until 
 1804. He lived in Paris for three years, returning to America 
 in 1809. He painted many people of note on both sides of 
 the Atlantic. 
 
 81 Portrait of George Washington. 
 
 *FRANCONA. 
 
 82 Portrait of Henry Clay. 
 
 SEAMAN (Emery). 
 
 83 Portrait of Daniel Webster. 
 
 CROPSEY (J. F.). 
 
 Born on Staten Island in 1823. Was in an architect's office 
 for five years, when he turned his attention to landscape paint- 
 ing and especially to autumn scenery. 
 
 84 The Mellow Autumn Time. 
 
 *In an autograph letter to Hamilton H. Jackson, Esq., now in Mr. McCormick's 
 possession, Henry Clay writes : " Mr. Francona, at the instance of your liberality, has 
 made a portrait of me, which, as far as I can judge, is a good likeness. He has succeeded 
 in some features in respect to which most of the artists have failed." Mr. McCormick 
 believes that Mr. Clay was mistaken in the name of the artist, as no such name can be 
 found in any record. 
 
 [^4] 
 
Portrait [36] 
 
 By John Opie. R.A. 
 
HERTZOG (Hermann). 
 
 85 Wallenstadter See. 
 
 LITSCHAUER (Carl Joseph). 
 86 The Counterfeiters. 
 
 ALLSTON HALL. 
 Collection of (/^) Pictures by Mr. Byam Shaw, entitled 
 "Thoughts Suggested by Some Passages from British 
 Poets." 
 
 SHAW (Byam), R.A. Born in 1872. 
 
 From his childhood every effort seems to have been made to 
 guard h.m from artistic evil and surround him with that which 
 IS healthy and true. When he was eight years old. he became 
 a pupil of J. A. Vmter, and was made a member of the Royal 
 Academy m ,890. Two years later he won the Armitage 
 competition prize for his "Judgment of Solomon" and in 
 1893 another prize for a decorative design. Byam Shaw is 
 one of the younger pre-Raphaelites, and has been strondv 
 influenced by its master Rossetti. He is a true lover of 
 beauty and a close student of human nature. 
 
 I 
 
 Winter reigneth o'er the land. 
 
 Bishop Walsham How. 
 
 2 
 
 3 
 
 We think her white brows often ached 
 Beneath her crown. 
 
 Christina Rossetti. 
 
 Will, if looking well can't move her, 
 Looking ill prevail ? 
 
 Sir J. SucKLiNc;. 
 
The Spring spreads one green lap of flowers, 
 Which Autumn buries at the fall. 
 
 Christina Rossetti. 
 
 When musing on companions gone, 
 We doubly feel ourselves alone. 
 
 Scott. 
 
 Was this fair face the cause, quoth she. 
 Why the Grecians sacked Troy ? 
 
 Shakespeare. 
 
 And all winds go sighing 
 For sweet things dying. 
 
 Christina Rossbtti. 
 
 Maud Clare. 
 
 Christina Rossetti. 
 
 God 's in his heaven — 
 All 's right with the world. 
 
 Browning. 
 
 0 Maud. 
 
 . . . When alone she sits by her music and books. 
 
 Tbnnyson. 
 
 1 Cupid and Campaspe. 
 
 O Love ! has she done this to thee ? 
 
 What shall, alas ! become of me ? 
 
 J. Lylye. 
 
 2 
 
 Or thought, as his own mother kissed his eyes. 
 Of what her kiss was when his father wooed ? 
 
 D. G. Rossetti. 
 
 O26] 
 
13 
 
 Come, in God's name, come down ! do anything, but be 
 something. 
 
 Clough. 
 
 14 
 
 While roses are so red, 
 
 While lilies are so white, 
 Shall a woman exalt her face. 
 
 Because it gives delight ? 
 
 Christina Rohetti. 
 
 Two thousand pounds of education 
 Drops to a ten-rupee ' jezail.' 
 
 RUDYARD KiPLINC. 
 
 16 Amor Mundi. 
 
 Nay, too steep for hill mounting; nay, too late for cost 
 counting ; 
 
 This down hill path is easy, but there's no turning back. 
 
 Christina Rohitti. 
 
 Why so large cost, having so short a lease, 
 Dost thou upon thy fading mansion spend ? 
 
 Shakespeare. 
 
 18 
 
 Maggie has written a letter to give me my choice between 
 
 A wee little whimpering Love and the Great God Nick o' Teen. 
 
 RuDYARD Kipling. 
 
 19 Stratton Water. 
 
 He 's drawn her face between his hands, 
 And her pale mouth to his. 
 
 D. G. Rossetti. 
 
 The frames were designed by and made under the supervision of the arti»t. 
 
 {London Morning Post^ May 1 1, 1899.) 
 
 The congenial alliance between poetry and painting is exempli- 
 fied in a fashion not less impressive than fanciful through a series of 
 
 [^7] 
 
cabinet pictures now on view at Messrs. Dowdeswell's gallery, New 
 Bond Street. In these dainty little works, figure-subjects all, painted 
 on panel with remarkable beauty of color and accuracy of execution, 
 the heroes and heroines have been chosen sometimes from the writ- 
 ings of Shakespeare, but more frequently from those of Clough, 
 Browning, Tennyson, Christina Rossetti, and a few other poets of less 
 eminent rank. The numerous personages of the changeful scenes are 
 depicted with such strength and variety of dramatic spirit and amid 
 such picturesque diversity of incidents and accessories as win attention 
 and interest at a glance. The artist is Mr. Byam Shaw, for whom, he 
 being still very young, a brilliant career may be confidently predicted. 
 
 [London Daily Telegraph, May ii, 1899.) 
 
 Certainly in none of the larger and more ambitious works of 
 this promising young artist has he yet so vindicated his right to be 
 classed among the true poet-painters of English growth as here in these 
 fantasies, avowedly based on the fantasies of poets, yet, as they should 
 be, seen with the painter's eye, rather than thought out in the brain 
 of the deliberately poetic litterateur. 
 
 20 Love, the Conqueror. 
 
 (Through the courtesy of Messrs. Dowdeswell & Dowdes- 
 well, of London, this picture has been loaned.) 
 
 [London Sun, May i, 1899.) 
 
 Mr. Byam Shaw's strong picture " Love, the Conqueror " will 
 undoubtedly be the picture of the year at the Royal Academy. From 
 the gate of a mediaeval city by the sea issues forth the procession of 
 those who have immortalized Love, — Dante, Mark Anthony, Beetho- 
 ven, Cleopatra, Mary of Scotland, Washington, Pocahontas, Shakes- 
 peare, all the world's great lovers, held in silken bondage by cherubs. 
 In the centre, on a black horse, is Love, the Conqueror, behind him a 
 serried array of scarlet-clad heralds. It is a beautiful and original idea 
 that Mr. Shaw carries out in his somewhat bizarre yet powerful style, 
 whilst the vivid hard color is daringly but effectively handled. 
 
 [28] 
 

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THIS NEW ART PUBLICATION CONSISTS OF A SERIES 
 of Monographs issued in the form ot a Monthl) Magazine. Each issue, 
 complete in itself, aims to adequately illustrate and thoroughly describe the 
 work of one of the "Old Masters" of painting. Ten exquisite full-page Re- 
 productions of his most beautiful and characteristic Pictures are given, together 
 with his Portrait. 
 
 THE REPRODUCTIONS PRESERVE NOT ONLY THE ASPECT 
 but the artistic "quality " of the originals. They may be detached for framing 
 or mounting. The Text of each issue gives the Life of the Painter under con- 
 sideration, together with a LJst of his Works, descriptions of his most famous 
 Pictures, an account of his "School," and a reference Bibliography of the litera- 
 ture concerning him. 
 
 THE GREATER PART OF THE TEXT, HOWEVER, CONSISTS 
 of Quotations from what the most eminent Art Critics of the world have written 
 concerning him, thus bringing to the student the fruit of the world's best Critical 
 Judgment about the Artist. 
 
 THE MAGAZINE BEGAN WITH THE ISSUE FOR JANUARY, 
 1900. The three numbers already published deal respectively with Van Dyck 
 (Part I, January, 1900), Titian (Part 2, February, 1900), and with Velasquez 
 (Part 3, March, 1900). 
 
 THE PUBLISHERS WILL SEND A FULL-SIZED SAMPLE RE- 
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 a Sample Copy of any of the issues mentioned above for i 5 cents. 
 
 YKARLY SUBSCRIPTION PRICE, ONE DOLLAR AND A HALF, POSTPAID. 
 S1N(;LF. COPIES, FIFTEEN CENTS, POSTPAID. 
 
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