THE J. PAUL GETTY MUSEUM LIBRARY I PAINTERS AND THEIR WORKS: A DICTIONABY OF GBEAT ARTISTS, WHO ABE NOT NOW ALIVE, THEIR NAMES, LIVES, AND THE PRICES PAID FOR THEIR WORKS AT AUCTIONS. ND v.\ By RALPH N. JAMES. IN THREE VOLS. VOL. I.— Aalst to Hyre. London : L. UPCOTT GILL, 170, STRAND, W.C. 1896. London : L. Upcott Gill, London and County Printing Works, Drury Lane, W.C. THE J. PAUL GETTY MUSEUM LIBRARY PREFACE. The object that was kept constantly in view while the articles were being published, which are now reprinted with many additions, was to give the latest information regarding artists the merit of whose works has rendered their names more or less celebrated, with lists of the prices at which their j)ictnres have been sold by auction. Few persons who have not studied the subject are aware of the very large number of painters who have lived and worked in Europe since the revival of painting in the thirteenth century, or that the names of many of those mentioned in the dictionaries are all that remains to prove that they existed. This remark is peculiarly applicable to painters who worked in Flanders and Holland. Guicciardini, writing in 1567, says that there were then more painters in those two countries than in all the others taken together. In every case information regarding a painter has been sought in the best and latest books published in the country in which he was born. Experience having shown that any attempt to place compound surnames under the headings tle^ des, di, del, dei, etc., only adds to the difficulty of finding them, a system of cross refer- ences, similar to that used in Siret's and the best foreign diction- aries, has been adopted in this work. The author trusts it will render the task of finding those names comparatively easy ; and his best thanks are due to Mr. W. Baker-Bartlett for the kind assistance he has rendered in that somewhat complicated matter. London, Mai/, 1896, R. N. J. Digitized by the Internet Archive in 2013 http://archive.org/details/painterstheirwor01janne Painters and Their Works. Introduction. Although the expression "The Old Masters" has become habitual, it is, in reahty, very misleading for those who have not studied the history of Art. Without going back to pre-historic times, if artists were classed with anything like correctness, the Egyptians would be ' ' The Old Masters " ; for it would be easy to show that during more than three thousand years there has been a succession of painters, and that "The Revival of the Arts" and ' ' La Renaissance " simply indicate a time when certain styles of Art, that had existed long before the fourteenth century, were imitated. The works of the masters who lived in Europe in the Middle Ages have almost disappeared through neglect or ill- usage. Yet enough of them still remain to show that, whether they executed their works in tempera, fresco, miniatures, or by some other means, there never was a time, since history began, when there were not any painters of pictures. Of the works of those masters w}iich have come down to our time, and can be carried from place to place, the oldest are painted in miniature on vellum, in tempera on panels, or ujjon fine canvas glued on to panels. Subsequently the use of canvas alone became more general, and first in Italy. It was usual among artists who lived between the fourteenth and seventeenth centuries, and proba- bly before, for the pupil most recently admitted into the school of a master to prepare the panels, canvas, or colours, and to do all the rough work of the school. At the same time he learned to draw, and to do any coarse paintings that were ordered from his master. By these means he gradually became a master of his art, and the admirable state of preservation in which many pictures are, that A 2 PAINTERS AND THEIR WORKS. have been painted three or four hundred years, shows the advantage of such a system. Colours were mixed with water, gUie, gum, the juice of shoots of the fig-tree, etc., to enable the artist to stain paper or plaster, or to make colours adhere to the vellum, paper, plaster on walls, or canvas coated with plaster. All of these were pictures painted in water-colours. To these must be added those executed in what is termed encaustic, in which the colours are mixed with wax, and blended by the use of a hot iron. There are still in existence a large number of such pictures — miniatutes, pictures on panels or canvas, and frescoes on walls — executed with the mixtures which were in use before Van Eyck, about 1410, changed the old method of painting with oil. This alteration may very probably have consisted principally in grind- ing the colours with the oil on a marble slab, instead of simply stirring them up with the oil, as that had certainly been done, for painting woodwork, at a much earlier period. The mixing of varnish with the colours also came into use for fine painting about the same time, but there can be no doubt that, like that of oil, the use of varnish for coarse work had long been common. The accounts of expenses at the Chateau de Fontainebleau, in France, for 1537-40, show, also, how early varnish was used for pictures which had been painted with some other fluid. It is stated that the Italian painter, Primaticcio, was paid 11 livres for having, " during the month of October, washed and cleaned the varnish of four large pictures by Raphael d'Drbin," namely, the " S. Michael," " S. Marguerite," " S. Anne," and the portrait of the " Vice-Queen of Naples." These picturesare now in the Louvre, and as the 11 livres which Primaticcio received represented about £10 of our money, it is probable that he did more to them than wash them with a sponge and cold water. It must not be forgotten that this occurred only twenty years after the death of Raphael. In connection with this early restoration of pictures, a few words of advice to persons who purchase pictures may perhaps not be out of place. The principal things to be attended to when buying a picture by an Old Master are, to observe carefully whether the paint has been rubbed off the panel or canvas, and parts of either repainted, or whether the paint was originally laid on thinly. Of course, if the paint has been rubbed ofl' a restorer must repaint, but this was often done so carelessly that a large old repaint as big as a halfcrown covers a hole no bigger than a sixpence. With the exception of the paint being rubbed ofl: and the general darkening INTRODUCTION. 3 of a picture painted on a red ground, almost any injury can be repaired by a skilful cleaner and restorer. We will now pass on to what it is necessary that our readers should know about drawing and design, which form the founda- tions of painting. That a perfect mastery in drawing is the most essential accom- plishment of an artist, is a truth which has been long accepted. Winckelmann asserted ' ' that drawing will always be to the painter that which Demosthenes said action was to the orator : the first, the second, and the third quality." It is no less evident that, to become a good judge of works of Art a sufficient know- ledge of the forms of the objects represented in designs and pictures is absolutely necessary. Nevertheless, such a knowledge alone will alford us little assistance in deciding to which artist a work is to be attributed ; for it will be found that the pecu.- liarities of drawing, an acquaintance with which is of great assistance in forming a correct opinion, lie in many minute differences — in those which affect the general forms, the character of the heads, the touch, the effects of light and shade, etc. As we recognise a handwriting with which we are familiar by certain forms and combinations of letters, so, however well a pupil or an imitator may acquire the general style of composition and design of another artist, it will always be possible to distmguish the drawing of the imitator from that of the original master. Like two men who speak the same words, but with a different accent, or who use a different expression to convey the same idea, one will lengthen the figure or certain limbs more than the other, will mark more forcibly a particular feature of the face, give to certain joints of the hands and feet a peculiar development, employ more or fewer lines in a sketch to produce a similar result, or thicken a line in a different part. It is not possible to say whether the great improvements in painting which mark the fourteenth century as the commencement of an advance in the art, were first made in Italy, Germany, Flanders, France, or Spain. Each country has produced warm partisans who have claimed the honour for their own. Italy, however, has certainly contributed many more examples to modern collections than any other country ; but we must not forget that no decided change in the form of worship took place there, and that it is quite impossible to form any estimate of the number of pictures of sacred subjects which were destroyed in Germany, Holland, and England in the sixteenth and seventeenth A 2 4 PAINTERS AND THEIR WORKS. centuries, or in France in the eighteenth. At the same time the mass of Italian and Flemish pictures was increased by the habit some artists had of employing pupils to copy their works. In Spain and Portugal painting followed very much the same course as in the rest of Europe until the sixteenth century, when the artists of both countries began to visit Italy. The trade with the West Indies also caused many rich Italians and Flemings to settle in the Peninsula, and either bring with them or import fine works of art from their native lands, which were studied by Spanish artists, especially at Seville. The great change that took place in Italian art in the fifteenth century, and rather later in the other countries, was the result of the study of classical literature which drew attention to old Greek Art. Although that of nature was not discarded, it soon held a subordinate position in the education of artists. The con- sequences which were produced by the change are too well known for it to be necessary to dwell upon them. Very similar changes were brought about in France and in England, at the end of the last century, by nearly the same means. On the other hand, in the Netherlands, especially in Holland, nature was the chief or only object of study in the seventeenth century. The effect of this, as far as colouring went, was admirable, yet it limited very much the subjects which could be painted, and tended, together with the change in religion, to exclude those taken from sacred and classical history. To combine the two great divisions of study — those of nature and the ideal — has since become the aim of academies and stu- dents. The importance attached to one or the other has varied very much in different countries. It is that in which they have chiefly differed. It must also be remembered that, if Art is the interpretation of nature, there are degrees in the conception and production of the true and beautiful, and that artists of the second rank have occasionally produced works very superior to those they painted habitually. When studying a large collection of pictures it is always useful to bear in mind these facts and the effects of national character. It is hardly an exaggeration to say that colouring is as old as man. Substances which produce the three primary colours, red, yellow, and blue, and even green, black, and white, are found all over the globe, and were used by man when he was still a savage to decorate his body, or to render more like his first rude imita- tions of things. As he advanced towards a more civilised state, INTRODUCTION. 5 he employed them to embellish his gods or the buildings in which they were enshrined, and colouring was done by priests and per- sons who worked under their direction. That in Egypt and the ancient kingdoms they should have regulated the colours which were to be used under certain circumstances, is not surprising ; but what is remarkable is, that when painting became a profession, artists were everywhere satisfied, generation after generation, to lay on colours within a hard outline. They went on correcting the outline, making it more and more delicate, yet, until a com- paratively late period, none appears to have trusted entirely to difference of colours and shadows in producing without outline what he wanted to represent. Until, however, that change took place, it was not likely that the art of colouring objects as they appear to the human eye would make any great progress. It is not easy to find evidence as to when this alteration occurred, for the use of a hard outline constantly re -appears until the thirteenth century, and even later. Considering the degree of perfection to which the Greeks had pushed sculpture and other arts, more than three centuries be- fore the Christian era, it is very probable that they had made equal progress in colouring, bvit it has not been proved. What Pliny or Lucian, men who lived four or five hundred years after the time of Apelles, have written about the matter is of little value. They were farther removed from the times of the great Greek artists than we are from those of Masaccio and Raphael. The processes of painting adopted by the Greeks probably did not enable them to produce works sufficiently permanent to resist the effects of time, and were less so than those used by the Italians. Moreover, all that has been discovered at Pompeii and elsewhere, although executed much later, has faded very rapidly when ex- posed to strong light. It is, therefore, only from the earliest manuscripts extant, and by guessing what were the drawings from which the mosaics of the first centuries of the present era were worked, that we can form any idea of the state of the art of painting at that period. When, in 330 a.d,, Constantino the Great transferred the Govern- ment of the Roman Empire to Byzantium (the ancient name of Constantinople), the style of art which prevailed there acquired the name of ' Byzantine, " and for centuries it influenced art in Italy and the countries north of the Alps. Many Byzantine pictures appear also to have been copies or new versions of older classical works. Gradually Byzantine art became more and more 6 PAINTERS AND THEIR WORKS. mechanical, and the richness produced by beautiful colours and gold, which are to be found in the early Byzantine works, was replaced by others that are inferior, and the faces of the stiff and attenuated figures introduced, after being coloured orange or brick - red, became pink with green or olive shadows. Of this style the traditions have, however, been preserved to the present time at Mont Athos, and are to be recognised, in a degenerate form, in the devotional pictures common in Russia. The Byzantine style was superior to that of Western Europe in the ninth and tenth centuries, and as its influence slowly declined in Italy, there arose what is termed the Romanesque. This can be most easily traced in illuminated miniatures and mosaics. In architecture it was the style that immediately preceded the general use of the pointed arch, and its object in painting was rather to embellish architecture than to produce effective pictures. While speaking of that time, it may be useful to observe that early portable pictures are not necessarily Greek because they bear inscriptions in Greek, as Barnaba and Bizzamano, Florentines who painted in 1150-1180, used Greek for the inscriptions on their pictures ; so also did some of the early Venetians. Portable pictures by Italians which were painted much before 1200 are, however, very rare. Still, from the time when the earliest were painted, the improvement in colouring, if slow, was general and continuous. Whether Pisa, Siena, or Florence produced the artists who effected the change, is not very material. This style prevailed from about a.d. 900 to 1200. In Germany the treatment of subjects in pictures which had been rather national than Greek was extremely rude until Otho II. married, in 972, the Greek princess Theophano, and the Byzantine style produced a change in German art. It is very diflB.cult to give in words an idea of the difference between miniatures which are purely Byzantine and those of Western Europe. Perhaps it will be best done by saying that while many of the latter are very rich, they are less overloaded with ornament, and the forms of the figures are fuller and more natural. The French and Spanish miniatures of that time are even ruder than the German, and inferior to both the English and the Flemish in design and colouring. We must now return to the end of the twelfth century — about 1200. From that date there was a steady advance throughout Western Europe in the art of painting pictures, as regards com- position, design, and colouring, which lasted until the sixteenth INTRODUCTION. 1 century — nearly to 1600. After that there were great pamters : in Italy the Carracci and Guido Reni ; Rubens and Van Dyck among the Flemings ; Velasquez and Murillo in Spain ; and Nicolas Poussin and Claude Lorraine in France ; but they profited ably by what their predecessors had discovered, rather than added anything themselves to the advancement of the art of painting pictures. In fact, it is only within the last hundred years that any real progress has been made, and that in water-colour painting — a branch of art the capabilities of which were quite unknown to the older masters. If we reflect on what they did in fresco this is very wonderful, but it is no less true. How far what may be described as the chemistry of painting will improve the art by the new colours it has produced, is very uncertain. All the greatest colourists, Titian, Rubens, and our own Gainsborough, used very few colours — six or eight in all. We are inclined, however, but do not state this as a fact, to think that the effect of a picture does not depend entirely upon how it is coloured, nor upon the light under which it is seen, but, to a certain extent, upon the eyesight of the person who looks at it. We mean, that one person sees an object redder, or more yellow, or more blue than it really is, and that if the person who sees red is most pleased with a picture in which the other two primary colours, yellow and blue, predominate, that may account for difference of taste. Certainly many artists appear, when several works by the same master are hung in a row, to have seen nature more red, yellow, or blue than it is. We will now pass on to the lives of the most distinguished painters, arranging them alphabetically, and not classifying them according to schools or birthplaces. Few things are more be- wildering to the general reader than to be told that this artist belonged to the Roman, that to the Venetian, School. He naturally concludes that all the painters in Rome or Venice painted in the same style ; and when he is told, moreover, that such an artist was influenced by another school, however much he may be impressed with respect for the ingenuity of critics, he is certain not to understand what they mean. PART I. In order to avoid the repetition of such words as "born," "died," etc., the following abbreviations vnll be used : B., born (place and date) ; D. , died (place and date) ; s. , scholar of (name of master) ; I. , imitated (name of artist) ; P, , painted (history, landscape, etc. , as the case may be). The date immediately preceding the price refers to the period at which a picture was sold, and not to that of its execution. Aalst (Evert van).— B. Delft, 1602; d. 1658; s. master not known; p. dead game, flowers, etc., with great truth. His works are rare, but pictures by him are to be found in the museums at Munich, Berlin, Dresden, Florence, and The Hague. Some are painted on a clear, white ground. Aalst or Aelst (Willem van). — b. Delft, 1620 ; d. Amster- dam, 1679 ; s. his uncle, Evert van Aalst ; p. fruit and flowers, dead game, and still life in general. He travelled into France and Italy, where he was employed by the Grand Duke of Tuscany, and was known there as Guiglielmo ; he returned to Holland in 1656. W. van Aalst surpassed his uncle in the arrangement of the objects in his pictures, in colouring, and in the transparency and delicacy of his painting. Like those by his uncle Evert, nearly all the finest pictures of William van Aalst are in public galleries, among which we may name: "Flowers," dated 1663, and "Still Life," 1671, both at The Hague; and "Fruit," dated 1676, in the National Gallery, London. Pictures by William have been sold as follow, but such prices do not show what one of his fine works would produce in an auction : £ s. d. Dead Birds, in Van Marck's sale ... 1779 ... 5 Grapes, Peaches, Insects, in E. Coxe's sale 1S07 ... 16 16 Still Life 1836 ... 3 10 Dead Game 1836 ... 7 10 PAINTERS AND THEIR WORKS. £ s. d. Dead Birds and a Dead Hare 1848 ... 33 12 Dead Game 1860 ... 17 6 6 Aartsen or Arijaensz (Pieter). — b. Amsterdam, 1507 ; D. Amsterdam, 1573 ; s. Allard Klaazen ; p. kitchens, old cooking utensils, which are highly finished ; and later, sacred subjects, and architecture in a bolder style. Known in Italy as Pietro Longo. An excellent painter, whose works are to be met with in all the chief galleries. His sons and grandsons were also painters. A picture by Aartsen, "An Interior," in Clay's sale, 1813, realised 13s. Abbate (Niccolo dell).— See Niccold. Abbott (Francis Lemuel). — b. in Leicestershire, 1760 ; D. 1803 ; s. Frank Haynian ; P. x^ortraits. Exhibited at Royal Academ}^ 1788-1800. Painted several portraits of Lord Nelson ; also one of Admiral Sir Peter Parker, which is at Greenwich. The heads in his portraits are said to have been very good like- nesses. Many by him were engraved by V. Green and others. Portraits by Abbott have been sold as follow : £ s. d, Simon Taylor, in G. W. Taylor's sale 1832 ... 31 10 6 Lord Nelson, sale at Messrs. Christie's 1884 ... 31 10 Abel de Pujol.— .S'cc Pujol. Abildgaard (Nikolaj Abraham). — b. Copenhagen, 1744 ; d. 1809 ; s. his father, Soreen Abildgaard ; P. historical and poetical subjects. Went to Italy about 1767 ; studied the works of Michael Angelo, Raphael, and Titian ; returned to Denmark in 1777 ; and from 1802 to 1809 was Director of the Academy at Copenhagen. Thorvaldsen, the sculptor, was much influenced by his advice. Nikolaj Abildgaard is held to be the greatest painter that Denmark has produced. The subjects of his principal works were taken from ancient poets. Unfortunately, many of his pictures perished in the great fire which consumed the Palace of Christiansborg in 1794. The sketches he made for them are, however, in the Gallery at Copenhagen. Abshoven or Abtshoven.— .S'ee Apshoven. Achtschelling or Achtschllinck (Lukas). — b. Brussels, 1626 ; D. Brussels, 1699 ; s. P. van der Bocht, or Vadder ; p. landscapes. The figures in his pictures are often by other artists. His pictures are painted in a broad manner, and are to be found at Dresden, Berlin, and Brussels (in the Church of S. Gudule). He painted like Van Uden. PAINTEES AND THEIR WOEKS. 11 Landscai3e, with Holy Family, bv Van £ s. d. Avoiit, in Bertel's sale ... 1779 ... 10 Two Landscapes, with figui'es copied from Rubens 1785 ... 9 Adam. — There have been, in different countries, about a dozen artists of the name Adam ; but only two of them call for mention. Adam (Albrecht).— b. Nordlingen, Bavaria, 1786; d. Munich, 1862 ; s. Rugendas ; p. battles, portraits, and landscapes. In 1809 he was with the Bavarian and French army against Austria ; in 1812 he went as ' ' Painter to the Court " with Napoleon to Russia ; and in 1859 he was with the French and Italian army against Austria. He painted many of the principal battles in those campaigns ; also portraits, among others that of Marshal Radetzky. Adam's battle-pieces have not the spirit of those by Horace Vernet, but they are more correct in the details. His works are to be found in France and Germany. Albrecht Adam also etched. The following are some of his best pictures : ' 'A Horse and Waggon," ' ' Portrait of Radetzky," ' ' Battle of Novara," ' ' Battle of Custoza," all at Munich, to which must be added " The Battle of La Moskowa, with Napoleon surrounded by his Staff." Adam (Victor Jean).— b. Paris, 1802 ; d. 1867 ; s. Regnault ; p. history, battles, fairs, etc. Late in life he produced the lithographs which are so generally known. Aelst.—See Aalst. Aelst (Paulus van).— B. ; d. Antwerp, ; s. Pieter Kock ; p. dead birds, fruit, and flowers. He was a natural son of Pieter Kock, and as his widow married Gilles Coningsloo, the elder, about 1543, he must have died before that time. He distinguished himself by his copies of pictures by Mabuse. .ffllzheimer.— >S'ee Elzheimer. Aguiar (Tomas de). — b. ; d. ; s. Velasquez; p. smaU portraits in oil which were much admired. Among them was one of the poet Antonio de Solis. Aguiar was an amateur, and painted about 1660. Aikman (William).— b. Cairney, Forfarshire, 1682 ; d. Lon- don, 1731 ; s. Sir John Medina ; p. portraits. In 1707, he went to Rome, where he studied until 1710 ; went to Constantinople and Smyrna ; returned to Scotland in 1712 ; painted in Edinburgh until 1723, when he came to London and became acquainted with 12 PAINTERS AND THEIR WORKS. Kneller, whom he imitated. Aikman's works are pleasing, but weak, and are very numerous. His son John, who was born in 1713, died in 1731. The elder Aikman is said to have died of grief at losing him, and both were buried in the same grave in the Grey Friars Church at Edinburgh. Portrait of Gay the Poet (now in the £ s. d. National Gallery), in Anderdon's sale 1879 ... 57 15 The Second Duke of Argyll, in the Duke of Hamilton's sale 1882 ... 35 12 There are a few etchings by each of the Aikmans. Ainemolo.— >S'te Aniemolo. Aken.—Scc Bos. Alaux (Jean), called Le Romain. — b. Bordeaux, 1786 ; d. 1864 ; s. Vincent ; p. history. He was Director of the French Academy at Rome in 1847, and painted both in fresco and in oil in the Louvre, Luxembourg, and at Versailles. Alba (Macrino d*).—SeG Pava. Albano or AJbani (Francesco). — b. Bologna, 1578 ; d. Bologna, 1 660 ; s. Dionijs Calvart and Ludovico Carracci ; p. sacred and mythological subjects. Albano and Guido Reni were fellow- pupils under both masters, and the latter, who was three years older than Albano, was so charmed by his amiable character, that a friendship was formed between them which lasted until the death of Guido Reni, in 1642. Albano went to Rome in 1610, as an assistant to Aimibale Carracci, and, later, owing to the illness of Annibale, completed some of his works. He was in Bologna in 1616. The works of Albano may, perhaps, be best described by the word agreeable ; they are exactly what we might expect from the character of the man. The male figures, although not devoid of dignity, are somewhat wanting in masculine strength ; those of females and children are charming by their grace and winning expression. If, as is asserted, they were studies from his beautiful wife and children, we can easily understand how they came to possess the pleasant aspect they have, and to be so much alike. The landscapes in which the figures are placed have also a gay appearance that harmonises well with them. Even in sacred subjects Albano was most successful in those in which the same soft character is to be found, such as the ' ' Infant Christ Sleeping on the Cross." The colouring in Albano's pictures is brilliant, the yellows being peculiarly rich, and the whole well suited to the PAINTERS AND THEIR WORKS. 13 subjects lie painted. His drawings, which are very scarce, are cor- rect and highly finished. So numerous are the pictures by Albano, that they are to be found all over Europe, and a few of the prices paid for them at sales will give a general idea of their value : The Birth of Adonis, 19in. by 27in., on £ s. d. copper, in Coesvelt's sale ... ... 1840 ... 186 18 S. John Baptising Christ, in the Duke of Buckingham's sale 1848 ... 157 10 Venus in the Clouds, 12in. by 15in., bought by Lord Hertford at Christie's 1849 ... 388 10 Taking the prices paid for a number of them, they produce, on an average, about £200 each. Francesco Albano had a brother, Gio. Battista, who painted landscapes ; but his works are little known. Alberti. — There have been many artists of this name ; the most celebrated were members of a family which existed at Borgo San Sepulcro in the sixteenth century. Among them the most distinguished was Cherubino. Alberti (Cherubino), called Borghegiano, — b. Borgo San Sepulcro, 1553 ; d. Rome, 1615 ; s. his father Alberto Alberti ; p. history. Although more generally known as an engraver, Cherubino painted some very considerable works in fresco for the palaces and churches in Rome ; and was Director of the Academy of S. Luke there when he died. Albertinelli (Mariotto). — b. Florence, 1474 ; d. Florence, 1515 ; s. Cosimo Rosselli ; p. sacred subjects. Under Cosimo Rosselli he was the fellow-pupil of Fra Bartolommeo. They entered into a partnership as painters, and some of the works they executed conjointly are marked with a cross and two interlaced rings. So closely did they adhere to the same style that their works appeared to be by the same hand, and when Fra Bartolommeo retired into a monastery, Albertinelli finished some works the former had left uncompleted. He painted in fresco and in oil on both large and small scales. His masterpiece, ' ' The Visitation," now in the Uffizi, and which was executed in 1503, before Fra Bartolommeo recommenced paintmg, shows that his skill in painting was equal to that of his companion. It is said that Albertinelli gave up painting, and became an innkeeper. Probably this was while Fra Bartolommeo was in retirement, for they again painted together from 1510 to 1513. In 1515 14 PAINTERS AND THEIR WORKS. Albertiiielli was in Rome, and died on his retnrn to Florence, There are very few pictures which can be said to be solely by him. and his drawings are also exceedingly scarce, so much so that we believe none has been sold for many years that could with certainty be attributed to AlbertineUi. See also Bartolommeo (Fra). Of the pictures which appear to have been entirely painted by AlbertineUi, the following are the most generally known : Virgin with Christ and S. John, signed and dated 1509 — at Cambridge (Fitzwilliam Museum). The Annunciation, signed and dated 1510 — at Florence. The Crucifixion, signed and dated 1506— at Florence. Visitation of the Virgin, signed and dated 1503 — at Florence. This is his masterpiece. Madonna and Child, signed and dated 1506 — at Paris. His pictures which have been sold by auction are : The Announcing Angel, predella on £ s. d. wood, ^ 1847 ... 94 10 The Creation and the Temptation, predella on wood, 1849 ... 189 Tlie Virgin near a Palm, with Christ and S. John, Salamanca sale, ... 1865 ... 1100 The same subject, 1867... 300 Aldegrever (Heinrich.). — b., according to the latest German writers, at Paderborn, 1502, but resided at Soest, in Westx^halia, where it was formerly su^^posed that he was born ; d. Soest, 1558 or 1562. It has been asserted that he was not a pupil of Albrecht Diirer, and that he was never at Niirnberg ; but he certainly worked very much in the manner of Diirer, and, although more generally known as an engraver, painted pictures which are to be found in the great collections of Germany and Austria. The following pictures are said to be by Aldegrever : Portrait of Engelbert Therlaen, 1551 — at Berlin. Portrait of Count Philipp of Weldeck, 1535 — at Breslau. Portrait of Magdalena Wittig, 1541 — at Brunswick. Portrait of a Young Man, 1544, and perhaps his best portrait — at Vienna. Christ Sitting on His Tomb, 1529 — at Prague. As regards the value of Aldegrave's pictures, there was sold in the Hartmann sale in 1873, the " Portrait of an Old Man," on wood, 20in. by 12in., for £320. Aldibrandi or Aliprandi (Girolamo). — b. Messina ; d. Messina, 1524 ; s. the Antoni ; p. history. After studying in PAINTERS AND THEIR WORKS. 15 the school of the Antoni, at Messina, he went to Venice, and became the pupil of Antonello da Messina. From Venice he passed on to Milan, studied under Leonardo da Vinci, and after his return to Messina produced some fine works, which caused him to be called the Raphael of Messina. Aldichiero.— Altichiero. Aleksyeer (Peodor Jakovlevich). — b. S. Petersburg, 1757 ; D. S. Petersburg, 1824. Went to Venice for improvement in his art, and on his return to Russia was much employed. The views of Moscow, which are at the Hermitage, S. Petersburg, are some of his best works. He has been called the Russian Canaletto. Alemannus or Alemanno (Giovanni da Murano).— /See Murano. Alen (Jan van). — b. Amsterdam, 1651; d. Amsterdam, 1698; s.— — ; p. birds, etc. This artist is said tu be the same person as Van Olen. He had great skill in imitating the works of other masters, and the x^ictures he painted in the style of Melchior Hondekoeter have often been sold as being by the latter. Alesio (Matteo Perez de, or Matteo de Leccio).— B. Rome, 1547 ; d. Rome, about 1600 ; s. Michael Angelo Buonarroti ; p. in fresco. Went to Spain in 1584, and painted the colossal figure of S. Christopher in Seville, in which city there are other works by him that have much grandeur. Alexander (Cosmo). — A Scotch artist, who painted portraits in Edinburgh about 1750. In 1766 he was in London ; sub- sequently he went to America, and painted portraits in Rhode Island in 1772. He returned to Edinburgh, and died there shortly after his arrival. Alexander (John). — This Scotch artist studied at Florence and in Rome about 1718, and is jjrincipaUy known as an engraver ; but he returned to Scotland in 1720, and painted, at Gordon Castlei, ''The Rape of Proserpine." The dates of his birth and death are not known, although he is said to have been a descendant of the painter George Jameson. Alexander (William;. — b. Maidstone, 1767; D.Maidstone, 1816 ; s. ; p. in water-colours. Went with Lord Macartney to China, and made many drawings in that country, which were engraved. Appointed teacher of drawing in the Military College at Great Marlow, and, in 1808, Assistant Keeper of Antiquities in 16 PAINTERS AND THEIR WORKS. the British Museum. Some drawings by him are in the South Kensington Museum. They are very accurately finished, and the figures are well placed. His etchings also are excellent. Alfani (Domeuico, di Paris). — b. Perugia, about 1483 ; living in 1553 ; s. Pietro Perugino ; p. history and portraits. There were three painters of the name of Alfani. Domenico was the fellow-student of Raphael Sanzio, under Pietro Perugino, and his two sons, Ozazio and Cesare, were pupils of their father Domenico. Ozazio was born about 1510, and died in 1583. Cesare, who was his younger brother, was inscribed on the Register of Painting in 1533, and died in 1579. Domenico was the friend of Raphael, and there was in the Wicar Collection, at Lille, a letter from him to Domenico, on the back of which is a drawing of the Borghese " Entombment," by the former. The pictures by the Alfanis are so much alike in style, that it is difficult to assign any one to a particular member of the family. They have all the same characters as the works of Raphael, but are affected here and there by the style of Rosso, who, after the sack of Rome, was at Perugia, or by that of Andrea del Sarto. Of pictures by Domenico Alfani, the following may be cited : The Virgin, S. Elizabeth, the Infant Christ, and S. John— at Florence. The Virgin with two Angels — at Rome. Alfaro y Gamez (Juan de). — b. Cordoba, 1640 ; d. Madrid, 1680 ; s. Antonio del Castillo and Velasquez ; P. history. I. the works of Velasquez in his portraits, of which the most celebrated is that of Calderon, now in Madrid. Aliense.—Sce Vassilachi. Aliprandi.— *Sec Aldibraudi. Alkeu (Henry).— This well-known painter and engraver was living at Southampton in 1801-2, when he exhibited two portraits at the Royal Academy. In 1816 he published ' ' The Beauties and Defects of the Horse," and subsequently several other works, the last being " Jorrocks's Jaunts and Jollities," in 1869. "A Hunting Scene," by H. Aiken, realised £703 at a sale in 1893. Samuel Aiken, who engraved landscapes in aquatint, was a different artist, although contemporary with Henry. Allan (David).— B. Edinburgh ; d. 6th August, 1796 ; s. Foulis ; p. history, portraits, etc. David Allan studied at Glasgow in the PAINTERS AND THEIR WORKS. 17 Academy foLinded by Robert and Andrew Foul is, the printers. He went to Italy in 1773, and gained at Rome the prize medal given by the Academy of S. Luke for historical composition. In 1777 he returned to London, where he resided until about 1780 ; then he settled at Edinburgh, and was appointed director of the Academy in Scotland. He distinguished himself by his pictures and etchings, and Paul Sandby made four aquatints from drawings of scenes during the Carnival which Allan made at Rome ; several figures in them are portraits. Allan (Sir William, Kt.).— b. Edinburgh, 1782 ; d. Edin- burgh, 1850 ; apprenticed to a coach-painter, studied in the Royal Academy ; p. portraits and history. This artist, who was P.R.S.A., R.A., and Limner to the Queen in Scotland, imitated Opie, and exhibited in 1803 his first picture, ' ' A Gipsy Boy with an Ass"; went to S. Petersburg in the same year ; visited Tartary and Turkey, and in 1809 exhibited at the Academy, ' ' Russian Peasants Keeping Holy Day" ; returned to Scotland in 1814, and settled in Edinburgh. , Between that date and his death he ex- hibited many pictures, and in 1825 was made A.R.A. In 1826 he was appointed Master of the Trustees' School in Edinburgli. Owing to illness he went abroad, and visited Rome, Naples, Con- stantinople, Asia Minor, and Greece. After his return to Edin- burgh in 1830 he painted the small portrait of ' ' Sir Walter Scott in his Study," which was engraved by Burnet, and is now in the National Gallery. In 1823, under the title of ' ^ The Orphan, " he exhibited the portrait of Ann Scott on the floor close to her father's vacant chair, which was purchased by the Queen. After travelling in 1834 through Belgium, France, and Spain, he in 1841 was elected R.A., in 1838 President of the Royal Scottish Academy, and in 1841 Limner to the Queen, and knighted. He completed ' ' The Battle of Waterloo from the French Side, " which wa.s admired and purchased by the Duke of Wellington, in 1843. In 1844 he revisited S. Petersburg, and painted for the Emperor " Peter the Great Teaching his Subjects the Art of Shipbuilding." Soon after his return to Scotland his health began to decline, and after a most laborious life he died at Edinburgh, in his painting- room, with his unfinished jncture of " The Battle of Bannockburn" before him. In Sir William Allan's pictures, although they are not without faults in execution, the stories are always well told, as might be expected from a man who was a clever mimic and a very humorous B 18 PAINTERS AND THEIR WORKS. and agreeable companion. There is in the National Gallery a picture by Sir W. Allan, ''Tartar Robbers Dividing their Spoil." painted in 1817. and engraved by Stewart and by Smith. Pictures by him have been sold as follow : Battle of S. Vincent, Burnett CoUec- £ s. ■ d. tion 1810 ... 210 Portrait of Sir Walter Scott at Abbotsford, Richardson Collec- tion 1871 ... 367 10 Two interiors, Russian Peasants, Hamilton Collection 1882 ... 31 10 AUegrain (Ettienne).— b. 1654 ; d. Paris, 1736 ; s. ; p. landscapes. He was received into the Academie Royale in 1677. The views of Versailles and the Grand Trianon, painted in the eighteenth century, which are often met with, are by this artist, whose works are not unlike those of the Fleming, F. Millet, known as Francisque. Allegrain executed some etchings, and had a son who painted in the same style as his father. At a sale in 1779, two landscapes by the father sold for £6. AUegri (Antonio).— ^S'ee Correggio. Allen (Joseph W.).—B. Lambeth, about 1804; d. 1852; s. ; P. landscapes. Allen, who was the son of a schoolmaster, and educated at S. Paul's School, appears to have been self- taught. He at tirst painted views in Cheshire and North Wales, in water-colours ; later he became a scene-painter, and in that capacity executed many of the scenes at the Olympic during Madame Vestris's first management. Afterwards he became a member and vice-president of the Society of British Artists, and a large contributor to their exhibitions. Many of his drawings represent views in Surrey, and his ' ' Vale of Clwyd, " 1842, was purchased for 300 guineas as an Art Union prize. His works have considerable merit, but often appear unfinished. At one time he was a teacher in the City of London School. Allom (Thomas). — b. 1804 ; d. Barnes, 1872 ; s. Francis Goodwin ; p. architecture and landscapes. After assisting his master in the construction of the Manchester Town Hall and other important buildings, he travelled abroad and devoted his time to painting views for the purpose of publishing them. To the scenes he painted he sought to impart additional interest by introducing historical events connected with them, such as the gathering of the clans under Prince Charlie, in the ' ' View of PAINTERS AND THEIR WORKS. 19 Lochiel." Subsequently he went to the East and produced "Constantinople and Asia Minor," treated in the same manner. This was followed by his work on France. In 1846 Louis Philippe invited him to S. Cloud and employed him to make drawings at Dreux. AUom was one of the founders of the Institute of British Architects. His principal works as an architect are Christ Church, Highbury, and S. Peter's Church, Notting Hill. Amongst his best paintings, which are very true and well executed, are ' ' The Cities of the Seven Churches of Asia Minor," which were engraved in the Art Journal of 1862-63. Allori (Alessandro), also called Alessandro Bronzino. — b. Florence, 1535 ; d. Florence, 1607 ; >s. Angiolo Bronzino ; p. history. Alessandro was the nephew of Angiolo Allori, also called II Bronzino. When only seventeen he painted ' ' The Cruci- fixion " for an altar-piece, which has considerable merit. At the age of nineteen he went to Ronte, where he remained two years, and on his return to Florence was much employed. In his works, the best of which are his portraits, he imitated the style of Michael Angelo Buonarroti. In 1590 he published a book entitled "Dialogo sopra Parte del disegnare le Figure," illustrated with anatomical plates. Pictures by him are very numerous, there being in the Uffizi, at Florence, alone sixteen. As regards the prices obtained for the pictures by this artist, there were sold : A Portrait of Torquato Tasso, Dennis- £ s. d. town Collection 1855 ... 26 5 S. John in the Desert, Northwick Collection 1859 ... 66 Allori (Angiolo), called II Bronzino. — b. MonticeUi, about 1502 ; D. Florence, 1572 ; s. Pontormo ; p. history and portraits. Angiolo is said to have been the scholar of Pontormo, but as he was only five years younger than the latter this seems rather improbable. His masterpiece is ' ' The Descent of Christ into Hades," which is at Florence, in the Uflizi. In the same collec- tion is one of the most celebrated of the portraits by him, that of Lucretia dei Pucci ; and the strongest proof of his skiU in painting portraits is that a portrait which was supposed to be that of Caesar Borgia, in the Borghese Gallery at Rome, now said to be by Angiolo, was for so many years ascribed to Raphael. The following are the prices at which some of the finest portraits by Angiolo Allori have been sold : B 2 20 PAINTERS AND THEIR WORKS. Luis Gouzaga, Landsdowne and Beck- £ s. d. ford Collections 1823 ... 168 The Princess Malatesta and her Son, Pesaro Collection ... 1847 ... 178 Leonora di Toledo, Rogers Collection 1856 ... 46 4: Cosmo de Medici, Prince Napoleon Collection ... 1872 ... 341 5 A Princess de' Medici, Prince Napoleon Collection ... 1872 ... 168 Leonora di Toledo and Son, Hamilton Collection ... 1882 ... 1837 10 Garcia de' Medici, Denisou Collection 1885 ... 945 Garcia de' Medici, Hamilton Collec- tion ... 1887 ... 1 / oO u A u Leonora di Toledo, in crimson dress 1887 ... 430 10 Venetian Gentleman, Exeter's sale 1888 ... 500 Garcia de' Medici, Exeter's sale 1888 ... 900 Leonora di Toledo, Mildmay's sale ... 1893 ... 816 AUori (Cristofano or Christoforo).— b. 1577 ; D. 1621; s. his father ; p. history. Cristofano was the son of Alessandro Allori, and studied, with Cigoli, under his father. He painted the celebrated and beautiful ''Judith with the Head of Holo- fernes" in the Pitti Palace. This picture is said to represent his mistress and his own head. There are several repetitions of this picture, one at Yienna, another in the Uffizi, and a third was sold at Paris in 1865 for £150. Allston (Washington). — b. Waccamaw, South Carolina, 1779; D. Cambridge, U.S., 1843; s. Royal Academy, London; p. history. Allston entered Harvard College, Massachusetts, in 1796. After making some attempts in miniature-painting, at Charleston, he graduated at Harvard in 1800, and devoted his whole time to art. In 1801, having sold his hereditary property, he came to England and entered the schools of the Royal Academy, of which his fellow-countryman West was then President. In 1802 three pictures by Allston — ' ' A French Soldier Telling a Story," "A Landscape, with Banditti on Horseback," and ' ' Sea Coast, with Banditti " — were exhibited at the Royal Academy. Of these three, only the second was marked as for sale, as was a landscape which was exhibited there in 1803. In 1804 Allston went with his friends Vanderlyn and C. R. Leslie to Paris, where he copied some pictures in the Louvre. From Paris he travelled into Italy, in which country he remained four years, principally in Rome. There, in 1805, he painted his PAINTERS AND THEIR WORKS. 21 "Joseph's Dream," a picture which at once laid the foundation of his subsequent reputation. It was at Rome also that he became intimate with Thorvaldsen, Coleridge, and Washington Irving, and a friendship was formed between him and the latter that lasted throughout their lives. On his return to America in 1809, he married either a daughter or sister of Dr. Channing, and returned with her to London. There he painted "The Dead Man Touching Elisha's Bones," for which he was awarded a prize of 200 guineas by the trustees of the British Institution. To this succeeded * ' The Liberation of S. Peter by an Angel." Both of these pictures are now in America. The sudden death of his wife threw Allston into a state of the deepest melancholy, but in 1817 he visited Paris with Leslie, and on his return commenced his "Jacob's Dream," now in the gallery at Petworth. He was elected in 1818 an Associate of the Royal Academy, and gained a premium of 150 guineas at the British Institution for his ' ' Uriel Standing in the Sun, " now in the possession of the Duke of Sutherland. Allston had remained in England during the American War, but in 1818 he returned to America. He had there already commenced his ' ' Belshazzar's Eeast," which he did not complete until 1834. Having settled in his native country, he married his second wife, a sister of Mr. Dana, the author. Allston himself also wrote several books, among others ' ' Hints to Young Practitioners on Landscape Painting," in 1814; and his "Lectures on Art" as well as ' ' Poems " were published in 1850 at New York ; also, in the same year, his " Outlines and Sketches," at Boston, U.S. Time has only tended to confirm the opinion of Redgrave that Allston was an excellent artist, that he aimed at painting subjects of the highest class, that his works are marked by a vivid imagination, his light and shade full of power, and his colouring good. Aloisi (Baldassare), called II Galantino. — b. Bologna, 1578 ; D. Rome, 1638 ; s. the Carracci ; p. history. Aloisi was related to the Carracci and studied under them. His works are little if anything inferior to the other artists of the School of Bologna. One of his finest pictures is " The Visitation," in La Carita. He was in Rome, and much employed in painting portraits of the most illustrious persons of his time. For the churches also he painted some pictures, the principal one of which was the great altar-piece representing " The Coronation of the Virgin, " in the Church of Gesu e Maria. Aloisi was likewise an engraver : among his works 22 PAINTERS AND THEIR WORKS. of that description are fifty plates from Raphael's works in the Loggie, in the Vatican. He had two sons, Vito Andrea and Gioseffe Carlo, both painters. Aloysii.— >S'ec Ingengno. Alsloot (Denis van). — b ; d. about 1626 ; s. ; p. land- scapes, genre, and portraits. Little is known of the life of this artist ; but he had a school and pupils in Brussels about ] 599 and about 1600 was attached to the service of Albert and Isabella, and signed as their painter. His most remarkable pictures are processions ; of these there are two in the Museum at Brussels, which were long attributed to Antonio Sallaert. In some of his pictures the figures are by De Clerck. Three pictures by Alsloot were sold at Messrs. Christie's in 1858 : £ s. d. A Procession in a Town, dated 1616 1858 ... 84 Two Pageants at Brussels, in 1601, which belonged to Lord Staff'ord, and are now in South Kensington Museum 1858 ... 262 10 The Pageant of the Grand Place, Brussels 1885 ... 262 There was not any artist named Daniel Alsloot. Alt (Jacob). — B. Frankfort-on-the-Main, 1789; d. Vienna, 1 872 ; s. ; p. portraits and landscapes. Alt showed at an. early age a talent for painting, and is said to have executed, at the age of fourteen, his mother's portrait. He soon became known in Vienna as a good landscape artist. In 1810 he went to study in Rome, and on his return to Vienna painted many portraits. In 1818 he applied himself to lithography, and he also painted in water-colours views in Rome for the Emperor Ferdinand. One of his best works is a "View in Venice, " signed and dated 1834, now in the Belvedere Gallery. Altdorfer (Albrecht). — b. probably at Regensburg, before 1480 ; D. Ratisbon, 1538 ; s. Albrecht Diirer ; p. history. In 1505, Altdorfer received the freedom of Ratisbon, he having removed to that place from Amberg. Within three years of that time he was appointed to some of the minor civic offices, and in 1519 acted officially in the expulsion of the Jews from Ratisbon. He, however, made two etchings of the synagogue, which was then destroyed and replaced by the Protestant parish church dedicated to "Our Lady," for which Altdorfer painted a picture of a miracle. Among other appointments he held that of city PAINTERS AND THEIR WORKS. 23 architect, and erected the city slaughter-house, which is still standing. In 1528, when at work on his picture of "The Victory of Alexander," for the Duke Wilhelm of Bavaria, he was relieved from his duties as burgomaster. His will is dated 12th Feb., 1538, and he died shortly after executing it. Altdorfer's paintings show, by the elaboration of the details, that he studied the objects he painted carefully, but there is neither breadth nor movement in them, and the forms are as angular as those of Albert Durer. His best painting is ' ' The Victory of Alexander," which we have already mentioned ; it is now in the Pina Kothek, at Munich. As an engraver, Altdorfer is classed among ' ' the httle masters, " and he is known in France as " Le Petit Albert." He was a German artist of the old school, and little influenced by the effect of the ' ' Italian Renaissance, " yet he copied from Marc Ant, Raimondi. He also designed many woodcuts. At Munich there is a good collection of liis engravings, and at Berhn of his drawings. There are about a hundred engravings attributed to him, and about eighty woodcuts of which he was only the designer. His usual mark was two A's, one within the other. There are about twenty -five pictures known to be by Albrecht Altdorfer, including the following : The Victory of Alexander over Darius ; Susannah at the Bath, dated 1526 ; Madonna and Child ; Pieta ; S. George and the Dragon, dated 1510 ; Landscape with figures — all at Munich. A Triptych, dated 1517 ; Birth of the Virgin — at Augsburg. Diptych, dated 1507 ; Landscape with Figures, 1507 ; Flight into Egypt ; Landscape with Figures, dated 1531 — all at Berlin. Rescue of the Body of St. Querinus ; Landscape ; Crucifixion, dated 1506 — at Nuremljerg. Adoration of the Shepherds — at Ratisbon. Altdorfer (Erhardt) was the brother of Albrecht Altdorfer. He was court painter to Duke Hemy the Peaceable, in 1512. In 1516 he painted an altar-piece at Sternberg, for which the duke paid him 150 Rhenish florins, and in 1538 he is mentioned in Albrecht's will as of Schwerin. In 1552 he describes himself as " Baumeister," so that, like his brother, he was an architect. He is now only known by his woodcuts for books, among which are the Lubeck Bible of 1533, and the edition of " Reineke Fuchs," containing thirty-five woodcuts, published at Rostock in 1539. His mark was E and S combined. 24 PAINTERS AND THEIR WORKS. Altichiero da Zevio, or Aldichiero. — b. Zevio, a village near Verona, probably about 3330; d. (painted as late as 1382); I. GioUo ; p. history. His principal works are at Verona and Padua. Great and deserved praise has been bestowed on the Avorks of this artist, who painted many of them in con- junction with Jacopo d'Avanzo, a native of Verona. They were not, as has been assumed, scholars of Giotto, for their works are brighter and more lively in colouring, and the forms are more ample than those of Giotto. After having decorated the great hall of the Palace of the Signoria in Verona, Altichiero and D'Avanzo commenced the frescoes in the Chapel of S. Felice in S. Antonio, at Padua, in 3376, and in 1377 those of the Chapel of S. Giorgio adjoining the church. Alluding to those of the Chapel of S. Felice, good judges have asserted that "it is the noblest monument of the pictorial art of the fourteenth century in North Italy, and that those frescoes contribute to assign a high place, in the history of art, to the painters of Verona." The subjects of them are principally scenes from the legends relating to S. James the Elder. A full account of them will be found in Lay ard's edition of " Kugler's Handbook." Altichiero is said to have painted the portrait of Petrarch in the " Sala dei Giganti," in the ancient Palazzo del Capitanio at Padua, traces of which still exist. Altissimo (Christofano dell').— ^See Papi. Altmann (Anton). — b. Vienna, 1808 ; d. Vienna, 1871. He studied under Massmer, in the Academy, and from Nature. In 1829 he was drawing-master to Count Apponyi in Hungary, and on his return to Vienna became famous as a landscape-painter in oil. His most important works were executed between 1838 and 1861 ; some of them are in the Belvedere. Altmann painted also in water-colours, and etched from his own designs. Alunno (Niccold da).— *SVe Niccolo da Foligno. Amalteo (Pomponio). — b. San Vito, in Friuli, 1505 ; d. 1584 ; s. Pordenone ; p. history. Amalteo was the son-in-law of G. A. Sacchi da Pordenone, whose name has been confounded with that of his relative, Bernardo Licinio. Sacchi, however, assumed the name of Regillot. Amalteo residedat S. Vito, near Treviso. He excelled in fresco, and his works have been attributed to Pordenone. The principal frescoes executed by Amalteo are at the Hospital at S. Vito, at Ceneda, and at Udine. PAINTERS AND THEIR WORKS. 25 Amberes (Miguel de). — b. in Flanders, of Spanish parents ; D. Malaga, about 1650 ; s. Rubens ; p. history and portraits. This artist was the same person as Miguel el Flaniengo, or Miguel Manrique. After learning the rudiments of his art in the school of Rubens, he went to Genoa, and studied there under Ferrari and Cornelius de Wael. Miguel de Amberes afterwards became a captain in the Sf)anish army, and finally settled at Malaga, where he painted many pictures for the churches. They are much in the style of Van Dyck, with whom he may have been acquainted at Genoa, as Van Dyck, when there, lived with Cornelius de Wael. Miguel de Amberes v»-as the first master of Juan Nino de Guevara. Amberger (Christoph). — b. Amberg, 1490 ; d. Augsburg, probably after 1563, as it is asserted that his name appears in 1568 in a judicial register at Augsburg; s., it is said, of the elder Holbein ; p. history and portraits. Although he executed many historical pictures, and even decorative works on walls in fresco, Amberger is best known as an excellent painter of portraits. One of the most celebrated is that of Charles V., painted at Augsburg in 1530, which is now at Siena. This is the portrait Charles declared was equal to any Titian had painted of him. There is a repetition of it at Berlin. Besides this portrait, among his works must be cited : The Virgin and Child, The Adoration of the Kings, The Wise and the Foolish Virgins, several portraits — at Augsburg. The Portrait of Duke Ludwig of Bavaria, The Portrait of Mr. Weiss — at Vienna. The Portrait of Sebastien Munster— at Berlin. At De Pereyre's sale, in 1872, the portrait of an old woman, by Amberger, sold for £60. Ambrogio da Possano.— >S>c Borgoguoue. Ambrosi (Degli).— ^Vo Melozzo. Amerighi.— See Caravaggio. Amiconi or Amigoni (Jacopo). — b. Venice, 1675 ; d. Madrid, 1752; s. ; p. history and portraits. It is not known who taught this artist, whose chief merit was that he learned something of the art of colouring, which the older Venetian painters carried to such perfection. He visited Rome and Munich (where he remained some time), and then came to England. Here he remained from 1729 to 1739, and did much 26 PAINTERS AND THEIR WORKS. decorative painting. After passing some years at Venice, he went in 1747 to Madrid, where he was appointed Court painter. Amiconi etched a few plates, but, like his works in general, they are of little value. Amiconi or Amigoni (Ottavio). — b. 1605; d. 1661; s. Antonio Gandini ; p. history. The native place of this artist was Brescia. He painted in fresco in the style of Paolo Veronese. His principal works are subjects taken from the life of S, Alberto in the Carmehte Church at Brescia, and have been much admired. Andrea d'Agnolo. — b. Florence, 1487 ; d. Florence, 1531 ; s. Andrea Barile and Pietro di Cosimo (called also Orefice) ; P. history. Although most generally known as Andrea del Sarto, from the trade of his father, that of a tailor, the artist's name was — counting several generations — Andrea d'Agnolo di Francesco, di Luca, di Paolo del Migliore, and not Vannucchi, as has been stated. Andrea d'Agnolo worked hrst under a goldsmith, and next (for three years) under Pietro di Cosimo, from whom he learned to paint, more especially landscapes. He then, in conjunction with his friend, Francia Bigio, commenced business on his own account, probably about 1508. Andrea was then admitted into the "Arte de' Medici e Speziali," to which painters belonged. He was not twenty when he began the frescoes at the Church of the Annunziata, in Florence, and he finished them in 1510, As Vasari's account of circumstances connected with the career of Andrea d'Agnolo has been repeated in dozens of books, it is worth while to examine how far this statement is worthy of credit. In the first place, Andrea did not marry a beautiful widow (Lucrezia del Fede) in 1512, for her first husband did not die untd 1516. If, therefore, Andrea went to France in May, 1518, it must have been shortly after his marriage, which may alone account for his return to Florence in 1519. Vasari was born in 1512, and was consequently only twelve years of age when he was at Florence in 1524, and worked under Andrea. Moreover, Vasari returned to Arezzo in 1527, and did not begin to write his "Lives of Artists" until 1546, or twenty years after what he relates as having happened when he was between twelve and fifteen. When Andrea went to France in 1518, he was paid in advance for the expenses of his journey by an agent of Francis I., probably PAINTERS AND THEIR WORKS. 27 by the Medici. Andrea appears to have been a man of a timid character, and when he returned from France, it is most unlikely that he carried a large sum in gold with him. Even the pugnacious Cellini, when he went to France, did not take the plate he had made with him, but entrusted it to a regular carrier. What may very well have happened is that Andrea, on his return to Florence, was paid by some agent of Francis money in advance for pictures he had promised to paint for the king, and, as many another artist had done, delayed sending them for a long time, and did work for other people. Had Andrea stolen money belonging to Francis, the king's agents in Florence would certainly have had him punished for it, and the Medici would not have employed him. Divested of the character Vasari has given to it, the whole affair seems to have been a matter of account between Francis and Andrea, when Vasari was a boy. Vasari says also that to please Lucrezia Andrea neglected his own relatives and assisted hers ; but it is certain that immediately after his return from France Andrea deposited ' ' 320 fiorini d'oro in oro " at the hospital of Santa Maria Nuova, with the condition that if he did not withdraw them the money was to go, after his death, to the children of his brothers. Lucrezia had no children, and did not die until 1570. As to what Vasari says about the poor and abject state into which Andrea fell, he tells us that after Andrea's return to Florence the latter resumed work at the Scalzi on the frescoes which Francia Bigio had carried on during his absence, and, moreover, gives a long account of large and numerous works in fresco and in oil which Andrea executed between the time when he returned from France and his death. Among other persons who employed him was Ottaviano de Medici. The works of Andrea d'Agnolo are distinguished by drawing so correct, that his contemporaries named him ''The Faultless"; also by delicate modelling and good chiaroscuro. His colouring is fine, and the general execution of his works in fresco excel- lent. As regards his figures, they have much dignity, and those introduced into Biblical subjects have a more Eastern appearance than those in the works of his contemporaries. Andrea is said to have taken his wife as a model for "The Virgin," but this is an exaggeration, for in many of his pictures her face is not at all like the portrait of Lucrezia. His great works in fresco are at Florence. The most cele- brated is the "Madonna del Sacco," which is in a lunette 28 PAINTERS AND THEIR WORKS. over a door in the great cloisters of the Church of the Annun- ziata, and was painted in 1525 ; it has been engraved many times. His easel pictures in oil-colours are very numerous, so much so that only a few of them can be cited. Perhaps the most beautiful is the "Madonna di San Francesco," in the Tribune of the Uffizi, at Florence ; another is the " Disputa della SS. Trinita," in the Palazzo Pitti, to which must be added the "Carita," in the Louvre, and a"Pieta," at Vienna. Andrea was singularly skilful in copying the works of other masters, so much so as to have deceived Giulio Romano by a copy of a picture by Raphael on which Giulio Romano had himself worked. Andrea left a large number of his drawings to his friend and pupil Domenico Conti. They are usually executed in black or red chalk. The heads have the character, the faces the mildness of expression, and the dresses the broad folds, that we find in his pictures. Pictures by Andrea d'Agnolo have been sold, since 1756, at all sorts of prices, ranging from £5 15s. 6d. to £3500, according to their size and importance. A few of those which have brought high prices are : The Virgin, Cliild, and Saints, Tallard sale ... Copy of Holy Family, by Rapliael, Anseirs sale Madonna, Christ, and Infant Saints, Walsh Porter's sale Virgin, Child, and S. John Madoima del Sacco, Duke of Gloucester's sale ... Holy Family, S. Joseph, and Angel, Lord Melbourne's sale ... Virgin, Child, and S. John, Walsh Porter's sale Charity, from King of France's Col- lection, W. Y. Ottley's sale Holy Family, with Angels, Camper- nowne sale ... Portrait of a Woman, Denou's sale Portrait of Benvenuto Cellini ... Virgin, Child, and Saints, Lafitte's sale Lucretia Stabl)ing Herself (57in. by 41in.), said, by Vasari, to be the portrait of Luerezia del Fede, from Orleans Collection, E. Sollv's sale £ s. d. 1756 . .. 250 1770 . .. 372 15 1803 . .. 199 10 1804 . .. 462 1806 . .. 2735 1809 . .. 336 1810 . .. 1207 10 1811 . .. 504 1820 . .. 430 10 1826 . .. 50 1827 . .. 97 1834 . .. 1350 1847 . .. 31 10 PAINTERS AND THEIR WORKS. 29 £ H. d. Holy Family, King of Holland's sale 1850 3500 1865 350 Pieta, Angels (38^m. by 5l|in,), Munro sale 1881 . .. 735 His Wife, as Mary Magdalen (36in. by 27in.), Duke of Hamilton's sale... 1882 . .. 357 Holy Family, Dudley's sale 1892 . .. 551 Pieta, Dudley's sale ... 1892 . .. 1092 Andrea del Gobbo.—Sec Gobbo (Andrea). Angeli di Liano. — Sec ITapoletano. Angeli (Marco d'), called Marco dal Moro. — b. Verona; D. Rome ; s. his father ; p. history. Marco was the son of Battista del Moro, and became an excellent artist at a very early age. He assisted his father in his works at Murano and elsewhere. According to Pozzo, Marco studied for a considerable time at Rome, under Raphael, and he mentions a picture by him little inferior to those by that great master. Bartsch also says that the eight engravings by Marco justify the praise Pozzo bestows upon his paintings. Six are after his own designs : ' ' The Baptism of Christ;" "The Marriage of S. Catherine;" "The Tiburtine Sibyl;" "Jupiter and a Nymph," dated 1565; "Mars and Venus;" "Hercules Killing the Hydra of Lerna ; " "The Triumph of Neptune," after Parmigiano ; and " The Garden of Love, " after Titian. It is said that Marco dal Moro died young in Rome ; but as Raphael died in 1520, if the date on the print, 1565, gives the time when Marco del Moro executed it, he cannot have been young at that time. Angeli, Angelo, or Angolo del Moro (Battista).— B. Verona, about 1512 ; d. about 1568 ; s. F. Torbido, called II Moro; p. history. Battista del Moro married the daughter of Torbido . and took his name. He improved himself by studying the works of Titian, and sometimes painted in his native city in competition with Paolo Veronese. He was at least equal to Torbido in colouring and design, but inferior to him as a portrait-painter. One of his best works is ' ' An Angel Presenting the Palms of Martyrdom to the Innocents." Battista del Moro also engraved, in a spirited style, among other things part of a set of fifty landscapes, many of which are after Titian, and a Holy Family after Raphael. His brothers, Giulio and Girolamo, and his son Marco, all painted in his style, and the last engraved. 30 PAINTERS AND THEIR WORKS. Augelico da Fiesole (Pra).— b. Castello di Vicchio, 1387 ; D. Rome, 1455 ; s. probably Stamina ; p. history. This great painter is known under several names — Fra Angelico, Fra Giovanni, II Beato Angelico, Fiesole, etc. His original name appears to have been Guido di Pietro, which, on his becoming a monk of the Dominican Order, at Fiesole, in 1408, he changed to Giovanni. The others have been bestowed upon him by persons who admired the hohness of his life and the religious feeling which he infused into his works. It is very uncertain who was his master, but the conjecture as to Stamina is well founded. Fra Angelico was only twenty when he became a Dominican, and it is not easy to believe that he can have passed unaided at once from painting in miniature to the execution of large works in fresco, or have painted so well as he did soon after he became a monk, without some instruction previous to his entering the Order. The Dominican Convent at Fiesole was founded in 1406, but, owing to religious disputes, Angelico and the other Dominicans were driven first to Foligno, then to Cortona, and only returned to Fiesole in 1418. The earliest known works of Fra Angelico are at Cortona, and these are movable altar-pieces, the frescoes which formerly existed there having been destroyed by the French. Among the former are an ' ' Annunciation, " a subject often repeated by Fra Angelico, and the ' ' Expulsion of Adam and Eve." To the same period belongs the "Madonna and Saints," formerly in San Domenico, at Perugia. All the twenty-two parts of this altar-piece are now in the gallery of that town. The works of Fra Angelico are remarkable for richness of composition, colouring, and above all for the variety of the heads and the expression in the faces. The angels are peculiarly beautiful, and they have perhaps been one of the causes why so large a number of Fra Angelico's works have been preserved. Certain it is that the pictures of no other master of the fifteenth century have been guarded with so much care as those of Fra Angelico. The number still in existence must be from two to three hundred ; the majority are in Florence, but there is not a large gallery in Europe which does not possess some. Most of them are full of figures, and very carefully painted through- out. They alone are a sufficient proof of the strong religious fervour that animated the painter, for no common industry would have produced such a result. Among his portable works, one of the more celebrated is "The Virgin and Child Surrounded by Twelve Aneels," which was painted in 1433, and is now in the PAINTERS AND THEIR WORKS. 31 TJffizi at Florence. The picture of ' ' Christ with the Banner of Resurrection," in the National Gallery, gives, however, a correct idea of the general beauty of the works of Fra Angelico. Another masterpiece is " The Coronation of the Virgin, " now in the Louvre. As regards Fra Angelico's works in fresco, it is in the Convent of S. Marco at Florence, and at Rome in a chapel in the Vatican, that his extraordinary powers can be best estimated. There are a few drawings attributed to him, but accuracy in the naked figure ought not to be expected in such works as his. It was formerly thought that Fra Angelico was assisted in his paintings by his brother Benedetto, who was a monk in the same convent, and that Benedetto painted in miniature in choral books, but it is now known that he was not an artist ; he died in 1448. As so many of Fra Angelico's pictures are in public galleries, it is very difficult to give an idea of their value. The following prices are, however, those paid for the few that have been offered for competition : Two pictures forming the Visitation, ll^in. by 9^in., ou wood, Denous' sale The Last Judgment, De Bammeville sale ... The Annunciation, 13|in. by 10|in., Bernal sale... Virgin, Child, and Nine Angels, Sam Rogers's sale S. Cosmo and Damian, Sam Rogers's sale ... Daughter of Herodias Dancing, Sam Rogers's sale The Annunciation, Sam Woodburn's sale Virgin Holding Book, and Infant with Pomegranate, Sam Woodburn's sale ... A Man Rescued from Satan, Pour- tales sale Virgin, Child, and Saint (triptych), Hertz sale ... Four Angels, Marcille's sale Virgin rising from Tomb, and Saints, Maitland sale The Virgin, Child, and Nine Angels (which belonged to S. Rogers), "Mayne's sale £ d. 1826 50 1854 .. 525 1855 . .. 69 6 1856 . .. 325 10 1859 . .. 77 14 1859 . .. 36 15 1860 . 64 1 1860 . .. 462 1865 . .. 2800 1865 . .. 210 1876 25 1879 . .. 152 5 1881 . .. 378 32 PAINTERS AND THEIR WORKS. The Virgin and Angel, two liaif £ s, d. figures, Hamilton sale 1882 ...1312 10 Angelo.— A^ee Angeli. Angelo (Michael^.— /S'tf^ Buonarroti and Caravaggio (Michael Angelo Amerighi da). Anguisciola (Sofonisba). — b. Cremona, about 1535 ; d. Genoa, about 1625 ; s. Bernardo Campi and Bernardo Gatti ; p. history and portraits. This celebrated artist was the eldest of six sisters in an ancient family at Cremona. Although she painted several line historical pictures, she owed her high reputation to her portraits. These caused her to be invited to Spain by Philip II. She arrived at Madrid in 1559 or 1560, accompanied by three of her sisters. Sofonisba was nearly related to Pope Pius IV., and her portrait of the Queen Isabella was presented by Philip to the Pope, who placed it among his most valuable x^ictures. While in Spain Sofonisba was married first to Don F. de Moncada, who received with her a dowry of about £20,000 of our money, and secondly to Orazio Lomelhni, the captain of the galley that carried her from Spain to Genoa, on which occasion she received a pension of about £2000 yearly. For many years prior to her death, Sofonisba was blind, and Van Dyck, who knew her when he was in Italy, said that he had learned more about painting from a blind old woman in Genoa than he had ever learned from anybody else. All the sisters of Sofonisba were painters, and, like herself, musicians. Among them the third (Lucia), who died in 1565, painted the fine portrait of the physician, Pietro Maria de Cremona, which is now at Madrid, Sofonisba painted many portraits of herself. Those most known are : Seated at a Clavecin (signed) — at Bologna. Similar to the last-named — at Lord Spencer's, at Altliorpe. Painting a Picture (signed)— at Florence. Seated at a Clavecin Painting a Picture — at Nuneham Park. Holding a Book, signed and dated 1554- at Vienna. To these must be added among her other works : Portraits of her Sisters Playing Chess — in Count Raczynski's Collection at Berlin. Portrait of a Nun, signed — in Lord Yarborough's Collection. Portrait of a Venetian Ambassador, signed — at Brescia. Among her historical pictures are mentioned : A small Holy Family, signed and dated, 1559 — at Mil.an. Madonna and Child dated 1559 — at Cremona. PAINTERS AND THEIR WORKS. 33 At the Thibaudeau sale (Paris, 1857), her own portrait sold for 20 guineas ; and at Reizet's sale (Paris, 1870), another, or more probably the same picture, rose to 60 guineas. Other pictures by Sofonisba have been sold as follow : Her own Portrait, Edward Coxe's sale, £ s. d. from Bessborough Collection ... 1807 ... 13 13 Her own Portrait, with Picture of Virgin and Child on Easel, Dr. Newton's sale 1808 ... 75 12 Her own Portrait, W. Comyn's sale .. . 1815 ... 5 5 Her own Portrait, the same as in Coxe's sale, at G. W. Taylor's sale 1823 ... 26 5 Her own Portrait in Miniature, at G. W. Taylor's sale 1832 ... 10 10 The Portrait of Isabella, second wife of Philip II. of Spain, from Sir Digby Mackworth's Collection, at J. Webb's sale 1869 ... 325 10 Aniemolo or Ainemolo (Vincenzio), called Vincenzio Romano. — b. Palermo, before 1500 ; l>. Palermo, 1540 ; s. or i. Raphael ; p. history. He went to Rome, and remained there until the city was sacked in 1527, when he returned to Messina and Palermo. Aniemolo painted many pictures for the churches in his native place, which show how successfully he imitated the style of Raphael. Ansaldo (Giovanni Andrea). — b. Voltri, near Genoa, 1584; D. Genoa, 1638 ; s. Orazio Cambiaso ; p. history. After painting a short time under Cambiaso he devoted himself to the study of the works of Paolo Veronese, and became one of the chief painters of large works in fresco of his time. He painted many works in Genoa, the best of which are in the Church of the Annunziata, and in the Palazzo Spinola. Ansdell (Richard). — b. Liverpool, 1815 ; d. 1885 ; s. ; p. animals. Ansdell appears to have beeji almost self-taught. At first he imitated Landseer, but soon adopted a style of his own. The first pictures he exhibited at the Royal Academy were shown in 1840. They were "Grouse-shooting" and "A Galloway Farm." His "Turning the Drove" gained a gold medal at the Paris Exhibition of 1855. The landscapes in his pictures are sometimes by Thomas Creswick, or the figures by Frith, or Jolin Philip, with whom Ansdell visited Spain in 1856. Among the 34 PxVINTERS AND THEIR WORKS. works the result of this journey may be named "The Water- carrier," "Mules Drinking," "The Spanish Flower-seller," "The Goatherds of Granada," etc. Ansdell etched a few plates. In 1861 he became an associate, and in 1875 a member of the Royal Academy. It is only possible to give some of the prices at which Ansdell's best pictures have been sold ; but the fact that among the prices paid for any picture, in a list of a hundred, the lowest is £121 5s., and the highest £1410 10s., will show their value. ong these were : £ s. d. Highland Drovers, Agnew's sale 1861 . .. 168 Going to the Lodge (bought in) 1863 . .. 283 10 On Lytham Sands, Threlfall's sale . . . 1864 . .. 430 Highland Drovers (see 1861) 1864 . .. 273 The Lost Shepherd, Whittaker's sale 1865 . .. 525 Approach to Seville, Moore and Co. 's sale 1866 . .. 477 15 Rescued, Moore and Co.'s sale 1867 . .. 383 5 The Drover's Halt, White's sale 1870 . .. 420 Road to Seville, Wheeler's sale 1871 . .. 609 Goatherd, Gibraltar, Burgess sale . . . 1872 . .. 367 10 Spanish Gossip, Pender's sale... 1873 . .. 525 Seville, Hamilton sale ... 1874 . .. 567 Raid of Spanish Students, Barker's sale 1875 . .. 892 10 England (with Creswick), Joyce sale 1876 . .. 735 S. Michael's Mount, Cornwall, A. Grant's sale 1877 . .. 1410 10 The Keeper's Daughter, Turner's sale 1878 . .. 756 Treading Corn in the Alhambra, Hopwood's sale ... 1879 . .. 789 The Rescued Lamb, Moore's sale 1880 . .. 393 15 Scotch Sheep, Wallis's sale ... 1881 . .. 609 Waiting for Steamer, Schofield's sale 1882 . .. 315 A Bogged Pony, Balmoral 1883 . .. 351 5 The Victor, Skipper's sale 1884 . .. 450 The Spate, Watts's sale 1885 . . 320 5 Sheep- washing ... 1885 . . 246 Fete Day, San Roque, Wilson's sale 1886 . .. 409 10 Yo Ho ! 1886 . .. 265 On the HUls. dated 1876 1886 . .. 375 The Interrupted Meal, dated 1879 ... 1886 . .. 280 Fete Day, Going to the Bull-fight . . . 1886 . .. 390 Fete Day, Gibraltar, dated 1875 1886 . .. 390 After a Day's Sport 1888 . . 245 The Rescue, dated 1866, Bolckow's sale 1888 . . 460 PAINTERS AND THEIR WORKS. 35 A Highland Lot for Sale, BolckoAv's £ s. d. sale ... 1888 ... 490 T reading-out Corn, Andalusia sale ... 1888 ... 290 C 1 ne xeii or ine Doi'iiie, x eacocK s sale 1889 ... 309 On Guard, Houldswortli's sale 1889 ... 225 Traveller Attacked hj AVolves, Cheylesmore's sale 1892 ... 325 Stag and Dogs, DennistOA^n's sale 1894 .. 204 Ansell (Charles). — b. — — ; d. - ; s. ; p. horses and domestic subjects. Very little is known regarding the life of this artist, although his drawings of horses were celebrated at the end of last century. He exhibited at the Royal Academy in 1780 and 1781. Jukes engraved in aquatint in 1784, in six plates, his "Death of a Racehorse." Tomkins and others also engraved from his designs. Ansiaux (Jean Joseph). — b. Liege, 1764 ; d. 1840 ; s. Vincent ; p. history and portraits. Ansiaux was one of the best French painters of his time. His pictures are mostly of sacred subjects, but there are also by him some fine portraits of distinguished persons. Among the latter are those of General Kleber, Marshal Kellermann, and the Ministers Champagny and Cretet. His chief pictures are: Richelieu Presenting Poussin to Louis XHL, painted in 1817 — at Bordeaux. The Assumption, exhibited in 1812, now in the celebrated cathedral, and several others — at Liege. S. Paul at Athens, in the Church of S. Etienne-du-Mont — at Paris. Anthony (Mark).— b. Manchester, 1817 ; d. 1886 ; s. ; p. landscapes. This artist, who was of Welsh extraction, studied medicine, but gave it up and went to Paris and The Hague to improve himself in painting. From that time for ten years he was abroad, principally in Paris, but sent, in 1837, a landscape for exhibition at the Royal Academy. While in France he became acquainted with Jules Dupre and Corot. After 1840 Anthony exhibited many pictures at the British Institution and Royal Academy. He was at one time a member of the Society of British Artists. Most of Anthony's pictures are in private hands, and they seldom appear in sales. The following prices will, however, give an idea of their value : c 2 4? jJ s. u. QQ JO o U QQ 1 Pi. fi U \J 1871 . . 199 10 1872 . . 199 10 1875 . . 157 10 1876 . . 132 6 1881 . . 346 36 PAINTERS AND THEIR WORKS. The Silent Pool The Hay Cart The Village Festival Scene from Vicar of Wakefield Nature's Mirror, Agnew's sale The Deserted Church, Timniin's sale Killarney, W. Ellis' sale Stratford-on-Avon, Sharp's sale Antonello da Messina. — b. Messina, about 1414 ; d. Venice, about 1493 ; s. his father ; p. history and xwrtraits. Among the lives of the old Italian painters there is not one which has given rise to more controversy than that of Antonello da Messina. We will therefore endeavour to arrange, in chronological order, known dates and facts, and compare them with the political position of those states in which Antonello resided for any length of time. His life must have been much influenced by it, and state archives offer the best chance of making new discoveries relating to him. It is generally agreed that Antonello da Messina was one of a family of artists known as "The Antoni." His grandfather, Antonio di Antonio, painted the "Martyrdom of Santa Placida" for the Cathedral of Messina ; Jacobello di Antonio, his son, also painted many pictures there ; and Salvadore di Antonio the brother of Jacobello, was a painter and an architect and the father of Antonello da Messina. Born at Messina about 1414, Antonello studied under his father, but was sent while young to Rome, about 1429. From Rome he returned to Sicil y, and may have painted at Palermo the picture of an old man and woman praised by Maurolyco. Antonio was also in Messina, where he then painted, in tempera, ' ' The Virgin and Child in a Landscape," now in the Museo Peloritano. As doubts have been expressed about Antonio's journey to Flanders, we will now turn to that part of his life : In the year 1438, Antonello da Messina was in Naples, where it is commonly said he saw a picture by Van Eyck in the possession of Rene d'Anjou, and that it induced him to go to Flanders to study painting under Van Eyck. For reasons which we shall give presently, it is more probable that Antonello saw the picture by Van Eyck in Sicily, and that it was in the possession of Alplionso of Aragon. In 1428, if not previously and later, Jan van Eyck was in Spain, attached to an Embassy from " Philip the Good," Duke of Burgundy. Alphonso of PAINTERS AND THEIR WORKS. 37 Aragon was from 1423 to 1432 in Spain, and favoured art ; it is, therefore, very probable that he knew Van Eyck personally. In 1438, the year in which Antonello went from Sicily to Naples, Phihp of Burgundy, Alphonso, and Philip Maria Visconti, at Milan, were united by common interests. Alphonso was a prisoner of Visconti's at Milan in 1435, and when the former was released by Visconti they became allies. In the same year the citizens of Bruges revolted against Philip of Burgundy, and Alphonso made his second attempt to wrest Naples from Rene d'Anjou. If, therefore, Alphonso wished to communicate secretly with Visconti and Philip in Flanders, no more fitting agent could be found than a painter whose profession — as Rene was a great admirer of painting — would afford him facihties for passing through Naples, then in the possession of Rene. Antonio is said to have studied under a painter named Colantonio at Naples, and it is by no means improbable that he assigned his wish to do so as a reason for his coming to Naples, for it must not be forgotten that Alphonso and Rene were enemies. A careful comparison of documents and dates of communications between Alphonso, Visconti, and Philip of Burgundy might yet throw an unexpected light upon Antonello's career, and perhaps account for the small number of pictures he produced in a long life. Van Eyck and Antonello may very possibly have acted as political agents, as Rubens and Gerbier did later. Moreover, a recommendation from Alphonso would insure for Antonello a favourable reception in Flanders, It is noi likely that Van Eyck would teach an entire stranger the secrets of his art. In 1438, the year in which he went to Naples, Antonello was twenty- four years of age, and painted sufficiently well, in tempera, to earn his livelihood. There were no j)olitical obstacles to prevent his passing by Milan through France ; and that Antonello remained several years in Flanders, and painted pictures in oil there, particularly one for the Church of S. Bavon, in Ghent, is a fact quite as well authenticated as historical facts often are or can be. Antonello returned to Messina about 1445, probably passing through Milan, and after a few months went to Venice. It must have been somewhat later that he taught the improved Flemish method of painting to Domenico Veneziano ; and, from the restless nature of Antonello, it is not unlikely that he then again visited Milan and other places in Northern Italy before he went from Venice to Messina about 1465. 38 PAINTERS AND THEIR WORKS. At Messina lie resided several years, and it was at tliia period of his life that he taught several pupils, among others his son or nephew Salvo di Antonio, Pietro Oliva, Pina da Messina, and Giovano Borghese. He likewise painted some of his important pictures — "The Virgin and Christ," the "EcceHomo," dated 1740, for the family of the Agliati of Palermo ; also in 1473 a triptych, representing ' ' The Virgin Enthroned, two angels bear- ing a crown, and SS. Benedict and Gregory." Antonello passed several months at Palermo in 1473, in which year he appears to have finally quitted Sicily. He lived afterwards principally in Venice. There he painted some of his best portraits, and, for the wardens of San Cassiano, a ' ' Virgin and Child and S. Michael," mentioned by Vasari as celebrated for its ' ' novelty, beauty, and correctness of design," and by Sabelhco as "a masterpiece." The introduction of the Flemish method of painting with oil did not lead to its general use in Venice much before 1473. Antonello was then fifty-nine years of age, and an experienced artist ; Gio. Bellini about ten or twelve years younger, and still inexperienced in the method of painting with oil. It is, there- fore, not surprising that Antonello should have been employed in preference to paint at Treviso the portrait of Catarina Cornaro, Queen of Cyprus, and a " Virgin and Child," which she presented to her daughter on the day of her marriage. The nobles of Treviso also employed him to paint the mausoleum of Agostino Onigo, and the senate of Venice assigned to him some of the pictures to be painted in the Ducal Palace. If, as is asserted, Antonello visited, after 1473, Lombardy and Milan, it may have been between 1480 and 1485, but his age at that time renders this improbable. He was, however, certainly in Venice in 1493, and died there, probably in that year, as he does not seem even to have begun the pictures for the Ducal Palace. In his pictures, Antonello apj)ears to have endeavoured to combine the simplicity and beauty found in the works ■ of Italian artists with Flemish execution. His colouring is warm, clear, and bright, even when his outHne is somewhat hard. His best works are his portraits, which are well modelled, freely painted, and beautifully coloured. The following works, attributed to Antonello, are all thought to be authentic, but a few have perhaps been moved to other places : PAINTERS AND THEIR WORKS. 39 Christ on the Cross between the Two Thieves, with the Virgin and S. John, dated 1445 ; Portrait of a Man Holding a Medal — Antwerp Museum. The Virgin and Child in a landscape, signed ; S. Sebastian, signed ; A Man's Portrait, signed, and dated 1445 — Berlin Museum. S. Sebastian — Dresden Gallery. Ecce Homo — Genoa, Spinola Palace. Salvator Mundi, signed and dated 1465 — Loudon, National Gallery. The Virgin and Child (tempera) — Messina, Museo Pelori- tano. The Virgin and Child between SS. Gregory and Benedict, 1473 — Messina, S. Gregorio (?) S. Nicholas — Messina, S. Nicolo Portrait of a Man in a Ped Dress, 1474 — Rome, Borghese Palace. Portrait of a Man, signed and dated 1475 — Paris, Louvre. Portrait of a Man, 1476 — Milan, Casa Trivulzi. Ecce Homo — Padua, Casa Miara. S. Sebastian — Padua, Casa Maldura. Christ Bound to the Pillar ; A Nun in Tears ; The Virgin Beading at a Desk — Venice, Academy. The Portrait of a young Noble — Venice, Casa Giovanelli. The Dead Body of Christ supported by Three Angels — Vienna, Belvedere. It is said that near Catania, in Sicily, there is a picture bearing the date 1497 ; but the long three has been so often mistaken for a seven that this is probably an error. Antoni (The).— e Autouello da Messina. Antonio da Vercelli.— *S' v Bazzi. Antonio de Holanda.— >SV c Holanda. Antonio (Piero d').~See Cosimo (Pietro di). Anversa (Ugo d").—S6c Goes. Appiani (Andrea).— b. Milan, 1754 ; d. Milan, 1817 ; s. ; p. history and portraits. There have been several artists of this name, but the most celebrated was Andrea the elder, for he had a son, an inferior painter, who bore the same Christian name. The father painted both in oil and in fresco, and some of his best works are the frescoes in the Palace at Milan. His family wished him to study law, but he was ultimately allowed to follow his inclination for the arts, and went to Florence and Rome, where he was patronised by 40 PAINTERS AND THEIR WORKS. Pius VI., and employed by the Austrian Archduke. He was a member of the ' ' Consulta " which offered the crown of Italy to Napoleon, and went to Paris to be present at the coronation of the Emperor, who decorated him with the Legion of Honour ; he was likewise a Knight of the Iron Crown. Napoleon appointed him ' ' Commissaire General des Beaux Arts " and ' ' Premier Peintre de I'Empereur." He was also a corresponding member of nearly all the Academies in Europe. His works show great correctness in drawing, a colouring warm and transparent, and a grace which approaches that of Correggio. Besides the frescoes at Milan, which are considered to be his master- pieces, Appiani painted some very fine portraits : among them may be mentioned that of "Napoleon between Victory and Peace," which is in the Leuchtenburg Gallery at S. Petersburg, and that of "General Desaix," which is at Milan. In 1813 Appiani had an attack of apoplexy, and having been deprived of his pension when the Bourbons were restored, he lived in comparative poverty until 1817 at Milan, when a second attack caused his death. His pictures in oil seldom appear in sales, but we may name one : "A Mother Weeping over her Child," Webb's sale, 1821, £10 13s. Apshoven, Abshoven, or Abtshoven (Van). — There was a numerous family of artists, resident at Antwerp in the seventeenth century, who bore this name, the most able of whom were the following : Apshoven (Ferdinand van), the younger. — b. 1630 ; d. 1694 ; s. David Teniers, jun. ; p. interiors. He was the son of the elder Ferdinand, studied under the younger Teniers, and was admitted into the Antwerp Guild in 1657-8. In 1678-9 he was offered, but declined, the office of Dean of the Guild. Like his elder brother, he painted so much in the style of his master that his works have constantly been passed off as being by Teniers. Among the more remarkable are : An Interior, with two Figures — Rotterdam Museum. Another, with three Figures — Dunkirk Museum. Peasants in a Tavern — Van Lerin's Collection, Antwerp. Apshoven (Thomas van), called also Theodor. — b. 1622 ; D. 1664 ; s. D. Teniers, jun. ; p. interiors. An elder brother of Ferdinand, and, like him, a scholar of the younger Teniers. Thomas painted the same subjects as his master, and approached PAINTERS AND THEIR WORKS. 41 even nearer to his style than his brother. His works are admitted into the choicest collections, as being httle inferior to those by his master, and they are numerous. He painted with great lightness and spirit, and his colouring is clear and silvery. Of pictures by him, the following may be named : Lemons, Oysters, and Fruit, upon a Table, signed T. V. Apshoven — Dresden Museum. A Landscape, dated 1656 — Darmstadt Gallery. Dancing Peasants — Cassel Gallery. Interior — Prague Gallery. It is difficult to say by which of the brothers the following pictures were executed : A Village Feast, sale S. George, £ s. d. Brussels 1777 ... 10 Interior, with Card Players, Marquis of Bute's sale 1822 ... 16 4 The Tower of Babel, sale Payriere, Paris 1872 ... 38 Arcagnola.— ,^(;« Orcagna. Archer (John Wykeham).— b. Newcastle-on-Tyne, 1808 ; d. London, 1864 ; s. John Smith ; p. architecture. This artist at first studied engraving under Smith, and, after engraving many buildings and views in the north of England, came to London about 1830, where he engraved after Callcott, and plates for the Sporting 3Iagazine. He then studied water-colour painting, and havi^ng gained a reputation as an antiquary, was largely em- ployed. Having become a member of the Institute of Painters in Water-colours, he exhibited there many drawings of St. Mary Overy and Lambeth Palace. He published also "Vestiges of Old London," with plates etched by himself, in which the subjects are pictorially treated, and numerous figures are introduced. His collection of drawings is in the British Museum. He was also the author of "Recreations of Mr. Zigzag the Elder," in Douglas JerrohVs Magazine, and of some antiquarian papers in the Gentleman'' s Magazine. Archimedes.— >S'cc Genoels (Abraham), the younger. Arco (Alonso del), called El Sordillo de Pereda.— B. Madrid ; 1625 ; D. 1700 ; s. Pereda ; p. history and portraits. This painter's works are so numerous in the convents and churches of Spain that it is necessary to mention him. He acquired a good style of colouring in the school of Pereda ; but, with the exception of 42 FAINTEES AND THEIR WORKS. his portraits, his works are chiefly remarkable for the rapidity with which they were painted. Del Arco was born deaf and dumb, but learned to speak. Aregio (Pablo de).— b. ; d. ; s. probably Leonardo da Vinci ; p. sacred history. Aregio is the artist who, in conjunc- tion with Francisco Neapoli, painted in 1506 the principal events of the life of the Virgin on the twelve panels of the doors that en- closed the great silver altar of the Cathedral of Valencia, in Spain. It was of these paintings that Philip IV. said that the altar was of silver, but its doors were gold. The artists were paid 3000 golden aucats for their labours — an immense sum, as it was equal to £15,000 of our money. The amount is said, however, to have been paid by Pope Alexander VI., who was of the Valencian House of Borgia, but he must have assigned money for the purpose before his death, which occurred in 1503. The correctness of the drawing, the grandeur of the figures, the ex- pression in the faces, are so much in the style of those in Leonardo's works that it is thought Aregio and Neapoli must have studied under him. They painted also some frescoes on the walls of the cathedral, but those have perished. Arellano (Juan de).— b. Santorcaz, near Toledo, 1614 ; d. Madrid, 1676 ; i. Mario dei Fiori ; p. flowers. The life of this artist aff'ords a striking example of the success that may attend on perseverance. His father died when he was eight years of age, and his mother placed him under a painter at Alcala de Henarez. When his master sent him on foot on business to Madrid, a distance of sixteen miles, he was obliged to sleep at night on the steps of the Church of S. Felipe el Real. Arellano next Hved, partly as a servant, with an artist at Madrid named Juan de Solis, and married a relative of his master. At thirty- six years of age Arellano had failed to obtain success as a painter of historical subjects ; but having copied a flower- piece by the Italian master Mario dei Fiori, he discovered the style of painting by which he was to gain fame and wealth. His pictures then sold rapidly, were even used to decorate churches, and for many years he kept the largest picture-shop in Madrid, at his house in front of the Church of S. Felipe, upon the steps of which he had formerly slept, and in which he was buried. Although his flowers and fruit-pieces are not equal to the masterly pictures by Dutch artists, they are much admired, and sell for high prices. In them the composition, PAINTERS AND THEIR WORKS. 43 colouring, and exact imitation of nature are excellent. Several of them are in the Museo at Madrid, and others in the Louvre ; but they seldom appear at sales. However, two may be cited : A Garland of Flowers, in sale at £ s. d. Paris 1874 ... 80 Flowers, in the Salamanca sale ... 1875 ... 32 Aretino.— /See Spinello. Arezzo (Margaritone da.).— Sec Margaritone da Arezzo. Ariian (Antonio de). — b. Ticana ; d. ; s. Luis de Vargas ; p. history. Like other painters at Seville who afterwards became famous, Arfian began his studies by painting in tempera, on canvas, decorative i^ictures, many of which were then sold at the weekly fair and sent to America. They were called "sargas," and from the dexterity requisite to do them well it was a common saying among the artists at Seville that to paint with skill and facihty in oil it was necessary to have worked first at painting sargas. Although the dates relative to the birth and death of Arfian are unknown, as Vargas returned to Seville from Italy in 1534, Arfian must have been very young when he entered his school, as it is known Arfian painted in 1551, and as late as 1587, when he executed "The History of S. George." He was the first Sevillian artist who painted landscape backgrounds to the " bassi-relievi," which he was employed to colour, so that the figures he introduced appeared also sculptured. He likewise im- proved the colouring of the draperies of statues, both of which arts were much practised in Spain. Arlaud (Jacques Antoine). — b. Geneva, 1668 ; d. Geneva, 743 ; s. ; p. in miniature. This artist is said to have l)een intended for the Church ; but was compelled by poverty to paint miniatures, for which, however, he must have had an extraordinary talent, as at the age of twenty he came to France and soon acquired a great reputation. There he was patronised by the Duke of Orleans, who said of Arlaud's miniatures, that they had as mucli force as oil paintings. Much attention was also attracted by his drawing of " Leda " on white paper, 24in. by 30in., made in exact imitation of a marble basso-relievo, in the possession of M. Cromelin, at Paris, which was attributed to Michael Angelo. It is, however, not probable that such prices as £480 and £600 for a copy were ever paid for them. 44 PAINTERS AND THEIR WORKS. Arlaiid himself destroyed the last or a second copy in 1738. There is a portrait of Arlaud with his "Leda" in his hand in the gallery at Florence. Arlaud and his works appear to have been equally esteemed in France and England, where he had been recommended by the Princess Palatine to Queen Caroline. He painted many portraits here, among others those of the Queen and the Duke of Marlborough. Arlaud must, however, have had other good qualities besides painting miniatures, for he was equally in favour with the Duke of Orleans and Sir Isaac Newton, who corresponded with him when, having become rich, he retired to his native place, Geneva. The following are the prices at which Arlaud's ' ' Jupiter and Leda " has been sold in recent times : Jupiter and Leda, after a relief of M. £ s. d. Angelo, E. Coe's sale (bought in) 1807 ... 99 15 The same in E. Coe's sale 1815 ... 44 2 Arnald (George). — b, in Berkshire, 1763 ; d. London, 1841 ; s. William Pether ; p. moonlights, sea-fights, etc. Arnald was a domestic servant, but showing a great talent for drawing, a lady assisted him to obtain instruction. He first exhibited at the Royal Academy in 1788. In 1810 he was elected an Associate of the Royal Academy. In 1825 he was the success- ful competitor for a commission ofi"ered by the British Institu- tion for a picture of ' ' The Battle of the Nile, " for which £500 was given. This large work, which is now in Greenwich Hospital, is well painted, the moment in the battle represented being that when "L'Orient" was blown up. In 1827 he exhibited " The Bellerophon as a Convict Ship at Sheerness," and in diff"erent years many other pictures. Some of his works are engraved in "The Border Antiquities of England and Scotland." He had two daughters, both of whom were artists, and a son a sculptor. Pictures by George Arnald have l)een sold as follow : £ s. d. A View of S. Albans, a sale 1819 ... 10 10 Loudon from Greenwich Hill, 11. Grave's sale 1827 ... 1 11 6 A Lake Scene, Sir F. Freeling's sale 1837 ... 1 11 6 A Landscape with a Waggon and Figures near Flooded Road, Wm. Esdaile's sale 1838 ... 7 17 PAINTERS AND THEIR WORKS. 45 Arpino. — *S'cc Cesari. Artaud (William).— B. ; d. ; s. ; p. ]3ortraits in oil. He was the son of a jeweller. In 1776 he gained a premium at the Society of Arts, and studied in the schools of the Academy. The first work he exhibited was an enamel representing S. John : that was in 1780, after which he appears to have devoted most of his time to painting portraits in oil, and subject pictures, many of which were exhibited up to 1822. In 1786 he obtained the gold medal for a picture, the subject being taken from "Paradise Lost." He gained in 1795 the tra\'elling studentship. Several of his jjortraits and some subjects in Macklin's ' ' Bible " have been engraved. The portraits by him are well drawn and powerfully painted. Among his works were : Potiphar's Wife Accusing Joseph, exhibited 1791. Martha and Mary, exhibited 1792. A Weary Traveller in a Storm, exhibited 1795. Arteveldt (Andries van).— b. Antwerp, 1590 ; d. 1652 ; s. ; P. sea-pieces. It is a well-known fact that the skill of this artist in representing storms at sea has rendered his works rare, as his signature has been taken oS his pictures in order that they might be sold as being by William van de Velde. That his talents were, however, fully appreciated by his contemporaries, is proved by Van Dyck having painted his portrait, and Schelte a Bolswert having engraved A Tempest, with Shipping," from one of his jjictures. Arteveldt was some time at Genoa, when Cornelius de Wael resided there and Van Dyck lived with the latter. It is very probable, therefore, that pictures representing sea-fights and storms in the Mediterranean, signed with an A., whicli are met with occasionally, are by Arteveldt. His portrait, by Van Dyck, painted in 1632, is at Augsburg. Among the few examples of his skill there remain : A picture misnamed The Battle of Lej^anto — Museum at Ghent. A large sea-piece — The Belvedere, Vienna. Artois (Jacques van), or Jacques d'Arthois. — b. Brussels, 1613 ; D. 1665 { () ; s. Fouquieres and Wauters ; p. landscai)es. Artois was a house- painter of humble origin ; but improved rapidly by studying from nature in the Forest of Soignes, and was admitted a " franc-maitre de S. Luc" in 3634, He was 46 PAINTERS AND THEIR WOEKS. the friend of Van Dyck, Teniers, De Grayer, and the other great Flemish artists of his time, who sometimes introduced figures into his landscapes. In 1878 a portrait, said to be his, and painted by De Grayer, was shown at Liege, on which is inscribed " Mort en Mai, 1688." Artois's pictures are painted with great freedom and fine colouring. The trunks of the trees in them are very often covered with moss and hanging plants. Being very numerous, his works seldom sell for a high price, although they have great merit. Nevertheless, the following prices have been paid for some of them : £ s. d. A Stag Hunt, Bloudel de Gagny's sale 1776 ... 12 A Hunt with figures by G. Coques, Bertel'ssale ..."^ 1779 .. 70 Their average value is about £10. Aschaffenburg or Aschenburg (Matthes of). — See Griinewald. Asper (Hans). — b. Zurich, 1499; d. 1571; s. Holbein, jun. (?) ; p. portraits and landscapes. It is doubtful if this artist was a pupil of the younger Holbein ; but he appears at least to have imitated that master in his portraits. He must have occupied a good position in his native place, for, in 1545, he was elected a member of the Great Gouncil, and a medal was struck in his honour. He executed many decorative paintings, among others the Gity Arms in the Town Hall, also views of towns, battles, etc. ; but is now most known by his portraits, of which may be named : The portrait of Zwingli the reformer, and the portrait of Zwingli's daughter — Zurich Library. The portrait of a Man — Loudon, National Gallery. The portrait of a Lady — Dublin Gallery. The portrait of a Young Man — Vienna Gallery. His two sons, Hans and Bodolphus, also painted portraits, and their works are often confounded with those of their father. Asselin (Jan). — b. Diepen or Antwerp, 1610 ; d. Amsterdam, 1660 ; s. Elias van de Velde and Jan Miel ; p. landscapes, animals, battles, and sea-pieces. He was nicknamed Krabbetje or Grabbete (httle crab), on account of a distortion of his hand, which prevented him from holding his palette properly. Asselin is said to have studied the works of Glaude Lorrain PAINTETJS AND THEIR WORKS. 47 and Bamboccio, but they were both very young when he was in Rome. He became, however, one of the best Flemish landscape-jDainters. Many of his pictures represent scenes near Rome. His colouring is clear, and there is often a charming effect of sunlight in his works, which are to be found in select collections. One of his most remarkable pictures is an enraged swan, an allegorical representation of ' ' The Watchfulness of Jan de Witt," which is now in the Amsterdam Museum. At Copenhagen is one of ' ' Gustavus Adolphus at the Battle of Lutzen." Others are to be found, mostly Italian scenes, in all the great galleries in Europe. As pictures by Asselin often appear in sales, the following list of prices paid for them may be useful. Beginning at £10, the higher prices were in the Dutch sales of last century generally about £50. In France, in 1777, at the sale of the celebrated collection of Randon de Boisset, two landscapes with cattle brought £180; in Le Brun's sale of 1778, a "Sunset," £64 ; and in his sale of 1791, "The River, with a Boat," £110. In England, the prices paid have been from £10 upwards. Landscape, with cattle, Sir C. Bagot's sale ... Landscape, booth, and figures, Hon. Lady Stuart's sale ... Landscape, booth, figures drinking, Marquis of Camden's sale Landscape, bridge, and Avaterfall, Sir T. Baring's sale ... Landscape, Roman ruins, horse, goats, Scarisbrick's sale Landscape, 24in. by 38in., from Camden collection, and exhibited R. A., 1872, C. Cope's sale Astley (John), called Beau Astley. — b. Wem, in Shropshire, about 1730 ; d. Duckinfield, 1787 ; s, Hudson ; p. portraits. The hfe of this artist reads like a romance. He was the son of a village apothecary, and was educated in the village school. On arriving in London he studied painting under Hudson, and, about 1749, went to Rome — about the same time as Sir Joshua Reynolds — where he suffered much from poverty. When he returned to London he practised portrait-painting for some time. In 1759 he went to Dublin, and, it is said, made about £3000 in three years. Being on his way home he met, at an assembly at Knutsford, in Cheshire, Lady Daniel, who fell in love with him, and married him within a week. She settled on him the Tabley estate, worth 1836 . £ .. 178 s. 10 d. 1841 . .. 294 1841 ., ,. 295 1848 . .. 91 1861 . .. 85 1 1872 ., ,. 315 48 PAINTERS AND THEIR WORKS. £1000 a year, and by her will left him, on the death of her daughter, the Duckinfield estate, worth £5000. He had much talent, but neglected his art, and soon sold the Tabley property, and had also encumbered the Duckinfield estate when the heiress died and he came into it. He next purchased Schomberg House, in Pall-mall, and spent £5000 in converting it into three houses. He lived in the central portion, and had a country-house at Barnes. After this he speculated unsuccessfully in a colliery and iron- works ; but his losses were again replaced by £10000 which he inherited from a brother. In his youth he warj very handsome, and always very vain and ostentatious. When far advanced in life he married a third wife, by whom he had two daughters and a son. Edwards says that he had seen a portrait of a Mr. Payne, painted by Astley about 1756, and that few of his contemporary artists could have produced one equal to it. Atkinson (John Augustus). — b. London, 1775 ; d, after 1829 ; s. ; p. history, battles, etc. There were two artists of the name of Atkinson, both of whom went to Russia and published books illustrated with scenes in that country. John Augustus went in 1784 with an uncle to S. Petersburg, and, being allowed to study the pictures in the Imperial Galleries, gained the patronage of the Empress Catharine and her son the Emperor Paul. There are fine pictures by this Atkinson in some of the palaces in Russia, among them '"The Victory of the Cossacks of the Don over the Tartars," "The Baptism of Count Vladimir," and a portrait of "Suwarrow." He was a very skilful draughtsman, and made many drawings of Russian dress and amusements. In 1801 he returned to England, and published several illustrated works relating to Russian manners ; in 1807 a book of English costumes ; and, rather later, some spirited lithography of battles. In 1819 he finished a large picture of "The Battle of Waterloo," Avhich was engraved by Burnet. Atkinson was an Associate of the Water-Colour Society in 1808, and exhibited frequently both at their rooms and at the Royal Academy up to 1829. His battle-pieces are very spirited, the costumes are correct, and everything is in motion. His water-colour drawings are also very masterly. Among his works have been sold : £ s. d. The Battle of Waterloo, Dyson's sale 1825 ... 96 12 A Baggage Waggon, escorted by Soldie^rs, Lord de Tabley 's sale ... 1827 ... 30 PAINTERS AND THEIR WORKS. 49 Atkinson (Thomas Witlam).— b. 1799 ; d. Walmer, 1861 ; s. ; P. architecture and Russian scenes. Originally a stone- carver upon churches in the North of England, he taught drawing at Ashton-under-Lyne, and published his "Gothic Ornaments " in 1831. He afterwards settled at Manchester as an architect, and in 1829 and subsequent years he exhibited architectural designs at the Royal Academy. In 1840 he went by Hamburg and Berlin to S. Petersburg. In Russia he travelled into Asia as far as the Amoor River, making notes and drawings of what he saw, and on returning to England, published with his own illustrations, in 1858, "Oriental and Western Siberia; "in 1860, "Travels in the Region of the Upper and Lower Amoor;" and in 1863 there appeared his "Recollections of the Tartar Steppes and their Inhabitants." Attavante degli Attavanti, called also Vante di Gabriello di Yanti di Francesco, — b. Florence, 1455 ; d. after 1520 ; s. Domenico Ghirlandaio ; p. miniatures. This miniaturist is one of the most celebrated that any age has produced. His work is in the Italian Cinquecento style, founded on classic models, and combining acanthus foliage and lovely children. It is impossible to give a list of the manuscripts which he embellished, many of them for Matthias Corvinus, King of Hungary. After this king's death, and the sack of Buda, they were dispersed, but some of them are at Vienna, and one of the finest, a " Missale Romanum," which was painted for Corvinus, and finished in 1487, is now in the Royal Library at Brussels. Engravings from this manu- script are given by Miintz (see ' ' La Renaissance en Italie et en France"). Photographs from a manuscript by Attavante, which is in the Library of S. Mark at Venice, are in the British Museum, Bodleian, and Fitzwilliam Libraries. Aubrey (Etienne). — b. Versailles ; d. 1781 ; s. Vien ; p. portraits, etc. This artist painted very successfully domestic scenes in the manner of Greuze, and many of his works have been engraved. His portrait, painted by himself, is in the Louvre. He exhibited, the year in which he died, his picture of the ' ' Adieux de Coriolan a sa Famille." In the Boitelle sale of 1865 his "Premiere Le^on d'Amitie Fraternelle" sold for £170. Angustin (Ev3j).—Sm Leonardo. Augustin (Jean Baptiste Jacques). — b. S. Diez (Vosges), 1759 ; D. Paris, 1832 ; s. ; P. miniatures in enamel and in oil. All the authorities agree that Augustin was self-taught, yet D 50 PAINTERS AND THEIR WORKS. ill such a difficult art as painting in enamel this appears incredible, especially as he was poor. He came to Paris in 1781, where his works produced a great change in the style of art which had prevailed in the time of Boucher and his imitators. Augustin revived the almost forgotten art of Petitot. In 1819 he was appointed miniature-painter to Louis XVIIL, and three years later he was decorated with the Legion of Honour. Augustin's miniatures are peculiarly interesting, for they include portraits of the principal persons under the Empire and the Restoration. Among them are Napoleon, the Empress Josephine, Louis Buonaparte, Caroline Murat, Louis XVIIL, Baron Denon, Girodet, the painter, and, perhaps the finest of all, Lord William Bentinck, Governor- General of India ; also the portraits of females after Greuze. Augustin's works, which are remarkable for correctness of drawing and vigour of colouring, are all valuable. Several were exhibited at South Kensington in 1865. He instructed many pupils, and his wife also painted in miniature. The only price we can give is: "Miniature of a Lady," Johii Webb's sale, 1829, £5. AvLvife^.—See Francia (Francesco). Austin (Samuel). — b. ; d. 1834 ; s. ; p. coast scenes. Austin, whose name is sometimes written Austen, was a clerk in a bank at Liverpool, but also a clever amateur artist. Ill 1824 he was one of the foundation members of the Society of British Artists, and exhibited at their galleries up to 1827 ; in that year he became an associate of the Water- Colour Society, and he exhibited with the society until his death. He painted landscapes and rustic figures, but his best works are coast scenes, with boats and figures, many of them from sketches made in Holland, France, and Germany. Two of his drawings were sold as follow : Wreck of a Transport, 24|in. by 37in., £ s. d. Pooley'ssaie 1880 ... 55 12 Lynmoutli, 19 Jin. by 27in., Pooley's sale 1880 ... 63 Aved (Jacques Andre Joseph). — b. Douai, 1702 ; d. 1766 ; s. ; p. portraits. He went young into Holland to study the Dutch masters, and came in 1721 to Paris, where he was a pupil of Lebel. In 1734 he was elected a member of the Academy. He painted the portrait of Louis XV. and that of WiUiam, Prince of Orange. Aved has been compared PAINTERS AND THEIR WORKS. 51 to Van Dyck and Titian, but that is a gross exaggeration. Among the known portraits by him are those of Louis XV., the Prince of Orange, at Amsterdam, and of the Marquis de Mirabeau and the painter De Troy, both in Paris. Many of Aved's portraits have been engraved. Avellino (Giulio or Giacinto), called II Messinese. — b. Messina, about 1645 ; d. Ferrara, 1700 ; s. Salvator Rosa ; P. landscapes. He painted landscapes enriched with ruins, architecture, and figures, in the grand style of Salvator, and was much employed by the nobihty of Ferrara and Cremona, where most of his f>ictures are. If brought to this country, they would probably be sold as being by Salvator Rosa. Avercamp (Hendrik), called *'de Stomme." — b. 1585; d. Kampen, after 1663 ; s. probably Gilles van Coningsloo ; p. winter scenes. There is a x)icture by this painter in our National Gallery. He was called "de Stomme," "The Dumb," as he suffered from that infirmity. He painted almost exclusively scenes in winter, and into these he introduced a number of figures of which the actions are well represented. Aviano.— Girolamo da Treviso. Avont (Van). — There were several painters in a family of this name resident at Malines, of which the most known is Avont (Pieter van). — b. Malines, 1600; t>. 1652 ; 's. ; p. landscapes, etc. He was a dealer in pictures, and was much employed by other artists, such as Vinckeboons and the elder Breughel, to insert figures in landscapes. His principal works are : Landscape with Holy Family — at Vienna. The Virgin, with the Dance of Angels ; Flora, surrounded by genii ; Landscape with Holy Family — at Ghent. Van Avont, Hollar, and other artists engraved his pictures ; but Van Avont's own engravings are rare. As to prices, we can only give: "Holy Family, in a Landscape by Achtschelling," BertePssale, 1779, £10. Baade (Knud).— b. Skiold, 1808 ; d. Munich, 1879 ; s. ; p. landscapes. From his birth-place in South Norway, while a boy, Baade went to Bergen, where he received his first lessons in art. In 1827 he went to Copenhagen, and studied in the Academy for three years. In 1836 he moved to Dresden, where he also studied for three years. He finally settled at D 2 52 PAINTERS AND THEIR WORKS. Munich in 1846, and resided there until his death. In the latter city he earned a great reputation as a painter of northern landscapes, especially coast-scenes as seen under moonlight. Baade was Court painter to the Court of Sweden, and a member of the Academy of Arts at Stockholm. Among his best works are : Wood at North Kyst — National Gallery, Christiania. The Wreck — South Kensington Museum, Loudon. Scene from Norse Mythology — Pinakothek, Munich. Ship by Moonlight — National Gallery, Stockholm. Baan.— /S'ee Baen. Bacchiacca (11). —See Ubertini. Baccio della Porta.— /S^e Bartolommeo. Bachelier (Jean Jacques). — b. Paris, 1724 ; d. Paris, 1805 ; s. ; P. history, animals, flowers, etc. This artist's chief claim to be noticed is, that he was for forty-four years the director of the porcelain factory at Sevres. He was received into the Academy as a flower-painter in 1751, and as an historical painter in 1763. His own works are, however, only indifi'erent ; but he founded, in 1765, a school of design for artisans, which is still in existence. Baciccio.— iSee Gauli. Backer (Adriaan). — b. Amsterdam, 1643 ; d. Amsterdam, 3686 ; s. his uncle, Jacobus A. Backer ; p. history. He went very young to Italy, and passed several years at Rome, where he became a powerful designer and painter. Among his works are cited an allegorical representation of " J ustice and Peace, " which is at Antwerp ; and at Amsterdam ' ' The Rape of the Sabines " (in the Van der Hoop Museum) and his masterpiece, ' ' The Last Judgment " (in the Old Town Hall). Backer or Bakker (Jacob A.). — b. Harlingen, 1608-9 ; d. Amsterdam ; s. Rembrandt ; p. portraits. This Backer — for there were more than one — is said to have studied under Rembrandt between 1632 and 1634. He possessed wonderful facihty in paint- ing, and often finished a portrait in a day. He also acquired a good reputation as a painter of historical subjects. His chief works are : Two archery pieces, one signed J. B., 1642 — ToAvn Hall, Amsterdam. Syndics — Van der Hoop Collection, Amsterdam. Portrait of himself ; Portrait of his wife ; Sleeping Nymph — Brunswick Museum. PAINTERS AND THEIR WORKS. 53 Portrait of a man signed J. A. B. ; Portrait of a woman, signed J. A. B. — Dresden Gallery. Backhuysen.— >S'e6 Bakhuizen. Bacon (Sir ITathaniel, Kt.). — b. 1547 ; d. 1615 ; p. portraits, still life, and plants. This gentleman was the younger son of Sir Nicholas Bacon, the Lord Keeper, and half-brother to Sir Francis Bacon, the Lord Chancellor. Sir Nathaniel is variously described as of Broom Hall, of Culford, Sulfolk, and of Stipcay or Stivekey in Norfolk. In one respect he was singular, as he erected for himself a monument in Culford Church, ornamented with a palette and pencils, but which does not bear the date of his death ; but, as another monument was erected to him at Stiflfkey in Norfolk, it is probable he was buried there. He travelled in Italy, and no doubt studied painting there, as he copied the works of Titian, but the colouring in his pictures is rather Flemish than Italian. Although classed among amateurs, his works when they are exhibited are not inferior to those by professional artists among which they are placed. There are pictures by him at Gorhambury : A capital whole-length portrait of himself , a half-length of his mother, and " A Kitchenmaid with Fowls," all admirably painted. Several others are at Redgrave Hall, in Suffolk: "Ceres, with Fruit and Flowers," and ' ' Hercules and the Hydra, " etc. He presented also a land- scape, painted by himself, to Tradescant, which was afterwards in the Ashmolean Museum at Oxford. He appears to have had some skill in botany, and produced from the Genista tinctoria a colour called brown-pink, but in reality a yellow, which Peter Oliver always used, and declared was the best he knew of. Badile (Antonio). — b. Verona, 1480; d. "Verona, 1560; s. Golfino ; p. history. It is necessary to mention this artist because, although not a very able painter, he was the uncle and teacher of Paolo Veronese, and is the last master of the old school of Verona, which may be said to have been then united with that of Venice. There are several pictures by Antonio Badile : Two Angels Placing the Dead Christ in the Tomb — Verona Gallery. A large altar-piece in the Church of Nazzaro e Celso — Verona. A Presentation — Turin Gallery. Baen or Baan (Jacobus). — b. The Hague, 1673 ; d. Vienna, 1700 ; s. his father ; p. history, portraits, and interiors. 54 PAINTERS AND THEIR WORKS. He was the son of Jan van Baen. When only twenty he came ui the suite of William III, to England, where he painted the Duke of Gloucester and other persons. He, however, went to Italy, was patronised at Florence by the Grand Duke, and on to Rome, where he studied the works of the great masters, and was known from his gigantic size as "II Gladiatore." From Rome he went to Vienna, and died there. Walpole does not mention this artist, although there must be portraits by him in this country. Baen or Baan (Jan van). — b. Haarlem, 1633 ; d. Amsterdam, 1702 ; s. his uncle Piemans and Backer ; p. portraits. This artist resided about 1660 at The Hague. Charles II., having in Holland become aware of his talent, invited him to England, where he painted the portraits of the King and Queen and those of many of the nobihty. After a time he returned to The Hague, and was admitted into the Guild of S. Luke in 1676. He painted the portrait of the Duke of Zell, for which he received a large sum ; also some pictures for the Grand Duke of Tuscany, who placed in his gal]ery Van Baen's own portrait, painted by himself, among those of distinguished artists. His best portrait is said to be that of Count Maurice of Nassau, who in 1691 paid him £100. When Louis XIV. was at Utrecht he wished Van Baen to paint his portrait, but the latter dechned the honour on the ground that he could not paint the conqueror of his country. A rival was, however, so jealous of this preference that he was on the point of assassinating Van Baen when the timely arrival of a friend prevented him from carrying out his intention. Jan van Baen painted in the style of Van Dyck. The colouring in his portraits is fine and true, and the faces are very expressive. He etched one plate, which represents the burning of the old Town Hall at Amsterdam. His most celebrated works are : Portrait of the Grand Pensionary, J. de Witt ; Portrait of Cornelius de Witt ; The Exhibition of the Dead Bodies of the Brothers de Witt ; Portrait of Count John Maurice de Nassau, Governor of Brazil (Van Baen's masterpiece) — Amsterdam. Portrait of the Grand Pensionary, de Witt — The Hague. Portrait of the Artist — Dresden. A Man's Portrait — Brussels. Portraits of the Masters of the Cloth Market in 1674— Leyden. At a sale in 1836 his portrait of a lady in a garden, with flowers, sold for £8 18s. 6d. One of his most remarkable works PAINTERS AND THEIR WORKS. 55 was the life-size portrait of the Grand Pensionary De Witt, with emblematical figures relating to the Dutch attack on Chatham. It was placed in the Stadhuis at Dortrecht, and was torn to pieces by the mob after the deaths of the brothers De Witt. Bagnacavallo.— AS'tJc Bamenghi. Baker (John). — b. 1736 ; d. London, 1771 ; s. ; p. flowers. He was originally an ornamental coach -painter, and excelled in painting the flowers with which it was, in his time, the fashion to adorn the family arms emblazoned on coach-panels. He afterwards devoted himself to painting pictures, and attained great brilliancy in his colouring. He was one of the foundation members of the Royal Academy, and exhibited groups of flowers at the first three exhibitions. His presentation picture is a group of flowers. Bakhuizen (Ludolf). — b. Emden, 1631 ; d. Amsterdam, 1078 ; S. Aldert van Everdingen and Dubbels ; p. sea-pieces. This celebrated painter was clerk to his father, who was secretary to the town of Emden ; and went to Amsterdam in 1650, intending to become a merchant. It is said that Bakhuizen only began to learn to draw at the age of nineteen, and that the scenes on the River Y led him to adopt painting as a profession, for which purpose he must have gone to Alkmaar in 1650. There, under Everdingen, who was a very able master, and by indefatigable industry, he soon became one of the greatest painters of the sea that Holland had produced — equal, if not superior in some respects, to the younger Van de Velde. To acquire the power of representing storms, he frequently hired fishermen to take him out to sea in bad weather, and his best pictures represent the sea when violently agitated. The painter Bakhuizen was also an author, both in prose and verse, and a man generally esteemed by his contemporaries. He taught Peter the Great to draw, when the latter was working at Saardam. He was also singularly expert in writing, an art then much esteemed in Holland, his monograph being the finest known ; and he etched thirteen plates, among which is one of his own portrait, done in a masterly style, when he was seventy-one years of age. In 1680 he married Anna de Hooghe, the granddaughter of the painter Romain de Hooghe. They had a son, Johannes, who was the father of the second Ludolf Bakhuizen, the battle- painter, born 1717, died 1778. 56 PAINTERS AND THEIR WORKS. Drawings by Bakhuizen are scarce and fine. There is in the British Museum one 7ft. long, representing ' ' Amsterdam from the River Y, in 1702." The buildings were drawn by Jan van Kali. It was bought at the Versholk sale in 1847. Among the more celebrated works of Bakhuizen may be named : The Embarkation of Jan de Witt in the Dutch Fleet in 1665, signed "L. Bakh: 1671" (this famous picture was bought for £140) ; Port of Amsterdam, signed and dated 1673, bought in Van der Pot's sale, 1808, for £100 ; The Zuyder Zee, signed and dated 1694 — Amsterdam Museum. A Rough Sea, signed and dated 1664 — Berlin. Disembarkation of William III. of England in I'Oranje- Polder, signed and dated 1692 ; Entrance to a Dutch Port, signed and dated 1693 ; View of the Building-yard of the East India Comjjany at Amsterdam, signed and dated 1696— The Hague. A Shipwreck ; Portrait of an Old Man — S. Petersburg, Hemiitage. The Port of Amsterdam, in which Bakhuizen has introduced his own portrait — Vienna. Dutch Shipping, signed and dated 1683 — London, National Gallery. A Stormy Sea (a masterpiece) — London, Buckingham Palace. At first Bakhuizen could not obtain more than about £1 for his pictures, but they rose rapidly into favour, and were purchased at much higher prices by Louis XIV., the Grand Duke of Tuscany, and other princes ; since which they may be said to have become more valuable every year. His works are, however, so numerous that only a few can be given to show that their value has never decreased. A Sea-piece, Quentin de I'Orangere's £ s. d. sale ... 1745 . 1 15 Battle of La Hogue, 60in. by 90in., Greenwood s sale 1773 . . 157 10 Two Sea-pieces, Conti's sale ... 1777 . . 76 Shipping and Boats, with Figures, Randon de Boisset's sale. . . 1777 . . 100 View of Scheveningen, Calonne's sale ... 1788 .. . 160 Storm on Coast, Clarke and Hibbert's sale ... 1802 . . 252 William III. Embarking, Clarke and Hibbert's sale 1802 . . 267 15 PAINTERS AND THEIR WORKS. 57 s. d. 1817 .. . 400 1818 . . 880 1833 . . 640 1841 \J 1844 . . 500 1846 . . 410 1851 682 10 1869 '. . 724 1890 . . 619 1893 . . 383 Sea-piece, Talleyrand-Perigord sale (bought in) Amsterdam (the picture with Bakhuizen, De Ruyter, and others in it), Le Rouge's sale Storm at Sea, 68in. by 134in., Niewen- huys' sale ... Scheveningen (the picture in Calonne's sale), 1788, Heriz's sale Approaching Storm, 18in. by 36in., Harman's sale ... Dutch Fleet Getting Under Way, Fesch sale ... This picture was sold again, Theo- bald's sale Stormy Sea, Delessert's sale (This picture was sold in Tolozan's sale, in 1801, for £20.) Sea View with English Fleet, Glover's sale Dutch Coast, Mildmay's sale Taking about 200 pictures by Bakhuizen, sold since the beginning of this century, the average price paid for one is from i£l50 to £200. The signatures on his pictures vary very much. Two of Ludolf Bakhuizen's nephews (Ludolf and Gerard) painted, the first battles, and the second portraits, but as amateurs. Bakker (Jacob A.).— See Backer (Jacob A.). Baldassare da Siena.— Sec Feruzzi. Baldovinetti (Alesso).— b. Florence, 1427; d. 1499; s. probably Uselli ; p. history and portraits. This old Florentine painter was the son of a merchant, and was registered as a member of the Guild of S. Luke at Florence in 1448. Most of his works in fresco have i)erished, owing to their having been painted on a dry surface. Among the best-preserved of his pictures are an Annunciation in the Portogallo Chapel of the Church of Miniato, and a Virgin and Child with six Saints in the Uffizi. According to Vasari, he worked in mosaic and taught Domenico Ghirlandajo. His works are chiefly remarkable for the high finishing of the accessories. Pictures ascribed to Baldovinetti have been sold as follow : Virginwith three Angels Presenting to £ s. d. the Infant Jesus roses, lilies, and carnations, Lord North wick's sale 1859 ... 48 6 58 PAINTERS AND THEIR WORKS. Virgin and Child with bird and flower, £ s. d. Lord North wick's sale 1859 ... 24 3 Virgin and Child, Lord Northwiek's sale 1859 ... 5 5 Virgin, Child, and S. John, angels, pelican with snake, 36in. by24in., on panel, Graham's executors' sale 1886 ... 283 10 Balen (Van). — There were at least a dozen painters of thi» name, most whom were born at Antwerp ; the best of them was the elder Hendrik. Balen (Hendrik van), the elder. — b. Antwerp, 1560 ; D. Antwerp, 1632 ; s. Adam van Oort ; p. sacred and poetical subjects. He was a fellow-pupil with Rubens, and the first master of Snyders and Van Dyck. The landscapes into which he introduced figures are often by Velvet Breughel. It is thought from the style in which he drew that Hendrik van Balen studied at Rome. He was received into the Guild of S. Luke, at Antwerp, in 1593, and became Dean in 1609. Van Balen improved upon the pure colouring which he had learned under Van Oort, and which was to be carried to still greater perfection by Rubens and Van Dyck. Many of his cabinet pictures represent scenes from the "Metamorphoses " of Ovid. These are his best works, but he succeeded also in some large pictures for churches, among which one of the best is "S. John Preaching in the Wilderness," now in the Antwerp Gallery. The small pictures by Van Balen which appear in sales sell for from £10 to £30, but among his important works may be named : Moses Striking the Rock, sale at £ s. d. Christie's 1814 ... 199 10 The Golden Age (painted in conjunc- tion with Breughel and Van Kessel), Haign's sale 1868 ... 61 19 The Elements (4) painted in conjunc- tion with Breughel and Van Kessel), sale at Christie's ... 1884 ... 194 5 Hendrik's son, Jan van Balen, imitated Albano, but hi& drawing is very inferior to that of the Italian master. Balestra (Antonio). — b. Verona, 1666 ; d. Verona, 1740 ; s. Carlo Maratti ; p. history. After studying under Zef&o and Bellucci, he went to Rome, and entered the school of Maratti. He gained the prize at the Academy of S. Luke, in 1694, and was employed to paint for the churches. From Rome he went to PAINTERS AND THEIR WORKS. 59 Venice, where he opened a school of painting, and was a very able teacher. His pictures, which are much in the style of Maratti, are to be found in Venice and all the cities in the North-eastern part of Italy. Balestra etched some plates in a very masterly style. Bamboccio.— >S'ec Laar or Laer. Bandiuelli (Baccio). — b. Florence, 1493 ; d. Florence, 1560 ; s. F. Rustici ; p. history. Although most known as a sculptor, Bandinelli was also a painter. One of his principal pictures was " The Murder of the Innocents," engraved by Marc Antonio. Bandinelli drew in a very bold, masterly style with the pen. There is a remarkable drawing by him, representing himself and two friends, rather less than life-size, seated at their ease after dinner, as well as a series of studies of animals in the Louvre, at Paris. Baptiste.— iS'ec Monnoyer. Barbalunga.— ;6'ee B>icci (Antonio). Barbarelli (Giorgio).— ^S'ee Giorgione. Barbiere (Giovanni Francesco).— iSec Guercino. Barducci.— /Sec Credi. Barendsen, Barentsen, or Barentcz (Dirk), known also abroad as Theodore Bernard. — b. Amsterdam, 1534 ; D. 1592 ; s. Titian ; p. portraits and history. This artist was the son of a painter, probably Barent the Deaf ; and, after receiving some instruction from his father, went to Venice, where he entered the school of Titian, who conceived a great regard for him, and of whom he painted a portrait, which was much admired. After seven years' residence in Italy he returned to Holland, having profited so much by a close study of Titian's style, that he was considered by his countrymen to be the best portrait-painter of his time. He did not, however, excel only in that branch of the art, but painted also a large picture of ' ' The Fall of Lucifer " and a ' ' Judith, " said to be his masterpiece. The former, which was in the Great Church of Amsterdam, was destroyed during the religious disputes in Holland. Besides his skill as an artist, Barendsen was a very learned man, and numbered among his friends Saint Aldegonde and Lampsonius, with whom he corresponded in Latin. He was, moreover, a good musician, played on several instrumen'ts, and engraved. There are among the landscapes after Titian some signed " D. B.," which, accord- 60 PAINTERS AND THEIR WORKS. ing to Mariette, ought to be attributed to Barendsen. Sadeler engraved many plates after Barendsen. The celebrated portrait of Ferdinand Alvarez de Toledo, the cruel Duke of Alva, which is in the Amsterdam Museum, representing his bust and face seen three-quarters turned to the right, in armour, with the order of the Golden Fleece and a red scarf, the hair dark and the beard grey, is by Barendsen. On the back of the portrait is the seal of William III. of Orange. Barenger (James).— b. 1780; d. after 1831; s. his father ; p. animals. The father (born 1745, died 1813) of this artist drew insects in water-colours ; his mother was a sister of Woollett the engraver. The son was an excellent painter of race-horses, dogs, etc. ; he used to give his address at Messrs. Tattersall's. Portraits of horses by him are common, but we once saw a large picture by him, of the master of some hounds and his pack coming in full cry towards the spectator, which showed that Barenger could do well what was much more difficult than the side-view of a race-horse walking on a racecourse. He died after 1831, the last year in which he exhibited at the Royal Academy. In all fifty- six of his works were exhibited between 1793 and 183]. Bareutcz or Bareutsen.— >$'ee Barendsen (Dirk). Barker (Benjamin).— b. 1776 ; d. Totnes, 1838 ; s. ; p. landscapes. He was the brother of Thomas Barker, of Bath, and like him appears to have learned by copying the Old Masters. Although they have mej'it, his works were not so popular as his brother's. He exhibited many pictures in London between 1800 and the time of his death. Thales Fielding engraved forty-eight of his landscapes in aquatint. The prices at which his pictures have been sold are : A Skirmish of Cavalry, De Tabley's £ s. d. sale ... 1827 .. 13 A small landscape, Carysfort sale . . . 1828 .. 11 11 Landscape, cattle, figures, Carysfort sale ... 1828 .. 8 8 Landscape, with a Waterfall, Carys- fort sale 1828 .. 5 15 6 Llancott Heath, looking over the Severn, F. Freeling's sale 1837 .. 7 10 Barker (Thomas), known as Barker of Bath. — b. near Ponty- pool, 1769 ; D. Bath, 1847 ; s. ; p. landscapes and domestic PAINTERS AND THEIR WORKS. 61 subjects. His family having removed to Bath, where he made some good copies from pictures by Dutch masters, at the age of twenty-one, with the assistance of a Mr. Spackman, a coach- builder of that city, he went to Rome ; he was, however, entirely self-taught. He exhibited at the Royal Academy and British Institution for nearly half-a-century, the pictures shown number- ing nearly a hundred. Among his numerous works is ' ' The Woodman." It appears that he painted two of life-size ; both were sold for £50, one to Mr. Macklin, and the other to Lord W. Paulett. This picture and others, such as "Old Tom," and gipsy groups, were extremely popular, and introduced into all sorts of manufactures. Barker painted in 1821 "The Trial of Queen Carohne, " which contains the portraits of many eminent men. His finest work was a magnificent fresco, 30ft. by 12ft., painted on the wall of his house, Zion Hil], Bath, representing "The Inroad of the Turks into Scioin April, 1822." Two pictures by Barker are in the National Gallery : "A Woodman and hia Dog in a Storm," and "A Landscape." Pictures by him have sold as follow : Landscape, figure, donkeys, De Dun- £ s. d. stanville's sale 1824 ... 7 17 Peasant Boy Tending Pigs, Carysfort sale 1828 ... 11 11 A Beggar Boy, John Webb's sale ... 1829 ... 9 19 The Sand-girl, 59iin. by 45in., WardelFs sale 1879 ... 46 4 Barlow (Francis).— b. Lincohishire, 1626 or 1630 ; d. 1702 ; s. William Sheppard ; p. animals, birds, etc. These he drew with great spirit, and placed the groups in clever landscape back- grounds ; but his colouring was rather weak. He painted also ceilings, in which he represented birds as seen flying through the air, and some portraits, among others that of General Monk. He designed also some monuments for Westminster Abbey. Faithorne and Hollar both engraved from Barlow's designs. He both etched and engraved himself, his best work being 110 plates illustrating an edition of ^sop's "Fables." Symonds says that Barlow lived in Drury-lane, and died poor. A landscape by him was sold in 1825 for £2 8s. Barocci (Prederigo), called also Baroccio and Fiori.— b. Urbino, 1528 ; d. Urbino, 1612 ; s. his father and Battista Franco p. history. After receiving instruction from a sculptor, Ambrogi 62 PAINTERS AND THEIR WORKS. Barocci (who was perhaps his father), and Franco, in his native place, Frederigo went with his uncle, Bartolommeo Genga, the architect, to Pesaro, where he copied some pictures by Titian. In 1548 he was in Rome, studying the works of Raphael, and, favoured by Cardinal della Rovere, Barocci x^ainted in fresco in Rovere's palace, and also his patron's portrait. After passing four years in Rome, assisting in the decoration of the Belvedere Palace, and having nearly died of poison administered to him by a rival, which rendered him for some years unable to work more than about two hours daily, Barocci returned to Urbino, where he painted a fine ' ' Descent from the Cross " for the cathedral at Perugia. Subsequently he returned to Rome, and painted, for the Chiesa Nuova, the ' ' Visitation of the Virgin to Elizabeth," and " The Presentation in the Temple," two of his best works. Another is ' ' Christ and the Magdalen, " in the Corsini Gallery. The Holy Family, by him, in the National Gallery in London, called " La Madonna del Gatto," from the cat introduced into it, gives a very correct idea of the general style of Barocci. Although he imitated Correggio, he never equalled his model either in natural grace or in colouring. In design, also, he remained inferior to Raphael. There always appears to be some- thing wanting in his pictures to entitle him to be considered a great painter, although his works are superior to those of his contemporaries. It has been repeatedly asserted that Barocci was the first great painter who used pastels for portraits ; but it is clear, from a letter written by Paolo Giovio to Pietro Aretino, dated Rome, 21st March, 1545, in which Giovio asks the latter to send him his portrait in pastels by Titian, that they were then in use for portraits. The expression he uses is : " Ma perche il pittore non seppe cavare a mio gusto I'effigie vostra della medaglia che mi donaste. Desideraci d'haverne un schizzo de colori, se ben de pastelli, e piccolo di mezzo foglio, senon, in tela da un qualche terzuolo del Signor Titiano : accio che al sacro museo si vegga la propria eflSgie."* Like Correggio, Barocci often modelled the figures he intended to introduce into his works. His drawings are valuable and somewhat rare. Those which belonged to Crozat are now in the Louvre. * Translation : But as the painter was not able to execute to my satisfaction your portrait, from the metlal which you gave me, I wish to have a sketch of it in colours, •either in pastels the size of a half-sheet, or of a three-quarters size on canvas by Titian ; so that your true portraiture may be seen in the Sacred Museum. PAINTERS AND THEIR WORKS. 63 The following are the prices at which some of the best pictures by Barocci, which have been disposed of during the last hundred and fifty years, have been sold : Holy Family, Carignan sale Holy Family, Lord Waldegrave's sale Entombment (sketch), Sir J. Reynolds's sale ... Riposo with Angels, D'Aigremont's sale ... Christ in the Garden (from Rome) . . . Madonna, and Child sleeping on her Lap (from Barberini Collection)... Visitation of the Virgin, chiaroscuro study for the picture at Florence, etched. Sir G. Hay ter's sale *' Noli me Tangere," from Lucca Col- lection, engraved by Morghen, Buchanan's sale ... Madonna del Gatto, the picture in National Gallery, Sam Rogers's sale ... * ' Noli me Tangere, " the above picture, Scarisbrick sale ... Portrait of a Boy in the w^hite robe of the Order of Santiago, red cross on breast, standing, white leg- gings and shoes, 54in. by 41 in. (mentioned by Passavant in his "Tour," p. 6, vol. ii.), Duke of Marlborough's sale 1886 ... 367 10 Baroccio {Tvederigo).—See Barocci (rrederigo). Barret (George), sen.— b. Dublin, 1728 or 1732 ; d. West- bourne Green, 1784 ; self-taught ; p. landscapes. Barret was the son of a clothier. He was apprenticed to a stay-maker ; but having had some instruction at West's Academy, coloured prints for a publisher, and became drawing -master at a school. When studying from nature on the River Dargle, in the park at Powerscourt, he gained the notice and patronage of Edmund Burke, and a prize of £50 from the Dublin Society. In 1762 he came to London, bringing with him two landscapes, which were much admired, and Lord Dalkeith paid him £1500 for three pictures. After exhibiting in Spring-gardens, and gaining, in 1764, the premium of £50 for the best landscape, given by the Society of Arts, he settled in London, and was named one of the £ s. d. 1742 ., .. 80 1763 ., .. 47 15 6 1795 . 43 1 1802 .. . 42 1804 .. . 246 15 1805 .. . 252 1845 .. . 11 11 1846 ., ,. 525 1856 ., .. 210 1861 .. ,. 756 64 PAINTERS AND THEIR WORKS. original Royal Academicians. He found another patron in the Rev. John Locke, of Norbury Park, in Surrey, for whom he decorated one of the principal rooms with landscapes. These are still in existence, and are rather decorative in character. Barret's pictures are solidly painted, but are too much composed according to rule, and in imitation of the Old Masters. To the end of his life he enjoyed, through the influence of his friend Mr. Burke, the sinecure of Master Painter at Chelsea Hospital, yet died poor, and his family were dependent on the Royal Academy. In some of Barret's pictures the animals are by Sawrey Gilpin. The elder Barret left also a few water-colour drawings and etchings. He was fond of the contrast between dark green and red orange trees The following prices will show the extraordinary rise in the value of Barret's pictures that has occurred within the last twenty years : Morning on Wildmere, sale at Christie's ... View in a Wood, Jacob More's sale Landscape, Tobit and Angel ... View of Tintern Abbey View of Valle Crucis Abbey, figures by Wheatley Melrose Abbey, horses and figures, Thistlewaite's sale Ferry in Cumberland, figures by Gilpin View from Richmond Hill View in Wales, figures by Gilpin, Lansdowne's sale ... Landscape, horses, etc., on bank of river, animals by Gilpin, Allnutt's sale ... Landscape, horses, etc., on bank of river, animals by Gilpin, Allnutt's sale ... Classical Lake, figures, sheep, goats, 60in. by 89in., Agnew's sale (bought in)... Langdale Pikes, Angestein's sale . . . Virginia Water, with Duke of Cum- berland in his carriage, Ange- stein's sale ... Long Walk, Windsor, brood mares and foals, one being "Eclipse" (from Lord Albemarle's Collec- tion), Angestein's sale (purchased for H.M. The Queen) £ s. d. 1779 . 21 1796 . 1 3 1801 . 3 3 1802 .. 2 1802 . 6 16 1803 . 7 7 1805 .. 37 16 1805 . .. 15 4 6 1806 .. 37 16 1863 .. 20 9 6 1863 .. 42 1883 .. . 420 1883 .. 99 15 1883 .. . 194 5 1883 .. . 346 10 PAINTERS AND THEIR WORKS. 65 Barret (George), jun.— b, about 1774 ; d. 1842 ; s. his father ; p. landscapes. He was the son of George Barret of Dublin, but devoted his time almost exclusively to painting in water-colours. His works are mostly classic and poetical compositions, and he was one of the first members of the Water-Colour Society founded in J 804. He contributed largely to its exhibitions, but also to those of the Royal Academy and the British Institution. Although he worked incessantly, he earned little more than was necessary to support his family, and after his death a subscription was made for their benefit. In 1840 he published ' ' The Theory and Practice of Water-Colour Painting." As the younger Barret's works often appear in sales, we wiU give the prices obtained at the sale of Mr. John AUnutt's Collection at Messrs. Christie's in 1863, as well as at more recent iictions : 3b s. a. AVestminster Abbey from Lambeth . . . 1 Cf5Q loOo oc Zo / A U Lake scene iooo A T jfj "nrl T^o 'i'oci'ni i^f liriTcjoti o'fo louo ... D A u Bay, ruined temples, etc. 1863 ... 99 15 Classical composition ... 1863 ... 61 19 Swiss scene (sketch) 1863 ... 3 15 Classical landscape ... 1863 ... 115 10 Solitude ... 1863 ... 420 Classical lake scene 1863 ... 262 10 River scene, cascade, rocks, etc. 1863 ... 64 1 Landscape and lake 1863 ... 21 Vale of Cashmere, Oriental figures dancing 1863 ... 65 2 Harvest field 1885 ... 120 Afternoon, Wilkinson's sale ... 1888 ... 170 The Gleaners (1834), Austen's sale 1889 ... 110 Classical river scene, Barter's sale 1890 ... 168 View in the Weald of Kent, Barter's sale ... 1890 ... 157 Walton Bridge, on the Thames, Heron's sale 1890 ... 157 Shore of the Adriatic, Bolckow's sale 1891 ... 199 Sunset, Theobald's sale 1894 ... 199 View on the Thames, Theobald's sale 1894 ... 120 Barry (James). — b. Cork, 1741 ; d. London, 1806 ; s. West, of Dublin ; p. history. He was the son of a builder, who also kept a public-house at Cork. Barry showed early a talent for drawing, and, having painted some pictures, sold them for sufficient money to enable him to go to Dublin and become a pupil 66 PAINTERS AND THEIR WORKS. of West, an able teacher. When twenty-two, Barry painted a large picture, ' ' The Conversion and Baptism of one of the Kings of Leinster." This was exhibited at the Dublin School of Arts, brought the painter into notice, and gained him the friendship of Edmund Burke, who, in 1764, induced Barry to come to London. There he introduced him to his friends, and from the following year made him a yearly allowance of £50, to enable him to visit Italy. Barry spent in Rome the greater part of the five years he remained in Italy. The irritabiUty of his temper already led to quarrels with other artists, and from that time continually increased until his death. In 1771 he exhibited, at the Royal Academy, the " Adam and Eve," which is now at the Society of Arts ; and, the next year, " Venus Rising from the Sea." These led to his being elected an Associate, and, in 1773, a Royal Academician. Four years later the Society of Arts accepted his offer to decorate their great room, if he was supplied with the necessary material, and he chose for his subject ' ' Human Culture "; he did not finish this until 1783. Barry was appointed Professor of painting at the Royal Academy in 1782, and from that moment until his death, his life was one long quarrel with his brother Academicians, which ultimately led to his expulsion from the Academj^ In addition to the labour his large pictures entailed on Barry, he also undertook to engrave them, and was, more- over, the author of several pamphlets relating to art. Perhaps we cannot do better than quote Redgrave's remarks upon what occurred when Barry's body lay in state at the Society of Arts. He says : ' ' Surrounded by his great epic work, still unsurpassed in the English School, his body lay in state at the Society of Arts, and then, followed by its members and a few friends — yet not one artist — found its merited resting-place in the crypt of S. Paul's, near the coffin of Reynolds." To which it is only necessary to add that Sir Robert Peel defrayed the expenses of the funeral. The pictures by Barry which remained in his possession at the time of his death were sold by Messrs. Christie in 1807. Among them were : Edmund Burke Demonstrating his Positions on ^ s. d. the Sublime and Beautiful, painted in 1771 9 9 Unfinished portrait of Dr. Johnson ... ... 31 10 Adam and Eve 105 Pandora (unfinished). (In 1846, when this last was re-sold, it went for £12.) 250 PAINTERS AND THEIR WORKS. 67 Bartolommeo (Pra). — b. Florence, 1475-6 ; d. Florence, 6th October, 1517 ; s. Cosimo Rosselli ; p. history. This celebrated painter is known under a variety of names, such as ' ' II Frate, " ' ' Baccio della Porta, " and ' ' di San Marco, " his proper one being Bartolommeo di Paolo di Jacopo dell Fatorino. In 1484 he was placed under Rosselli, in whose workshop he had for a comrade his future friend and partner Mariotto Albertinelli. Bartolommeo's father died when he was twelve years of age, and, when still a pupil under Rosselli, he became, at a very early age, an ardent disciple of the Florentine reformer Savonarola, and burnt his studies of the nude on Shrove Tuesday, 1489, before the convent of San Marco. When Savonarola was besieged in the convent of the Dominicans of San Marco, Bartolommeo was with him, and vowed, in the midst of the danger, that if he escaped death he would become a monk. This he did in 1501. In 1499-1500 he had painted the fresco of "The Last Judgment," in Santa Maria Novella, the lower part of which was finished by Albertinelli. After entering the order of the Dominicans Bartolommeo ceased to paint for four years, and at length only resumed his art upon the condition that the convent should receive all the produce of his works ; nevertheless, in 1509-10 he entered into a partnership with Albertinelli, which was dissolved in 1512-13. His celebrated figure of San Marco, now in the Pitti Palace, was painted in 1514, and another of his finest pictures, "The Presentation in the Temple," now at Vienna, in 1516. He sent a picture of the ' ' Virgin and Saints " to Alfonso I. D'Este, with a ' ' Head of Christ,." for the Duchess, in June, 1517. His death took place on the 6th of October of that year. When Raphael Sanzio resided in Florence in 1506, he and Fra Bartolommeo were friends, and each assisted the other to improve himself in art. After he resumed painting Fra Bartolommeo did not confine his labours to his convent, for in 1508 he went to Venice, in 1509-10 entered into partnership with Albertinelli, and was in Rome in 1514. His works possess many of the chief beauties found in the pictures painted in Italy when her artists had attained to the highest degree of excellence which modern schools have reached. The compositions are well arranged, and the figures full of dignity, grace, and beauty. He is also said to have been the first painter who used a jointed lay figure, and the dresses are always peculiarly well arranged. His colouring is likewise remarkably fine, and if it is now somewhat dark in the shadows, that has been caused by the black of which he made use. E 2 68 PAINTERS AND THEIR WORKS. Many of his drawings are done with pen and washed with indigo, or a mixture of black and red chalk, heightened with white. Some of them were in the possession of Benjamin West, P.R.A. The works of Fra Bartolommeo are numerous ; we can, therefore, only mention a few of them in addition to those already named. Marriage of S.Catherine, painted 1512 ; Entombment ; Pieta — Pitti Palace, Florence. Patron Saints of Florence ; Virgin Enthroned with Saints, his last work — Uffi2d, Florence. God the Father Adored by S. Catherine and Mary Magdalen (painted in 1509 for S. Pietro Martire, Murano) ; Madonna, della Misericordia, 1515 — San Romano, Lucca. The Virgin and Saints (originally in San Marco, Florence) ; The Annunciation, signed and dated 1515 — The Louvre, Paris. Madonna and Angels — Hemiitage, S. Petersburg. Holy Family, dated 1515 — Corsini Palace, Rome. Madonna (formerly in the Ceritani Gallery, Florence) — S. Mary's Church, Nottingham. Holy Family, dated 1509 — Lord Cowper's, Panslianger. The following are the prices at which some interesting works of Fra Bartolommeo's have been sold : Virgin and Child, S. John, Angels, portraits of the Corsini Family 50in. by 38in., R. Udny's sale ... The Holy Family, from Monte Cavallo, Bryan's sale The Virgin, Christ, and S. Anne, Le Brun's sale ... The Ascension of Mary Magdalen, Sir M. M. Sykes' sale (probably sold in Ottley sale, 1811, for £126) ... The Virgin with Child in her arms, Coesvelt's sale (sold again in Northwick sale, 1859, for £535 10s.) The Virgin with the Palm-tree, King William of Holland's sale Virgin, Child, S. J ohn, and S. Joseph, circle (Coesvelt and Northwick Collection, sold in Northwick sale for £78 15s.), Hargreaves' sale Riposo, engraved. Sir H. Hoare's sale £ s. d. 1804 . .. 128 1804 . .. 73 10 1810 . .. 165 1824 . .. 105 1837 . .. 478 10 1850 . .. 1200 1873 . .. 231 1883 . .. 220 10 PAINTERS AND THEIR WORKS. 69 Basaiti or Bazaiti (Marco). — b. about 1480; d. after 1621; s. Alvise (Luigi) Vivarini ; p. history, portraits, and landscapes. This artist is said to have been born of Greek parents in the Frinli, and as he finished in 1503 the ' ' Enthronement of S. Amboise," which Alvise Vivarini left incomplete at his death, probably Basaiti was born about the date we have given. The latest date on any of his pictures is 3521. He was the great rival, in Venice, of Giovanni Bellini, and in many respects not inferior to him. There are a simplicity and a grace in his works which are very charming. Good examples of these qualities are to be found in the ' ' Virgin and Child, " and the ' ' S. Jerome, " in the National Gallery. His colouring, in both figures and land- scape, is clear and brilliant, and they are well united. Taken altogether, his pictures are examples of the transition from the best style prevalent in the fifteenth century to the still higher degree of excellence which some Italian painters attained in the sixteenth. The portraits by him are also very fine. Many of the pictures by Basaiti, which he did not sign, have been attributed to Giovanni Bellini, but the following are generally believed to be his : Pieta; S. Sebastien — Berlin. S. Jerome Reading ; Virgin and Child Asleep — National Gallery, London. Christ Carrying the Cross — Rovigo Museum. Christ Praying in the Garden, dated 1510 (his masterpiece) ; Calling of S. James and S. John, dated 1510; Dead Christ and Two Angels — Venice Museum. Madonna and Child — Manfridi Gallery, Venice. S. George and the Dragon, dated 1520 — Church of S. Pietro di Castello, Venice. Calhng of S. James and S. John, dated 1515 — Belvedere, Vienna. Only the prices can be given at which three pictures by Basaiti have been sold, as they seldom appear at sales : The Marriage of S. Catherine, from £ s. d. Beckford's Collection, on panel, Conyngham sale 1849 ... 63 Holy Family, Northwick sale ... 1859 ... 24 3 Holy Family, Dudley's sale 1892 ... 871 Bassani (The). — A family of artists, the first of whom was Francesco da Ponte, a native of Vicenza, who removed to Bassano. 70 PAINTERS AND THEIR WORKS. Bassano (Francesco da), called the elder. — b. Vicenza, about 1475 ; d. Bassano, 1530 ; s. probably Bellini ; p. history and portraits. He worked in Milan and at Venice, in fresco. A ' ' S. Bartholomew, " at Bassano, and a ' ' Descent of the Holy Ghost," at Oliero, are two of his best works. Bassano (Francesco da), the younger. — b. 1550; d. 1592 ; S. his father ; p. history, rural scenes, and portraits. He was the son of Jacopo da Bassano and grandson of the elder Francesco. He settled in Venice, where he painted many pictures for the churches and in the Doge's Palace. He killed himself by jumping out of a window. His pictures are often attributed to his father, and are numerous. They are, however, less vigorous in style. At Vienna is one of a boy playing on a flute, signed "FRANC. BASS. FEC." Bassano (Jacopo da), distinguished as II Bassano. — b. 1510 ; D. 1592 ; s. his father and Bonifazio ; P. history, portraits, animals, and landscapes. He was the best artist of the family, and Paolo Veronese having asked him to teach his son Carlotto to paint, affords a proof of the opinion of a brother artist. At first he painted sacred subjects in fresco, but he soon devoted most of his time to painting portraits, among others those of the Doge Veniero, Tasso, Ariosto, and Giovanni da Bologna. Most of his works are, however, sacred subjects which admitted of a familiar treatment, and into which he could introduce animals and objects of still life, as his chief strength lay in colouring and the freedom of handling which they allowed him to use. The greens in his pictures have always been considered peculiarly fine. Like all the Bassani, he also almost invariably introduced at least one figure in a kneeling position. One of his best pictures is *' The Good Samaritan," in the National Gallery. Pictures attributed to him are almost innumerable, and they are to be found in all the galleries in Europe, for with the aid of his sons he was able to produce more than any artist of his time, and when they did not sell readily, he disposed of them by auction at the fairs held in the neighbourhood of Bassano, where he resided during the greater part of his life. He had also many imitators, whose works are mistaken for his, and at least thirty engravers have made plates from his pictures. Drawings by him are, however, very scarce. Taking a list of more than a hundred pictures by Jacopo da Bassano sold since 1763, the price paid did PAINTERS AND THEIR WORKS. 71 not generally exceed £20. Those which have been sold at far higher prices are : The Vintage, Colebrooke sale The Rape of the Sabines, from Louis XIV. Collection, Lebrun's sale... Journey of Jacob and his Family, Ottley's sale Angel and Shepherds, from Page Collection, Smith's sale Portrait of a Doge and Family, Coxe's sale Conversion of a Princess, from Corsini Palace, W. Porter's sale ... Portrait of a Doge and Family, from Lord Rendlesham's Collection, probably the picture above named, Lord Miilgrave's sale ... Israelites Drawing Water, Penrice's sale A Market Scene, Penrice's sale The Sower, from Le Brun's Collec- tion, Conyngham's sale Landscape, Conyngham's sale Good Samaritan, 40|in. by 31|in., from the collection of Sir Joshua Reynolds, the picture in the National Gallery, S. Rogers' sale ... The Israelites, two wings of triptych, from Fonthill, Hamilton sale . . . Jacob's Vision, 101 in. by 75in., Hamilton sale Circumcision, 29in. by 34in., Sir P. Miles' sale Christ Healing the Sick, 29in, bv 34in., Sir P. Miles' sale Bassano (Leandro). — b. Bassano, 1558 ; d. Venice, 1623 ; s. his father ; p. history and portraits. Leandro was the third son of Jacopo Bassano, and painted much the same subjects ; but his portraits are cooler in colour. It has even been thought that he began them in tempera. The eyes in them are generally heavy and dark, with a strong life-like expression in the face. Leandro Bassano was made a Knight by the Doge Grimani, and lived towards the end of his life, much at his ease, in Venice. £ 8. d. 1769 .. . 173 5 1775 .. ,. 73 10 1801 .. . 441 1804 .. . 94 10 1806 295 1810 325 10 1832 ., . 131 5 1844 . .. 73 1844 .. . 94 10 1849 ., ,. 210 1849 105 1856 ., .. 241 10 1882 .. . 609 1882 ., . 210 1884 . .. 126 1884 . .. 105 72 PAINTEES AND THEIR WORKS. The following are some of the more interesting of Leandro's works : Christ Bearing the Cross, signed "LEANDERA PONTE BASSO EQVES"; portraits of the Doge Cicogna and his wife (both signed); male portrait, said to be his own — Dresden Gallery. Portrait of the Doge Priuli ; portrait of Cardinal D. Tuscu — Belvedere, Vienna. Return of the Doge Seb. Zani — Venice. A View of Venice — Madrid. The Building of the Tower of Babel ; Adoration of the Shepherds — National Gallery, Dublin. There were other painters of the same family at Bassano, but those we have given are the most eminent. Bastaruola.— >S(36 Mazzola (Girolamo). Batoni or Battoni (Pompeo Girolamo). — b. Lucca, 1708; D. Rome, 1787 ; s. Conca ; p. historical portraits. This artist was the son of a goldsmith. He made a very careful study of the works of Raphael in Rome, and although his pictures of sacred subjects are very tame, he was one of the best portrait-painters of the time at which he lived ; but that was a time when painting was at a very low ebb in Italy. Battoni painted the portraits of no less than twenty -two sovereigns and of many distinguished foreigners who visited Rome, and made fine copies for them of pictures by Raphael. Pictures by him are to be found in the collections of most of the States in Europe, and those sold by public auction have produced the following prices : A Grecian Story, Thistlewaite's sale Holy Family, copy after Raphael, Thistlewaite's sale Magdalen in the Desert, Baillie's sale ••• Portrait of the Cardinal York, 28^in. by 24:in., Nussey's sale Portrait of the same, signed and dated 1779, Salazaro sale Baudaun or Bauduins.— /See Bonde-wyns. Baudies or Bauditz.— /See Fauditz. "Baxit.—See Bout. Baza'iti. — See Basaiti. 1803 . £ 8 s. 18 d. 1825 .. . 10 10 1859 .. . 26 15 6 1861 .. . 84 1873 .. . 100 16 PAINTERS AND THEIR WORKS. 73 Bazzi (Gianantonio), misnamed Razzi, and known as II Sodoma and Antonio da Vercelli. — b. Vercelli, 1477 ; d. 1549 ; s. Spanzotti and Da Vinci ; p. history. Bazzi, the greatest painter of the Sienese School, was the son of a shoemaker, who died when his son was twelve years of age. The latter had, however, worked already under Spanzotti, and probably continued to do so until he was about twenty, when he moved to Milan, and became a follower or pupil of Leonardo da Vinci. Four years afterwards he was a citizen of Siena. The earliest of his known pictures is a " Descent from the Cross,"' painted in 1502, which is now in the gallery at Siena. From that date Bazzi was employed on important works for the churches in Siena and the neighbouring towns, painting both in fresco and in oil. It was probably in the year 1507 that Bazzi accompanied Agostino Chigi, the great Sienese merchant, to Rome, where he was employed in the decoration of the ceiling of the Camera del]a Signatura in the Vatican. Bazzi's work there was so much approved by Raphael that he left the greater part of it unaltered, and introduced Bazzi's portrait by the side of his own in his fresco, " The School of Athens." In 1514, Antonio Chigi employed Bazzi to paint the frescoes in the upper story of the Farnesina Palace, depicting events in the life of Alexander the Great. Bazzi is supposed to have returned to Lombardy in 1518 : his "Madonna and Saints," in the National GaDery, is of about that date. Bazzi was, however, certainly in Siena in 1526, where he painted his best works, the frescoes in the Chapel of S. Catherine of Siena in the Church of S. Domenico, the beauty of which has seldom been equalled. The original sketch for one part of the subject is in the Albertina at Vienna, where it is attributed to Raphael, as some other of his designs have been. Many other fine works by Bazzi might be enumerated. In execution his style of painting inclined usually to that of Leonardo da Vinci ; it must be remarked, however, that as his models were chiefly selected from the Sienese, his figures and heads often exhibit much of the gay, cheerful character that, in his time, distinguished the inhabitants of Siena and its neighbourhood. Bernardo Peruzzi and Annibale Carracci both felt the greatest admiration for Bazzi's works, and Paolo Giovio probably only expressed the general opinion of his time when he placed Bazzi second to Raj)hael. Bazzi married at Siena, in 1510, Beatrice di Luca Galli, by whom he had four children ; for the eldest, G. Genga of Urbino, 74 PAINTERS AND THEIR WORKS. the painter, stood godfather, and for the second Bartolommeo Nerone, the painter, was sponsor. Bazzi was, nevertheless, a man of very eccentric habits ; but the honours bestowed upon him by the citizens of Siena, and his being created a Cavalier di Cristo by Leo X., and a Count Palatine by the Emperor Charles V., prove clearly that he did not merit the opprobrium heaped upon him by Vasari. Pictures by Bazzi seldom appear at sales. The following will scive an idea of their value : Madonna, Infant Christ, and S. John Ottley's sale Countess of Speuocchi and Family as ''Charity," polygon on panel imported by Irving Same subject, IS^orthwick sale Riposo, SS. Francis, Catherine George, and Teresa, 29in. by 22in., Hamilton sale £ s. d. 1801 ... 185 10 1847 ... 199 10 1859 ... 67 4 1882 ... 136 10 Beale (Mary).— b. 1632 ; d. 1697 ; i. Van Dyck and Lely ; P. portraits. This artist painted so many portraits of her con- temporaries, especially of the clergy, that what relates to her life is interesting. She was the daughter of the Pev. Mr. Cradock, minister of Walton-on-Thames, and wife of Charles Beale, of Walton in Buckinghamshire. She painted in oils, water-colours, and crayons, and appears to have improved herself by seeing Sir Peter Lely paint, and by copying portraits by Van Dyck. She was patronised by Dr. Tillotson, and through his influence obtained much employment among the clergy. If we are to believe the notes made by her husband, Lely, Flatman, and Gibson had a good opinion of her talents. Portraits by her may often be recognised by a sort of ornamental border, with which she surrounded them, painted on the canvas. Her own portrait, by herself, is at Luton. The prices she was paid were £5 for a head, and £10 for a half-length in oil. Among the most valuable of them were one of Dr. Ray, the naturalist, which belonged to Dr. Mead, and one of Otway, the property of Gilbert West. There are also in the National Portrait Gallery one of Charles II., and at Lambeth Palace another of Archbishop Tillotson. Although interesting, portraits by Mrs. Beale have rarely been sold for high prices, possibly because, though they may have been good likenesses, they are rather heavily painted. Her son Charles was a pupil of Flatman, but did not rise to eminence as a painter. PAINTERS AND THEIR WORKS. 75 X* s. a. 1803 .. 1 10 1823 34 11 1832 .. 2 2 1832 .. 10 10 1842 .. 24 8 1877 .. 19 19 A few other portraits by Mrs. Beale may be mentioned : Portrait of Dryden, Graves' sale Portrait of Cowley when young, G. W. Taylor's sale Portrait of Mr. and Mrs. Beale, G. W. Taylor's sale Portrait of Abraham Cowley, G. W. Taylor's sale Portrait of Anne Hyde, Duchess of York, H. Waljiole's sale Portrait of Nell Gwynne Beccafumi (Domenico), called Mecarino or Micarino and Mecuccio. — b. near Siena, 1486 ; d. Siena, 1551 ; s, Tozzo ; p. history. Domenico was the son of a labourer named Giacomo di Pace, on the estate at Cortine, near Siena, which belonged to Lorenzo Beccafumi. Having shown some inclination for drawing, Domenico was placed, by Beccafumi, with Tozzo, an artist at Siena, and he took the name of his patron. Pietro Perugino having worked at Siena in 1508 and 1509, Domenico improved himself by studying that artist's works, and went to Rome about 1510, where he also studied those of Michael Angelo and of Raphael. He must, how- ever, have returned to Siena before 1512. In 1517 he com- menced the design for the famous pavement in the Duomo at Siena, which is a mosaic of light and dark marbles shaded with lines in the manner of Niello ; it has been engraved by Andrea Andreani. About 1518 Domenico assisted Bazzi in the oratory of San Bernardino. From that time until 1536 he appears to have been entirely occupied with his works in painting, sculp- ture, and mosaic at Siena, and in 1536, when the Emperor Charles V., on his return from Africa, came to Siena, Anton Maria Lari (called ' ' Tozzo ") and Domenico erected and decorated a triumphal arch at the Porta Nuova, and the latter finished the equestrian statue of the Emperor. He was then invited to Genoa by Prince Doria, but only went there in 1541 ; and in the mean- time executed some paintings in the Duomo at Pisa. Domenico was back in Siena in 1544, for in 1546 he made the designs for the "Sacrifice of Abraham" in the pavement; he began the angels in bronze for the Duomo in 1548, and died in 1551. Domenico produced fine works in sculpture, mosaic, and painting ; also some excellent woodcuts, engravings, and etchings ; and his drawings with the pen are most masterly. It is said that he died 76 PAINTERS AND THEIR WORKS. exhausted by hard work. Besides his great works in fresco at Siena may be cited : Holy Family — Pitti Palace, Florence. Holy Family — Rome. Marriage of S. Catherine — Doria Palace, Rome. Madonna and Child — Berlin Museum. Madonna and Saints ; S. Catherine Receiving the Stigmata — Siena Academy. Frescoes on the ceiling — Pal. Publico, Siena. Pictures by Beccafumi seldom appear in sales ; the following, however, may be recorded : Clelia and her Companions Crossing ^ ^* ^* the Tiber, Blockden's sale ... 1803 ... 42 The companion picture, Blockden's sale 1803 ... 42 Esther and Ahasuerus 1859 ... 18 10 Virgin, Child, and S. John, Pourtales' sale 1865 ... 50 He sometimes signed "Mi Carino fct.," at others with a "B," having a line across the centre. Becerra (Gaspar).— b. Baeze, 1520 ; d. Madrid, 1570; s. probably Michael Angelo ; p. history and portraits. Although most known as a sculptor and an architect, Becerra, one of the greatest artists Spain has produced, also painted ; as he worked under Daniello di Volterra and Vasari at Rome, and, having gone there very young, remained in Italy for some years. While assisting Volterra, Becerra painted a " Nativity of the Virgin." He returned to Spain about 1556, and was appointed in 1562 sculptor, and in 1563 painter, to Philip II. The pictures he executed in the Alcazar at Madrid perished when the palace was burnt. Of those at the Prado only one survived, which is praised by Spanish writers. Of the great talents of Becerra as a sculptor there is ample proof, particularly in the cathedral at Astorga. He was the sculptor who carved the famous miraculous statue of the Virgin called ' ' Nuestra Senora de la Soledad, " from the block of firewood which formerly adorned the Convent of the Minim Fathers at Madrid, and is supposed to have been burned during the War of Independence. Like Michael Angelo, Becerra appears to have held that his true vocation was that of a sculptor, and that if he spent time on other works of art it was rather to oblige his patrons than to indulge his own inclination. Spanish artists PAINTERS AND THEIR WORKS. 77 consider that, as a sculptor, lie excelled Berreguete both "in spirit and grandeur of style." Beechey (Sir William). — b. Burford, in Oxfordshire, 1753 ; D. Hampstead, 1839 ; studied at Royal Academy ; p. portraits. This artist was articled to a solicitor at Stowe, in Gloucestershire, and transferred to the office of another lawyer in London. There, having made the acquaintance of some artists, he prevailed upon his master to release him, and was admitted a student of the Academy in 1772. In 1775 he exhibited some small portraits, and went to Norwich, where he painted portraits in conversation pieces, after the manner of Hogarth. About 1783 he began to paint whole-length portraits, and on returning to London he soon gained celebrity. He repeatedly painted members of the Royal Family, and on the death of Sir Joshua Reynolds, in 1792, became the most fashionable portrait -painter of his time. He was elected an A.R.A. in 1793, and the same year, having painted a portrait of Queen Charlotte, was appointed Her Majesty's portrait- painter. In 1798 he was elected R.A. and painted the "Review in Hyde Park," which is now at Hampton Court. Beechey excelled in producing a striking likeness. Considered, however, as pictures, they have not the solidity of Reynolds's, but — perhaps from their being painted with less body of colour — -they have stood better than his ; otherwise they are executed very much in the manner of his great predecessor. Some of Sir William's most interesting portraits are : George IH., the Prince of Wales, and the Duke of York, in **The Review of the Horse Guards " — Hampton Court. Sir P. F. Bourgeois, R.A. ; John Philip Kemble — Dulwich Gallery. Joseph Nollekens, the sculptor — National Gallery, London. The following prices have been paid for some of his portraits at public auctions : £ s. d. Sir David Wilkie, Wilkie's sale ... 1860 ... 33 12 A Lady holding a Letter, Broderip's sale 1872 ... 267 15 Boy and Girl in Landscape, Malton's sale 1873 ... 199 10 A lady as Evelina, 26in. by 20in., Addington's sale (Broderip's picture— see 1872). 1886 ... 945 Master H. Boyce, dated 1792 1891 ... 548 78 PAINTERS AND THEIR WORKS. Beerestraaten (Jan). — b. Amsterdam, 1622 ; d. Amsterdam, about 1687 ; s. unknown ; p. views and coast scenes. It was formerly said that there were two artists of this name, Alexander and Jan, but it is very doubtful if the former ever existed. He may, however, have been a brother of Jan, as there are pictures signed ' ' A. Beerestraaten " at Berhn, S. Petersburg, and Copenhagen. Jan painted almost exclusively views of Amsterdam or coast scenes in the neighbourhood. His best works are there still, but there are others of ports in the Mediterranean, which lead to the belief that he must have been in Italy. Some of his pictures are nearly equal to those of Bakhuizen. It is supposed that Adriaan van de Velde painted the figures in some of them. Among his works may be cited : The Boatman's House ; Ruins of Old Town Hall ; and Sea Fight between English and Dutch — Amsterdam Gallery. View of the Dam, Amsterdam ; and Amsterdam from the Y — Amsterdam Town Hall. Chapel of S. Olol, Amsterdam — Liege Collection. Winter View — Van Hoop Collection. Pictures by Beerestraaten have been sold at the following prices : £ s. d. A Winter Scene, Boxell's sale ... 1804 ... 5 2 6 Castle of Muyden in Winter, Bryan's sale 1804 ... 52 10 View of Verdim (snow scene) ... 1830 ... 16 16 Coast Scene, with buildings and shipping 1863 ... 15 Bega (Cornells). — b. Haarlem, about 1620 ; d. Haarlem, 1664 ; s. Adriaan van Ostade ; p. interiors and landscapes. Like many of the Dutch artists of his time, Bega led a very disorderly life, and chose for the subjects of his pictures the men and women among whom he lived. He represented them, however, in a manner more coarse and caricatured than either Jan Steen, Ostade, or Teniers. Nevertheless, he showed courage by not deserting his sweetheart when she was attacked by the plague, and he died, in consequence, of the same disease. Besides interiors, Bega painted landscapes, with figures and cattle, very well. He also etched above thirty plates. Little is known of his life, but in April, 1653, he travelled with Van de Vinne, the painter, to Frankfurt, Heidelberg, and Yverdun, and in 1654 he was admitted into the Guild of S. Luke, at Haarlem. Pictures by PAINTERS AND THEIE WORKS. 79 Bega are to be found in all the great galleries. Among others ^re those mentioned hereunder : The Student ; Peasants' Concert ; Saying Grace — Amsterdam Museum. Lady Playing on Lute ; Peasant Family ; The Gipsy — Berlin Gallery. Peasants — Belvedere, Vienna. The Chemist, signed and dated 1661 — Cassel Gallery. Peasant and Musician — Dresden Gallery, (rroup of Players — Uffizi, Florence. Interior, signed and dated 1652 — Louvre, Paris. The following are the highest prices that have been paid for pictures by Bega : In Holland — An Alchemist's Study, in Van der Pot's sale In England — Interior of Dutch Alehouse, Hol- derness sale... A Conversation, from Le Brun's Collection, Clarke's sale ... Interior, Willett's sale Blind Musician, J. Webb's sale Interior of Chemist's Shop ... Interior, with figures, Hibbert's sale ... Interior, Woman nursing Child, etc., Scarisbrick sale ... Philosopher, Lawrence's sale... Taking them one with another, his pictures sell for from £10 to £20. Bellini (The). — Perhaps the best means of enabling our readers to understand what will be said about the celebrated Venetian painters known as ' ' The BelHni " will be to give a few dates to which they can readily refer. These will be those of the births and deaths of the BelHni and of three artists with whom they were connected ; to which will be added those of Giorgione and Titian, the two great scholars of Giovanni Bellini : Gentile da Fabriano, b. about 1365, d. about 1440 ; Francesco Squarcione, 1394-1474 ; Jacopo Belhni, about 1400-1464 ; Gentile BelHni, 1421-1507 ; Giovanni BelHni, 1426-1516 ; Andrea Mantegna, 1431-1506; Giorgione, 1477 or 8-1511; Titian, 1477-1576. £ s. d. .. 60 1802 . 23 2 1802 ., 61 19 1813 .. 43 1 1821 .. 36 15 1827 .. 44 2 1829 .. 42 1861 .. . 52 10 1892 .. . 262 80 PAINTERS AND THEIR WORKS. Bellini (Gentile). — b. Venice, 1421 ; d. Venice, 1507 ; s. Jacopo Bellini ; p. history and portraits. Gentile was the elder son of Jacopo BelHni, and his pupil. He removed from Padua to Venice after the death of his father, soon obtained a great reputation in his native place, and, in 1474, was employed by the senate to repair the frescoes by Gentile da Fabriano in the Great Council Hall of the Doge's Palace. In 1479, Sultan Mehemet the Second, having seen some pictures by the Bellini, asked the *'Signori" of Venice to send the painter to Constantinople. In compliance with this request, Gentile Bellini was sent to that city, and remained there for more than a year. The famous portrait of Mehemet, which Gentile painted, and which is now in the possession of Sir Austen Layard, is dated 25th November, 1480. Shortly after it was fiiiished, Mehemet ordered a slave to be beheaded, to prove to Gentile that he had not represented the dead head of S. John the Baptist correctly, in a picture which he had painted. Gentile was so frightened by this demonstration, that he left Constantinople shortly afterwards, and returned to Venice. From the time of this journey Gentile was in the habit of introducing figures in Oriental dresses into his pictures. Upon his return to Venice, Gentile was emploj^ed by the senate to paint incidents in Venetian history in the Council Hall ; but, with many others, his works there were consumed in the great fire of 1577. Gentile began in 1506 the picture known as "The Sermon of S. Mark, "now in the Brera. This was completed by Giovanni, his doing so being the condition on which Gentile bequeathed to him the famous book of their father's drawings, which is now in the British Museum. There are still in existence several portraits by Gentile of persons distinguished in his time, and the " S. Peter Martyr," in the National Gallery, although assigned to Giovanni, is probably by Gentile. Pictures of historical subjects by him are very rare. To some extent, however, this may be attributed to the greater value of those by Giovanni, which has caused most of the pictures by any of the Bellini to be ascribed to him. Besides the j)ortrait of Mehemet above mentioned, there are a few pictures which may be attributed to Gentile with some certainty. They are : A Ceremony in the East — Milan. Reception of a Venetian Ambassador at Constantinople- Paris. The Shutters of the Great Organ of S. Mark's — Venice. PAINTERS AND THEIR WORKS. 81 The " Beato," Lorenzo Guistiniani ; Procession of the Corpus Domini ; Miracle of the True Cross — Venice Academy. The Adoration of the Magi (Sir Austen Layard's) ; Virgin and Cliild Enthroned (Lady Eastlake's) — London. The prices paid for pictures which may be by Gentile are : Mehemet II. and Greek Patriarch, £ s. d. Hamilton's sale 1852 . 21 Same subject, Northwick sale 1859 . . 137 11 Virgin, Child, and Saints, Weyer sale ... 1862 .. 70 Portrait of Macchiavelli, Kidgway sale ... 1886 . . 67 Altar-piece, Eastlake's sale ... 1894 . . 682 Bellini (Giacomo or Jacopo). — b. before 1400; d. about 1464 ; s. Gentile da Fabriano ; p. history. It is generally stated that Jacopo, the father of Gentde and Giovanni BelHni, was apprenticed to Gentile da Fabriano ; but if Fabriano did not go to Venice until 1419, it seems very improbable that he was the first master of Jacopo. The latter was then at least twenty, and accompanied Fabriano to Florence in 1422. The fact that Jacopo was fined and obliged to do penance in Florence for having struck one of the citizens, seems to imply that he was then a man. Be- sides which, if Milanesi is correct in saying that Gentile Bellini was born in 1421, his father, Jacopo, must have been married in 1420. About 1425 Jacopo returned to Venice, after which he painted at Verona, between 1430 and 1436, some frescoes which have perished. Having again returned to Venice he left it for Padua, where, with his sons, he opened a workshop. While the family of Bellini lived in Padua, from 1444 to 1460, Jacoj^o's daughter, Niccolosia, married Andrea Mantegna, and Jacopo himself died there. Pictures by Jacopo are now so rare that they can hardly be said to exist ; but there is a print — by an engraver known as Paolo Veronese (not the painter) — of a fine Crucifixion by Jacopo, in which there are figures and groups that have been copied by later masters. In the British Museum also there is a book of studies in pencil and brush, dated Venice, 1430, to which import- ance must have been attached, as Gentile, his son, bequeathed it by will to his brother Giovanni. Bellini (Giovanni), called GianbelHni. — b. Venice, 1420-7 ; D. Venice, 1516 ; s. his father, Jacopo Bellini ; p. history. Giovanni, the younger of the two sons of Jacopo, was the greatest painter of the family, and of the time of transition from the P 82 PAINTERS AND THEIR WORKS. fifteenth to the sixteenth century. Even when a very old man, he was still held to be the best painter in Venice. At the same time it is certain that his name has been placed upon pictures by Jacopo and Gentile, which accounts for the very large number of works assigned to him, and which his long life would hardly have enabled him to paint. According to Vasari, the first pictures which added sensibly to the reputation of Giovanni were portraits of Doges who governed between 1478 and 1516 ; but if Giovanni returned to Venice after his father's death in 1464, his talents must have been generally recognised before the election of either Moncenigo or Loredano. Ultimately, the great reputation he acquired lessened that of his brother and father ; and Sir Austen Layard happily expressed his merit when, alluding to Giovanni, he wrote: "Tempering the austerity of the Paduan school with a dignity and serenity peculiarly his own, he endowed his art with a character of moral beauty which, without actually spiritualising the things of this world, displays their noblest and most edifying side." To this may be added that, whereas in assigning a picture to any particular artist, even some of the greatest, the character of the heads is the most unerring guide ; owing to their great variety in the works of Giovanni Belhni, this test is of little use. For strength of exj^ression, also, some of them have never been surpassed. The early pictures by Giovanni are executed in tempera ; the last of these is said to have been painted in 1472. As Antonello da Messina arrived in Venice in 1473, Giovanni must have at once adopted the new method of painting in oil. Probably he combined at first the two methods, for there are Venetian pictures which have undoubtedly been painted partly in tempera and partly in oil. Only a few of the more celebrated pictures by Giovanni can be given : Feast of the Gods — Alnwick, England. Portrait of L. Loredano, signed; Christ in the Garden — National Gallery, London. Madonna and Child — Lady Eastlake's, London. Madonna, dated 1510; Pieta — Brera, Milan. Transfiguration (one of his earliest works in oil) — Naples Museum. The Coronation of the Virgin — S. Francesco, Pesaro. Virgin, Child, and Saints ; Madonna with six Saints ; Madonna with SS. George and Paul ; The Virgin Glori- fied — Academy, Venice. Virgin, Child, Saints, and Angels — the Frari, Venice. PAINTERS AND THEIR AVORKS. 83 The Doge Barbarigo Kneeling before the Madonna — S. Pietro Martire, Murano. Of nearly a hundred pictures by Giovanni Bellini, most of them undoubtedly authentic, which have been sold by auction in the present century, the following are the most interesting : Head of S. John the Baptist, from the Aldobrandini Palace (? Gentile) Virgin and Child, with Saints and Angels, from Palazzo Bolognetti, Pagan's sale Virgin and Child, Saints Adoring, from Pembroke Collection, dated 1535, Coxe's sale ... Virgin and Child, Le Brun's sale ... Narcissus, from Villa Aldobrandini, Walsh Porter's sale Marriage of S. Catherine, formerly in Oratory of the Doge Loredano, Beckford's sale A Doge and Venetian Noble, Aguado's sale ... Virgin and Cliild, Sir T. Baring's Collection, W. Conyngham's sale View of the Town of Assisi, Sir J. Murray's sale Holy Family, Child on Parapet, SS. Peter and Sebastian, Northwick sale ... Riposo, Landscape, Partridges, from Forbes' Collection, Lord North- wick's favourite picture, North- wick sale ... Christ on Mount of Olives (now in National Gallery), Bromley sale Virgin, with portrait of Donor, Pour- tales' sale ... Sold again in Salamanca sale Virgin and Child, with SS. Helena and Peter, Barker's sale ... Portrait of a lady, 13in. by llin., from Charles the First's Collec- tion, Mayne's sale Portrait of gentleman, 12in. by 9in., now in National Gallery, Hamil- ton sale £ s. d. 1804 . . 72 1804 . 99 15 1807 . .. 38 17 1810 . .. 40 1810 . .. 53 11 1823 . .. 142 16 1843 85 1846 . .. 183 15 1852 . .. 735 1859 . .. 316 1859 . .. 107 2 1863 . .. 630 1865 .. 1625 1867 .. 2480 1874 . .. 756 1881 . .. 231 1882 . .. 525 r 2 84 PAINTERS AND THEIR WORKS. £ s. d. 1884 . .. 383 5 1885 493 10 1885 . .. 67 4 1886 . .. 745 10 1886 . .. 260 1892 . .. 430 1892 . .. 378 1892 . .. 1155 1893 . .. 504 1894 . .. 535 Adoration of Magi, 14in. by 33in., Sir P. Miles's sale Portrait of an Ecclesiastic, 19in. by 15in, De Zoete's sale Portrait of Macchiavelli (? Gentile), Ridgway sale Virgin, Child and Saints (bought in at Ellis's sale, 1876, for £483), Graham's sale Portrait of a nobleman, Graham's sale Portrait, Dudley's sale Madonna and Child, Dudley's sale ... Madonna and Child, Dudley's sale ... Portrait of a gentleman, Clifden's sale Madonna and Child, Eastlake's sale... Bellini (II Cavaliere Giacinto).— b. Bologna, early in the seventeenth century ; d. 1660 ; s. Albano ; p. history. This artist must not be confounded with the Venetian G. BelHni. The former painted some good pictures in the style of Albano. There were other artists of the same name. Bellini (Jacopo).— >S'e6 Bellini (Giacomo). Bellotto (Bernardo), called Canaletto. — b. Venice, 1720; d. Warsaw, 1780 ; s. A. Canaletto ; p. architectural and perspec- tive views. He was the nephew of the celebrated Antonio Canal, called Canaletto, and took that name. As he imitated his uncle's style of painting, their works are often misnamed. Bellotto painted at Dresden and Warsaw, and was elected a member of the Academy of Fine Arts at Dresden in 1746. He was also named painter to Augustus II., King of Poland. His pictures, although clever, are not equal to those by his uncle. Bellotto also engraved. Pictures by Bellotto have been sold as follow : Architecture and figures, Duke of Norfolk's sale View on a Canal at Venice, Duke of Norfolk's sale View of S. Mark's Place, Duke of Norfolk's sale A View of Dresden, Col. Hugh Baillie's sale A View of Dresden, Hampton's sale The companion, Hampton's sale £ s. d. 1816 . . 24 13 1816 . 19 8 G 1816 .. . 15 15 1867 . . 283 10 1880 . . 178 10 1880 . . 189 PAINTEKS AND THEIR WORKS. 85 BeltraiEo or Boltraifi.0 (Giovanni).— b. Milan, 1467 ; d. 1516 ; s. Leonardo da Vinci ; p. history and portraits. He was of a noble family, and ratlier an amateur than a professional artist, but he strove to approach in his works his great master, and came very near him in colour, breadth of treatment, and management of light and shade. One of his linest works is a "S, Barbara" at Berlin, another is a ''Virgin and Child" in the National Gallery. Ihe few pictures by this artist which have been sold of late years are : £ Madonna and Cliild, Bromley sale ... 1863 ... 462 Portrait of a young woman, De Breschiasale 1869 ... 150 Portrait of a poet, with laurel, Prince Napoleon sale 1872 ... 121 5 Portrait of a lady, Prince Napoleon sale 1872 ... 425 5 Virgin and Child and S. Jerome, Prince Napoleon sale 1872 ... 54 12 Portrait of a man, Eastlake's sale ... 1894 ... 378 Bemho.—See Bonifazio. Bemmel (Willem van).— b. Utrecht, 1630 ; d. Wohrd, near Nuremberg, 1703 ; s. Herman Saftleven ; p. landscapes. He travelled to Italy, and made many sketches of the environs of Rome. Leaving Bome, he went through Germany, and settled at Nuremberg in 1662, where he was the founder of a numerous family of artists. Many of his landscapes are enriched with figures by Boos and others. Although rather too green, and with trees somewhat stiff, his landscapes are very pleasing. He also etched six plates, dated 1654, which are masterly and very scarce. His pictures are mostly to be found in the German galleries ; they are .seldom met with in England. There was sold a landscape by him, "View in Italy," in 1804, for £5. Benedetto.— /See Castiglione. Bening or Benning. — The name of a celebrated family of miniaturists, resident at Bruges and Ghent at the end of the fif- teenth and in the sixteenth centuries. The name has been written Benin, Benyn, Bening, Benib, Benycg, Benine, Benning, Ben- ninck, Bering, Berning, Bernic, etc., but it always represents an artist of the same family. The first notable member was Bening (Alexander). — b. ; d. Ghent, 1519 ; s. ; p. miniatures and illuminations. He may be said to have been 86 PAINTEES AND THEIR WOUKS. the head of the family, and worked first at Ghent, where he was admitted into the Guild of Painters in 1468. His wife Catherine was a sister or relation of the painter Hugo van der Goes. Between 1486 and 1500 he appears to have lived at Bruges, as he was a member of the Society of S. Luke of that place. He, how- ever, died at Glient. Bening (Levina). — b. ; living in 1582; s. her father ; p. miniatures. She married George Teerhne, a citizen of Blankenberghe. It is supposed that they left Bruges and came to England about 1545. Here she was successively miniature- painter to Henry VIII., Edward VI., Mary, and Elizabeth. In 1547 she received a pension of £10 monthly. She presented to Queen Mary, in 1556, a small picture of the Holy Trinity, and, in 1558, she gave Elizabeth the portrait of the latter delicately painted on card. In 1561 she presented to Elizabeth a box ornamented with the portraits of Elizabeth and other great personages, and received in return a gilt salt-cellar. Bening (Simon). — b. ; d. 1561; s. his father, Alexan- der Bening ; p. miniatures. Simon Bening lived at Bruges and Ghent. In 1508 lie was admitted into the Guilds of Painters at Bruges, Brussels, and London. Between 1512 and 1516 he returned to Bruges, and he settled there in 1518. In 1518-20 he became a citizen, and between 1524 and 1546 he was Doyen of the Guild. One of his chief works is the ' ' Genealogical Tree of the Royal House of Portugal," now in the British Museum. This masterpiece was begun in 1530 for Prince Ferdinand, and was not finished in 1554, Avhen that prince died. Another important work by this master is named in the Archives of Lille. It was executed for the Knights of the Golden Fleece. Guicciardini and Vasari both mention Simon Bening as one of the celebrated miniaturists of their time, and Francois de Hollande says that among the Flemings he was the most agreeable colourist, and painted best trees and distances. Bent (Jan van der). — b. Amsterdam, about 1650; d. 1690 ; s, Wouverman and Adriaan van de Velde ; p. landscapes and animals. He painted well in the style of Van de Velde, and died of grief at having l>een robbed of about £500. There is a fine Italian landscape by him at Rotterdam. We can only give the prices at which two pictures by Bent have been sold : PAINTERS AND THEIR WORKS. 87 Italian landscape, mounted Peasant £ s. d. Woman and Cattle, Scarisbrick sale 1861 ... 6 16 6 Peasant, with cow, sheep, and poultr}', before a cottage, Burdou sale ... 1862 ... 8 5 Benvemito (Giovanni Battista).— >S;6 Ortolano. Benyu or "Benycg.—See Bening. Berchem, often written Berghem (Nicolas), properly Claes Pietersz.— B. Haarlem, 1620 (not ]624); d. Haarlem, 1683; s. his father, Pieter Claes van Haarlem, also Van Goyen, Mostaert, P. Franze de Grebber, Jan Wils, and J. B. Weenix ; p. land- scapes, figures, etc. It is thought that Berchem travelled in Italy between 1642 and 1656, and he certainly as a painter surpassed all the masters he worked under in Holland. Justus van Huysum, who was his pupil, related that painting seemed only a pastime to Berchem, and that it was while laughing and singing that he painted his best works. His pictures were often paid for before they were begun, and his industry was equal to the rapidity and variety of his conceptions and execution. Among the Dutch painters of landscape of his time his chief rival was Both ; and the Burgermeester of Dordrecht, Van Hulk, having caused them to paint pictures in competition, paid them each the same price, 800 Horins (about £100 of our money), as he declared himself unable to decide which was the better. Berchem's picture is now at S. Petersburg, and Descamps considered it his masterpiece. In 1767 Hendrik de Winter published at Amsterdam a complete descriptive list of the fifty- six etchings by Berchem and the 181 engravings by other artists after his works. The former are as fine in their way as his pictures. There must now be many more engravings, as Berchem's pictures have always been in great favour with engravers. Berchem's drawings are also very fine and valuable. His best scholars were Glauber, Du Jardin, Van de Meer de Jonge, Mommers, Romeyn, etc. Berchem married the daughter of his master, Jan Wils, and was buried in the Westerkerk at Haarlem. The pictures by Berchem are so numerous that, independent of those in the great galleries of Europe and in private hands, there have been at least a hundred and fifty sold at Messrs. Christie's rooms alone since 1771. We mention below the pictures which have produced the highest prices at Amsterdam and The Hague. The following are at Amsterdam : £ s. d. 1731 . 26 1770 . . 105 1808 . . 35 1808 . . 250 1809 . . 250 1809 . . 255 1833 . 60 88 PAINTERS AND THEIR WORKS. Ruth and Boaz, "Van Zwieten's sale... The Herd of Oxen going through the Water, Van Heemskerk's sale . . . An Italian landscape, Van de Pot's sale ... The Three Herds, Van de Pot's sale ... Winter Scene, Bicker's sale The Ferry (sold in A. Sydervelt's sale, 1776, £160), Bicker's sale Landscape, Gol] van Frankenstein sale ... The following are at The Hague Museum : An Italian landscape, with animals and figures the size of life ; an Italian landscape ; A Boar Hunt ; Cavalry Fighting in a Defile. The prices paid are not known. Taking two hundred pictures by Berchem which have been sold by public auction in London since 1771, the prices paid range from £9 9s. to £1207 10s. Many of the following have been engraved, and they are all pictures of a high class : A large landscape, figures and cattle, Sprimont's sale Angels Appearing to Shepherds, 74in. by 123in., from Bramcamp Collection, Ansell's sale ... Le Retours des Champs, Vandergutch sale Landscape, bridge, cattle, and figures, Calonne sale View from Porto Pio, Sir W. Hamilton's sale Italian seaport, Clarke and Hibbert's sale ... A View of Tivoli, Lord Lansdowne's sale Morning Scene, Lord Lansdowne's sale ... Rocky landscape, with Hawking Party, Henry Hope's sale Sea-shore, Castle, etc., 20in. by 16in., J. Parke's sale Peasants at Entrance of Stable, Woman Milking, etc., 44in. by 3Sin., B. W^est's sale £ s. d. 1771 . 94 10 1772 . . 168 1788 . . 336 1795 . . 367 10 1802 . . 199 10 1802 . . 199 10 1806 . . 225 15 1806 . . 367 15 1811 . . 215 5 1812 . . 420 1820 . . 472 10 PAINTERS AND THEIR WORKS. 89 Seaport, " L'Embarqiiement des Vivres," Gulf of Genoa, Beck- ford's sale The Repose after Hunting, Em- merson's sale Landscape (upright, from Robit Collection), Hibbert's sale Landscape, cascade, and figures, Lord Hampden's sale ... Landscape, Randon de Boisset Collection, Bagot's sale ... The Alpine Pass, 35^in. by 17iu., Talleyrand Collection, Lake's sale The Stubborn Ass, Laperiere Collection, Higginson's sale . . . The Musical Shepherdess, 14^in. by 16iin., W. Wells' sale ... Opening in Cavern, Peasant on Grey Horse, Woman Milking, Farrersale Lake of Perugia (signed and dated 1653), Northwick sale Italian Muleteers, Poyce sale Lady on White Horse, Farrier Shoe- ing Mule, Scarisbrick sale View in Italy, Lady Palmerston's Collection, Anderson sale The Hurdy-gurdy Player, Vokiiis' sale ... Landscape, woman with distaff, two other figures, from Solly Collection, IV^in. by 15in., Bredel sale ... Alpine Pass, from Solly Collection, 15Jin. by 18|in., Levy sale Landscape, herdsman at a ford (Smith's catalogue, N32), Foster sale ... Landscape, two men, cattle, fountain, 12in. by l^in., Bale sale ... The Ford, _ IS^in. by 20in., Duke of Hamilton sale ... The Ford, WelLs's sale Milking Goats, Dudley's sale Cattle Passing Ford, Field's sale ... s. d. 1823 . 834 15 1829 . . 477 10 1829 . . 640 10 1830 . . 787 10 1836 . . 561 15 1845 . . 399 1846 . . 593 1848 . . 357 1858 . . 400 1859 . . 409 10 1859 . . 735 1861 . .. 514 10 1864 . .. 714 1870 . .. 420 1875 . .. 945 1876 . .. 514 10 1876 . .. 1207 10 1881 . .. 472 10 1882 . .. 735 1890 . .. 892 1892 . .. 252 1893 . .. 682 90 PAINTERS AND THEIR WORKS. Italian River, dated 1654, Hey wood's £ s. d. sale 1893 ... 451 'Mountainous Country, Mndmay's sale 1893 ... 420 Milking-time, MUdmay's sale ... 1893 ... 294 Italian Scene, 1637, A. Hope's sale... 1894 ... 273 Nothing can prove more clearly than this list how universally Berchem's pictures have been admired. Berck-Heyde (not Berkheyden). — There were two brothers, artists, of this name, sons of a butcher : Job, who was born at Haarlem, in 1630, and Gerard, at the same place, in 1638. The former died in 1693 ; the latter was drowned in 1698. Berck-Heyde (Gerard). — This artist studied under his brother Job, became a member of the Guild of S. Luke in 1660, and accompanied him to the Court of the Elector Palatine, where both were employed. He painted views of towns, churches, etc. ; and although for many years pictures by either of the brothers seldom sold for more than £30, of late they have risen considerably in value. " A View in Haarlem" produced £472 at A. Hope's sale in 1894. Berck-Heyde (Job). — A pupil of De Wet, he was admitted into the Guild of S. Luke in 1654. He painted landscapes and winter scenes, and sometimes the figures in his brother's pictures. The works of both are distinguished by very clever management of light and shade and sunlight. The majority of them represent scenes or buildings at Amsterdam and Haarlem. The following prices have been paid for pictures assigned to Gerard Berck-Heyde : View of a Dutch Town, Perregaux's £ s. d. sale ... 1841 .. 70 View of the Cathedral of Haarlem, Kalkbrenner's sale 1847 .. ,. 70 View in Holland, Delessert's sale 1869 .. 40 The Quay at Amsterdam, figures by Adriaau van de Velde, Kon- chelef'ssale 1869 .. . 800 View of Haarlem, 16in. by 14in., Duke of Hamilton's sale ... 1882 .. . 210 View of Haarlem, 16in. by 14in., Denison's sale 1885 .. . 173 View of Haarlem, le^in. by 25in., Nieuwenhuys' sale 1886 .. . 107 2 Church at Haarlem, Eidgway's sale 1886 .. . 299 5 PAINTERS AND THEIR WORKS. 91 Bergen or Berghen (Dirk or Theodore van den).— B. Haarlem, 1645 ; d. England, 1C89 ; s. Adriaan van de Velde ; p. landscapes witli figures and animals. Although this painter never equalled his master, many of his best pictures resemble Van de Velde's so much that they have been passed off as being by that artist. Bergen lived in London about 1673. There are several good pictures by him in the Museum at Amsterdam, others at Florence, Vienna, etc. The following are the highest prices that have been paid for the works of Bergen, the majority of which have been sold for from £20 to £30 : Landscape and cattle, Clarke and s. d. Hibbert's sale 1802 .. . 50 5 Landscape, cows, sheep, goat, Simon Clarke's sale 1840 .. 77 14 Le Cheval Blanc, Higginson's sale . . . 1846 .. . 141 15 A Dutch Farm, W. Wells' sale 1848 .. . 82 19 Landscape and animals, Delessert's sale ... 1869 .. . 60 Berghen.— /St e Bergen. Bering, Berning, or Bernic— >S'ce Bening. Berkheyden.— /S'j« Berck-Heyde. Bernaerd (Nicasius).— /Sec Nicasins. Bernard of Brussels.— /S'ee Orlay (Barend van). Bernard (Theodore). — Sse Barendsen (Dirk). Bernardino de Conti.— Sec Conti. Berretini (Pietro).— /S' c Cortona. Berruguete (Alonso). — b. Paredes de Nava, 1480; d. Toledo, 1561 ; s. Michael Angelo ; p. history. Berruguete is generally allowed to have been the greatest artist which Spain produced at the time in which he lived. He was the second son of a painter, Pedro Berruguete, was intended for the legal profes- sion, and even held the post of Escribano del Crimen at Valladolid until 1526. He studied painting under his father, and on the death of the latter passed into Italy, where he became a pupil of Michael Angelo, at Florence. In 1503 he made a copy of the famous cartoon of the Battle of Pisa. In 1504 he accompanied Michael Angelo to P^^ome, and was among the sculptors chosen by Bramante to model the Laocoon for the purpose of its being cast in bronze. On his return to Florence he completed an altar- piece left unfinished by Filippo Lippi at his death. He lived 92 PAINTERS AND THEIR WORKS. many years in Italy, on intimate terms with Baccio Bandinelli and Andrea del Sarto. In 1520 he returned to Spain, when Charles V. appointed him one of his artists, and gave him a chamberlain's key. On his marriage with Dona Juana Pareda, he fixed his residence at Valladolid. From that time until his death he produced works in architecture, sculpture, and painting, which adorn many of the cities of Spain, and showed in all of them that if they did not equal those of Michael Angelo, he was not an unworthy follower of that great master. As a painter he brought oil-painting to a degree of excellence never before attained by Spanish artists. For the angular style of earlier masters he substituted the rounded forms of Italian art. His best works in painting were executed for the high altar of the Cathedral of Palencia, which represents Christ appearing to the Virgin after His Resurrection, and several for the high altar of the Church of La Ventosa, at Salamanca. Berreguete retained liis faculties to a great age, and, when nearly eighty, went with his son Alonso to Toledo, to construct, for the Hospital of S. John the Baptist, the monument of its founder. Cardinal Archbishop Juan de Tavera, which is thought to be one of his finest works. Bertin (Nicolas).— b. Paris, 1667 ; d. Paris, 1736 ; s. Jouvenet and Bon Boullogne ; p. history and genre. He went to Rome, where he remained four years. On his return to France, he painted at Lyons several pictures. He was received into the Academy in 1703 ; became Professor in 1716 ; and was called to Munich, but declined to go. Bertin was an excellent artist, whose compositions are clever and drawing excellent. Some of his principal pictures are : Joseph and Potiphar's Wife; Susanna and the Elders — Amsterdam Museum. The Acorn and the Gourd ; The Bear and the Gardener — Dresden. S. Philip Baptising the Eunuch — Paris Museum. The prices paid for pictures by him have l)een : Washing the Feet, La Live de Jully's £ s. d. sale 1770 ... 40 Adam and Eve, De Conti's sale ... 1777 ... 100 The same picture, Renouard's sale ... 1780 ... 25 Beschey (Balthazar). — b. Antwerp, 1708 ; d. Antwerp, 1776 ; s. Pieter Strick ; p. history. Beschey was one of the Directors of the Academy at Antwerp, in 1755, and in the following year was PAINTERS AND THEIR WORKS. 93 Master of the Guild of S. Luke. He had four brothers, all painters, and was the master of A. Lens. Beschey made some fine copies after Old Masters: one of the "Descent from the Cross," by Rubens, was sold for £40 in 1860. He painted also landscapes in the style of Breughel do Velours. His principal works are : Joseph Sold by his Brethren ; Joseph Viceroy of Egypt ; Portrait of the Painter; Portrait of the Painter Geeraerts — Antwerp Museum. A Flemish Family, signed, 1721— Louvre, Paris. Betto (Bernardino di).—See Pinturicchio. Bewick (William). — b. Harworth, near Darlington, 1795 ; d. Haughton-le-Skerne, Durham ; s. Haydon ; p. history and portraits. This artist must not be confounded with the Bewicks the en- gravers. He was employed by Haydon in making drawings on a large scale of the Elgin Marbles, for Goethe, the great Ger- man writer, and after exhibiting some pictures at the Spring Gardens Gallery, was sent by Sir Thomas Lawrence to Poms, to make copies from Michael Angelo's works in the Sistine Chapel. He afterwards settled in London, and in 1839 and '40 exhibited at the Royal Academy historical subjects and portraits. He subsequently returned to Haughton-le-Skerne, and sent up to the Westminster Hall Competition, in 1843, a design, "The Triumph of David." Haydon speaks of him in his "Journal," and his " Life and Letters," by Thomas Landseer, were published in 1871. Biagio (Vincenzo di).—See Catena. Bianchi (Francesco), known as II Frarre (i.e., Ferrarese), not " Frari," as it is often written. — b. Ferrara, 1447 ; d. 3 510 ; s. Cosimo Tura ; p. history. He established himself at Modena about 1480, and is said to have been the first instructor of Correggio. There were pictures by him at Ferrara and Modena, but the prin- cipal now existing are a fine altar-piece in the Louvre, represent- ing the Virgin and Child enthroned and two saints, in which the Virgin is very beautiful and the head of S. Benedict fine ; in the Modena Gallery an Annunciation, that was long attributed to Francia ; and another, of the Virgin and S. Joseph adoring the Infant Christ, was in Mr. Leyland's Collection in London. Bibiena. — See Galli (Perdinando). Bicci (The). — A family of artists of which several generations painted at Florence ; thus Lorenzo di Bicci painted between 1370 and 1 398, but his works have perished. 94 PAINTERS AND THEIR WORKS. Bicci di Lorenzo. — b. Florence, 1373 ; d. Florence, 1452 ; s. his father, Lorenzo di Bicci, and the elder Spinello ; p. history. This artist was both sculptor and painter. His son, Neri di Bicci, was born in 1418, the father having married Benedetta di Amato Amati either very early in that year or before it. It is said that Bicci di Lorenzo was already painting in 1387 ; but there are records of payments to him for pictures in different churches at Florence, from 1420 to 1441, and for sculpture in 1444 ; and that about 1445 he began pictures for Corezzo. About 1429 he painted for Antonio della Casa a picture of SS. Cosimo and Damiano, to be placed against a column in the Church of S. Maria del Fiore, which is now in the Uffizi. The only picture by him which has been sold of late years in London was ' ' Tobit and the Angel," in Baker's sale, 1874, £63. Bicci (Neri di). — b. Florence, 1418 ; d. Florence, 1491 ; s. his father ; p. history. He was the son of Bicci di Lorenzo. Among the manuscripts in the GalJeria degli Uffizi is a journal kept by Neri, from 1453 to 1475, in which he mentions the works he executed, and in the catalogue of the pictures in the Academia delle Belle Arti, not exhibited in the public gallery, is an Annun- ciation, which it is believed he j^ainted between 1475 and 1491. Bieke.— .S'ee MieL Biffin (Sarah).— B. East Quantoxhead, Somersetshire, 1784 ; D. Liverpool, 1850 ; s. W. M. Craig ; p. miniatures. She was born without hands or feet, and, we believe, held the brush in her mouth. In 1821 she was awarded a medal by the Society of Arts. Miss Biffin was patronised by the Royal Family, and there must be many miniatures painted by her in existence. Bigg (William Redmore).— b. 1755 ; d. 1828 ; s. Penny ; p. rural subjects. He entered the Academy Schools in 1778, became an Academician in 1834, and was a constant exhibitor at the Royal Academy. His works represent such subjects as ' ' Schoolboys Giving Charity to a Blind Man " (exhibited 1780), and occasionally landscapes. Many of his pictures were engraved. Leslie sat to him for the knight in his painting of ' ' Sir Roger de Coverley." Pictures by him have been sold as under : A Landscape with figures, Standish £ s. d. sale 1827 ... 3 Children Relieving a Distressed Sailor 1833 ... 4 14 6 PAINTERS AND THEIR WORKS. 95 Bigio (Francesco or Francia), properly Francesco di Cristo- foro Bigi. — b. Florence, 1482 ; d. Florence, 1525 ; s. Mariotto Albertinelli ; p. history and portraits. Bigio was the fellow-pupil of Andrea del Sarto, and afterwards his partner. The great reputa- tion which Andrea acquired has caused Bigio to be regarded as his inferior, yet the fact that he carried on their work in the Scalzi during Andrea's absence in France, and that portraits by him were long attributed to Andrea, or even to Raphael, shows that in the latter branch of art he was at least equal to Andrea. Among the frescoes in the cloisters of the Scalzi, ' ' The Baptist Receiving the Blessing of his Parents before his Departure,'' and * ' The Baptist's First Meeting with Christ in the Wilderness, " are by Bigio. It is of him that the story is told that the monks having uncovered, before it was quite finished, his fresco of ' ' The Marriage of the Virgin, " he was so enraged that he struck the head of the Virgin some blows witli a hammer, which are still visible, and wished to entirely destroy the fresco. The following works are all by Bigio ; some bear his monogram F.B. and a date : Portrait of a Man, ascribed to S. del Piornbo ; Portrait of a Young Man — Berlin Museum. Bathsheba Bathing, monogram and date 1513 — Dresden Gallery. Portrait of a Youth, monogram and date 1513 ; Calumny of Apelles — Pitti Palace, Florence. Madonna del Pozzo, attributed to Raphael ; Temple of Hercules — Uffizi, Florence. Portrait of a Young Man, monogram and inscription, TAR VBLIA CHI BIEN EIMA— National Gallery, London. Man at a Window, half-length, date 1516 — Yarborough Collection, London. Portrait of a Young Man, ascribed to Raphael, perhaps by Ghirlandaio — Louvre, Paris. Annunciation — Turin Gallery. Portrait of the Steward of Pier Francesco de Medici, ascribed to Andrea del Sarto — Windsor Castle. Bigordi.— /Sec Ghirlandaio. Bird (Edward).— B. Wolverhampton, 1772 ; d. Bristol, 1819: self-taught ; p. history, domestic scenes, etc. Bird was ap- prenticed to a tea-tray maker, and embellished such articles with landscapes, fruit, flowers, etc. He next ojjened a drawing- school at Bristol, and sent pictures to the exhibition at Bath. " Good 96 PAINTEES AND THEIR WORKS. News " was the first picture he showed at the Royal Academy that was in 1809. In 1812 he exhibited six subjects, represent- a poacher's career ; and in 1818 one of his best works — "The Death of Sapphira." His " Chevy Chase " is considered to be his finest work ; it was purchased by the Duke of Sutherland for 300 guineas. The domestic subjects, however, are generally his best pictures, although he painted many of a different character. He excelled rather in the conception of a scene than in its execution, as his colouring was very indifi'erent, which rendered him a by no means dangerous rival to Wilkie. Bird's X)ictures have been sold as follow £ s. d. Hector and Andromache 1836 ... 6 The Rafile for the Watch 1836 ... 70 The Tale of Waterloo, Freeling's sale 1837 ... 15 4 Eight small subjects from Old Testament ... 1839 ... 15 15 Five from Apocrypha ... 1839 ... 12 1 Ten from New Testament ... 1839 ... 24 3 The Death of Cleopatra, Sam Rogers' sale ... 1856 ... 4 4 A Girl with a Pitcher, Bicknell's sale 1863 ... 6 16 6 Poacher before a Magistrate, Mercer's sale 1884 ... 94 10 Bissolo (Pietro Francesco) . — b. Treviso ; d. Gio- vanni Belhni ; p. history. Very Kttle is known of the life of this artist, but many of his pictures have been attributed to his master. He painted from about 1492 to 1530. His works are exe- cuted with much delicacy, the figures are graceful, and the faces have a gentle, religious expression. One of the best is "The Coronation of S. Catherine of Siena," in which she receives from Christ a crown of thorns in exchange for her crown of gold. Besides many pictures of the Virgin and Child, the following works by Bissolo may be cited : Resurrection of Christ — Berlin Gallery. Altar-piece, signed and dated 1528 — Castel Franco Floriano. Portrait of a lady (doubtful) — National Gallery, London. Christ and S. Catherine, signed Franciscus Bissolo, formerly in San Pietro Martire, at Murano (mentioned above) — Academy, Venice. In 1859 a picture by Bissolo, ' ' The Virgin and Child in a landscape with S. Joseph and the Donor, " was sold in London for £126. PAINTERS AND THEIR WORKS. 97 Blakes (The). — There were two painters of this name, and several designers and engravers. The former were : Blake (B.). — b. ; d. about 1830 ; s. ; p. landscapes and still life. This painter exhibited at the Royal Academy, "Views of Durnford," in 1808 and 1818, and other landscapes, until 1821, when he sent a picture of "Dead Game." He was, in 1824, one of the foundation members of the Society of British Artists, and usually exhibited dead game that was very carefully painted : he excelled in painting dead hares. B. Blake also made some very close copies of pictures by Dutch masters, which, it is said, have been passed oflf as originals. The prices paid for some of B. Blake's pictures, which are usually small, were : £ s d Interior of a larder 1829 ... 8 15 9 Picture of game 1836 ... 19 8 6 Picture of still life 1862 ... 12 12 Interior of a larder, hares, pheasants, etc., AUnutt's sale 1863 ... 21 Blake (William).— b. 1757 ; d. 1827 ; s. ; p. history. As an artist, Blake was rather a designer, engraver, and poet, than a painter ; nevertheless, he exhibited some pictures at the Royal Academy between 1780 and 1808. He was born in Broad Street, Golden Square, London, on the 28th November, 1757. His father was a hosier, who carried on business there. Even in his early boyhood the son was of a strange, eccentric character, frequently wandering away alone into the fields, and was fond of going to the picture sales held by Langford, in Covent Garden. When only ten years of age he went to Parr's school to learn drawing ; at twelve he wrote verses, and some written by him at fourteen are not devoid of merit. Soon afterwards he was apprenticed to James Basire, the engraver, who employed him to make drawings from antiquities in Westminster Abbey. It is not within the scope of this book to enter upon a description of the visionary character of Blake's designs and XJoems. From childhood he was impressed with the idea that, as he himself expressed it, he was sent into this world " not to gather gold, but to make glorious shapes expressing God-like sentiments " ; and whatever we may think of this wild enthusiasm, it is certain that the result was to make him a very original and powerful designer. His last work was ' ' Twenty-one Inventions for the Book of Job," which he painted in water-colours for 98 PAINTERS AND THEIR WORKS. Mr. Butts, but afterwards published as prints in 1826. As a work of imagination these render it impossible to deny Blake's powers of invention. He died at No. 3, Fountain Court, in the Strand, on 12th August, 1827. The following is a list of the pictures exhibited by W. Blake at the Royal Academy (with dates) between 1780 and 1808 : Death of Earl Goodwin, 1780. A Breach in the City, the morning after a battle, 1784. War Unchained by an Angel, Fire, Pestilence, and Famine following, 1784. The Last Supper, with quotation, Matthew xxvi. 20, 1799. Jacob's Dream, Genesis xxviii. 12, 1808. Christ in the Sepulchre, guarded by Angels, 1808. As regards the value of Blake's drawings, it ranges from two guineas for a slight sketch to any amount of money his devotees can command. Bles (Hendrik Met de), called Civetta. — b. Bovignes, near Dinant, 1480 ; d. Liege, 1550 ; s. probably Patenier ; p. history, portraits, and landscapes. Patenier was also a native of Bovignes, and it is supposed that after he settled m Antwerp, Bles studied there under him. They were the founders of the Dutch school of landscape-painting. Bles marked his pictures with an owl. His best pictures were painted about 1510. Those by him most known are : Portrait of a Young Man — Berlin Museum. Landscape with Kuin — Uffizi, Florence. Christ on the Cross ; The Magdalen — National Gallery, London. Pieta— S. Pietro, Modena. Adoration of the Kings — Pinakothek, Munich. Tower of Babel — Academia, Venice. Pictures by Bles have been sold as follow : Christ at Emmaus, Bielher's sale ... 1759 Two small landscapes, Lorimer's sale 1763 Christ on the Cross 1861 Adoration of the Magi, Pourtales' sale 1865 Bloemen (Jan Prans van).— >S'ce Orizonte. Bloemen (Pieter van), called Standaert. — b. Antwerp, 1649; D. 1719; s. Simon Don; p. battles, travellers, cattle, and landscapes. This artist passed some years at Rome. His £ s. d. 4 3 16 10 85 PAINTERS AND THEIR WORKS. 99 pictures are much in the style of, and represent the same subjects as, those by Wouwerman. He is said to have l)een the brother of Jan Frans van Bloemen. In 1674 he was admitted into thf Guild of S. Luke at Antwerp as a franc-maitre, and was Doyei in 1699 ; he a^so engraved. Since 1802 pictures by P. van Bloemen havjcf^been sold at prices varying from £6 6s. for a battle- piece to £12 Is. 6d. , in 1827, for an upright landscape with figures going out hawking. Bloklandt.— /S'cc Montfort. Bockhorst (Johann von), called Langen Jan (Long John). — B. Munster, 1610 ; d. 1668 ; p. history and portraits. His family having settled at Antwerp, he became a pupil of Jacques Jordaens. He was admitted into the Guild of S. Luke at Antwerp in 1633. In painting he appears to liave taken Van Dyck for his model, and his works may easily be mistaken for those of that painter. There are many fine pictures by him in the churches of Belgium, and some of his portraits are very nearly equal to those by Van Dyck. His principal ]3ictures are : An allegorical picture, The Old and New Testament ; David Penitent ; Martyrdom of S. James ; S. Jacques — Ghent. The Re-?urrection, Annunciation, and Ascension, Church of the Beguines ; The Empress Helena Holding the True Cross ; S. Augustine ; CroAvning of the Virgin — Antwerp Museum. Martyrdom of S. Maurice, dated 1661 — Lille Museum. Mercury ; Ulysses in Female Attire at the Court of Lycomedes — Madrid Gallery. Ulysses Discovering Achille-^ at Scyro-i ; Mercury and the Daughter of Cecrops — Munich. The Four Evangelists — Stockholm. His signature is a combination of the letters H.B.H. When the convents were suppressed in Belgium, in 3785, two pictures by Bockhorst, " The Holy Family " and "The Flight into Egypt," were sold for only £9. Bokkebaard.— .S' c Jardin. Bol (Ferdinand).— B. Dordrecht, 1611; d. Amsterdam, 1681; s. Rembrandt; p. history and portraits. Bol went with his parents when a child to Amsterdam, and became the pupil of Rembrandt. He was made a citizen of Amsterdam, married in 1653 Elizabeth Dell, and died there without having left Holland. He was much employed by corporate bodies, and at first painted G 2 100 PAINTERS AND THEIR WORKS. in the manner of Rembrandt ; but in many of his later pictures there is too much brown, and there are not in his works the wonderful effects of light and shade which are to be found in those of Rembrandt. His masterpiece is ' ' The Four Regents of the Leprosy Hospital," which is now in the Town Hall at Amsterdam. Besides this may be cited as interesting examples of his works : Portrait of De Ruyter (he repeated this portrait several times) — Hoop Collection, Amsterdam. Portrait of Saskia van Ulenburgh, the wife of Rembrandt — Brussels Gallery. Portrait of Engel de Ruyter, the son of the Admiral — The Hague. Portrait of a Young Prince of Holland, in a Chariot drawn by Goats, signed ''F. BOL," 1654— Louvre, Paris. Pictures by F. Bol have been sold as under : Three Children drawn by Two Goats, Lenglier's sale S. Jerome, Basan's sale The Woman Taken in Adultery, Millet's sale His own Portrait, G. W. Taylor's sale ... Portrait of a Lady with a Fan in her Hand, from Van llyndaer's Collec- tion, Bagot sale ... The Archery Prize Portrait of a Man, Perregaux sale . . . Portrait of a Burgomeester and hi^ wife, Demidoff sale Head of a Young Man, Leyland's sale Portrait of a Lady Ferdinand Bol etched a number of plates, but the prints are not so fine as Rembrandt's etchings. Bologna.— /S'te Primaticcio and Sabbatini (Lorenzo). Bolognese [11].— Sec Grimaldi. Boltraffio.— >S'ec Beltraffio. Bondone.— /Sec Giotto. Bonifazio. — A name which was borne })y three artists, two of whom were born in Verona, and the third in Venice. The surname of Bembo, which has been bestowed upon them by mistake, was that of a painter of Cremona not connected with them. The eldest probably was born in 1490, and died in 1540. The second was his younger brother, who died in 1553. Both £ s. d. 1788 .. 80 1798 .. 12 1813 .. . 65 2 1823 .. . 107 1836 . .. 46 4 1836 .. . 121 16 1841 .. 80 1869 .. . 300 1892 .. . 220 1893 ., ,. 346 PAINTERS AND THEIR WORKS. 101 appear to liave studied in Venice under Palma Vecchio. The third is supposed to have been the son of one of the brothers, and to have been born between 1525 and 1530. He was still living in 1579. Of the three the eldest was the best painter, and his works have frequently been attributed to Giorgione, Paris Bordone, Palma Vecchio, and Titian. A careful study of them has, however, rendered it possible to determine who was the real author of some among them. Such are : Dives and Lazarus ; The Judgment of Solomon ; The Massacre of the Innocents ; The Adoration of the Magi — Academy, Venice. The Finding of Moses (long attributed to Giorgione) — Brera, Milan. There is also a curious unfinished sketch of ' ' The Visit of the Queen of Sheba to Solomon," in the possession of Sir Austen Layard, which shows that, like Giorgione, Bonifazio commenced his pictures in tempera, and completed them with oil glazings. The following prices will show how rapidly the value of pictures by Bonifazio have risen since his merits as a painter have been better understood : Virgin and Child, with Saints, £ s. d. landscape background (gallery si^ie), Beckford's sale (Fonthill) ... 1823 .. 99 15 Adoration of the Magi, landscape background (gallery size). Beck- ford's sale (Fonthill) 1823 .. . 115 10 The Riposo, Ranelagh sale 1829 .. 67 4 Christ Healing the Blind, R. Westall's sale 1830 .. 42 The Virgin and Infant Christ, Pourtales' sale 1865 .. 70 Portrait of a Man, Poniatowski's sale ... 1867 .. . 36 Virgin and Child, with Saints, Gladstone sale 1875 .. . 483 Mr. Gladstone apjjears to have bought this picture at Beckford's sale in 1856 for £105. Adoration of the Shepherds, Smith's sale ... 1880 ., .. 399 Madonna and Child, with SS. James and Lucy, 39in. l)y 28in., from Beckford's sale (Fontliill), Hamilton sale 1882 . .. 483 102 PAINTERS AND THEIR WORKS. £ s. d. 1882 . .. 231 1886 . .. 168 1886 . .. 273 1886 . 378 1888 . .. 530 1892 . .. 1018 1894 . .. 472 The Resurrection, 84in. by 72in. (now in National Gallery), Hamilton sale ... Garden of Love, 12iu. by 36in., Graham's sale Virgin, Child, and Saints, 48in. by 72in. , Graham's sale A similar work, 36in. by 48in., Graham's sale Repose of Holy Family, Exeter's sale ... Madonna and Saints, Dudley'^ sale,.. Madonna, Eastland's sale Bonington (Richard Parkes). — b. Arnold, near Notting- ham, 1801 ; D. London, 1828 ; s. L'Ecole des Beaux Arts, in Paris, and Baron Gros ; p. landscapes, marine subjects, and figures. His father was Governor of Nottingham Gaol, but, losing his appointment, went to Paris, and became a portrait- painter. Young Bonington was permitted to study in the Louvre, and under Gros's tuition improved so rapidly that he won the gold medal for one of his marine subjects. About 1822 he went to Italy. His works in oil and water-colours had made him a good reputation in Paris ; but he was unknown in England until he exhibited, in 1826, two views of the French coast. At the Royal Academy of the following year he showed a similar subject, and subsequently ' ' Henry III. of France " and the "Grand Canal, Venice." He from that time was overwhelmed with commissions, both in France and from this country. Unfortunately, from imprudently sketching in the sun at Paris, he was attacked with brain fever, and although he came to London for advice, his life was ended by rapid consumption on September 23rd, 1828. Bonington painted landscapes, marine subjects, and figures with equal success, as regards both com- position and colour. His drawings were sold by auction, and realised £1200. In 1870 £3320 was paid at a sale in Paris for his "Henry IV. and the Ambassador." A series of his works were lithographed by Harding. We can only give a few of the prices at which the pictures and drawings by Bonington have been sold in London. The following are pictures in oils : Henry IV. and the Sjjanish Envoy, £ s. d. his executors' sale 1834 ... 100 A Turk Enjoying his Siesta, Sam Rogers' sale 1856 ... 294 PAINTERS AND THEIR WORKS. 103 Landscajte with Timber Waggons 20in. by 38iii., Gillott's sale ... The Duenna, Levy's sale Dunstanborough, 10|in. by 16in., Heugh's sale Chateau on the French Coast, 14|in. by 24|in., Mendel's sale Normandy Coast Scene, 9|in. by 12|in., Johnstone's sale French Coast Scene, lO^in. by Min., Johnstone's sale ... Fish Market, Boulogne, 31in. by 47in., Johnstone's sale... The Grand Canal, Venice, 40in. by 52in., Johnstone's sale ... Low- tide, French Coast, McConnell's sale ... A Coast Scene, Barlow's sale Chateau of the Duchess de Berri, Garonne's sale Calm, Murrieta's sale In water-colours : French Coast, AUnutt's sale ... S. Mark's Place, Troderip's sale Shipping, Nornicindy, 7|in. by lOfin., Heugh's sale Rouen, 5|in. by 8|in., Knowles' sale Bonsignori.— /Sec Monsignori. Bonvicino (Alessandro).— /SVjc Morctta da Brescia. Bonzi (Pietro Paulo).— >SVc Gobbo da Cortona. Borch {G.T.).~See Terburg. Bordone (Paris). — b. Treviso, 1500; d. Venice, 1570; s. Titian ; p. history and portraits. The assertion that Bordone studied under Giorgione is evidently a mistake, for the latter died in 1511; and Bordone's pictures differ very much from those of Titian and Giorgione. To name only two of the differences, the flesh is more rosy, and he was fond of shot stuffs for dresses, the folds of which are small and broken. His father's name was Bernadino. They belonged to a distinguished family, and Paris received a liberal education l)efore lie devoted himself to painting. His progress must, however, have been rapid, if his great work. £ s. d. 1872 . .. 520 1873 . .. 300 1874 . .. 388 10 1875 .. 483 1878 . .. 420 J.O / o 910 1878 . .. 3150 1878 . .. 3150 1886 . .. 450 1 on A A A 1890 . .. 420 1892 . .. 325 1863 . .. 102 18 1872 . .. 107 2 1874 . .. 152 1880 . . 110 5 104 PAINTEKS AND THEIR WORKS. "The Fisherman Presenting S. Mark's Ring to the Doge," was, as it is thought by some persons, begun by Giorgione and finished by Bordone. The latter was invited by Francis II. to go to France, and went to that country in 1558-9. There he painted the portrait of Francis and those of many persons about the French court, was knighted by Francis, and remained in France during the early part of the reign of Charles IX. Upon quitting France, Bordone appears to have returned to Venice by way of Augsburg, where he painted in the Fugger Palace, and by Milan, at which place he worked for the Chapel of S, Jerome. Bordone must also have visited Genoa, as he painted the portraits of some members of the Brignole family. The beautiful girl in our National Gallery is still a good example of his work at that time, although the neck has been injured by overcleaning. There are other fine portraits by him at Genoa, and in many great galleries on the Continent. The principal works by Paris Bordone are : The Fisherman Presenting the Ring of S. Mark to the Doge (his masterpiece); The Emperor Augustus and the Sibyl — Academy, Venice. Madonna and Cliild ; SS. Francis and Jerome — Palace Giovanelli, Venice. Portrait of a Man ; Portrait of a Woman — Palace Brignole, Genoa. Portrait of a Woman — Wrotham, England. Portrait of a Woman — Longford Castle, England. Centurion Begging Christ to Heal his Servant— Lord Bute's, England. Portrait of a Man in Black Dress ; Virgin and Cliild ; S. Roch and the Magdalen — Pinakothek, Munich. Diana, Two Hounds, Nymph Presents the Head of a Stag — Dresden Gallery. This list might be much extended, but it is sufiicient to show how various were the subjects treated by Bordone. He was equally successful in painting architecture and landscapes. We will now give the prices at which pictures attributed to Bordone have been sold, but whether he painted some of them is very doubtful. The Holy Family with S. Catherine, £ s. d. Godolphin's sale 1803 ... 13 12 S. George, in a landscape, Elwyn's sale 1806 ... 84 Venus Reclining, architectural back- ground, Bute's sale 1822 ... 16 5 6 PAINTERS AND THEIR WORKS. 105 Holy Family in a landscape ... Diana Punishing Pan, Westall's sale The Virgin and Child, S. Joseph and another saint, in a landscape, Warrender's sale ... Lady with auburn hair, a rose in her hand, 44in. by 60in. (signed) Perseus Attended by Minerva and Mercury, Solly's sale Vulcan and Thetis, Solly's sale S. John Baptising Christ, Meigh's sale ... Lady in crimson-and-grey striped dress, llin. by 9in., Bernal's sale The Kiposo (signed), Shrewsbury's sale Concealment and Discovery of Moses, Northwick's sale ... Venetian Noble, seated, book and letter (dated 1540), from Fesch Collection, Bromley's sale Lady with auburn hair (this picture, which is mentioned above, was at one time in the collection of the Prince de Carignan, and was ex- hibited at Manchester in 1857), Darby's sale Bathslieba, Didier's sale Flora, 21in. by 35in., Delafield's sale Girl at her Toilette, Prince Napoleon's' sale ... Lady in black-and-yellow dress, with a Boy, 42in. by 23in., De Zoete's sale ... The Saviour Disputing with the Doctors, Bentinck's sale Lady, Dudley's sale Borghegiano.— aS'jc Alberti (Cherubino). Borghese (Piero).— /See Francesca. Borgognone (Ambrogio), known as Ambrogio da Fossano. — B. Milan, about 1455 ; d. Milan, 1523 ; s. Vincenzo Foppa ; r. history. He was distinguished as an architect and painter, and worked at Pavia from about 1475 to 1493. The earliest altar-piece by him is "The Crucifixion," in the Certosa, in that city; it is dated 1470. He also worked at Milan. His pictures are £ s. d. 1825 .. 22 1 1830 .. 36 15 1837 .. . 240 1847 .. . 141 15 1847 39 18 1847 . 7 7 1850 . . 105 1855 . 3 12 1857 . 73 10 1859 .. . 35 14 1863 .. . 60 18 1867 . 149 2 1868 . 70 1870 . . 58 16 1872 . . 735 1885 . 99 15 1891 . . 491 1892 . . 535 106 PAINTERS AND THEIR WORKS. remarkable for a certain expression of gentle calmness and religious feeling in the faces. Borgognone worked mostly in tempera or fresco, but towards the end of his life he painted with oil. There are fine examples of this master in the National Gallery. Pictures by him appear rarely at sales, but the following have been the prices paid for such as have been offered : XTXCvvLV/i-LllC V CLJLlvA. WIJAAH >> XL/11. ^JCtlllUDj £ s. d. Savona, De BamnuAnlle's sale 1854 .. . 84 Sold again in D. Bromley's sale . . . 1863 . .. 78 15 SS. Catherine and Barbara, D. Bromley's sale 1863 .. . 40 19 SS. John Baptist and Augustin^ D. Bromley's sale 1863 .. ,. 28 The Education of Christ, De Blaisel's sale ... 1870 .. . 190 S. Augustin and the donor, Prince Napoleon's sale 1872 ., . 110 5 S. Peter of Verona, Prince Napoleon's sale ... 1872 . 52 10 Portrait of Beraldns, Graham's sale 1886 .. . 115 10 Madonna, Eastlake's sale 1894 .. . 431 Borgognone ill). —Sec Courtois (Jacques). Bos, Bosch, Bosche, Bose, or Bossche (Jeronimus.)— B. Bois le Due, before 1470 ; d. Bois le Due, 1516 or 1518 ; s. his father ; p. history and genre. This artist and Van Ouwater were among the first Dutch painters who used oil colours (see David). A few years since it was discovered that his real name was Jeronimus van Aken, and that he was the son of Jan van Aken, an artist residing at Bois le Due, whose mural paintings have been found at that place with the date 1444. Although many of Bos's works are in Spain, it appears also that he never visited that country. He was a member of a society at Bois le Due in 1488. In 1493 or 1494 he made a drawing for a window at Hertogenbosch (Bois le Due). The subjects of his pictures are generally grotesque representations of scenes in which spectres, devils, and such things, play a conspicuous part, but he also painted seriously sacred subjects. There are several pictures by Bos at Madrid, as his works were greatly admired by Philip II. His pictures, which are rare and are mostly painted on a white ground, are remarkable for transparent and vigorous colouring, correctness of drawing, and well-arranged draperies. It is now PAINTERS AND THEIR WORKS. 107 known that the engravings formerly attributed to him were cut from his designs by Alaest du Hameel, and other artists. Besides the pictures at Madrid there are a ' ' Last Judgment" at Berlin, a "Temptation of S, Anthony" at Antwerp, signed "Iheronimus Bosch, " and a few others by this master, whose pictures are rarely seen at sales. Both (Jan and Andries). — Jan, b. Utrecht, about 1610 ; Andries was his younger brother ; Andries was drowned in Venice before 1650, Jan d. Utrecht, 1652 ; s. of their father and of Abraham Bloemart ; p. landscapes and figures. The brothers Both were the sons of a glass-painter at Utrecht. They were united by the strongest affection, and their works, up to the time of the death of Andries, were almost invariably the result of their combined talents. The Boths went when very young to France, and from there to Italy. They lived long at Rome, Jan devoting himself to landscape-painting, and Andries to painting pictures in the style of Pieter de Laar (Bamboccio) and enlivening his brother's pictures with figures : so well was this done that the finished picture appeared to be the work of one master. After re- siding many years at Rome, where their work brought them both fame and profit, and the accidental death of Andries at Venice, Jan returned to Utrecht, Although the death of Andries is usually said to have taken place in 1650, it must have occurred somewhat earlier, as in 1649 Jan was at Utrecht and one of the chiefs of the Guild of Painters in that city. After the death of Andries, Poelenburg sometimes painted the figures in Jan's landscapes. The works of the Boths are remarkable by their clear, warm tone ; and, although classed after Claude Lorrain, Jan was one of the greatest landscape-painters of any country. Both the brothers etched : Jan, ten landscapes after his own, and five figure subjects after designs by Andries ; and Andries, ten figure subjects. They are all valuable if the impressions are fine. The pictures by the brothers Both are very numerous, and are to be found in all the great galleries and many private collections ; and as the description of each is almost invariably ' ' a landscape with figures," it is useless to give a list of them. We prefer to give prices which will show the extraordinary rise that has taken place in the value of pictures by the Boths since 1745, and some of the highest prices obtained at auctions for their works. It must not be forgotten that the early sales were those of celebrated collections. 108 PAINTERS AND THEIR WORKS. Two pictures, The Couriers, and a Winter Scene, De la Koque's sale ... Landscape, with figures, 42in. by 52in. View of a River, Lempereur's sale ... Landscape, with figures, Greenwood's sale ... Landscape, with figures, Conti's sale Landscape, with figures, Astley's sale ... Landscape, with figures, Verhulst's sale ... A Group of Peasants Playing at Cards Landscape (figures by Poelenburg), • Lebrun's sale From the beginning of the present improvement has taken place ; but space a few of the prices paid since then : Mountain Pass, Peasants, one playing a guitar ... ... Landscape, Evening ... Landscape in Italy, G. P. Turner's sale ... Mountainous Landscape, Talleyrand- Perigord's sale Mountainous Landscape, Lapeyriere's sale ... Landscape, Lapeyriere's sale ... Judgment of Paris (figures by Poelenburg), Gwydir's sale Landscape, bndge with tower, figures, and animals, Erard's sale Landscape with figures Sunset, Perregaux's sale Italian Scene, Van Brienen's sale ... Italian Landscape, figures, 19^in. by 25in., Bredel's sale Abraham, Hagar, and Ishmael, 41in, by 49in., Lucy's sale Rocky Pass, figures, 42in. by 40in., Foster's sale Summer Landscape Muleteers in Landscape, Perkins's sale ... 3b s. G.* 1745 . 5 1772 . . 88 1773 . lU A u u 1774 . 1 HFC n U 1777 . . 24 1777 . . 183 1779 . . 45 1780 . . 20 1785 .. . 252 10 century a very marked will only permit of giving £ s. d. 1806 . .. 315 1812 . .. 525 1815 . .. 514 10 1817 . .. 190 1817 . .. 450 1823 . .. 650 1829 . .. 483 1833 . .. 409 10 1833 . .. 1260 1841 . .. 850 1865 . .. 1400 1875 . .. 1752 10 1875 . .. 1725 1876 . .. 1600 1888 . .. 900 1890 . .. 997 PAINTERS AND THEIR WORKS. Abraham, Hagar, and Ishmael, Mild- £ s. d. may's sale 1892 ... 1143 Muleteer, Mildmay's sale 1893 ... 388 Italian Landscape, Onslowe's sale ... 1893 ... 871 Landscape, A. Hope's sale 1894 ... 609 Landscape, Dennistown's sale ... 1894 ... 787 Kocky Landscape, Dennistown's sale 1894 ... 231 Soldiers Conducting Prisoners ... 1894 ... 315 Botticelli (Alessandro or Sandro).— b. Florence, 1447; d. Florence, 17th May, 1510; s. Filippo Lippi ; p. history, mytho- logical subjects, and portraits. Sandro was the son of Mariano Filipepi, and, as one of his brothers, who was a broker, was also known by the name of Botticelli, the idea that Sandro took that name from the goldsmith under whom he worked when young appears to be a mistake. He was a man strongly influenced by the classical revival in Italy, yet original in his works, which are the offspring of a powerful imagination. This is shown in his master- piece, called " The Calumny of Apelles," painted from the de- scription of Lucian, which is at Florence in the UflB.zi. Sandro was also a student of Dante's " Divina Comedia," which he illus- trated by many drawings, now in Berlin. Of the beauty which he could infuse into sacred subjects, the pictures in our National Gallery, and " The Madonna Surrounded by Angels," in the Uffizi, are striking examples. His treatment of mythological subjects was no less masterly, and he was one of the first among the Florentine artists who represented the nude female figure nearly the size of life. He, however, became a follower of Savonarola ; yet was protected by the Medici, and supported by them in his latter days. Sandro was also one of the painters employed before 1484 in the Sistine Chapel, at Rome, and executed there some important frescoes. Of easel pictures attributed to him there are so many that we can only name a few ; besides which a large number of pictures by his pupils and imitators pass under his name. Sandro also engraved about twenty plates. At Florence there are at least thirty works attributed to Sandro. The more interesting of his pictures are : The Adoration of the Magi, painted for the Medici, and cout;3,ining the portraits of Cosimo, aiid of members of his family ; a portrait said to he that of Pico della Mirandola — Uffizi, Florence. The Coronation of the Virgin — Academy, Florence. The Virgin Enthroned — Louvre, Paris. no PAINTERS AND THEIR WORKS. Venus ; The Virgin Enthroned ; Portrait of Giuliano de' Medici ; Portrait of Lucretia Tornabuoni, the Mother of Leo X. — Berlin Gallery. Christ Dead on the Knees of the Virgin — Pinakothek, Munich. The following prices have been paid for important works Sandro I3otticelli : Madonna Adoring Infant, and S. John, De Bammeville sale The Virgin and Child, Four Angels, from Solly Collection, D. Bromley's sale The Virgin, Child, and Five Saints, from Fesch Collection, D. Brom- ley's sale Portrait of Smeralda Bandinelli, Pourtales' sale The Story of Nastagio Degli Onesti from Boccaccio (bought in at very high price). Barker's sale... Mars and Venus Reclining, with Cupids, Barker's sale Venus Keclining, Amorini pelting her with Roses, Barkei*'s sale. . . These two w^ere jmrchased for the National Gallery, in which they now are. The Virgin, Child, and S. John (the picture sold in the De Bammeville sale, 1854), Barkei-'s sale... The Virgin, Child, and S. John, Musard' s sale Assumption of the Virgin, 147iin. by 89in., Hamilton sale Adoration of the Magi, 22in. by 33in., Hamilton sale Madonna with Infant Christ, Beckett- Denison's sale Madonna, Infant, and Saint, Puxley's sale ... Virgin and Child, Ley land's sale Four Illustrations to the Decameron, Leyland's sale Madonna and Child, Dudley's sale ... Nativity, Dudley's sale Madonna, Eastlake's sale £ s. d. 1854 . .. 546 1863 . .. 241 1863 . .. 787 10 1865 . .. 150 1874 1874 .. 1050 1874 . .. 1627 10 . . Xu<5U A yj 1878 400 1882 . .. 4777 1882 . .. 1672 1885 . .. 252 1888 . .. 250 1892 . .. 1312 1892 . .. 1365 1892 . .. 420 1892 . .. 1215 1894 . .. 756 PAINTERS AND THEIR WORKS. Boucher (Francois), the elder. — b. Paris, 29th September, 1703 ; D. Paris, 30th May, 1770 ; s. his father and Le Moine ; p. history and genre. Boucher was baptised on the 3rd October, 1703. In the " Archives de I'Etat Civil de Paris " he is described as the son of Nicholas Boucher, master painter, and his wife, Elizabeth Lemesle, living in the Rue de la Verrerie. Having received his tirst instruction in art from his father, he was placed under Le Moine. By the time he was seventeen, Le Moine was so much pleased with a drawing by Boucher of the Suzanne," that his master foretold the future success of his pupil, two early pictures by whom, ' " La Naissance et la Mort d' Adonis," are altogether in the style of Le Moine. Boucher probably remained more than three months with Le Moine, and what is curious is that he supported himself by making designs for Virgins and saints, and the engravings for a " Breviaire de Paris," in which he represented the Virtues above small views of Paris. These led to his being employed by Cars, the engraver, who had the monopoly of designs and engravings which it was then the liabit to place at the top of theses. For this Boucher then thought himself fortunate to be lodged, fed, and iDaid sixty francs per month. It was about 1721 that this arrangement was made, and Boucher then drew the vignettes for a new edition of Daniel's " Histoire de France," which are No. 1164 in Mariette's catalogue. Boucher probably learned to engrave while thus employed, and had the good fortune to be chosen by M. de Julienne to engrave from a number of studies left by Watteau. For this work M. de Julienne paid him twenty-four francs per day. Boucher at the same time continued to paint, and, in 1723, when barely twenty years of age, he gained the first prize given by the ' ' Academie de Peinture," with his picture of " Evilmedorach fils et successeur de Nabuchodonosor, delivre Joachim des chfiines dans lesquelles son pere le retenait depuis longtemps." On this occasion Boucher, according to usage, was carried on the Saturday following the "Fete de S. Louis" in triumph on the shoulders of his fellow-students round the Place du Louvre, and for three years became entitled to be " nourri, chaufic, eclaire, instru it, and to receive 300 francs per year, with time to spare forhis" work for M. de Julienne. Boucher, at the end of three years, went to Rome. It appears, however, that he did not arrive in Rome under very brilliant auspices, for Vleugels, the painter, who was at that time the Directeur of the establishment for the 112 PAINTERS AND THEIR WORKS. French pupils, in a letter dated 1728, says, "II y a encore un nomme Boucher (venu avec Vanloo) gar9on simple et de beaucoup de merite ; presque hors de la maison, il y avait un petit trou de chambre, je I'ay encore fourre la. II est vrai que ce n'est qu'un trou, mais il est a convert." Boucher was back in France in 1731, and was received at ' ' L'Academie Royale " on 24th November of the same year. At this time he painted, and sold for a low price, his ' ' Enlevement d'Europe " and other fine pictures, for he was always extremely extravagant. The gay life he led did not, however, interfere with his wonderful application to his art. He married on the 21st April, 1733, Marie Jeanne Buseau, a very pretty girl of seventeen, who soon learned enough of art from him to copy his works in miniatures, which have been passed off as by him. Of this marriage the children were, a daughter, Jeanne Elizabeth Victoire, baptised 24:th March, 1735 ; a boy, Juste Nathen, baptised 4th May, 1736, and a daughter, Marie Emilie, born 27th April, 1740. On 30th January, 1734, Boucher became an Academician, his reception picture being ' ' Renaud et Armide, " now in the Louvre. From that tune dates his fortunate career. Henriette d'Orleans, later Mme. de Pompadour, and many other persons in a position to render his works the fashion, helped to make them so ; and it may be said of them, as of Cosway's miniatures, ' ' they were not fashionable : they were fashion itself." They represented, with truth, the ideas and manners of the time at which he lived. Although Mme. de Pompadour was then dead, we are told that she had so accustomed Louis XV. to favour Boucher, that on the death of Vanloo, he was made, on September 8th, 1765, " Peintredu Roi." Other honours followed, and from that time until his death, Boucher may be said, with the exception of a journey to Holland with M. Handon de Boisset in 1766, to have passed his time enjoying his great reputation, and painting for amusement until his death in 1770. Even the manner of his death was in ac- cordance with his life, for he died at five o'clock in the morning, not seated at his easel, as has been asserted, but after he had asked his wife to give his physician, Monsieur Poissonier, an unfinished picture which was found upon it. Boucher reckoned that he had made at least ten thousand designs, finished and ^lnfinished, and painted not less than a thousand pictures and sketches. He engraved about 182 plates, forty-four of which are after his own designs. PAINTERS AND THEIR WORKS. 113 When the great Revolution of 1789 swept away in France the state of society which rendered Boucher's pictures so popular, it was but natural that, as the works of David, and of painters who belonged to what was termed ' ' The Classical School, " came into favour, those of Boucher should become of little value. How long this depression lasted, and the extraordinary reaction that has since taken place, are, however, matters that may well cause astonishment. A person, as late as 1848, bought for 12s., from a dealer, the Httle picture, "The Shepherd Sleeping on the Knees of his Shepherdess," mentioned by Pilkington. Whether the enormous prices now paid for Boucher's works are above their real value, time alone will show. Whatever we may think of some of his pictures, he will, as a designer, remain one of the best France has produced. Boucher's son was an architect and a painter, but never distinguished himself. The prices paid for Boucher's pictures have been as follow Noah in the Ark and Noah Sacrificing (two), Julienne's sale Birth and Death of Adonis (two), La Live de J ully sale Gideon's Sacrifice, La Live de JuUy sale This was sold in Conti's sale Hercules and Omphale, Randon de Boisset's sale Two pastoral subjects, Choiseul Praslin's sale Gideon's Sacrifice (the above picture), Choiseul Praslin's sale ... Mme. de Pompadour at her Toilette, the bosom uncovered, 28in. by 22in., Crawfurd'ssale The Wooden Bridge, De Lanjar sale, 1802, and Saint Victor sale The Virgin and the Infant Christ, Saint Victor sale ... A Group of Cupids and Children, Standish's sale A Bacchanalian Scene, Standish's sale A Pair of Cupids Venus and Cupids Two Young Girls Surprised by a Shepherd, Periefs sale ... £ s. d. 1767 .. 50 1770 .. . 40 1770 .. . 30 1777 .. . 80 1777 .. . 160 1793 .. . 13 1793 .. 9 1820 .. . 10 1822 .. 10 1822 .. 5 1827 .. 5 7 6 1827 .. 11 11 1833 .. 5 10 1837 .. 5 15 1838 .. . 35 114 PAINTERS AND THEIR WORKS. Ampliitrite, Friedler's sale ... Cupid, in a landscape ... Ditto The Ketiirn to the Farm, Vassarot's sale La Marchande a sa Toilette, De Moray's sale Diana as a Huntress, De Narhonne's sale ... Spring and Autumn, Patureau's sale Leda, D'Hane de Steenhuyse's sale... Marie Leckzinski, Queen to Louis XV. , and the Virtues, signed and dated 1740, Morland'ssale Mme. de Pompadour, in a landscape, Lang-ford's sale ... La Courtesane Amoureuse, Lynd- hurst's sale... Diana and Calisto, Clare's sale The Family of the Artist, Pourtales' sale ... The Graces and Cupid, De Moray's sale Marie Leckzinski, Morland's sale ... Lady in a Domino, INIunro's sale Full-length Portrait of Mme. de Pompadour, Didiei''s sale The Birth and Death of Adonis, Didier's sale La Toilette de Venus, Demidolf'ssale Ten other pictures by Boucher pro- duced, Demidoff's sale ... Nymphs Surprised, King-'s sale Portrait of a boy as "Pierrot," 24in. by 19in., Cope's sale Venus Sleeping, signed and dated 1754, Du Blaisel's sale Venus and Cupid, Periere's sale Mars, Venus, and Cupid, Barkei-'ssale Chinese Lady and Children, Barker's sale ... ... Two panels, Chinese figures, Barker's sale ... Eight panels. Ladies with Children, and one other from Mme. de Pompadour's (Chateau Crecy) and Lord Pembroke's Collections, Barker's sale £ s. d. 1839 88 1842 6 10 1842 6 10 1845 .. 35 1848 .. 57 15 1851 .. 125 1857 590 1860 . .. 120 1863 . .. 231 1864 . .. 183 15 1864 . .. 32 11 1864 . .. 25 4 1865 . .. 280 1865 960 1866 . .. 150 3 1867 . .. 141 15 1868 . .. 1150 1868 165 1870 . .. 950 1870 . .. 4150 1871 . .. 95 1872 913 10 1872 84 1872 . .. 500 1874 . .. 110 5 1874 . .. 49 7 1874 . .. 162 15 1874 . .. 6352 10 PAINTERS AND THEIR WORKS. 115 Cupids Sporting Venus, seated, with a Nymph, Mrs. Maberley's sale ... Portrait of Mme. du Barry as Venus attired by the Graces, with Cupids, Mrs. Maberley's sale ... Portrait of Mme. de Pompadour, seated, whole length, with a book, Mrs. Maberley's sale Two Cliildren with Flowers at Window, Cupid flying through, Mrs. Maberley's sale ... The Mask, 28in. by 22^m., Munro's sale Hurdy-Gurdy Player, ISin. by 14in., Anderdon's .sale ... The Mask, from Nova Collection, Lawton's sale Children Sporting, San Donato Collec- tion, Pickering' s sale Shepherdess with Lamb and Flowers, 23in. by 56in., Nieuwenhuys' sale Triumph of Amphitrite, Lonsdale's sale Portrait of Mme. de. Pompadour in blue silk, Lonsdale's sale The Muse of History Mme. de Pompadour (replica of portrait) Les Pecheurs ... ... The Muse Erato, Dudley's sale Gipsy Encampment Boudewyns (Adrien Francois). — b. Brussels, 1644 ; d. after 1700 ; s. Ignace van den Stock ; p. landscapes. This artist was the same person as N. Boudewyns, Ant. Fr, Boudewyns, Baudaun, Bauduins, etc. In 1665 he was recei^ved at the same time as apprentice and free master into the Guild of S. Luke, at Brussels ; he married, in 1664, at Brussels, Louise de Ceul ; and in 1670 he married, in Paris, his second wife, who was the sister of Van der Meulen. He was then twenty- six years of age, and was again a widower in 1673. The figures in his landscapes are generally l)y Pierre Bout. Boudewyns was also an engraver. Many of his plates are after Van der Meulen, or views of towns in France. Pictures by Boudewyns and Bout are often met with, and seldom sell for high prices. See Bout. H 2 £ s. d. 1875 ... 252 1877 ... 17 17 1877 ... 148 1877 ... 71 8 1877 105 1878 115 10 1879 162 15 1880 1.57 10 1881 QQ Vo 1 5 u 1886 ... 220 10 1887 ... 600 1887 ..10,395 1890 ... 294 1890 ... 215 1891 ... 351 1892 ... 861 1893 ... 810 116 PAINTEKS AND THEIR WORKS. Bourdon (Sebastien).— b. Montpellier, 1621 or 1622 ; d. Paris, 1671 ; s. his father ; p. history and various other styles. The father was a very indifferent painter on glass, but Sebastien was brought to Paris at the age of seven and placed under a painter named Barthelemy, Sebastien went to Bordeaux at fourteen, and painted a ceiling in fresco. From that city he passed on to Toulouse, where, not having any employment, he enlisted in the army, from which his friends procured his release, and he then proceeded to Rome. There he was obliged to sell his pictures at very low prices to procure a livelihood. He, however, became acquainted with Claude Lorrain, who allowed him to work in his painting- room. Owing to a quarrel, he was threatened to be denounced as a Calviiiist, and was obliged to seek safety with Monsieur Hesselin, who brought him to Paris, where he had the advantage of advice from Simon Vouet. On the Revocation of the Edict of Nantes, Bourdon, who had always been a Calvinist,. retired to Sweden, where he was appointed chief painter to Queen Christina. He returned to France about 1653 or 1654, probably owing to the abdication of Christina. He was, however, in 1648 one of the original members of the ' ' Academic de Peinture " in Paris, of which he afterwards became the Rector. He was also named " Peintre du Roi." Bourdon, besides history, painted ditferent subjects and landscapes, which are somewhat in the style of Salvator Rosa. The figures in his pictures often give the impression of having been taken from the antique ; but his draw- ing is correct and his colouring transparent. The following pictures by Bourdon are all in Paris, and may be considered his best works : "Repose of the Holy Family," "Christ Calling the Little Children," " Descent from the Cross," the "Martyrdom of S. Peter " (his masterpiece), and his own portrait. Bourdon's pictures rarely sell for high prices — rather under £50 than above it. The following offer, however, a few excep- tions to that rule : Holy Family, 34in. by 47in., Russel's sale ... Baptism of Christ Christ's Entry into Jerusalem, Strange' s sale The Plague at Milan, S. Hubert's sale ... The Brazen Serpent, Colebrooke'ssale Adoration of the Shepherds, LeDoux's sale ... £ s. d. 1770 .. . 341 1772 .. . 120 15 1773 .. . 168 1774 .. . 100 1774 .. . 109 10 1775 .. . 160 PAINTERS AND THEIR WORKS. 117 Portrait of Christina, Queen of £ s. d. Sweden, Due de Berry's sale ... 1837 ... 65 Bourgeois (Sir Francis P.).— b. London, 1756 ; d. London, 1811 ; s. De Loutherbourg ; p. landscapes. His father, of a Swiss family, was a watchmaker in London. Francis, after studying some time under De Loutherbourg, in 1776 travelled in France, Holland, and Italy, and exhibited pictures at the Royal Academy from 1779 to 1810. But, although admired at the time, his works are very mannered, and now of little value. In 1793 he was elected a Royal Academician, was named painter to the King of Poland, who knighted him, and in 1794 was appointed landscape-painter to George III. Sir Francis is chiefly to be remembered for his having bequeathed to Dulwich College the collection of pictures which his friend Noel Desenfans had left him; with £12,000 to provide a gallery for them, and its maintenance. The highest price paid for one of his works appears to have been £63 for a landscape with cattle in the Calonne sale of 1795. Since then they have produced in general from £5 to £15. Bourguignon (Hubert Francis).— »S'<3e Gravelot. Boussonnet.— ^'j6 Stella. Bout (Pierre).— B. Brussels, 1658 ; d. Brussels, after 1700 ; s. not known ; p. figures. This artist was the same person as F. or N. Bout, and Baut. He painted figures in the landscapes by Boudewyns and Van Heil. His figures are much in the manner of David Teniers, or of Breughel de Velours, and add to the value of a landscape. An instance of this is a landscape by Boudewyns, with figures by Bout, named " Au bord d'une Fleuve," which was sold in Pommersfelden's sale in 1867 for £125. There are a few etchings by Bout. See Boudewyns. Bouts. Sec Stuerbout. Bower (Edward). — He was a portrait-painter in the reign of Charles the First, but he is only known by his works, which give a favourable idea of his talent. Among them are " The King Seated at His Trial," "Lord Fairfax," a fine picture, and others. Some of his portraits were engraved by Hollar. Boxall (Sir William).— b. Oxford, 1800 ; d. London, 1879 ; S. Royal Academy Schools ; p. history and portraits. William Boxall, who was knighted in 1871, was the son of a supervisor of Excise. He was educated at the Grammar School of Abingdon, and sent to study in the Schools of the Royal Academy in 1819. 118 PAINTERS AND THEIR WORKS. In 1827 he went to Italy to study there, and on his return to London in 1829 exhibited that year his picture "Milton's Reconciliation with his Wife," and a portrait of Thomas Stothard. After exe- cuting a few other pictures, he devoted his time almost exclusively to painting portraits, in which he excelled. Many distinguished persons sat to him, and most of their portraits will be found in the Royal Academy catalogues down to 1866. After the death of Sir Charles Eastlake, in 1865, Sir William Boxall was appointed Director of the National Gallery, which office he resigned in 1874, and his membership of the Royal Academy in 1877. His diploma picture at Burlington House is the portrait of John Gibson, the sculptor. Brackenburgh (Richard, not Renier).— b. Haarlem, 1650 ; D. Haarlem, 1702 ; s. A. Van Ostade and H. Mommers ; p. portraits, fairs, and interiors. Perhaps the strongest proof of the merit of this painter is to say that some of his works remind one of those by Ostade. Although they seldom sell for high prices, the spirit with which they were painted caused them to be admitted into the great Flemish collections, as the following prices will show : £ s d An Ale-house, Verhulst's sale ... 1779 ... 5 The Family of the Painter, D'Hane de Stecnhuyse's sale 1860 ... 25 In England the prices have ranged from £7 7s. in 1803 to Interior of a Lying-in Chamber, Phipps'ssale 1859 ... 53 11 Brackenburgh occasionally painted for Philip de Koning and other artists the figures in their landscapes. Bradley (William).— b. Manchester, 1801; d. 1857 ; R. Mather Brown ; p. portraits. After exercising his art at Manchester, this painter came to London in 1822, and was introduced to Sir Thomas Lawrence. Gradually he obtained much patronage by his portraits, which are remarkable for good drawing and colouring, and no artist of his time could produce a better likeness. He painted portraits of many distinguished persons, most of which were exhibited at the Royal Academy. Bramante di XTrbino.— /S'ee Lazzari. Bramantino.— >S'dje Suardi. Bramer (Leonard).— b. Delft, 1596 ; d. Delft, about 1673 ; s. unknown ; P. history, fires, and genre. This artist PAINTERS AND THEIR WORKS, 119 travelled into Italy, where he resided some years, and his pictures, into which he introduced plate, bronzes, and similar objects, were much admired. On his return to his own country he was patronised by the Prince of Nassau. In 1656 and 1661 he was Dean of the Guild of S. Luke at Delft, where in 1674 the works of art he had collected were sold by auction. Although not a pupil of Rembrandt, he painted in the style of that master, and executed many pictures of sacred subjects for his native town. Pictures by this artist have varied so much in quality that at sales they have jjroduced from £2 12s. to £65. Brauwer (Adriaan) .— /S'te Brouwer. Breda (Carl Friedrik von).— B. Stockholm, 1755; d. 1818; s. Reynolds ; P. portraits. This artist distinguished himself so much as a portrait-painter that he has been called ' ' The Van Dyck of Sweden." His best pictures are at Stockholm. Those most spoken of are : The Four Presidents at the Reichstag of 1810 ; the Portrait of Laberbring (at the Ritterbour) ; Belisarius. His son, Johan Friedrik Breda, was born in London in 1788, and died in Stockholm in 1835. He was likewise a painter. See Bredaels. Bredaels (The). — There were several painters of this name (miscalled Breda), natives of Antwerp, of whom the best was : Bredael (Jan Prans van).— b. Antwerp, 1683 ; d. Antwerp, 1750 ; I. Wouwerman and Jan Breughel ; p. hawking and military scenes. Bredael was taught painting by his father, but improved himself by studying the works of Wouwerman, whom he imitated very closely, although his works are always inferior to those of his model. He came to England with Rysbrack the sculptor, and obtained employment. jouis XV. also bought some of his works. There are good examples of his style at Dresden and in the Louvre, and two pictures by him, ' ' Cavaliers " and ' ' A Horse Fair," lOin. by 15in., sold in the Hamilton sale for £2 12 10s. Breembergh (Bartholomew).— b. Utrecht, about 1620 ; d. 1660 ; s. ; p. landscapes and figures. Very little is known regarding this artist, except that he must have gone young to France and Italy, in which latter country he remained many years. He was then known as Bartholome. Most of his pictures, the best of which are small, repres(>nt Italian scenes enriched with sacred subjects ; they are generally painted on cop})er, are very 120 PAINTERS AND THEIR WORKS. highly finished, vigorously coloured, and broadly painted. His best pictures are not inferior to those by Elsheimer or Poelenburg. They have always been in request in France, as the following prices paid there for them will show : Christ and the Centurion, De Vence £ s. d. sale ... 1761 . 35 S. John in the Desert, Braamcanip's sale ... 1771 .. 40 Architecture and figures, De Choiseul's sale ... 1772 .. 80 S. John Preaching, Van der Mark's sale ... 1773 . . 32 Cymon of Athens, Du Barry's sale ... 1774 .. . 35 Six picture:-;, various subjects, Blondel de Gagny'ssale 1774 . . 270 S. John in the Desert, Randon de Boisset's sale 1777 . . 200 Martyrdom of S. Lawrence, Deux Font's sale ... 1778 . . 40 Christ and the Centurion, Poullain's sale ... 1780 . . 80 Two landscapes, Blondel d'Azincourt's sale ... 1783 . . 120 In England the prices paid for Breembergh pictures have ranged from £5 to £50, the exception being "An Italian Fair," 21^in. by 29in., painted on silver, from the Comte de Merle's Collection, which, in 1801, in Purling's sale, realised £141 15s. It was, however, again sold at G. W. Taylor's sale in 1823 for £93 9s. Breughels (The). — There have been at least fifteen Flemish artists of this name, which is written Breughel, Brueghel, or Brugel. Those most worthy of remembrance are here mentioned : Breughel (Jan), known as Fluweelen [Velvet] Breughel, and Breughel de Velours, from his dressing in velvet. — b. Brussels, about 1568 ; d. Antwerp, 1625 ; s. Goetkint ; p. landscapes, flowers, and fruit. Jan was the second son of Old Pieter Breughel. His father dying when he was an infant, he was brought up by his maternal grandmother, Marie de Bessemers, the widow of Pieter Kock. She was herself an artist, and taught Jan to paint in distemper, after which he was instructed in oil-painting by Goetkint. He at first painted flowers, but studied landscape-painting during his voyage to Italy. On his return he resided at Brussels, but afterwards was admitted PAINTERS AND THEIR WORKS. 121 into the Guild of S. Luke, at Antwerp, in 1597, ot which he became Rector in 1602, and settled there. Breughel was in some way attached to the Court of Albert and Isabella, was protected by the Emperor Rudolphe, and must have been in Germany in 1617, as in the museum at Bale is a drawing by him signed " Johan Breugel, 1617, in Neuremberg." Independent of his great talent as a painter, Jan Breughel was generally esteemed by his contemporaries, and especially by Rubens, who caused a monument to be raised to his memory at Antwerp, and became a second father to his two daughters. One of these, Anna, married the younger Teniers. In 1595 Jan Breughel married Isabella de Jode, of Antwerp, by whom he had two children, Jan, called the younger, a painter and a daughter who married the painter Van Kessel. In 1605 Jan Breughel married a second wife, Catherine van Marienburg, and she had, among other children, a daughter Anna, who, as we have stated, married the younger Teniers. By his contemporaries Jan Breughel evidently was looked upon as a landscape-painter, and the figures in his works are often painted by Rubens, Van Balen, or Rottenhamer ; at the same time, he could paint small figures with so much neatness that he inserted them in pictures by Steenwick and Momper. He also occasionally painted scenes from peasant life and such subjects as incantations. Only a few of Jan Breughel's best pictures can be mentioned. They are : Town on the bank of a river — Amsterdam Museum. The Meeting of David and Abigail ; The Four Seasons, Sur- rounded with Flowers, figures by Van Balen ; The Flight into Egypt, figures by Rottenhamer ; The Ter- restrial Paradise, figures by Rubens — The Hague Museum. Pan and Syrinx, the figures by Rottenhamer — National Gallery, London. A Pietil (with Rubens) — Antwerp JMuseurn. The Forge of Vulcan, figures by Van Balen : The Feast of Bacchus, figures by Rottenhamer; L;ui(ls(',;i])e with S. Hubert, figin-es by Rubens ; The Four J^^hnnents, ligures by Henry de Clerk — lierlin Gallery. The Battle of Arbulc ; The Terrestrial Paradise — Louvre, Paris. Christ and the Magdalene, figures by Fraucken— Rotterdam Museum. 122 PAINTERS AND THEIR WORKS. At Madrid there are no less than fifty-four pictures ascribed to Jan Breughel. Pictures by him have generally sold for higher prices on the Continent than in England, where, counting from 1801 to 1865, the majority were sold for less than £45. The exceptions are : Nature Unveiled by the Graces, 42in. by 28in., flowers and fruits by Breughel, figures by Kubens, Dundas's sale S. Norbert Preaching at Antwerp ... The Elements, Beckford's sale Triumph of Flora, Cave's sale Flight into Egypt, Mcintosh's sale ... Cattle Fair (on copper), Oppenheim's sale ... Cattle Fair (on copper), (Jppenheim's sale ... Interior of Picture (lallery and Figures, Middleton's sale Air and Water (two on copper), Hamilton's sale ... Village Fair, 9|in. by 14|in., Hamil- ton's sale ... Apollo, Venus, and Cupid:^, llin. by Sin, (copper), figures by Rotten- ham er, Hamilton's sale .. The following prices paid for Jan The Waggoner, De Fraula's sale Battle of the Amazons, DeCarignan's sale ... Landscape with figures, Wasseman d'Opdam's sale Selling Fish at Scheveningen, Vence's sale ... Adam and Eve, figures by Rubens, Allart de la Court's sale... A Wood, with figures, Choiseul's sale Two Landscajjes, Bloudel de Gagny's sale ... A Village, Blond el de Gagny's sale... Landscape, Sassenus's sale ^neas and Dido in the Infernal Regions, De Beomen's sale 3b s. a. i/y4: QCO A U A U 1814 ... 52 10 1823 ... 126 1854 ... 168 1857 ... 401 115 10 1864 ... 141 16 1872 ... 79 16 1882 ... 273 1882 ... 450 1882 ... 304 10 Breughel's pictures celebrated collections £ s. d. 1738 ... 75 1742 ... 60 1750 ... 100 1761 ... 65 1766 ... 300 1772 ... 160 1776 ... 160 1776 ... 40 1776 ... 20 1776 ... 55 PAINTERS AND THEIR WORKS. 123 £ S. d. Entrance into a Wood, Conti's sale ... 1777 ... 65 Two— The Month of May and Harvest, De Beyer's sale ... 1784 ... 35 Two — Fh*e, and Water, lyHane de Steenhiiyse's sale 1860 ... 220 The Earth, Salamanca's sale 1867 ... 110 Winter, Salamanca's sale ... ... 1867 ... 75 Fire, Salamanca's sale 1867 ... 100 Water, Salamanca's sale 1867 ... 150 Abundance, Salamanca's sale... ... 1867 ... 150 The Treasures of Art and Science, Salamanca's sale ... ... ... 1867 ... 150 These last six pictures probably came from Spain, in which country there were formerly many of Jan Breughel's works. Jan Breughel had two sons, both of whom painted in the same style as their father, and their pictures are sold as being by him. The younger, Jan Breughel, was born in 1601. He was the Rector of the Guild of S. Luke in 1630-31, and was alive in 167 6. After having been in Italy he married in 1626 a daughter of Abraham Janssens. There are pictures by him in the Dresden Gallery. The other son was Ambrose, who was born in 1617, and died in 1675; he also was Rector of the Guild of S. Luke in 1654 and in 1671. There is a picture of flowers by him at Copenhagen. J an the younger had also sons who were painters. Breughel (Pieter), the elder.— b. Breughel, in the Barony of Breda, probably 1510 ; d. Brussels, 1569 ; s. Pieter Kock and Jeronimus Kock ; p. history, fairs, etc. This founder of a long line of painters was the son of a peasant. He is therefore sometimes called ' ' Boeren Breughel, " but more generally known as Old Peter Breughel. He made two journeys to Italy ; one after he had finished his studies, and the other after his admission into the Guild of S. Luke at Antwerp in 1554. Many of his pictures represent Alpine views in France and Switzerland, and his etching " Daedalus and Icarus " is dated Rome, 1553. He was of a very gay and sociable nature, and his best pictures are those represent- ing village feasting and droll subjects. He was thus the pre- decessor of David Teniers and his celebrated son the younger Teniers, the superiority of whose works has caused Breughel's to be of less value than formerly. Two of his best pictures are : A Flemish Village Festival — Nancy Museum. The Preaching of S. John the Baptist — Bale Museum. 124 PAINTERS AND THEIR WORKS. The highest known price was paid for his ' ' The Woman Taken in Adultery," from the Collection of Van Alma, Bishop of Ypres, which was sold for £10 10a. at Lady Hampden's sale in 1834. Breughel (Pieter), the younger. — b. Brussels, about 1564; D. Brussels, 1.637 or 1638 ; s. Gilles van Coningsloo ; p. fires, in- cantations, etc. From the latter called "Hell Breughel." He was the son of old Pieter Breughel, and, except in colouring, an inferior painter. He was admitted into the Guild of S. Luke at Brussels, in 1585. The only prices worth mentioning as having been paid for any of his pictures are : The Plundering of the Town of Haar- £ s. d. lem by the Spaniards, in G. W. Tayloi-'s sale 1823 ... 10 10 A Fair, Wellesley sale 1846 ... 18 There was a third Pieter Breughel, his son, born in 1589, who was received into the Guild of S. Luke at Antwerp in 1608. He is said to have taught Gonzales Coques. Brierly (Sir Oswald Walter).— b. Chester, 19th May, 1817 ; D, London, 14th December, 1894 ; self-taught ; p. marine subjects, landscapes, etc. This very able pamter passed many years of his life at sea, and visited at different times almost every part of the earth. He exhibited his works for the first time at the Royal Academy in 1839, and between that year and 1871, eleven sea-pieces at that institution. For many years he painted chiefly in oils, and his most successful career as an artist may be said to have commenced about 1854, when he was on board the British fleet in the Baltic during the war with Russia, and the engravings from his pictures made his name generally known. In 1867 he went round the world with the Duke of Edinburgh on board the Galatea, of which ship he painted a large picture. In 1869 Brierly was appointed to accompany the Prince and Princess of Wales to Egypt, and his drawing of ' ' Nile Boats in a Squall " was exhibited at the Royal Academy in 1870. He was made Curator of the Painted Hall at Greenwich Hospital in 1881, and knighted in 1886. He had also received several Turkish orders, "in recognition of his great abilities as an artist." Such honours have seldom been more fairly earned, for since the days of the great Dutch painters of marine subjects, few artists have shown more skill or devotion to their art than Brierly. He had exhibited in 1871 at the Royal Academy, and he was PAINTERS AND THEIR WORKS. 125 elected an associate of the Royal Society of Painters in Water- Colours and a full member in 1880. Pictures by Brierly have seldom appeared at auctions, but at Birch's sale in 1878, "South Sea Whaling," in water-colours, was sold for £99 15s. Briggs (Henry Perronet).— b. Walworth, 1791 ; d. London, 1844 ; s. Royal Academy ; p. portraits and history. His father held an appointment in the Post Office, and he was a cousin of Amelia Opie, the wife of the painter. He showed very early a love of art, and in 1806, while still at school, sent to the Gentleman'' s 3Iafjazine two small engravings of Epping Church. Probably by Opie's advice, he became a student at the Royal Academy, in 1811 ; and by 1813 had made such progress, that at Cambridge he painted the portraits of members of the colleges, and in the following year he exhibited a portrait at the Royal Academy. From 1818 he produced many historical pictures, among them ' ' The First Interview between the Spaniards and Peruvians," which was engraved, and is now in the National Gallery. In 1827 he sent to the British Institution a large painting of "George III. Presenting a Sword to Earl Howe, on board the Queen Charlotte, in 1794," which the directors of the institution purchased for 500 guineas, and presented to Greenwich Hospital. He was an Associate of the Royal Academy in 1825, and a member in 1832. From that time he painted principally portraits. They are his best works, and among them may be cited that of ' ' The Earl of Eldon Receiving the Degree of D.C.L., at Oxford, on the Installation of the Duke of Wellington." Briggs composed the subjects in his historical pictures well ; but his colouring is often not agreeable. His works have been sold as follow : The First Scene of "Romeo and ^ ^- ^• Juliet," Freelino-'s sale 1837 ... 52 10 Inez de Castro Parted from her Cliildren, Briggs' sale 1844 ... 69 6 The Shipwreck of Prince Henry ... 1861 ... 85 11 6 Bright (Henry).— B. Saxmundham, 1814 ; d. Ipswich, 1873 ; self-taught ; p. landscapes. He early showed a talent for paint- ing, but was apprenticed to a chemist and druggist, and became dispenser to the Norwich Hospital. He nevertheless found time to improve himself in art by studying from nature, and his works, which were in water-colours, were soon admitted into exhibitions in London. In 1839 he was elected a member of the Institute of 126 PAINTERS AND THEIR WORKS. Painters in Water-Colours, and contributed to its exhibitions in 1841 and 1844. He then quitted the Institute, and exhibited landscapes in oils at the Royal Academy. He excelled in j^ainting the passing effects in nature, and the skies in his pictures are generally fine. After residing for about twenty years in London he retired to Ipswich, where he died. The following list gives the prices at which some of the best pictures in oils by Bright have been sold or bought in : The Old Hall at Stiffkey, near Wells, Norfolk Landscape and Cattle, 53in. by 30in., Hammond's sale ... Coast Scene, Isle of Arran, Morgan's sale ... ... Scene in Glenorchey ... The Land of Rob Roy, Flatow's sale The Cabin Door, Maling's sale Dying Stag, Glencoe (with Armfield) (bought in), Maling's sale Rusthall Common, 52^iu. by 30in., Wallis's sale Cattle-drovers and Deer-stalkers, figures by J. F. Herring, Koch's sale ... View in the Tyrol, figures by T. Faed, Graham's sale Landscape, with cattle by Willis, Nunneley's sale ... Net-mender, 30;n, by 51in. (bought in), Cottrell's sale Iffley Lock, 1853, Baines's sale Bril (Mattheus and Paulus). — Mattheus b. Antwerp, 1550 ; D. Rome, 1584 ; s. his father ; P. landscapes. Paulus b. Antwerp. 1556 ; D. Rome, 1626 ; s. Daniel Wortlemans and his brother Mattheus ; p. landscapes. As these brothers worked so much together, it is useless to separate their pictures. They were the sons of Mattheus Bril, of Breda, who painted portraits, flowers, and fruit at that place in the sixteenth century, but afterwards removed to Antwerp. Mattheus, the elder brother, went to Rome at the time of the pontificate of Gregory XIII. (who was elected Pope in 1572, and died in 1585), and was employed to paint in fresco at the Vatican. £ s. d. 1852 . . 131 5 1854 . . 74 11 1858 . . 117 12 1860 . . 85 1861 134 8 1863 . . 75 12 1864 . 93 9 1865 . . 132 6 1866 . . 144 18 1868 .. . 136 10 1872 . 77 14 1873 . . 120 18 1876 . . 152 5 9 PAINTERS AND THEIR WORKS. 127 Paulus joined his brother in Rome, and worked there under him. Mattheus died before Gregory XIII., and we are told by Baglione, who mentions many of his works, that Paulus not only completed the pictures Mattheus had left unfinished, but under the ponti- ficate of Sixtus V. painted in the Sistine Chapel, at Santa Maria Maggiore, and at the Scala Santa in San Giovanni in Later an ; also, that for Clement VIII., who was elected in 1592, Paulus painted his great landscape, 68ft. wide, in the Sala Clementina, into which he introduced the subject of S. Clement, with an anchor fastened to his neck, being thrown into the sea. After Annibale Carracci went to Rome (about 1600), he and Paulus Bril became intimate, and the latter adopted to some extent the Bolognese manner of painting landscapes, in which Annibale introduced the figures. Paul Bril's pictures — for any the brothers painted usually pass under his name — vary very much in quality ; some of them are, however, very fine, such as those we name below. That this is the case is shown by the prices paid for them in England since 1758, which range from £3 13s. 6d. to £315 and £551, the pictures in the two latter cases, however, being rendered more valuable by figures painted by Rottenhamer and Rubens. Bril's best pictures are those which represent scenes early in the morning, such as hunts. There are several of them at Berlin and in the Pitti Palace at Florence ; others are in the Louvre, and in England in private collections. The following are the pictures by Paulus Bril for which high prices have been paid : £ s. d. Sea View, Verrue's sale 1737 ... 45 The companion, Verrue's sale ... 1737 ... 55 View near Rome, Van Wassenaar Obdam's sale 1750 ... 50 Mountainous Ijaudscape, Van Was- senaar Obdam's sale 1750 ... 40 View of Antwerp (the City by P. Bril, the head of Flanders by Rubens, the River Scheldt by Gil lis, and the small figures by Breughel), Schaub's sale 1758 ... 551 View in Switzerland, Tell Shooting at the Apple 38in. by 56iu., Strange's sale 1771 ... 54 12 Landscape, Story of Latona, Blondel de Gagny's sale 1776 ... 80 128 PAINTERS AND THEIR WORKS. TwoLandscapes, figures by Cxioseppino, ^ Randon de Boisset's sale 1776 ... 200 LandscajDe, with Story of Diana and Actreon, by Rottenhamer, Simon Clarke's sale 1840 ... 315 Many of Pauliis Bril's pictures have been engraved, and he himself etched a few landscapes. Brockedon (William).— b. Totnes, 1787 ; d. London, 1854 ; s. Royal Academy ; p. history and landscapes. He entered the Academy in 1809, and went, in 1815, to Paris, where he painted at the Louvre. For his picture of "Christ Raising the Widow's Son " he was awarded a prize of £100 by the Directors of the British Institution. He was in Rome in 1822, Latterly Brocke- don painted principally landscapes, and published prints of scenes in the Alps. Between 1812 and 1837, of works classed as historical, he exhibited thirty-six at the Royal Academy and twenty-nine. at the British Institution. He was a member of the Academies of R-ome and Florence, and his portrait, painted by himself, is in the Uffizi. At South Kensington is "A View of Laodicea," by Brockedon. Bronzino (Alessandro).— >S'66 Allori (Alessandro). Bronzino (11). —See Allori (Angiolo). Brooking (Charles) .—B. 1723; d. 1759; s. ; p. marine subjects. He was a ship-painter at Deptford, but became an excellent painter of sea-views and sea-fights. Many of his pictures were engraved, and they are occasionally offered at sales. There is a very large and fine sea-piece by him in the Foundling Hospital. He lived in obscurity, and died very poor. Pictures by Brooking have been sold as follow : Sea-piece, with view of Dover, T. White's sale Calm, 14|in. by 23in., Dimsdale's sale ... Sea Shore, 15in. by 22|in., Dimsdale's sale ... Calm — Vessels firing salutes, 14|in. by 22in., Cope's sale Brouwer, Brauwer, Brower, etc. (Adriaan). — b. most probably at Audenarde, 1 608 ; d. Antwerp, 1638 ; s. Frank Hals ; p. scenes in the lives of peasants, and landscapes. Until recently it was always said that this artist was born at Haarlem ; it now s. d. 1774 .. 43 1875 .. . 115 10 1875 .. . 105 1875 .. . 178 10 PAINTERS AND THEIR WORKS. 129 appears more probable that he was born at Audenarde, and that his mother removed, while Adriaan was still young, to Haarlem. He certainly was placed as a pupil under the care of Frank Hals, who, it is said, ill-treated him, and so, acting on the advice of his fellow-student Adriaan van Ostade, Brouwer ran away to Amsterdam. The distance is only twelve miles, and some friend of Hals brought Brouwer back the first time he made the attempt, which seems to show that he was apprenticed to Hals. In connection with this it must be mentioned that Raepsaet, of Audenarde, the historian, says that when Brouwer's father died the former was sixteen, and that he liad long abandoned his father's house, and it was not known where he was. Another account tells us that his mother was a milliner in Haarlem. It is very probable, therefore, that she left her husband years before his death, and took her son Adriaan with her. Adriaan made a second and more successful attempt to escape from Hals, whose disorderly house and habits probably helped to make those of Brouwer very like his master's. Brouwer had then the good fortune to be assisted by the Kastelein van Someren, whose son was an amateur artist. Another person who helped Brouwer to live in Amsterdam was the ' ' Heer Ver- mandois," who paid him 315 gueldeTs (equal to at least £40 of our money) for a picture of a fight between peasants and soldiers who had been playing cards. Brouwer soon got rid of this money, and we next learn that he was at Antwerp, where he was arrested as a spy and sent to the prison in which the Duke d'Aremberg was confined. Rubens was in the habit of visiting the Duke, and he told Rubens that there was a painter in the prison, and requested him to bring some painting materials with him on his next visit. Rubens did so, and on his seeing a sketch of some soldiers in the courtyard by Brouwer, discovered who the painter was, and procured his liberation. He did more : he took Brouwer into his own house and supplied his wants. This must have occurred before 1631-2, when Brouwer was inscribed on the registers of the Guild of S. Luke at Antwerp. It was nob likely that Brouwer could long live with Rubens, a man so much more refined than himself ; he must, however, after he left the house of Rubens, have been in a tolerably good position, as in 1634-5 he paid 18 florins as a member to the Socidte de Rhetorique, called "La Violet," to which many painters belonged. He also had a pupil named Jan Daudoy. The register of deaths gives the 1st February as the date of Brouwer's decease in 1637-8. I 130 PAINTERS AND THEIR WORKS. There is no mention of his having died in the hospital, but it is not impossible, as his pupil Daudoy seized what goods Brouwer left at his death. E-ubens greatly admired the works of Brouwer, and at his death he had no less than seventeen pictures by Brouwer in his possession. It is easy to understand this, for the scenes in peasant life are represented with great spirit, although the faces often verge on caricature. The colouring of his pictures is also warm and transparent ; yet, however lightly they may be painted, there is not in them the daylight and general freshness of Adriaan Ostade's works. Notwithstanding that Brouwer's pictures have always been scarce, they have seldom been sold for high prices until within the last fifty years. Taking a list of about forty, sold in England between 1796 and 1842, the prices run from £2 12s. 6d. to £63, with one exception. In France they fetched about the same until 1857. The following are the highest prices which have been paid for his works : A Village Feast Flemish Estaminet, Higginson'.s sale.. . Interior of Farmhouse, Pastereau's sale ... ... The Corn Doctor, Pommersifelden sale Peasants Playing Cards, 12fin. by 16fin., Delafield's sale Card-players, 12^in. by 16|in., WardelLs sale Interior — Peasant with guitar, 12in. by 14in., Hamilton's sale Brouwer painted a few landscapes, which are something between Rembrandt's and Philip de Koning's and are very rare ; the skies are very luminous. They have been sold as follow : £ s. d. 1789 . . 136 10 1846 . . 127 1857 . . 85 1867 . . 220 1870 . . 162 15 1879 . . 283 10 1882 . . 609 Landscape, figures by Teniers (?), £ s. d. Webb's sale 1821 .. 15 15 Landscape, with figures and sheep, R. Bernal's sale ... 1824 .. 50 8 Landscape, figures playing at bowls, Hibbert's sale 1829 .. 51 9 Landscape, figures playing at bowls, Wells's sale 1848 .. 19 8 Landscape, with five peasants, S. Rogers' sale 11 1856 .. . 11 There are about a dozen very spirited etchings by Brouwer. PAINTERS AND THEIR WORKS. 131 Brower (Adriaan).— /See Brouwer (Adriaan). Brown (Ford Madox).— b. Calais, 1821; d. London, 0th December, 1893 ; s. ; p. history. Madox Brown was the grandson of Doctor John Brown, of Edinburgh, and was born while his parents were residing at Calais. His name first became known to the public by the cartoon which he sent to Westminster Hal] in 1844, and by a fresco in 1845. He then went to Italy, and, in 1851, his " Chaucer at the Court of Edward III." appeared at the Royal Academy, which picture was sent by the Government to the Paris Exhibition of 1855, and obtained the Liverpool prize — £50. It was subsequently purchased for the Museum at Sydney. For some years after 1851 Madox Brown exhibited his pictures at Liverpool, Edinburgh, and other places, but not in London. However, in 1863, he opened an exhibition of his works, the most important of which, known as ' ' Work, " was purchased by the Corporation of Manchester, and is now in the Art Gallery of that city. Madox Brown was also engaged there for many years on twelve frescoes in the Town Hall, and only finished them shortly before his death. Indeed, it is at Manchester that his great talents as a painter can be best appreciated, as he Avorked there rather from love of art than for profit. Brown (Mather).— b. United States, ; d. London, 1831 ; s. B. West ; p. history, portraits, etc. He came young to England, was a pupil of West, and exhibited at the Royal Academy and in Suffolk-street, between 1782 and 1831. He was much patronised for a time as a portrait-painter, and George III. sat to him. As an historical painter he produced ' ' Bolingbroke Offering the Crown to Richard II." for Boy dell, and his best work was The Marquis Cornwallis Receiving as Hostages the Sons of Tippoo Sahib." Towards the end of his life he fell into a state bordering on imbeciUty. He was principal painter to the Dukes of York and Clarence. In 1793 two pictures by him, " The Baptism " and " The Marriage of Henry VIII.," were sold by auction for £84 each. Brueghel or Brugel.— sVr Breughel. Brugghe (Geeraert van).— sV t; David (Gheeraert). Brun (Charles le).—Sec Lebrun. Brusasorci.— .S'je Riccio. Bv\Lsco.—Sce Poelenburg. I 2 132 PAINTERS AND THEIR WORKS. Bunbury (Henry William).— B. 1750; d. Keswick, 1811; s. ; P. history and caricatures. He was the second son of Sir W. H. Bunbury, Bart., of Mildenhall, Suffolk, was educated at Cambridge, and was a good classical scholar. Later he was Colonel of the West Suffolk Militia, and equerry to the Duke of York, whom he constantly attended. He became celebrated as a caricaturist, and was occasionally an honorary exhibitor at the Royal Academy. Besides his caricatures, which are so generally known, he made forty drawings in illustration of Shakespeare's plays, which were engraved by Bartolozzi. His attempts at anything but caricatures were generally failures. He was a good actor in private theatricals, and wrote an epilogue, spoken by Mrs. Jordan, in 1791. Buonaccorsi.— aS'(3c Pierino del Vaga. Buonarroti.— /S't'c Michael Angelo. Buonaventura (Segna dij.—See Segna. Buoninsegna.— .S" c Duccio de Buoninsegna. Burgkmair (Hans).— b. Augsburg, 1472 ; d. Augsburg, 1531 ; s. his father and Schongauer ; p. history and portraits. He received his first lessons in art from his father Thomas (a painter, who died in 1523), but was placed early at Colmar, under Schongauer. He studied also the prints of his con- temporary, Albert Durer. Although he is most celebrated as an engraver on wood, he painted some excellent pictures and portraits, particularly after his return from Venice, in 1508, where he acquired much of the Italian manner of painting. Burgkmair and the elder Holbein were the chief painters of Augsburg. He was much employed by the Emperor Maximilian. Only a few of his best works can be named : The Crowning of the Virgin, 1507 ; Christ on the Cross, 1519 ; The Emperor Hemy and S. George — Augsburg Gallery. The Virgin Presenting Grapes to the Infant Christ, 1507 — Nurnberg Gallery. S. John in the Isle of Patmos, 1519 — Munich Pinakothek. The Death of S. Ursula and her Companions — Dresden Gallery. Among the portraits by him are : Duke William IV. of Bavaria, 1526— Munich Pinakothek. His own likeness and that of his wife, 1528 — Vienna Belve- dere. PAINTERS AND THEIR WORKS. 133 He painted likewise, in miniature, ' ' The Triumph of the Emperor Maximilian," which is now in the Library at Vienna. There are also drawings by him in the Albertina Collection in that city. Burnet (James). — b, Musselburgh, 1788; d. Lee, 1816; s. ; p. rural subjects. After studying in the Trustees' Academy, Edinburgh, he came to London and joined his brother John in 1810. He studied from nature principally in the neighbour- hood of London, and in 1812 exhibited his first picture, "Evening — Cattle Returning Home," at the Royal Academy. He continued to send pictures there until 1816, when he died of consumption. He was an artist of great promise, and his works are luminous and rich in colour. In 1879 a "Riverside and Cows," by him was sold in White's sale for £117 12s. Burnet (John).— b. near Edinburgh, 1784; d. Stoke Newing- ton, 1868 ; s. ; p. history. Although most known as an en- graver. Burnet was a good painter and a sound writer on matters of art. After studying in the Trustees' Academy at Edinburgh he came to London, where he was warmly received by his friend and fellow- student Wilkie. He first exhibited a picture, "The Draught- Players," in 1818, at the Royal Academy, and in 1837, at the British Institution, his ' ' Greenwich Hospital and Naval Heroes," painted for the Duke of Wellington as a companion to Wilkie's "Chelsea Pensioners." This is his best picture, and has been engraved. His various criticisms and books of instruction in art are numerous and valuable. Pictures by John Burnet have been sold as follow '• £ ^ The Salmon Weir, Stewart's sale ... 1839 ... 31 10 6 Rural subject, cattle, boy fishing, Broderip's sale 1859 ... 232 6 The Salmon Weir, Allnutt' 8 sale ... 1863 ... 162 15 View of East Cowes, White's sale ... 1870 ... 325 10 Rural scene, cows and figures, White's sale 1870 ... 117 10 View of East Cowes, dated 1828, Brocklebank's sale 1893 ... 215 Busi (Giovanni d.e).—See Cariani. Buss (Robert William).— b. London, 1804; d. London, 1875 ; s. G.Clint ; p. history, theatrical scenes, and illustrations of books. His father was an engraver and enameller, to whom he was apprenticed, and under whom he worked for six years. It was I 134 PAINTERS AND THEIR WORKS. however, Clint who taught him to paint. Under CUnt's guidance Buss produced for Cumberland many illustrations for the British drama. His picture of " Christmas in the Time of Queen Elizabeth " was exhibited at the rooms of the Society of British Artists, and was sold in Wass's sale in 1872 for £84. It led also to his being employed by Charles Knight to illustrate "Shakspere," " London," etc., for which he drew the designs on wood. He also etched on steel illustrations for Capt. Marryat, Mrs. Trollope, and others. His principal paintings are in the music saloon at Wimpole ; they were executed for the Earl of Hardwicke, and represent ' ' The Origin of Music " and "The Triumph of Music." Buss made, moreover, many drawings of comic scenes, and delivered successful lectures on ' ' Satire, Art, and Caricature." A complete list of his works is to be found in the London publication Notes and Queries for 1875, Series V., vol. 3. Many pictures by Buss have been engraved and been popular. Cabel (A. van der).— /Sec KabeL Cagliari.— /S'cc Caliari, Calabrese.— /S'ce Preti. Calame (Alexandre).— b. Vevay, 1810 ; d. Mentone, 1864 ; s. Diday ; p. landscapes. Calame was the son of a stone-cutter, but went to Geneva, where, in 1830, he became a pupil of Diday, whom he afterwards succeeded as master of the school. One of the earliest pictures which he exhibited, "A Scene near Avranches, in Normandy," was exhibited at Hamburg in 1837. It was much admired, as was "The Waterfall at Handeck," which was at the Paris Salon of 1839. His best works, however, represent scenery in Switzerland. He was also a lithographer and engraver. Pictures by Calame are to be found in many galleries in Germany and Switzerland, and at South Kensington are his "Lake of the Four Cantons " and "Chain of Mont Blanc," the latter in water-colours. He exhibited in 1840 three landscapes at the British Institution. Pictures by Cam^al have been sold by auction in London as follow : £ B. d. Landscape, with cattle, Briscoe's sale 1860 ... 168 Lake of the Cantons, Forbes's sale ... 1874 ... 330 15 Lake at Sunset, Fox's sale 1877 ... 199 10 Swiss Mountains — Evening, Everard's sale .., 1879 ... 315 PAINTERS AND THEIR WORKS. 135 Souvenir de Mont Blanc, dated 1850, £ s. d. Pasteur's sale 1880 .. 114 15 Lake of Brienz, Pasteur's sale ... 1880 ... 173 5 In the Alps in Summer (bought in), Hawe's sale 1882 ... 252 Swiss Torrent, Murrieta's sale ... 1893 . . 216 Calcar. — There were two artists so named, from their birth- place in the Duchy of Cleves, and the name has been written Calcher, Chalcher, Kalker, and even Jean Vanculcard, Calcar (Johann Joest van).— b. Calcar, 1460 ; d. ; s. ; P. history. Little is known of his life, but he painted in 1505-8, in the Liebfrauenkirche at Calcar, and also at Haarlem, in Holland. Calcar (Johann Steplian van).— b. Calcar, 1500 ; d. Naples, 1546 ; s. ; p. history. He worked at first at Dordrecht, in Holland, but in 1536 went to Venice, and became a scholar of Titian. He acquired an extraordinary facility in imitating not only the works of Titian, but also those of Raphael ; and contemporary writers assert that imitations of both by Calcar (more especially portraits) were sold then as being by one or the other. In 1537 he went to Padua, where he drew the anatomical figures for the book on anatomy by Vesalius, which were so long attributed to Titian. The book was published at Basle, the first edition in 1542. There is in the Louvre a fine portrait of a man, by Calcar, dated 1540, and others are at Vienna and at Berlin. Calcher.— *S'e6 Calcar. Caldara {'B.).—See Caravaggio. Caliari or Cagliari (The).— The members of this celebrated family of artists stood in the following relationship : Gabriele Caliari, a sculptor of Verona. His sons — Paolo, B. 1528, d. 1588 ; Benedetto, b. 1538, d. 1598. The sons of Paolo— Gabriele, B. 1568, D. of plague 1631 ; Carlotto, b. 1572, d. 1596. The life of Paolo, the most famous, may be said to include those of the others. Caliari or Cagliari (Carlo or Carlotto), the son of Paolo, studied under his father and Giacomo Bassano, and his pictures have something of the style of the latter about them. He gave promise of being an excellent painter, but died at the age of twenty-four. Pictures by Carlotto have been sold as follow : 136 PAINTERS AND THEIR WORKS. An Assembly of the Apostles, Carig- £ s. d. nan's sale 1742 ... 48 S. Peter Penitent, Strange' s sale ... 1773 ... 84 The Centurion, Celotti s sale 1807 ... 8 10 Solomon's Adultery, D'Aquila's sale 18'73 ... 147 Heads of Female Saints, a study, 24in. by 14in., Hamilton's sale... 1882 ... 120 Caliari or Cagliari (Gabriele), Paolo's eldest son, ceased to paint after his father's death and entered on a commercial life. Caliari or Cagliari (Paolo), called Paolo Veronese. — b. Verona, 1528 ; d. Venice, 19th April, 1588 ; s. his father and his uncle (Antonio Badile) ; p. history and portraits. Paolo studied sculpture under his father, and there are a few models and "stucchi" which are attributed to him. He, however, soon devoted his time entirely to painting under Badile and to copying the prints of Albert Durer and Parmigiano. Before he was twenty years of age he was looked upon in Verona as a rising artist, and painted a "Virgin and Child," which was formerly in the Church of S. Fermo, and is now in the Gallery of that city. His first influential patron was the Cardinal de Gonzaga, for whom, however, while at Mantua, he appears only to have painted some pictures in oil, and to have then returned to Verona. He was, nevertheless, soon invited by the Counts Porto to de- corate a villa they were having erected at Thiene. There he had an opportunity of showing what he could do in fresco by covering the walls of the halls and rooms with large pictures of amusements, such as hunting, balls, and mythological and allegorical subjects of a gay nature, and in executing these he was assisted by his friend Zelotti, another Veronese painter, who was even younger than himself. From Thiene they went to paint in the same style at the Villa Emo, at Fanzolo. Paolo was then only twenty-three years of age. Zelotti having received a commission to paint at Vicenza, Paolo went alone to Venice to make his fortune, and sought the assistance of a compatriot, Bernardo Torlioni, who was Prior of the Monastery of S. Sebastian, This was in 1555, and from that time the career of Paolo was one long success. Thanks to the influence of his friend the Prior, he obtained a commission from the monks to paint "The Crowning of the Virgin," now in the Academy at Venice, and, subsequently, to cover the walls and ceiling of the church with the history of Esther and Ahasuerus ; to which must be added scenes from the life of S. Sebastian. The power of Venice PAINTERS AND THEIR WORKS. 137 had then reached the greatest height to which it ever attained, and it found a snfl&cient exponent in Paolo when he painted "The Triumph of Venice." Her nobles also vied witli each other in having their villas decorated with his works in fresco. Among these, those of the Villa Maser, near Treviso, a property of the Barbaro family, must be named. With the exception of short journeys for such purposes and one to Rome, in 1565, Paolo seldom quitted Venice during the remainder of his life. There, in less than thirty-three years, with the assistance of his relatives, he produced, not only those large and magnificent pictures which still remain unrivalled as to composition, the expression of life, and transparent richness of colouring, but also many others, which are now to be found in the great galleries or private collections of Europe. In the above qualities they stand by themselves, and also in the wonderful manner in which they have resisted the effects of time, where they have not ])een injured by ill-treatment. This is a valuable quality in pictures which, like his, contain so many portraits and give so clear a knowledge of the habits, dresses, and bearing of the Venetians at the most interesting period of their history. Critics have found fault with the manner in which Paolo treated sacred subjects, and the figures and dresses he introduced into them, but they are not more untrue to history than the faces and figures of Italians and Germans dressed in robes that are not Oriental, which did duty for saints and virgins in pictures painted by other artists in the sixteenth century. Besides which, such objections are not new ; for on the 18th July, 1573, Paolo ap- peared before the Inquisitors to justify himself for having intro- duced " drunken Germans, fools, dwarfs, and other absurdities " into his picture of "The Feast of the Levite." Paolo seems, judging from the minutes of his examination, to have treated the matter very lightly, and the Inquisitors appear to have been easily satisfied by his making a few alterations in the picture. It is curious, however, that he justified himself by referring to the nude figures in "The Last Judgment," by Michael Angelo, and concluded by saying, "I produce my pictures after the reflection which is necessary and of which my mind is capable." It has been observed with much tnitli that it is impossible to look long at one of Paolo's festive scenes without wisliing to join the company. Of these, the most celebrated are "The Marriage at Cana," now in the Louvre, and formerly in the refectory of the 138 PAINTERS AND THEIR WORKS. Monastery of S. Giorgio Maggiore at Venice. It is 30ft. wide by 20ft. high. Among the portraits it contains as musicians those of Paolo and Tintoretto playing on violoncellos, and of Titian playing on a double-bass. From the archives of the Monastery it appears that the contract for this picture was signed on the 6th June, 1562, and the picture was finished on the 8th September, 1563. Paolo was to receive 324 ducatoons (silver ducats) and have a cask of wine. The author of the Louvre Catalogue estimates the money as equal to £120, but that is allowing money to have been only of three and a half times the value it is now ; another authority says £350 ; but according to a modern French writer, money in France was, in the reign of Francis I., worth twenty times its present value. Even allowing for the difference between France and Venice, three and a half times seems much too low. Another of these works (great in every sense of the word) is ' ' The Feast of the Levite," formerly in the refectory of SS. Giovanni e Paolo, and now in the Academy at Venice. A third is " Christ at the Table of Simon the Publican," with the Magdalen washing His feet, in which the head of Christ is very fine and expressive. This picture is in the Louvre. There are original repetitions of these large pictures, with variations, at Milan, Dresden, and Genoa, and many reduced copies of them which are now very old. Not less admirable than the pictures we have mentioned are those Paolo executed in oil for the churches in Venice, among which perhaps the finest is " S. Sebastian going to Martyrdom, " in the church dedicated to that saint. Paolo was no less skilful as a painter in fresco than in oil, as is shown by the fine frescoes of allegorical and mythological subjects by him in the Villa Maser. Nothing, however, is left of the frescoes he painted on the exterior walls of houses in Venice. It is impossible for us to give a list of Paolo's works, as it would occupy too much space. A fine and very perfect example of them must not, however, be omitted: "The Family of Darius before Alexander," in our own National Gallery, for no other gives a clearer idea of the masterly style in which he painted. The architecture in his pictures was usually painted by his brother Benedetto, and Paolo's sons assisted in his works generally. The portraits which Paolo introduced into his pictures have been mentioned. It remains only to say that his portraits, single figures of persons, are no less admirable than his other works. A fine example of them is that of his daughter, with her spaniel beside her, which was formerly in the Orleans Collection, and has PAINTERS AND THEIR WORKS. 139 been so frequently engraved ; another is that of a young woman, now in the Louvre. The prices paid for pictures by Paolo Caliari vary from £13 for "The Rape of Europa " at Faula's sale, in 1738, to £3465 for "The Vision of S. Helena," 77in. by 45iin., from the Godolphin Collection, sold at the Munro sale in 1878, and now in the National Gallery. The following are those paid at auctions for pictures formerly in celebrated collections : The Virgin surrounded by Angels, Cro/at's sale Christ Appearing to Mary Magdalen, and an Annunciation, together, Carignan' s sale Presentation of Christ in the Temple, Pont Cha train' s sale The same subject, Pasquier's sale ... The same subject, Tallard's sale Venus and Adonis, Cupid and Dogs Cupid and Psyche, R. Strange' s sale Venus and Adonis, Randonde Boisset's sale The Woman Taken in Adultery, Conti's sale... Marriage of the Virgin, from Corsini Palace, Ottley's sale Jupiter and Leda, 48in. by 36in., from Orleans Collection, Bridgwater sale Baptism of Christ, Clarke and Hibbert' s sale The Marriage of the Virgin (s)nall), from Corsini Palace, Walsh Porter's sale Venus and Cupid, from Colonna Palace, Walsh Porter s sale S. Jerome, Delahante's sale ... The Vision of the Cross, S. Helena sleeping (this is supposed to be tlie picture now in the National Gallery) (see 1860 and 1878) S. Jerome, from Mantua, Beckford's sale ... Venus and Cupid (see 1810), Clarke's sale ... ... ... Young Venetian Woman holding a Squirrel, Perregaux's sale £ s. d. 1741 .. . 13 1742 . 80 1747 .. . 350 17oo 100 u 1756 .. . 600 1769 .. 84 1773 .. . 69 1777 .. . 100 1777 . . 200 1801 . . 588 1802 . . 362 10 1802 . . 294 1810 . . 367 1810 . . 808 1815 . . 325 10 1816 . . 106 1823 . . 315 1840 . . 325 1841 . . 100 140 PAINTERS AND THEIR WORKS. £ s. d. 1843 . .. 130 1845 . .. 745 1849 . .. 525 1856 . .. 399 1860 . .. 283 10 1865 . .. 820 1878 . .. 714 1878 . .. 3465 1882 . .. 304 10 1886 . .. 168 Virgin and Cliild, SS. Catherine and '•^-^ Lucy, Aguado's sale Cephalus and Procris, Bates's sale ... Death of Procris (from Buonaparte's Collection), Conjnigham's sale .. Mary Magdalen Anointing the Feet of Christ (Hoj)e Collection), Rogers's sale ... The Vision of S. Helena (see 1816) ... The portrait of his daughter (the one we Jiave mentioned), Pourtales' sale ... Venus and Cupid, 75^in. by 56in., from SirS. Clarke's Collection, Munro's The Vision of S. Helena, 77in. hy 45^in., now in National Gallery (see 1816), Munro's sale A Sacrifice, 16in. by 21in., Hamilton's sale ... Magdalen Reading, Graham's sale ... Callcott (Sir Augustus Wall).— b. Kensington, 20th Feb- ruary, 1779 ; D. Kensington, 25th November, 1844 ; s. Hoppner ; p. portraits, history, and landscapes. He was brother to the dis- tinguished musician, Dr. Callcott, and commenced life as a chorister in Westminster Abbey. Having, however, tried his hand, with some success, at portrait-painting, he gradually gave up music, and became a student under Hoppner. In 1799 he exhibited his first portrait, in 1801 a view at Oxford, and henceforth followed his true vocation, that of a landscape-painter. In 1806 he was elected an Associate of the Royal Academy, and in 1810 a full member. Callcott painted his pictures very carefully, and between 1813 and 1822 he exhibited only seven at the Royal Academy. Up to that time his subjects were English or Dutch views or coast scenes, and they are his best works. He com- menced Italian landscapes in 1830. In February, 1827, Callcott married the widow of Capt. Graham, a lady whose literary talents are well known, and who was also a skilful artist. In 1837, Callcott painted his life-sized picture of "Raphael and La For- narina," and he was knighted the same year. Another of his works was " Milton Dictating to his Daughters." In 1844 he was appointed Surveyor of the Royal Pictures, but his wife had died in 1842, and from that time his own health gradually failed until his death in 1 844. PAINTERS AND THEIR WORKS. 141 Callcott will always take high rank among English landscape- painters, and this may be said without any disparagement to his talent as a painter of figure subjects and portraits. He was peculiarly skilful in the placing of figures in the foreground, and in rendering the effect of mist or of haze produced by heat. In private life he was much esteemed by his friends and brother artists. As so many of Callcott's best pictures have been sold in auctions at different times, by giving prices paid for them they may be pointed out. Landscape, Webb's sale Scene on the Arno, De Tabley's sale The Pier at Littlehamjiton, De Tabley's sale Cologne, Knott's sale ... An English Landscape, Knott's sale Bay of Spezzia, Callcott's sale Cows Watering, Callcott's sale A Grand Classical Landscape, Bacon's sale ... ... A Water Mill, Wells's sale Looking Out, sea-inece, Wells's sale Hampstead Heath, Hammond's sale A Distant View of Dort, figures and horse, Phipp's sale Mill Pond and Man Fishing, North- wick s sale ... A Stiff Breeze, Sergeant's sale Classical Landscape, Thompson's sale First Communion, Girls at Santa Croce, Florence, Munro's sale ... Holland, woman on grey horse, man on brown ... Launce and his Dog, Bennett's sale... Sold again in Mendel's sale Nave of Cathedral in Spain, Willis's sale ... Classical liiver Scene ... Landscape, cart and horses (small) Chantrey's trust sale Southampton Water, Swinburne's sale Landscape, sheej), i)easant, woman, and dog, Allnutt's sale Rochester Bridge and Castle, Bicknell's sale £ s. d. 1821 . 39 18 1827 . . 130 4 1827 . . 162 15 1845 . . 273 1845 . . 997 10 1846 . . 211 1847 . 189 1850 . . 472 10 1852 . . 113 8 1852 . . 168 1854 . . 354 18 1859 . . 283 10 1859 . . 250 1859 . 372 15 1859 . .. 430 10 1860 . .. 152 5 1860 . .. 273 1860 . .. 388 10 1875 . .. 404 1861 . .. Ill 6 1861 . .. 577 10 1861 . .. 110 5 1861 . .. 1265 5 1863 . .. 325 10 1863 . .. 514 10 142 PAINTERS AND THEIR WORKS. English Landscape, cattle by Lantlseer, 72m. by54in., Bieknell's sale ... This cost Mr. Knott £458 in 1842, was sold at Fletcher's sale in 1865 for £2000, and in Wood's sale, 1883, for £1470. Landscape, classical river, Munro's sale Landscape, near Varese, 37in. by 50in., Wliittaker's sale ... Sultry Evening, Thames, Maidenhead, Penneirs sale Boat Putting off in a Storm, Wood- house sale ... Harvest Field, 9in. by r2|in., Gillot's sale ... The Cow Boy, 51in. by 42in., Gillot's sale Coast Scene, Fishing Boat, 22^in. by 36in., Gillot's sale Thames and S. Paul's, 27in. by 36in., Hargreaves's sale ... Landscape, figures and cattle at a pool Landseer's sale Tor Point Ferry, 16in. by 25in., Heugh's sale Approach to Verona, Marshall's sale River Scene, figures, 60in. by 97in., Heathcote's sale ... Raphael and La Fornarina, dated 1835 (presumably a sketch), Duke of Norfolk's sale . . Dutch Boats, 68in. by QOin. (xhent, 28in. by 41in., McConnel's sale Gulf of Salerno, McConnel's sale . . . The Rift in the Cloud, Graham's sale The Gulf of Spezzia, Graham's sale Murano A Stiff Breeze, Hunt's sale A View in Holland — Market, Wells's sale Landscape with ruins, Brocklebank's sale Rotterdam, Essex's sale The Shrimper, Gibbons's sale £ s. d. 1863 . .. 3097 10 1863 . .. 525 10 1865 . .. 735 1866 . .. 693 1866 . .. 840 1872 . .. 285 1872 . .. 410 1872 . .. 1400 1873 . .. 409 10 1874 . .. 1055 5 1874 . .. 430 1881 . .. 315 1882 2152 10 1883 . .. 294 1884 640 1886 . .. 840 1886 . .. 735 1887 . 272 10 1887 575 10 1889 . .. 252 1890 . .. 315 1890 .. 294 1893 . .. 315 1893 . .. 299 1894 . .. 892 PAINTERS AND THEIR WORKS. 143 £ s. d. 1860 .. 85 1 loOU 00 Q o 1860 .. . 64 1 1860 .. . 50 8 1863 .. 10 10 1869 .. . 61 19 1869 .. . 52 10 1872 .. 63 1877 .. 63 1880 .. . 117 12 The following prices have been paid for water-colours by Sir A. W. Callcott: Lebanon, Hibbert's sale Greenwich, Hibbert's sale Temple of Pliilfe, Hibbert's sale River Scene, Fordham's sale ... View of Dort, Callcott' s sale... Ruins of Baalbec, Allen's sale Damascus, Brown's sale Horeb, 6|in. by 9in., Wood's sale ... Ruins of Thebes, Knowles' sale River Scene, Devon, 21 in. by 34|in., Pooley's sale Callot (Jacques).— B. Nancy, 1592 ; d. Nancy, 24th March, 1655 ; s. Claude Henriet ; p. . It has been repeatedly asserted that this celebrated engraver painted some pictures which are preserved at Florence and elsewhere as being by him. M. Edouard Meaume, in his ' ' Recherches sur la Vie et les Ouvrages de Jacques Callot," gives sufficient reasons to believe that beyond a few sketches it is most improbable that Jacques Callot ever painted any pictures ; but he had a nephew, Jean Callot, who was a painter, and may have been the author of the pictures attributed to his uncle, as some of them appear to have been painted from Jacques's designs. The following pictures in oil have, however, been sold as being by Jacques Callot : A pair of merry-makings, Graves's sale A pair of Italian seaport scenes, Graves's sale Christ Brought out to be Crucified, from Patin's Collection, Livernet's sale His own portrait, to the knees, holding pencil and gloves, 16in. by 13in., Crauford's sale A mountebank and dancing dog, and figures performing funeral rites... A pair of military subjects, W. Wells's sale The Little Friar (engraved) North- wick's sale ... The Marriage of Henry IV., North- wick's sale ... Caluwaert.— Calvaert. £ s. d. 1803 .. 5 5 1803 .. 1 11 6 1808 .. 62 19 1820 .. . 225 1830 .. 5 1848 .. 6 1859 .. . 57 15 1859 .. ,. 26 5 144 PAINTERS AND THEIR WORKS. Calvaert or Calvart [properly Caluwaert] (Dionysius), called in Italy Dionisio Fiammingo. — b, Antwerp, about 1545 ; D. Bologna, 1619 ; s. Van Queec borne ; p. landscapes and history. This artist, more celebrated through his pupils than by his own works, was registered in the ' ' Liggeren " of Antwerp, in 1556-7, as the pupil of C. van Queecborne, under what was doubtless his real name, Caluwaert. He began by painting landscapes with figures, but went to Italy, and settled at Bologna, where he was protected by the family of Bolognigni ; he studied under Prospero Fontana, and subsequently under L. Sabbatini. He accompanied the latter to Rome, in 1572, and remained there two years, assisting Sabbatini in painting in the Vatican ; he then returned to Bologna, where he founded the school in which Guido Reni, Domenichino, and Albano, were pupils. He re- sided at Bologna until his death ; and Lodovico Carracci, who had been his great rival, headed the procession with his pupils at his funeral. Calvaert was learned in history, anatomy, and architecture, and his teaching influenced landscape-painting in Bologna. His own works are well composed, freely painted, and well coloured. He painted both in oil and in fresco. Pictures by Calvaert are numerous in Bologna. His best works are : Christ Appearing to the Magdalen — Bologna Gallery. A Congregation of Saints — Church of the Servites, Bologna. S. Gregory Showing the Bleeding Heart to a Heretic — Church of S. Gregorio, Bologna. The Infant Christ on the Knees of the Virgin, Adored by S. Apollina — Reggio. Martyrdom of S. Lawrence — Placentia. At W. Mellish's sale, in 1839, "The Last Supper," by Calvaert, sold for £S 15s. Probably it was a small picture on copper, as he painted many such. Calvi.— A^ee Conte. Cambiaso.— >^cc Cangiagio (Luca). Campaguola (Domenico).— b. Padua, 1481 ; d. Venice, 1550 ; s. Titian ; p. history and landscapes. Of all Titian's scholars Domenico Campagnola worked the most in the manner of his master — so much so, that many drawings, especially of landscapes, attributed to Titian, are probably by him. It is known that he assisted Titian in the frescoes which the latter executed at Padua, and in the parts which Campagnola painted he drew with a PAINTERS AND THEIR WORKS. 145 grandeur which is not to be found in the other portions. His etchings and engravings bear the same character. Campagnola's principal works are at Padua (with the exception of "Adam and Eve," which is at Florence). They are : Christ between Aaron and Melchizedek. The Patron Saints of Padua. A Dead Child Brought to Life by S. Anthony. The Evangelists. Pictures by this artist are seldom offered at sales as being by him. We can only cite one : The Assumption of the Virgin, with £ s. d. figures of saints below, Udny's sale 1829 ... 157 10 Girolamo and Giulio Campagnola, of Padua, were contemporary and excellent painters, and probably related to Domenico. Campaua (Pedro die). —See Keempeneer. Campen (Van). — There was a family of artists of this name, settled at Haarlem, which produced architects and painters in the sixteenth and seventeenth centuries, and even earlier, if the portrait of Laurence Coster, the printer, who died in 1440, which is engraved as being by Jan van Campen, and inserted in the "Laure Crans voor L. Coster," by Scriverius, published at Haarlem, in 1628, was painted from life. Camphuysen or Kamphuysen (The).— There were probably three painters of this name : Dirk Raphael (b. Gorcum, 1586 ; d. Dokkum, 1627) ; Raphael, his brother (b. Gorcum, 1598 ; d. ) ; and Govaert {see below). The first of these two gave up painting while still young, and became a preacher. He was also a poet. As a 'painter he was a pupil of Govaeri 's The second was probably the artist who painted two moonlight subjects in the style of Van der Neer, which are in the gallery at Dresden, and are signed " R. Camphuysen." Camphuysen (Govaert) .—B. Gorcum, 16 2; d. Amsterdam, 1674 ; s. his father ; p. farmyards, peasants, "and animals. He was the son of Dirk Raphael, and was made a citizen of Amsterdam in 1650. Although the pupil of his father, he painted more in the style of Paul Potter, and his works have been sold as being by Potter. Pictures by him are to be found as under : Peasants with cows before a cottage, with the forged signature of " Paulus Potter" — Duhvich Gallery, London. Peasants before an inn, signed "G. Camphuysen" — Rotterdam Museum. K 146 PAINTERS AND THEIR WORKS. Portrait of a man — Rotterdam Museum. Interior of a farm, signed and dated 1650 — Brussels Gallery. Two interiors of cowsheds, both signed — S. Petersburg Hermitage. G. Camphuysen's works have been sold as follow : Stable with animals, Van Ley den's £ s. d. sale 1804 ... 180 The same picture, Paillet sale ... 1814 ... 41 Dairy farm 1843 ... 126 Dairy farm, setting sun, two figures and an ox, group on right lady and gentleman, a tine picture, from the Jolly Collection, North wick sale 1859 ... 510 Campi (The). — There was a family of artists of this name resident at Cremona, of which were : Campi (Antonio).— B. before 1536; d. about 1591; s. his father and his brother Giulio ; p. history. He was a younger son of Galeazzo. He painted in the style of Correggio, and some of his works were engraved by Agostino Carracci. Campi (Bernadino).— B. Cremona, 1522 ; d. Reggio, about 1592 ; s. Giulio Campi ; p. history. He was probably of the same family as the other Campi. After leaving Giulio he went to Mantua, where he worked under Ippolito Costa, and studied the works of the greatest Italian painters that had preceded him, especially Correggio. His chief work is the Cupola of the Church of San Sigismondo at Cremona, which he finished in the short space of seven months. He painted also at Milan, Pavia, and Piacenza. Among his pupils was the celebrated portrait-painter Sofonisba Anguisciola. He published also a book, ' ' II parere sopra la pittura, " at Cremona, in 1580. Campi (Galeazzo).— B. Cremona, about 1475 ; d. Cremona, 1536 ; s. probably Boccacino ; p. history. Campi (Giulio).— B. Cremona, 1500 or 1502 ; d. Cremona, 1572 ; s. his father and Giulio Romano, at Mantua ; p. history. Pictures by him are numerous in the churches at Cremona, the best being "The Virgin and Child with SS. Celsusand Nazarus," in the Church of San Abbondio. He decorated the Council Chamber of Brescia with frescoes representing " The Labours of Hercules, " engraved by Ghisi. There are also pictures by him PAINTERS AND THEIR WORKS. 147 at Milan and Mantua, where are his frescoes in the cupola of San Girolamo. Campi (Vicenzio).— B. ; d. 1591; s. his father and his brother Giulio ; p. history. He was the third son of Galeazzo, and went with his brother Antonio to Spain in 1583, where he worked for Philip II. at the Escorial. Two pictures by him are in the Brera of Milan. The works of the Campi are mostly frescoes or pictures for churches, which are to be found all over Lombardy. Canal (Antonio), called Canaletto and Canaletti. — b. Venice, 1679 ; D.Venice, 1768 ; s. his father ; p. architecture and landscapes. His father, Bernado Canal, was a decorator and scene-painter, and Antonio worked under him until he went to Rome, in 1719. There he drew and studied carefully the antique buildings. On his return to Venice he devoted his time to producing views of that city with extraordinary success, as regards drawing, perspective, and colouring ; in doing which he used the camera lucida. In many of these pictures the figures are by Tiepolo, but not always, as Canaletto could himself paint very spirited small figures. Horace Walpole tells us that "Joseph Smith, the English Resident at Venice, engaged Canaletto to work for him for a term of years at low prices, but retailed the pictures at an enormous profit to English travellers." Either Canaletto became aware of this or was persuaded by his friend Amiconi to visit England, which he did twice — once in 1746, when he is said to have remained in this country for two years. He painted views of S. Paul's, and others of the Thames, some of which are at Windsor Castle ; BeUotto (see that name), his nephew and scholar, assisted him in many of his works, although as a painter he was not equal to his uncle. Francesco Guardi was the pupil of Antonio Canal. The pictures by Canaletto are so numerous that it is useless to mention examples of his work. The prices at which they have been sold are, however, interesting. To begin with the English views, the following were drawings sold in 1766 : £ s d S. James's Park, with old Horse Guards ... 4 Westminster Bridge, from York Buildings ... 2 10 London, from the Centre Arch of Westminster Bridge 2 5 Old London Bridge 330 Views from the Gardens of old Somerset House, probably also a drawing ... ... ... 318 K 2 148 PAINTERS AND THEIR WORKS. £ s. d. 1 OAO D O 1 o lo O looo bU A 1842 . 21 10 6 yo 11 (\ \j 1859 . . 148 1 1859 . . 25 4 1884 . . 131 5 1885 . . 246 1888 .. . 210 The English pictures have been sold as follow Chelsea Hospital and Kanelagh, from the Thames, D'Agremont's sale... View of Whitehall, Hinchcliffe sale... Interior of King's College Chapel, Cambridge (belonged to Horace Walpole), Waldegrave's sale Old Somerset House, Khodes's sale ... The Thames, from Temple Gardens, Phipps's sale In S. James's Park, Phipps's sale ... Walton Bridge, Dudley's sale ... Walton Bridge, Beckett-Denison's sale Covent Garden Market, Hardwick's sale Taking a list of about 200 pictures in oil — views in Venice, Rome, etc. — sold since 1771, the prices paid in London and on the Continent range from £12 12s. to £o360. A few of the more interesti]ig which were sold with celebrated collections and realised high prices were : View of Verona, Schulemburgh's sale View of Verona, G. Fleming's sale Bull Fights in S. Mark's Place, Venice, figures by Cignaroli, Yonge's sale View of Florence, Penrice's sale The Grand Canal, Venice, Perrier's sale ... The Dogana, Venice, Slin. by 18in., Perrier's sale ... Doge's Palace and Quay, 36|in. by 22in., Wells's sale Library of S. Mark, 36iin. by 22in., Wells's sale... ... Canal in Venice, Pryce's sale Canal in Venice — The Doge Espousing the Sea, Northwick' s sale . . . Grand Canal, Venice — Kace with Gondolas Procession of Barges near the Rialto, Phipps's sale The Church of San Gio e Paolo and the Colleoni Monument, from Wakeman and Lord Exeter's Collections, Maxwell's sale £ s. d. 1775 . .. 191 1777 . .. 215 5 1806 . 99 15 1844 . .. 210 1848 . .. 115 10 1848 . .. 157 10 1848 . .. 178 10 1848 . .. 173 5 1859 . .. 288 15 5 1859 . .. 416 1864 . .. 304 10 1867 . ..4 5 1873 . .. 3360 PAINTERS AND THEIR WORKS. 149 The Piazza San Marco, the companion £ s. d. picture, Maxwell's sale ... 1873 ... 630 Palazzo Vecchio, Florence, 30in. by 25in.... 1884 ... 273 San Frodiano, Florence, 30in. by 25in. 1884 ... 263 Grand Canal, Venice (pair of views) 1888 ... 399 S. Mark's Place, Venice 1890 ... 225 Piazza of S. Mark, Cavendish Ben- tinck's sale... 1891 ... 346 S. Maria della Salute, Cavendish Bentinck's sale 1891 ... 273 Grand Canal, Venice 1891 ... 688 Venice, Dudley's sale ... 1892 ... 2047 Grand Canal, Dudley's sale... 1892 ... 2205 View in Venice... 1893 ... 548 Grand Canal, Adrian Hope's sale ... 1894 ... 934 Canaletti or Canaletto. — See Bellotto and Canal (Antonio). Candido.— /See Witte (Pieter de). Cane (La).— /See La Cane. Cangiagio (Luca) called Cambiaso, Lucchetto da Genova, and Luchino. — b. Moneglia, 1627 ; d. the Escorial, in Spain, 1585 ; s. his father ; p. history. Luca was the son of Giovanni Cambiaso, who was a painter. He profited also by the advice of Castelli, and visited Florence and Rome. Luca was a most precocious genius, and painted large works well when he was only fifteen. *'The Martyrdom of S. George," in the church dedicated to that saint at Genoa, is considered to be Luca's best work. Another is "The Rape of the Sabines," in the Palazzo Imperiale of Terralba, near Genoa. Mengs said that it approached nearer than anything he had seen to the " Loggie of the Vatican"; it was painted in fifteen months, and shows Luca's wonderful facility. He was a man of a very timid, sensitive character, and having lost his wife and wishing to marry her sister, not being able to obtain the necessary di8X)ensation, he accepted in 1583 an invitation from Philip II. to work at the Escorial, hoping through the king's interest to be able to marry ; and being disappointed in that, he died at the Escorial in 1585. Luca excelled in foreshortening. His drawing was also correct and his composition striking. His son Orazio painted in the same style. There are pictures by Cangiagio in all the great Italian cities ; and at Madrid, "The Birth of the Virgin," "The Holy 150 PAINTERS AND THEIR WORKS. Family," " Love Asleep," and "Christ Dead, supported by an Angel," besides the frescoes at the Escorial. Pictures by Luca Cangiagio have been sold as follow : £ s. d. Tarquin and Lucretia . . . ... ... 1801 ... 15 4 6 Venus Caressing Cupid, Bryan's sale 1804 ... 49 7 Same subject, Hope's sale " 1816 ... 45 3 A Female in a Bath, Udn/s sale ... 1822 ... 42 Marriage of S. Catherine, Murat's sale 1823 ... 273 The Flagellation of Christ, Chol- mondeley's sale 1831 ... 28 17 Cano (Alonso).— B. Granada, 19th March, 1601 ; d. Granada, 5th October, 1667 ; s. his father ; p. history and portraits. The father of Alonso was a carver of altars, and brought his son up to his own trade ; but Juan del Castillo, the painter, having noticed the talents of Alonso, advised his father to remove his family to Seville, where the son was placed in the school of Pacheco, and later under Juan del Castillo himself. It is said that he worked also under the elder Herrara. In sculpture he became a pupil of Martinez Montan.es. His first works were three altars, desigJied, carved, and painted by himself. Such works included the painted statues so common in Spain, of which there is a famous example by Alonso in the church at Lebrija — among the statues is a peculiarly beautiful one of the Virgin. Many such specimens of the skill of Alonso are to be found in Spain, but his talents as a painter must be considered here. For the convents in Seville Cano painted many pictures, among others eight for that of the Carthusians. By about 1637 Alonso had obtained the position of the first artist in Seville, but he was of an exceedingly arrogant disposition and an expert swordsman. It was probably this combination that caused a duel between him and Sebastian de lilanos Valdes, a painter of an amiable character. Alonso having wounded him dangerously, escaped to Madrid, where Velasquez, who was the son-in-law of Pacheco, introduced him to Olivarez, and in 1639 the duke appointed Alonso to superintend some works in the Royal Palaces. He also painted pictures for the churches in Madrid, among which was one of Christ seated on Mount Calvary with His hands bound, awaiting the completion of the Cross by a man who works at it by His side, while the Virgin and her weeping companions are dimly seen in the increasing darkness. The praises bestowed upon another of PAINTERS AND THEIR WORKS. 151 his pictures, one of San Isidor rescuing a child from a well, caused Philip IV. to go to see it, and reward Alonso with the position of painter to the King, and drawing-master to his son, the Infant Don Balthazar Carlos. In 1644 Alonso's wife was found assassinated, and an Italian servant, whom he used as a model, had disappeared ; but suspicion having fallen upon Alonso, who was known to have been jealous of this man, he was put to the torture. Having passed through the ordeal without uttering a cry, he was set at liberty. This does not, however, appear to have affected either his character or his fortunes, for he was employed subsequently both by the King and Queen and by the Church. In 1650 he was at Toledo, and having determined to take priest's orders, Philip IV. conferred upon him the stall of a minor canon in the Cathedral at Granada. As such he worked with both his chisel and his brush to ornament that building. He also designed a new tabernacle for the high altar of the cathedral. He continued to labour both as a sculptor and as a painter at Granada ; and the auditor of Granada and he having quarrelled about the value of a statue the former had ordered from him, he broke it to pieces and was deprived of his canonry. Philip IV., however, obtained for him a chaplaincy, with a dispensation from the duties of saying Mass ; but to obtain it Alonso had to finish a life-sized Crucifix for the Queen, which he had neglected to complete. After this he returned to his benefice and Malaga in 1659. Although exceedingly generous to Christians, Alonso had an inveterate dislike of the Jews, and many stories are told of the singular manner in which he showed it. Towards the end 1667 he was attacked with his last illness, and must then have been poor, as the chapter voted several sums for his assistance. When dying, he requested the priest to put away a rudely- sculptured cross which he ofi"ered him, and to give him a plain cross, as he could figure it in his mind. This was on the 3rd October, 1667, and on the following day his body was carried with pomp to a niche in the Pantheon of the Canons, beneath the choir of the cathedral. Considered as a painter, Alonso Cano was superior to many of his rivals in drawing, and in richness and variety of colouring, and his compositions are simple and pleasing. At the village of Getafe, two miles from Madrid, are six large pictures of the Life of Mary Magdalen, of which the finer are where she is washing Christ's fest in the house of the Pharisee, and when she meets 152 PAINTERS AND THEIR WORKS. Him in the garden. Another beautiful work by Alonso is "Our Lady of Bethlehem, " painted at Malaga and now in the Cathedral at Seville, in which the Virgin holds the Infant in her arms ; the hands are peculiarly well painted. Among the portraits by Alonso are that of Calderon, now in the Louvre, and of the historian, Antonio de Solis, which is at Seville. There is also in the museum at Madrid a capital portrait of a monk laughing. Owing to his various employments, Alonso Cano did not paint so many pictures as some Spanish artists, and few important works by hhn have left Spain. The following are the prices at which some have been sold : S. Francis and the Infant Christ, £ s. d. Stuart sale ... 1841 . ,. 45 A Bishop Keceiving the Confession of a Young Girl, Soult sale ... 1852 .. 280 The Vision of S. John, Soult sale . . . 1852 .. . 485 Virgin and Child, Louis Philippe sale 1853 . .. 210 Balaam's Ass, Louis Philippe sale ... 1853 ., .. 240 Virgin and Child, Louis Pliilippe sale 1853 .. . 200 Portrait of a Nun, Du Blaisel sale ... 1872 . .. 48 Cantarini (Simone), called Simone da Pesaro and II Pesarese. — B. Oropezza, near Pesaro, ] 612 ; d. Verona, 1648 ; s. Pandolfe and Ridolfi ; P. history. After studying under those masters, and having already distinguished himself by painting at Fano a picture of S. Peter, Cantarini had the address to obtain admission into the school of Guido Reni, of whose manner he was thus enabled to become the closest imitator. His intolerable vanity, however, oiftended Guido, and obliged him to leave Bologna. He went first to Rome, and studied the works of Raphael ; then to Mantua, where, although he spoke of Raphael and Giulio Romano as vulgar artists, he himself failed to give satisfaction by a por- trait of the Duke, which he was employed to paint, and was so mortified that he was taken ill, and withdrew to Verona, where, it is said, he died by poison. Although the works of Cantarini have great merit, the heads and the expression of the faces in his works are very fine, and he excelled especially in the hands and feet of his figures, yet his pictures are inferior to those by Guido. He was also an excellent etcher. Pictures by Cantarini are to be found in all the great galleries in Europe. The follow- ing prices have been paid for some in sales : PAINTERS AND THEIR WORKS. ]53 £ s. d. Holy Family, Fleming's sale 1777 ... 110 5 S. Matthew and Angel, from Barba- rini's Collection, sale in 1805 ... 178 10 S. John 1805 ... 73 10 The others have ranged from £14 14s. to £39 18s. Capel, Capella, Capelle, or Cappelle.— /S'i^e Eabelle. Cappucino ill).— See Galantini, Prete, and Strozzi. Caracci.— >S'ee Carracci. Caravaggio (Michael Angelo Amerighi da).— b. Cara- vaggio, in the Milanese, 1669 ; d. Porto Ercole, 1609 ; self- taught ; p. history, genre, fruit and flowers, and portraits. Amerighi was the son of a mason, and when a boy was employed to prepare the plaster for fresco-painters in Milan. He learned something from seeing them paint, yet more by painting fruits and Howers from nature. Having, however, a violent temper and strong passions, he often selected subjects for his pictures which admitted of their being expressed ; yet if the figures and heads he drew are coarse, they are often surpassingly powerful, and such as produce a strong impression on the mind of the spectator. His dark backgrounds and strong contrasts of light and shade, combined with rich colouring, also aid this effect. After working for five years at Milan he went to Venice, where he improved himself by studying the works of Giorgione. From Venice he passed on to Rome, and was at first employed by Cesare d'Arpino, then the chief painter in that city, to execute the ornamental parts of his pictures. Amerighi, however, soon painted some pictures in a style that lessened the reputation of his employer. Like his greater namesake Buonarroti, the quality which he strove to infuse into his works was strength, but it was a strength to which the mind contributed very httle. The result obtained, therefore, in sacred subjects was often false, and even grotesque. He, nevertheless, became the leader of the artists known as the " Naturalisti " or " Tenebrosi," who soon obtained so much public favour that greater painters, such as Domenichino and Guido Reni, had for a time to adaj^t their work to the prevailing fashion. In the midst of his success, Amerighi, having killed a friend in a fit of anger, was obliged to fly to Naples, and thence to Malta, where he was patronised by the Grand-master Do Vignacourt, whose portrait he painted twice. He soon, however, quarrelled with one of the knights, who had him thrown into prison. From this Amerighi succeeded in escaping ; he fled to 154 PAINTERS AND THEIR WORKS. Syracuse, and, by way of Messina and Palermo, reached Naples. Having obtained, through the influence of friends, the Pope's pardon for the manslaughter of his companion, he left Naples for Rome, but was taken prisoner by some Spaniards, in mistake for another person. When set at liberty he found that the boatmen of the felucca, on board of which was his property, were gone, and had taken it with them. He therefore had to continue his journey as best he could, and on arriving at Porto Ercole, owing to the heat and vexation, was taken ill and died. The works of Amerighi are rather numerous. Among them a few are celebrated : The Entombment of Christ — The Vatican, Rome. The Dishonest (xamester— Sciarra Palace, Rome. The Fortune-teller — Capitol Gallery, Rome. Geometry — Spada Palace, Rome. The Beheading of the Baptist — Malta Cathedral. Love as a Ruler ; Conquered Love — Berlin Museum. The Fortune-teller ; Portrait of De Vignacourt — Louvre, Paris. Christ at Emraaus — National Gallery. The following are the prices which have been paid for some good pictures by Amerighi : Holy Family, with S. Elizabeth Infant Card-players, from the Aldo- brandini Palace, W. Porter's sale The Gamesters, from Palazzo Bolo- gretti... ... ... Portrait of Amerighi, with a mirror in Ins hand, Coxe'ssale Children, Fruit, and Flowers (? Cal- dara), Gott's sale ... Portrait of the Poet Marini, Vernon sale ... ... ... Christ and the Disciples at Emmaus, Vernon sale... ... Same subject, Favier's sale Roman Girl Tasting Grapes, behind her old woman and boy, Harman's sale ... ... ... S. Peter Accused by the Damsel, from G. Page's Collection, Asburnbam sale Caravaggio (Polidoro Caldara da).— b. Caravaggio, 1495 ; D. Messina, 1543 ; s. Raphael ; p. history, friezes, etc. Our £ s. d. 1802 . . 189 1803 . . 388 10 1804 . . 131 5 1807 .. . 51 19 1810 . 72 9 1831 . 42 1831 . . 120 15 1837 .. . 140 1844 . 67 4 1850 .. . 115 15 PAINTERS AND THEIR WORKS. 155 readers will do well to remember that the works of the two artists called ' ' Caravaggio " are often mixed up in sale catalogues. The one was born, as has been already said, in 1569 : the second, in or about 1495. Like Amerighi, Polidoro Caldara was employed, when the Loggie of the Vatican were being built, as a mason's boy (more probably he helped to prepare the walls for fresco-painting) until, according to Vasari, he was eighteen years of age, which would be about 1512. He must, however, have shown early a strong aptitude for the arts, although, as is said, it was stimulated by seeing Giovanni da Udine decorate the Loggie with paintings. Some attempts Caldara made to do similar work attracted the attention of Raphael, who admitted him among his scholars. By assiduous study Caldara acquired the power of painting so quickly that Raphael entrusted him to paint the friezes in the chambers in the Vatican, which he was himself decorating with frescoes, and the work Caldara did there is worthy of being placed near that of his great master. As Raphael died in 1520 it is evident that Caldara's improvement in art was wonderfully rapid, or, what is more probable, Vasari was wrong in saying that he did not begin to study until he was eighteen. Caldara formed an intimate friendship with a young Florentine known as " Maturino of Florence," who was a pupil of Raphael, and is said to have died of the plague shortly after the sack of Rome in 1527. Maturino appears to have taken a great interest in Caldara. The former had constantly studied the antiquities of Rome, especially the bassi-relievi, and he and Caldara executed many exterior decorations of houses in Rome — in imitation of some done by Baldassare Peruzzi, of Siena — both in monochrome painting and what was termed ' ' sgraffito, " a process in which the wall was painted of a dark colour and a lighter one laid over it. The design was then scratched into it with a pointed instru- ment, so that the underneath colour was seen through the lines. It was therefore a species of engraving, most of the examples of which have perished. When Rome was sacked, Caldara fled to Naples, where he was much employed on the decorations in fresco of walls and ceilings. ' From Naples he went to Sicily, and painted, in 1535-6, the triumphal arches erected at Messina on the return of Charles V. from Tunis ; also a celebrated picture of "Christ Bearing the Cross," in which are introduced many figures. Having amassed some money in Sicily, and tranquillity being restored in Rome, Caldara was on the point of returning 156 PAINTERS AND THEIR WORKS. to that city when he was murdered at Messina, in 1543, by a Sicilian servant named Tono, who hoped to get possession of his money. Caldara's pictures are remarkable for noble composition and elegance of drawing, and many of them for line colouring. Owing to his having worked so much in fresco, those in oil are not very numerous. Among such are : Meleager — Capitol INIuseum, Rome. Christ Bearing the Cross — Naples Museum. Passage of the Red Sea — Brera, Milan. Cephalus and Procris — Belvedere, Vienna. Psyche Received into Olympus — Louvre, Paris. Cupids and Satyrs — Dresden Museum. Several oblong pictures, probably part of a frieze — Hampton Court. Two whole-length figures of saints — Battle Abbey. Many of Caldara's designs have been engraved. There has been so much confusion in the attribution of pictures to this or that Caravaggio, that it is only possible to give the prices of a few which were certainly by Caldara. £ ^ The Nativity, Hamilton's sale ... 1801 ... 21 10 6 Drawing for a frieze, Hamilton's sale 1801 ... 1 11 6 The Last Judgment 1803 ... 30 9 Alexander Taming Bucephalus, a drawing, Coxe's sale ... ... 1815 ... 2 5 Study for a frieze, Webb's sale ... 1821 ... 28 7 Carbajal (Luis de).— b. Toledo, 1534 ; d. Madrid, after 1613 ; s. Juan de Villolde ; p. history and portraits. He went as a boy to Madrid, where he afterwards became painter to Philip II. ; and he deserves to be remembered as the artist who, when at Toledo, painted (about 1560) the portrait of Archbishop Don Bartolome Carranza de Miranda, who was confessor to Mary Tudor, and is said to have sent many a martyr to the flames in Smithfield, yet himself spent the last eighteen years of his life in the prisons of the Inquisition — ten of them at Rome, on a charge of having preached before the Court of England the heresy of Philip Melancthon. Carbajal's other, works are in the Escorial at Madrid, and at Toledo. Csbvdi.—See Cigoli. CardtLcho (Bartolome).— b. Florence. 1560 ; d. Madrid, 1608 ; s. Frederico Zuccaro ; P . history. Bartolommeo Carducci is more generally known by his Spanish name. He had assiste PAINTERS AND THEIR WORKS. 157 his master in painting the great cupola at Florence, and when Zuccaro was invited to Spain by Philip II., Carducho accompanied him, and took with him his young brother Vincenzio. Bartolome was painter to Philip II. and III. In conjunction with Tibaldi he painted much in the Escorial, but his best work was ' ' The Descent from the Cross, " in the Church of S. Felipe el Real, at Madrid. He was also an architect and a sculptor, having studied those arts under Ammanati, at Florence. Carducho (Vincenzio).— b. Florence, 1568; d. Madrid, 1638; s. Zuccaro and his brother ; p. history. He was seventeen when he went to Spain, and became a Spaniard even to writing and publish- ing a book on painting, in 1633, which Cean Bermudez says is the best in the Castilian tongue. When Bartolome died, in 1608, Vincenzio succeeded him, and was likewise Court painter to Philip IV., who, however, afterwards appointed Velasquez to be his private painter. Vincenzio executed many large works in different parts of Spain, the most important of which were fifty large pictures representing scenes from the life of S. Bruno, some of which are now in the Museum at Madrid. Five sketches for these pictures were sold in London at Campbell's sale, in 1814, for £20. Vincenzio painted also some of the battles of the Thirty Years' War, which are in the Museum at Madrid. Cariani (Giovanni de Busi, called).— b. Fuipiano, about 1480 ; D. after 1541 ; s. Palma Vecchio ; p. history and portraits. This artist is only known by his works, and their excellence is. proved by many of them having been attributed to Giorgione, Palma, and Pordenone. Most of them are at Bergamo. Those which are dated range from 1514 to 1541. There is a good example of his painting in our National Gallery, and Crowe and Cavacurelle even assign to him the well-known portraits of the Bellini, in the Louvre, which have always been attributed to Gentile Bellini. There is an engraving, after Cariani, of "Christ Going to Calvary," a picture which is not mentioned among those usually attributed to him in different galleries. The only picture of which we can give the price was the portrait of Violante, the daughter of old Palma, as " Ceres," Celotti sale, 1807, £15, which, by the way, is a misnomer, as Palma had not any legitimate children. Carings.— /SVc Keerinckx. Carlo delle Madonne.— ,V ^3 Maratti. 158 PAINTERS AND THEIR WORKS. Carlotto.— /Sjc Loth. Carmichael (James Watson).— B. Newcastle-on-Tyne, about 1800 ; D. Scarborough, 1868 ; s. ; p. shipping and marine subjects. Although little is known of how he did it, this artist became one of the most accurate and powerful painters of shipping that the modern English school has produced, as in some of his pictures in oil the vessels are of considerable size. One of his early works is ' ' The Heroic Exploit of Admiral Collingwood at the Battle of Trafalgar," which is in the Trinity House at Newcastle. He exhibited in 1838 ' ' Shipping in the Bay of Naples, " at the rooms of the Society of British Artists, and from 1841 to 1845 at the Royal Academy, pictures in oil and in water-colours. In 1845 he removed from Newcastle to London. At the commencement of the war with Russia he went on board a ship of the English fleet to the Baltic, and many of his sketches were engraved and published in the Illustrated London News. He was also author of "The Art of Marine Painting in Water-colours," published in 1859 ; and "The Art of Marine Painting in Oil," in 1864. Pictures by Carmichael have so rarely been ofl'ered for sale that prices cannot be cited. There is a remarkable one in which a large vessel with every sail set is coming straight towards the spectator. After looking at it for a few minutes the effect is curious, not to say alarming. Carotto (Giovanni Francesco) .—B. Verona, 1470 ; d. Verona, 1546 ; s. Liberale and Mantegna ; p. history. There were two brothers, painters, of this name, of whom Giovanni Francesco was the more eminent. The best of his existing pictures is in the Church of S. Fermo Maggiore, at Verona. It represents the Virgin, Child, and S. Anne, with four saints, and is signed and dated 1528. His last picture is " S. Orsola," in the Church of S. Giorgia, dated 1545. He also worked for the Visconti at Milan. There are pictures by Carotto at Frankfort, Dresden, Modena, etc., and Lady Eastlake had one in her collection. The only price which can be given is that paid for " The Virgin and Child," at the Northwick sale 1859— £16 5s. 6d. Carpaccio (Vittore), mentioned also as Scarpaccio and Scarpaza.— B. Istria, about 1450 ; alive in 1522 ; s. ; p. history and portraits. Little is known of the life of this artist, although he was one of the greatest painters of his time. He was associated with Gentile Bellini in the execution of paintings in the Ducal Palace at Venice, and the knowledge of Oriental costumes shown PAINTERS AND THEIR WORKS. 159 in his works lias led to the opinion that he accompanied Gentile to Constantinople. Carpaccio was one of the first Venetian artists who painted in oil. One of his principal works is ' ' The story of S. Ursula," painted in 1490-96, and now in the gallery of the Venetian Academy, where is also his ' ' Presentation in the Temple." There are pictures by him in several galleries in Italy, and in our National Gallery there is a fine " Madonna and Child," enthroned, with the Doge Giovanni Mocenigo in adoration, painted about 1485. The few pictures by Carpaccio which have been sold by auction have produced the following results : £ s. d. Madonna and Child, Pereire's sale ... 1872 ... 225 S. Sebastian, with many figures, Barker's sale 1874 ... 128 2 The Garden of Souls, Graham's sale... 1886 ... 204 15' Carpenter (Mrs. Margaret Sarah).— b. Salisbury, 1793 ; D. London, 1872 ; s. ; p. figures and portraits. This artist was the daughter of a Captain Geddes, and in 1817 she married Mr. Carpenter, the Keeper of Prints at the British Museum. She was first taught drawing hy a master in Edinburgh, but improved very much by studying the pictures at Longford Castle. On coming to London, in 1814, she soon established a reputation as a portrait-painter. Her portraits of Richard Parkes Bonington, the painter ; John Gibson, the sculptor ; and Patrick Fraser Tytler, the historian, are in the National Portrait Gallery. Two portraits by her have been sold as under : Young Lockhart with a Dog, Wells's £ s. d. sale 1860 ... 164 17 Portrait of John Gibson, Carpenter's sale (now in the National Portrait Gallery) 1867 ... 29 18 Carpi (Girolamo da).— b. Ferrara, 1501 ; d. Ferrara, 1551 ; s. Dosso Dossi ; p. history and portraits. This artist must not be confounded with Ugo da Carpi, the engraver. Girolamo was the son of a painter employed by Lucrezia Borgia. As assistant to Dosso he painted several rooms in the Belvedere, a country seat of the Dukes of Ferrara. He also worked with Garofalo. He studied at Bologna, Parma, and Rome, and was protected by Cardinal Hippolyte d'Este. For the churches both at Bologna and at Ferrara he painted many pictures. In the former city are two of his best works : " The Adoration of the Magi " and " The Madonna and Child," with S. Catherine and other saints. At 160 PAINTERS AND THEIR WORKS. Ferrara is another — ' ' A Miracle Wrought by S. Anthony at Padua." He also painted in Rome. At Florence is his portrait of Archbishop Salimbeni, and at Dresden ' ' Venus and Cupid Drawn by Swans." Some of his pictures are much in the style of Correggio. Pictures by Carpi are rare. The only price known is that paid for " The Adoration of the Magi," 48in. by 92in., Solly's sale, 1847 : £71 8s. Carracci (The). — The following was the relationship between the members of this family : Vincenzo, a butcher at Bologna ; Lodovico and Paolo, sons of Vincenzo ; Antonio, brother of Vincenzo, a tailor at Bologna ; Agostino and Annibale, sons of Antonio ; Francesco, son of Gio. Antonio, a brother of Agostino and Annibale ; Antonio Marziale, son of Agostino. To these must be added a Clovio or Carlo Carracci, who is said to have been of the same family, and by whom there is a picture at Florence. Carracci (Agostino).— b. Bologna, 1557 ; d. Parma, 1602 ; s. Fontana, Passarotti, Tibaldi, and Cornelius Cort ; p. history and mythology. By some means Agostino obtained a much higher education than his brother Annibale, and became the most learned and accomplished of all the Carracci in different sciences and arts. He was at first placed under a goldsmith, but by the advice of his cousin Lodovico, devoted his time to painting and engraving ; and when — after having studied some time at Parma and Venice the works of Correggio, Titian, and Tintoretto — he returned to Bologna in 1589, the Carracci opened an Academy for the instruction of pupils, in which Agostino taught perspective, anatomy, and the other scientific branches of the painter's art. It must, however, have been a diflB.cult task for Lodovico to make men of such different characters as Agostino and Annibale work peaceably together ; and their disagreement led Agostino to devote himself more and more to line-engraving — an art in which he became one of the most skilful of those who practised it in his time. Of the etchings by the different Carracci Agostino's also are the best. Nevertheless he did not abandon painting, and when, in 1600, Annibale was invited to Rome, to decorate the Farnese Palace, Agostino accompanied him and executed the frescoes called "The Triumph of Galatea,'* and " Cephalus and Aurora," the cartoons for which are in our National Gallery. It is said that Annibale was jealous of the applause bestowed upon these works ; at any rate, fresh differences PAINTERS AND THEIR WORKS. 161 arose between them, for Agostino left Rome and went to Parma, where he entered the service of the Duke Ranuccio. He painted, however, only a few pictures there, as he died on the 22nd March, 1602. Agostino was also the author of a treatise on architecture and perspective. His pictures have more of the Venetian than of the Lombard manner. Owing to the causes above mentioned, Agostino's time was so much occupied by other pursuits, that he pauited, comparatively speaking, few pictures. The following is a tolerably complete list of them : The Virgin Suckling the Infant Christ — Gallery, Parma. The Assumption ; The Last Communion of S. Jerome — Pinacotaca, Bologna. The last-named subject; The Magdalen; Holy Family — Rome. S. Jerome and S. Peter ; Cupids asleep ; Armida and Rinaldo — Naples. The Flight into Egypt — Venice. Landscape, with musicians — Florence. S. Francis d'Assisi — Madrid. S. Francis Receiving the Stigmata — Belvedere, Vienna. S. Dominic — Czerniu Collection, Vienna. Female Portrait (signed and dated 1598) — Sterne Collection, Vienna. S. Francis Receiving the Stigmata — Pinakothek, Munich. Hagar and Ishmael — Gallery, Cassel. The Infant Hercules Strangling the Serpents — Louvre, Paris. Christ Raising the Widow's Son (engraved) — Holford Collection, London. The pictures attributed to Agostino that have appeared at auctions from time to time have been sold as follow : The Infant Christ, holding a Gold- finch, Conti's sale ... 1777 Female sleeping, with the attribute of Painting, De Meulan's sale ... 1778 S. Catherine and two Angels, half- length, Nogaret's sale ... ... 1782 The Infant, holding a Goldfinch, from Conti's Collection, Nogaret s sale 1782 The same picture, Le Brun's sale ... 1791 Assumption of the Virgin, Knowles's sale 1807 Portrait of one of the Carracci, 23iin. by 22in., Throward's sale "... 1807 L £ s. d. 150 12 100 110 90 130 10 1C5 162 PAINTERS AND THEIR WORKS. £ s. d. 1807 . 315 1846 .. . 49 7 1846 .. . 52 1859 .. 43 1 1859 .. . 63 S. Jerome and the Angel, from Balbi Palace, Wilson's sale Procession of Friars, Strange' s sale ... Tobias Anointing his Father, 79in. by 103in.,Vaudergucht's sale ... Holy Family, Jesus leaning on a Globe, Northwick's sale ... Bacchus (the hgures in Titian's Bacchus and Ariadne), Northwick's sale... Carracci (Annibale).— b. Bologna, 1560; d. Rome, 1609; s. his cousin Lodovico ; p. history, mythology, portraits, and laud- scapes. Annibale worked as a boy at his father's trade, and his education must have been neglected, if what Malvasia says — that he hardly knew how to read and write — was true. His progress as an artist was, however, rapid, for at eighteen years of age he painted two pictures, a ' ' Crucifixion, " and a ' ' Baptism of Christ, " for churches in Bologna. Two years later, in 1580, by the advice of Lodovico, he went to Parma, and the long letters that he wrote from there to Lodovico relative to the works of Cor- reggio seem to disprove what Malvasia says of his ignorance. He says too in them that he has written to his brother Agostino telling him to come to Parma, and quickly, and that there shall be no differences between them, as they are so much time lost ; also that he has told him that he shall want to ask his advice as to matters of knowledge and practice. The quarrels between the two brothers do not, therefore, seem to have been very lasting ; at any rate, they did not seriously affect their progress as artists. In these letters Annibale expresses also his unbounded admiration of the works of Correggio. It is doubtful if Agostino went then to Parma or direct to Venice, where Annibale joined him somewhat later. In that city Annibale remained some time, but Agostino longer, as the former was absent from Bologna for at least four years, and Agostino did not return there until 1589. It was then that, under the direction of Lodovico, they opened what is known as the Academy of the Carracci. Between that time and 1600, when Annibale was invited to Rome, they executed many works, either public or for private individuals at Bologna. At Rome Annibale was assisted at the Farnese by his brother Agostino, and their pupils Lanfranco and Domenichino. Lodovico was also in Rome in 1602, for a fortnight, but probably only gave advice. The works at the Farnese were PAINTERS AND THEIR WORKS. 163 much advanced, if not completed, in 1604, and the disappointment Annibale felt at the manner in which he was rewarded for his greatest work affected his health so much that he painted very little afterwards. He, nevertheless, went to Naples ; but returned to Rome, where he died in 1609, and was buried near Raphael in the Pantheon. The decoration of the Farnese Palace was Annibale's greatest work, and called forth from Nicolas Poussin the observation that Annibale had surpassed in it, not only himself, but all the painters who had preceded him. Of course, in saying this he meant to speak of such works, and Nicolas Poussin knew more about painting and art in general than modern critics, who have said that everything that the Carracci and their pupils produced was bad. Annibale was one of the first Italians who painted pictures of which the landscape was the more important portion. He was intimate with Paul Bril, and his own style of landscape-painting is something between that of Titian and that of Bril, but principally like the former. The easel pictures by Annibale are so numerous, that only a few of the most generally known can be given here. The Virgin in Glory — Pinacoteca, Bologna. A Bacchante ; Portrait of Himself — Uflizi, Florence. Deposition — Borghese Palace, Rome. Tlie Greedy Eater — Colouna Palace, Rome. Assumption, Madonna del Popolo — Rome. A Pieta — Naples. S. Roch Distributing Alms (etched by Guido) — Dresden Gallery. Holy Family — Berlin Gallery. Portrait of Domenichino — Darmstadt Gallery. Virgin, Child, and S. John, called " The Silence" — Louvre, Paris. S. John ; Silenus Gathering Grapes ; Pan Teaching Apollo to Play the Pipes — National (Gallery, Loudon. The Three Marys — Howard Castle, England. The following are the highest prices paid for pictures by Annibale at sales of celebrated collections : Christ dead and an Angel, Fraula's £ s. d. sale 1738 ... 40 The Death of S. Francis, Carignan's sale 1743 ... GO L 2 164 PAINTERS AND THEIR WORKS. Mary Magdalen with Angels, Ansell's sale ... S. Joseph and the Virgin, Conti's sale Venus, Satyrs, and Cupids, signed and dated 1585 Landscape, from Palma Collection . . . The companion ... Magdalen, from Borghese Palace, Ottley's sale Susanna and the Elders, from the Aldobrandini Palace, Ottley's sale Infant Jesus Sleeping, attended by Angels, from Borghese Palace, Ottley's sale Christ Crowned with Thorns, from Capo di Monte Collection, Ottley's sale Christ and the Samaritan Woman, from Orleans Collection, Clarke and Hibbert's sale Holy Family, from Aldobrandini Palace, Walsh Porter's sale Pan Instructmg Apollo, from Lance- lotti Palace, now in National Gallery, Walsh Porter's sale ... S. Roch invoking the Virgin, from Orleans Collection, Willett's sale Christ and the Woman of Samaria, Hope's sale... The same subject, Taylors sale The Riposo, Iladstock's sale ... Landscape, with a procession leaving a convent, from Orleans Collec- tion, Maitland' s sale The Crowning of the Virgin, from Aldobrandini Palace, Day's sale Clytie seated in landscape, holding sunflower and Cupid, engraved by Bartolozzi, Wells's sale Christ dead on the Knees of the Virgin, King of Holland's sale... Coronation of the Virgin, from Pamphili Palace, S. Rogers's sale Madonna and Child, King of Holland's sale ... Study of four heads, from Mandrazo Collection, Salamanca's sale £ s. d. 1 / /U '70 ii) Id u 1777 . .. 230 1800 . .. 110 5 1800 . .. 194 1800 . .. 178 10 1801 . .. 283 10 1801 . .. 388 1801 . .. 735 1801 . .. 1155 1 OAO JiO i 10 ioUo 1 oo 10 u 1810 . .. 15 1813 . .. 194 5 1 A 14 1823 . .. 325 10 1826 . .. 420 TOO! 1831 ZOO 1 f\ v 1833 36/ 1 o 10 A 1844 . .. 215 5 1850 . .. 200 1856 . .. 420 1850 . .. 130 1875 . .. 165 PAINTERS AND THEIR WORKS. 165 Diana and Actseon, nymphs bathing, £ s. d. 44in. by 62in., from Hope's Collec- tion, Miles' s sale 1884 ... 462 Vision of S. Roch, Nieuwenhuys' sale 1886 ... 225 Carracci (Antonio Marziale) . — b. Venice, 1583; d. Rome, 1618 ; s. his father and Annibale ; p. history. Antonio Marziale was a natural son of Agostino. Being gifted with great talents, he soon became a skilful artist, and was employed by Cardinal Tonti to decorate a chapel, in which he painted several frescoes of scenes in the life of the Virgin and the Passion of Christ, also "S. Carlo Borromeo Administering the Sacrament to those Stricken with the Plague," and a frieze in the Pope's palace at Monte Cavallo. Pictures by him are very scarce. In the Louvre is one of ' ' The Flood " ; at Modena, ' ' Christ Healing a Blind Man"; and "A Lute-player" in the Belvedere, at Vienna. He had accompanied Annibale, who was much attached to him, to Rome, and when Annibale died he arranged his splendid funeral. The only picture by him which can be mentioned as having been sold is a landscape, " Tivoli, with figures," Strawberry Hill sale, 1842, £35 14s. Carracci (Clovio). — Clovio is said to have belonged to the same family as the other Carracci, but nothing is known regarding him excepting that he lived in the sixteenth century, and that there is a picture of ' ' Eliezer and Rebecca " by him at Florence. Carracci (Francesco), called Franceschino. — b. Bologna, 1595 ; D. Rome, 1622 ; s. Lodovico ; p. history. He was brought up in the school of Lodovico, and had good talents for art. Among the pictures he painted were a "Virgin Adored by Saints " and a scene from the life of S. Roch, but after the death of his uncle he set up a school in opposition to that of Lodovico, which he called "The True School of the Carracci." Not meeting with success in Bologna, he transported his school to Rome, where he died in a hospital. Carracci (II Gobbo d.Si)—See Gobbo. Carracci (Lodovico).— b. Bologna, 1555; D.Bologna, 1619; s. Fontana and Tintoretto ; p. history and portraits. Lodovico was sent when young to study painting in the school of Fontana, who, owing to the slow progress he made, advised him to adopt some other profession than that of an artist. It is said also that his fellow-scholars called him " The Ox," but this may have been an allusion to his father's trade, as all the Carracci were men of 166 PAINTERS AND THEIR WORKS. medium size, and Lodovico does not appear to have been stupid. He next went to Venice, where he received similar advice from Tintoretto. Nothing could, however, lessen his wish to become an artist, and he passed on to Florence, where he entered the school of Passignano, who, although a very rapid painter, was a man of milder temper than either of Lodovico's former masters. While in Florence he studied the works of Andrea del Sarto. Subsequently he went to Parma, to copy those of Correggio and Parmigiano, and on to Mantua, to see those by Giulio Romano and Primaticcio. Whether Lodovico visited Venice again before his return to Bologna, and whether he ever went to Rome, is uncertain. This course of study being finished, Lodovico returned to Bologna, where some portraits which he painted and the in- fluence of his father's brother Antonio, who was employed as a tailor by many of the nobility and citizens of Bologna, soon brought him work. Having noticed the natural inclination towards the study of art which animated both of his cousins — Agostino and Annibale, the sons of Antonio — he placed the first under Prospero Fontano, as he thought the daring execution of that master would lessen the fastidious taste of Agostino, who was never satisfied with what he did, while he himself regulated the studies of the resolute and somewhat reckless Annibale. In 1589, havijig established his own reputation as an artist, and Agostino and Annibale being sufficiently advanced to assist him, Lodovico opened a school of art, then known by the name of the " Incamminati, " but now as the "later school of Bologna." The avowed object of their teaching was to combine the best characteristics of all the great Italian painters who had preceded them. In this attempt the Carracci succeeded so far that the other schools in Bologna, in which the quality most insisted on was rapidity of execution, were soon closed. But it was not until years afterwards that they themselves succeeded to some extent in forming a style which could be called their own. What they did do, however, was to form pupils such as Domenichino and Guido, whose works " The Communion of S. Jerome " and the " Aurora" are superior as works of art to anything the Carracci ever produced. At the same time, it must be admitted that there is much solemn grandeur in some of the representations of sacred subjects by Lodovico. He possessed also a thorough knowledge of the theory of his art, and the best method of imparting to others what he had learned with so much trouble. Perhaps the older master to whom he approached the nearest was Correggio. PAINTERS AND THEIR WORKS. 167 With the assistance of his pupils, Lodovico executed some con- siderable works in fresco at Bologna, which have now perished ; and it is said that some errors which he discovered when it was too late to correct them in his fresco of ' ' The Annunciation " in the Cathedral at Bologna hastened his death. Although Annibale and Agostino went to Rome in 1600, Lodovico taught in the school until he died. The pictures in oil by Lodovico are not nearlj' so numerous as those by Annibale. Among the best are : The Virgin in Glory, with Saints ; The Birth of S. John the Baptist — Bologna Gallery. A Pieta — Corsini (4allery, Borne. Susanna and the Elders — National Gallery, London. The Burial of the Virgin — Museum, Parma. The Annunciation ; Madonna and Child — Louvre, Paris. The following prices have been paid for fine pictures by Lodovico, the value of which has been absurdly depreciated of late years. S. Peter Penitent The Virgin with the Goldfinch, Conti's sale ... The Repose of the Holy Family, from Parma The Entombment, Ottley's sale A Pieta, from the Borghese Palace . . . The Creation of Eve ... The Sibylla Libyca, seated, sur- rounded with children, formerly at Ferrara, Lansdowne's sale This picture was sold again, in Beckford's (Fontliill) sale, in 1823, for £378 ; again in Hamilton's sale, in 1882, for £283 10s. ; and in Denison's sale, in 1885, for £105 ; the size is 112in. by 48in. The Adoration of the Shepherds, from Dr. Newton's Collection, Coxe's sale ... S. Francis Tempted, Sullivan's sale ... Virgin and Child, with saints, Greville's sale S. Lucia Offering her Eyes to the Virgin, from Zarnpiere's Collec- tion, Dunstanville's sale ... £ s. d. 1761 . .. 105 1777 . .. 250 1800 . .. 1155 1801 . .. 294 1804 . .. 126 1805 . .. 220 10 1806 . .. 267 15 1807 .. . 220 10 1808 .. .. 204 15 1810 ., ,. 393 15 1824 ., ,. 231 s. d. 1830 ., ,. 325 10 1833 .. . 160 1856 ., ,. 168 1865 . .. 200 1884 .. . 235 15 1886 .. . 86 168 PAINTERS AND THEIR WORKS. The Holy Family, Westall's sale ... The Virgin, Child, and S. John, Erard's sale Virgin seated, with seven saints, Rogers's sale Nymphs and Satyrs, Pourtales' sale . . . S. John seated, in landscape, 48in. by 36in., Miles'ssale... Virgin and Child, Angels, and S. Dominic, 12|in. by G^in., on copper, Marlborough sale Carracci (Paolo). — Paolo, the brother of Lodovico, was also a painter, and worked with him and his cousins, but nothing is known about him except that he possessed some skill as an imitator or copyist. Carre (Abraham).— b. The Hague, 1694 ; d. The Hague, 1758 or 1759 ; s. his father Hendrik ; p. portraits. There was a large family of Dutch artists of this name. Among its members Abraham is to be remembered as an excellent copyist of the works of superior Dutch artists, for which purpose he was much employed by dealers, who sold his copies as originals. Many of these copies went to France, and are now old enough to pass as being by the artists whose names are painted on them. Carriera.— Hosealba. Carrucci.— iS'ee Pontormo. Casanova (Francis).— B. London, 1730; d. Austria, 1805 ; s. F. Limonini ; p. landscapes and battles. This artist, although born in London, belongs to the French School, and was admitted into the Academy of Painting at Paris in 1763. He was patronised by the Prince de Conde, and Catherine II. of Russia employed him to paint pictures representing the victories of the Russians over the Turks. Some of his best pictures are nearly equal to those by Courtois. De Loutherbourg studied painting under Casanova. Pictures by this artist have been sold by auction at prices varying from £5 to £15, but probably would now produce more. Casentino (Jacopo 6ii),—See Laudini. Castagno (Andrea del).— b. 1390 ; d. 1457 ; s. ; p. history and portraits. Castagno was a peasant boy. His attempts at drawing attracted the notice of Benedetto de' Medici, who sent PAINTERS AND THEIR WORKS. 169 him to Florence. Of the few pictures tliat remain by this artist, nearly all are much injured by time or repainting, but his name has survived owing to the tale told by Vasari of his having, when painting in the Portinari Chapel at the same time as Donienico Veneziano, learned from the latter the art of paint- ing in oil, and then assassinated his teacher in order that he might alone possess the secret of the process. Unfortunately for those who have repeated this story, it has been proved by the registers of their respective deaths that Domenico outlived his murderer by nearly four years, and that Castagno did not paint in the Portinari Chapel until six years after Domenico had ceased to work there. Castelfranco (Zorzo da.).— See Giorgione. Castiglione (Benedetto), called II Grechetto. — b. Genoa, 1616 ; D. Mantua, 1670 ; s. Paggi, Ferrari, and Van Dyck ; p. history, portraits, animals, and landscapes. This Genoese painter distinguished himself, not only by painting sacred subjects, such as " The Nativity," in the Church of S, Luca, and " The Saints Magdalen and Catherine," in that of the Madonna di Castello, both at Genoa, but still more by subjects which admitted of the introduction of animals, such as ' ' Jacob's Journey." When Van Dyck was at Genoa in 1623 he made some stay there, and Castiglione had every faciUty for profiting by his advice ; and there is often much in his works that reminds us of Van Dyck. There are few artists who have produced more good pictures, in very different styles, than Castiglione ; and his etchings are spirited and somewhat in the manner of Rembrandt. Towards the end of his life he went to Mantua, where he was most liberally treated by the Duke, Charles I., and died in his palace. Salvator Castiglione was his brother, and he had a son Francesco. Both were painters and engravers. As the works of Benedetto are very numerous, and to be fouud in most of the great galleries in Europe, we will confine ourselves to giving the prices at which pictures by him have been sold. The History of Jacob, Verrue's sale £ s. d. (bought in) 1737 ... 35 The Rape of Europa, La Iloque's sale 1745 ... 26 Young Woman and an Old Woman, De Tallard's sale 1756 ... 15 Figures and Animals Marching, Conti'ssale ... 1777 ... 70 170 PAINTERS AND THEIR WORKS. Animals Entering the Ark, Vassal de S. Hubert's sale £ s. d. 1779 .. . 15 Two small historical pictures, Clarke and Hibbert's sale 1802 .. 15 15 Jacob's Journey 1803 .. 7 12 Two Landscapes, with Shepherds, Bute's sale... 1822 .. . 20 9 6 Jacob's Journey, Hampden's sale ... 1830 .. . 21 Departure of the Israelites 1836 .. . 18 7 6 Castillo (Juan del).— b. Seville, 1584 ; d. Cadiz, 1640 ; s. Luis Fernandez ; p. history and portraits. This painter was the younger brother of Augustin del Castillo, whose frescoes at Cordoba have almost disappeared. Juan painted for some time at Granada, and the merit of his works caused Miguel Cano to move his family to Seville in order that his son Alonso might study under Juan. Although his pictures show him to have been a ■very able master, Castillo's chief glory is to have taught, not only Alonso Cano, but also Pedro de Moya and Murillo, their art. His principal works were in the churches of Seville and the Convent de Terceros. There are now ' ' The Assumption of the Virgin" at Seville, and "David," " S. Jerome," and several others in the Paris Louvre. The pictures by him which have been sold are : £ s d An Old Woman, Poole's sale ... 1813 ... 7 17 Assumption, from Standish Collection, Louis Philippe's sale 1853 ... 35 14 Catena (Vincenzo di Biagio), called also Vincenzo da Trevigi. — b. Treviso ; d. Venice, 1531 ; s. Giovanni Bellini ; p. history and portraits. It is to be regretted that little is known of the life of this artist, as so many pictures said to be by him have been so long and generally attributed to Giovanni Bellini or Giorgione. He appears to have been a man of some importance in Venice, and possessed of wealth, as by his will he bequeathed sums to relieve poor painters and to found houses for their recep- tion. There are several pictures by him in churches at Venice. Among them is "The Martyrdom of S. Christina," which is praised by Zanetti, and engraved by Rosini in his " Storia." The well-known " S. Jerome in his Study," in our National Gallery, is now attributed, by good judges, to Catena ; and another of his works, at Berlin, gives a singular instance of how pictures are assigned to artists who could not have painted them. In this case, the picture bears the forged signature of Andrea del Sarto, and in PAINTERS AND THEIE WORKS. 171 the catalogue is described as being by Sassoferrato, after a drawing by Raphael. Cattermole (George).— b. Dicklebnrgh, near Diss, 1800 ; d. Clapham, 1868 ; self-taught ; p. history. From a very early age Cattermole showed a talent for design, and at sixteen he made drawings to illustrate Britton's "English Cathedrals." In 1822 he exhibited at the Water-colour Society's gallery ; in 1833 he became a member of the society and at that period exhibited some of his best works. In 1850 he withdrew from the society. Hitherto he had painted in water-colours, but in 1862 he exhibited at the Royal Academy ' ' A Terrible Secret, " painted in oil. He was much employed by the booksellers, and was learned in all that related to costume : this he showed in the illustrations to the "Historical Annual," a work devoted to scenes in the Civil War in the time of Charles I., written by his brother, the Rev. Richard Cattermole, who also painted in water-colours. He designed also illustrations for an edition of the " Waverley Novels." At the Paris Exhibition of 1855, he was awarded a high-class gold medal. He was also a member of the Academy of Amsterdam, and of the Belgian Society of Painters in Water-colours. George Cattermole painted very few pictures in oil. Those by him which have been offered have sold as follow : Pilgrims Listening at a Cathedral £ s. d. Door (bought in), Crosby's sale ... 1869 ... 73 10 The Monastery Door, Crosby's sale... 1869 ... 68 5 Dealing out the Dole, Campbell's sale 1878 ... 120 15 The Abbot's Dole, Crosby's sale ... 1882 ... 90 Pilgrims at Cathedral Porch, Crosby's sale 1882 ... 84 In a list of 130 works by him in water-colours, sold by public auction between 1860 and 1891, the prices range from £27 6s. to £561 15s. The following are some of the higher prices which were .tually paid : £ s. d. Early Hospitality, Burnett's sale . . . 1860 . . 108 3 Storm off Scarborough, Fordham's sale 1862 . . 198 9 Forging the Sword, 13|in. by IS^in., Mozleys' sale 1863 . . 171 3 Ravens wood and Lucy Ash ton, Hewett's sale 1864 . . 294 The Escape, llin. by 16iin., Grundy's sale ... 1865 . . 118 13 Salvator in the Bandit's Castle, Ricardo's sale 1866 . . 256 4 172 PAINTERS AND THEIR WOEKS. Cromwell Searching for Fugitives, £ s. d. Solly's sale... 1867 . . 102 18 Ravenswood and Lucy Ashton, Grundy's sale 1867 . . 194 5 Macbeth and the Murderers, Bigg's sale ... 1868 . . 152 5 Sacking the Monastery, Bigg's sale . . . 1868 . . 304 10 The Conspirators, Clarke's sale 1868 . . 210 Salvator in the iJandit's Cave, Holmes' sale 1868 . . 115 10 Little Nell's Home, C. Dickens's sale 1870 . . 168 Little Nell's Grave, C. Dickens's sale 1870 . . 189 Christ Preaching, llin. by 20in., Burnett's sale 1871 . . 158 11 The Baronial Hall, engraved, Moon's sale ... ... ... 1872 . . 561 15 The Doge's Barge, Harris's sale 1872 . . 152 5 Salvator Rosa, Harris's sale ... 1872 . . 205 The Armoury, Naworth, Ellison's sale 1874 . . 105 The Challenge, Ellison's sale... 1874 . . 157 The Baron's Hall, 25iin. by 34in., Heugh's sale 1875 . . 441 Montrose's Retreat, Heugh's sale . . . 1875 . . 168 Colonel Pride's Purge, Quilter's sale 1875 . . 120 15 Assassination of Rizzio, Quilter's sale 1875 . . 173 5 The Baron's Chapel, Quilter's sale ... The Escape, Quilter's sale 1875 . . 152 5 1875 . . 162 15 Trying the Sword, Quilter's sale 1875 . . 262 10 The Darnley Conspirators, Quilter's sale ... 1875 . . 136 17 Benvenuto Cellini and Brigands, Quilter's sale 1875 . . 283 10 Macbeth and the Murderers, Quilter's sale ... 1875 . . 253 Shakespeare Reciting to Sir Thomas Lucy, 36in. by 24in., Quilter's sale.. .1875 . . 350 Salvator Rosa and Brigands, Quilter's sale ... 1875 . . 409 10 Old English Hospitality, Quilter's sale ... 1875 . . 430 10 Reading the Bible, 12in. by 20|in., Levy's sale... 1876 . . 157 10 Salvator Sketching with Banditti, 2 lin. by 30in. Knowles' sale ... 1877 . . 425 5 The Baron's Chapel, 14Mn. by 19^in., Brooks's sale 1879 . 262 10 PAINTERS AND THEIR WORKS. 173 £ >s. d. 1879 . . 157 10 o' 1879 . . 378 1880 162 15 1882 . . 110 5 1882 . . 120 5 1884 . . 162 15 1885 . . 100 16 1889 . . 183 1889 . . 246 1891 . . 168 The Conspirators, e^in. by 12|in., Brooke's sale Sacking the Monastery, 19^in. by 27iin., Brooks's sale Colonel Pride's Purge, 9fin. by 13fin., Pooley's sale The Alarm, Henderson's sale... The Knotty Point, Henderson's sale Convent Hospitality, 30in. by 26in., Skipper's sale Evening — Ambush, 43in. by 55in., Sumner's sale Shakespeare as a Youth, Quilter's sale Salvator Rosa and the Brigands, Quilter's sale Raising of Lazarus, Bolckow's sale . . . Catton (Charles).— B. Norwich, 1728 ; d. London, 1798 ; s. S. Martin's Lane Academy ; p. history, subject pictures, and landscapes. This artist was apprenticed to a coach-painter, and became the king's coach-painter and one of the foundation members of the Royal Academy. He greatly improved heraldic painting, but did not confine himself to that, for he painted ' ' The Angel Delivering S. Peter " for the Church of S. Peter Mancrof t, Norwich, many pictures of landscapes and animals, and drew and etched humorous designs — among others, in 1786, a very clever one entitled "The Margate Packet." Catton (Charles, jun.).—B. London, 1756; d. United States, 1819 ; s. his father ; p. scenes for theatres, views, and animals. He was a good painter of scenery and of topographical views ; he also made designs with Burney for " Gay's Fables," and a collec- tion of animals which he engraved about 1788. Towards 1804 he emigrated to the United States and took a farm on the Hudson, but occasionally he painted animals and landscapes. Both the Cattons exhibited at the Royal Academy many pictures of animals, but their pictures were rarely seen at sales, and prices cannot be given. Cavagna (Giovanni Paolo).— b. Borgo di San Leonardo, 1556; D. Bergamo, 1627 ; s. Titian and Moroni ; p. history and portraits. This artist went to Venice, where he studied under Titian, of whose works he made copies, and on his return to Bergamo he worked under Moroni. He, however, rather imitated the style of Paul Veronese than that of either of the above masters. His works at Bergamo, both in fresco and in oil, are numerous and fine. PAINTERS AND THEIR WORKS. Cavazzola.— >S'ee Morando. Cavedone (Jacopo).— b. Sassuolo, 1577 ; d. Bologna, 1660 ; s. Passarotti, Baldi, and the Carracci ; p. history and portraits. It is said that, owing to the severity of his father, Cavedone ran away to Bologna, where a nobleman, noticing his talent for drawing, assisted him in his studies. He made rapid progress in the school of the Carracci, and accompanied Guido to Rome. He probably also went to Venice, and studied the works of Titian, for he became one of the best colourists in the school of Bologna. Albani must have thought that Cavedone's works approached very nearly to those of Titian, as he said that they supplied the want of the latter at Bologna. Guido also greatly admired Cavedone's works in fresco. If we are to believe what has been repeatedly asserted, Cave- done's life was embittered by his wife being accused of witchcraft, and by the death of his son, and he became imbecile and died in misery ; but what renders this story improbable is that he lived to the age of 83. Caxes (Eugenio).— B. Madrid, 1587 ; d. Madrid, 1642 ; s. his father ; p. history. This painter is counted among the great artists of Spain. He was the son of Patricio Caxes, one of the Italian painters employed by Philip II. , and was, like his father, in the service of Philip III. In the audience chamber at El Prado he executed the stucco work of the ceiling, and painted, with a good result, ' ' The Judgment of Solomon " and allegorical figures and landscapes. In 1612 he was appointed one of the king's painters. Conjointly with Vincenzio Carducho he executed the frescoes ni the Cathedral of Toledo, and other works ; and in the reign of Philip IV., in 1631, he painted " The History of Agamemnon '' in the Alcazar at Madrid. One of his most interest- ing works is a large composition in the Queen of Spain's gallery, once in the Palace of Buenritero, representing ' ' The Repulsion of the English, under Leicester, at Cadiz in 1625." In the fore- ground Don Fernando Giron, seated in a chair, gives his orders to Diego Ruiz and other commanders. In the distance the English are seen debarking on the shores of the Bay. Besides the works named, there is, at Copenhagen, a ' ' Fall of the Rebel Angels," by Caxes. Csiy.—Sse Key. Cecci di Salviati (II).— .S'ee Rossi. Cedaspe.— /See Cespedes (Pablo de). PAINTERS AND THEIR WORKS. 175 Celano.— /Sdc Leonardo da Pistoja. Ceuni (Giovanni).— aSgc Cimabue. Cerano ill).— See Grespi (Giovanni Battista). CerqvLOzzi.—Sce Michael Angelo delle Battaglie. Cesare da Sesto, called also Cesare Milanese, or Magnus. — B. i^robably at Milan, between 1460 and 1470 ; d. Milan, 1524 ; s. probably Leonardo da Vinci ; p. history. Great uncertainty exists as regards this painter. If not a pupil of Leonardo, he imitated that painter's style so closely that many pictures formerly attributed to Leonardo are now either known or conjectured to be by Da Sesto. Late in life he went to Rome, and was on friendly terms with Raphael, whom he imitated in his later works. Among the pictures formerly ascribed to Leonardo, but now to Da Sesto, is that known in the Louvre as "La Vierge aux Balances"; another is " A Holy Family, " belonging to Lord Monson. It is thought that Da Sesto was for a time at Messina, as one of his more important pictures, "The Adoration of the Kings," came from a church in that city, and is now in the Museum at Naples. Some contemporary Neapolitan artists also imitated Da Sesto's works ; among others, Andrea da Salerno. Two pictures by Da Sesto have been sold as follow : The Virgin and Child, S. Sebastian, £ s. d. and S. Bernard, Northwick's sale 1859 ... 14 3 6 S. Jerome, Parkes's sale 1866 ... 63 Cesari (Giuseppe).— >S'ce D'Arpino. Cespedes (Pablo de).— b. Cordoba, 1538 ; d. Cordoba, 1608 ; s. Federigo Zuccaro ; p. history. Cespedes was one of the most remarkable men that Spain produced in the sixteenth century. He was of a noble family of Castille, and was brought up in the house of a relation, a canon of Cordoba. In 1556 Pablo was sent to the University of Alcala, where, besides following the usual course of study, he acquired several Oriental languages. When only twenty-one, in 1559, he was in Rome conducting negotia- tions for Archbishop Carranza de Miranda of Toledo, whom we have already mentioned in our notice of the painter Carbajal. It appears that some of the letters Pablo addressed to the Arch- bishop having been seized, he was himself denounced by the Inquisition, and owing to this he did not venture to enter the dominions of Spain for many years, or imtil he wore the pro- tecting robe of the Church. He, however, applied himself with 176 PAINTERS AND THEIR WORKS. great energy to the study of art, acquired from Federigo Zuccaro a good style of colouring, and having, by the study of the works of Michael Angelo, probably with the assistance of some scholar of that master, become equally distinguished among the Italians (as " Cedaspe "or " Pavlo da Cordova") as a painter and a sculp- tor, he was employed to paint in the Church of S. Carlo of Araceli (in fresco), and in that of La Trinita de Monti. In the latter he executed scenes from the life of the Virgin, that were much ad- mired for grandeur of style. His best piece of sculpture was a head of Seneca, in marble, which he fitted to an antique trunk. On his return to Spain, he took the clay model of it with him, and casts of it were long met with in the studios of Spanish artists. Few men have surpassed Pablo in versatihty of talent and variety of accomplishments. While such works as those above mentioned procured him the applause of artists, his learning recommended him to the best scholars in Rome. He also visited Naples and Florence to examine the works of art and the antiquities of those cities. Gregory XIII. appears to have treated the Archbishop of Toledo with great indulgence during his captivity in Rome, and, probably to reward the fidelity of Cespedes to the Archbishop, soon after the death of the latter, conferred on the former a canonry in the Cathedral of Cordoba. Cespedes then returned to Andalusia, and took possession of his canonry on the 7th September, 1577. He was for some years much occupied with the duties of his oflice ; but, nevertheless, found time for both painting and literature. For the cathedral he executed, besides other works, ' ' The Last Supper, " held to be his masterpiece. He wrote a learned essay on his cathedral, in which he showed an accurate knowledge of Arabic and its influence on the Castilian language ; also a poem on painting. Cespedes passed the latter parb of his life partly at Cordoba and partly at Seville. It is said, however, that he was twice in Rome. In ] 604 he composed his "Discourse of Ancient and Modern Painting and Sculpture," in which he displays a thorough knowledge of both, and his criticisms show a just appreciation of the merits of other artists. Among the chief subjects painted by Pablo de Cespedes — for there were other Spanish artists having the same surname — are : Last Supper ; Virgin, Child, and S. Anne — Cordoba Cathedral. Four figures of the Virtues — Seville Cathedral. Last Supper— Seville Museum. Assumption — Madrid . PAINTERS AND THEIR WORKS. 177 Ceulen (Van).— ^'tf Janson van Ceulen. Chalcher.— /SV;e Calcar. Chalons (The).— There were two families of artists of this name, the one Dutch, the other French. Of the first were : Chalon (Christina) .— b. Amsterdam, 1749 ; d. Leyden, 1808 - s. Sara Frood and Ploos van Amstel ; p. in gouache. She was the sister of Jan Chalon, and painted well in gouache (water body colours), but is most known by her excellent etchings. Chalon (Henry Bernard) .—b. 1770 ; d. 1849 ; s. his father ; p. animals and landscapes. He was the son of Jan or John Chalon, and became a student at the Royal Academy. It was in 1792 that his first landscape appeared there. That was followed by pictures of wild animals, and in 1795 he was appointed animal- painter to the Duchess of York ; also, subsequently, to the Prince Regent and to William IV. He was likewise a frequent exhibitor in Suffolk Street. In 1827 he published a hthographic work on the Horse. Chalon (Jan).— b. Amsterdam, 1738; d. London, 1795 ; s. ; P. landscapes. He was the son of Hendrick Chalon, who died at Amsterdam in 1741, and grandson of Louis. For his improvement in art, he went to France and came to England, where he settled and remained until his death. Chalon (Louis). — b. Amsterdam, 1687 ; d. Amsterdam, 1741 ; s. ; P. landscapes. The details of his life are not known, but the landscapes with figures by him are well painted and coloured. Chalon (M. A.).— b. — — ; d. 1867; s. ; p. miniatures. She was a daughter of Henry Bernard Chalon, was miniature painter to the Duke of York, and married Mr. H. Moseley. Of the French Chalons were : Chalon (Alfred Edward).— b. Geneva, 1781; d. Kensington, 1860 ; s. Royal Academy ; p. portraits and history. He was the younger brother of John James Chalon. Like him, it was intended that Alfred should enter on a commercial career, but he also preferred to become a student at the Royal Academy in 1797. He was a member of the Society of Associated Artists in Water- colours in 1808, and in the same year, witli his brother and a few friends, founded "The Sketching Society." In 1810 he exhibited a picture for the first time at the Royal Academy, of which he M 178 PAINTERS AND THEIR WORKS. was elected an associate in 1812 and a full member in 1816. He quickly became the most fashionable painter of portraits in water- colours, many of which are full-lengths, about 15in. high. Owing to his being clean-shaven, and wearing his hair long, as was then general, Chalon's portrait of Charles Dickens looks effeminate, but it was more like than that by Maclise. The fashion of that day gives the same impression of delicate health to many of Chalon's portraits. Many of his portraits of celebrated singers and dancers were engraved. He held the appointment of Painter in Water-colours to the Queen, and painted also some good miniatures on ivory. He produced, moreover, some good pictures in oil, among others, "Hunt the Slipper," "John Knox Reproving the Ladies of Queen Mary's Court" (which was engraved), "Serena," and "Sophia Western." He admired greatly the works of Watteau, and could imitate very happily that painter's style. In 1855 a large collec- tion of his and his brother's works was exhibited at the Society of Arts. He died at an old house on Campden Hill, Kensington, in which he and his brother had lived as bachelors for many years. They were almost inseparable in life, and were buried in the same grave at Highgate. Pictures in oil by A. E. Chalon have been sold as under : John Knox Reproving the Ladies of £ s. d. Queen Mary's Court, the engraved picture, Knott's sale 1845 ... 115 10 Hunt the Slipper, Chalon's sale ... 1845 ... 72 9 Hunt the Slipper(portraits) (bought in) 1861 ... 89 5 Chalon (John James).— b. Geneva, 1778 ; d. Kensington, 1854 ; s. Royal Academy ; p. landscapes and genre. These Chalons belonged to an old French Protestant family, some members of which, on the revocation of the Edict of Nantes, retired to Geneva. The grandfather of John James was in the service of William III., and was wounded at the Battle of the Boyne. After the French Revolution of 1789, the father of John James came to England, and was appointed Professor of French at Sandhurst. This son was placed in a commercial house, but a natural inclination towards art led to his becoming, in 1796, a student at the Royal Academy, where, in 1800, he exhibited his first picture, "Banditti at their RejDast." This was followed by several landscapes. ' Up to 1805 his exhibited pictures were in oil, but in 1806 he became an exhibitor at the Water- colour Society's Rooms, and in 1808 a member of the Society, but quitted it in 1813. He had occasionally sent a picture in oil PAINTERS AND THEIR WORKS. 179 to the Royal Academy, and in 1816 he exhibited his "Napoleon on Board the Bellerophon," a fine picture, which he presented to Greenwich Hospital. "A View of Hastings," also a powerful work, now at South Kensington, was exhibited in 1819. In 1827 he was elected an associate, and in 1841 a full member of the Royal Academy, Besides the above works may be named his "Gil Bias in the Robbers' Cave," and "The Arrival of the Steamboat at Folkestone." He published, in 1820, some humorous " Sketches from Parisian Manners." The following prices have been paid for pictures in oil by J. J. Chalon : £ s d View of Hastmgs, Chalon's sale ... 1861 ... 3112 Le Bas Coleur de Rose, Chalon's sale 1861 ... 30 9 The Pleasures of a Day 1861 ... 71 8 Macbeth and the Witches, dated 1810, 60in. by 84in., Hamil- ton's sale 1882 ... 33 12 Portraits of Mrs. Fairlie and two children were disposed of in Chalon's sale (1861) for £23 2s. Chambers (George.)— b. Whitby, 1803 ; d. Brighton, 1840 ; self-taught ; p. marine subjects. Chambers was the son of a poor seaman at Whitby, and was apprenticed to the captain of a small coasting vessel as cabin-boy at the age of ten. He was singularly small, and suffered many hardships in that position. He had, however, such a natural talent for drawing, and even ship- painting, that his captain, after several years, met his wish to become a painter by cancelling his indentures. On his return to Whitby, Chambers entered into an agreement with a Avidow, named Irvin, who carried on the business of "a house and ship painter," for three years, during which he was to receive five, six, and six-shillings-and- sixpence a week. This enabled him to pay a drawing-master named Bird for a few lessons, but his improve- ment as an artist was chiefly due to his taking every opportunity of sketching what was likely to be of use to him as a painter of marine subjects. After a time he XDroduced drawings and pictures which he sold for small sums, and, having worked his way to London in a trading vessel, was kindly received by a fellow- townsman named Crawford, who, after being an actor and a doctor, kept the " Waterman's Arms " in Wapping Wall. That house was much frequented by Whitby captains, and Chambers was often employed to paint pictures of their vessels. Chambers M 2 180 PAINTERS AND THEIR WORKS. was a man naturally very shy and quiet, but through the exer- tions of Crawford his talents were made known to Mr. Horner, who was at that time employing Parris, the artist, to paint, in the Colosseum in Regent's Park, his great view of London seen from the top of St. Paul's. Chambers worked there for seven years, and also became scene-painter at the Pavilion Theatre. His paintings having attracted the notice of Admiral Lord Mark Kerr, the latter introduced him to William IV. The King and Queen Adelaide both admired and purchased some of his pictures, and Chambers seemed on a fair road to fortune ; but he had never permanently recovered from the hardships he had endured as a boy, and his health became more and more uncertain, until he died, somewhat suddenly, at Brighton, when only thirty-seven. The best works in oil by Chambers were his naval battles, such as "The Bombardment of Algiers in 1816," which is at Green- wich Hospital. Although Chambers was not until 1834 admitted an Associate exhibitor of the Water-colour Society, nor elected a member until 1836, he exhibited some interesting drawings. His "Life," by Watkins, was published in 1841, and as he died without leaving any provision for his family, a subscription was raised for their benefit after his death. The following are the prices which have been paid for some of Chambers's best works in oil : Scheveningen Beach, RoupelFs sale . . . Hyde Ferry-boat, Rodyett's sale ... Sheerness, 19|in. by 28in., Bicknell's sale ... Boats and Shipping, 22iin. by Sl^in., Bicknell's sale Margate , Flato w' s sale ... The Emigrants, RouiDell's sale The Passage-boat, 50in. by 40in., Dixon's sale Off Portsmouth, Ellison's sale Blowing Hard, 22in. by 28in., Levy's sale ... Nearing Home, 23iin. by 21^in., Fuller Maitland's sale ... Lugger in Squall, Whitby, White's sale Off Margate, Shaw's sale A Whaler Entering South Shields ... Of Chambers's water-colours the prices have ranged from "Ships in the Downs— Storm, " 1830, Bradley's sale, 1860, £ s. d. 1855 .. . 127 1 1859 .. . 185 1863 .. . 115 10 1863 .. . 204 15 1866 ., . 325 10 1870 .. . 134 8 1873 ., .. 309 15 1874 ., .. 131 5 1876 .. . 189 1879 .. . 173 5 1879 .. . 168 1S80 .. . 157 10 1889 .. . 215 PAINTERS AND THEIR WORKS. 181 £18 18s., to "Merchantman Signalling for Pilot," 1835, Birch's sale, 1878, £215 5s. Champagne or Champaigne (Philippe van or de).— b. Brussels, 1602 ; d. Paris, 1674 ; s. Bouillon, Michel de Bordeaux and Fouquieres ; p. history, portraits, and landscapes. He came to Paris in 1621, and became intimate with Nicolas Poussin. In 1627 his father caused him to visit Brussels to execute a picture for a society called "The Pilgrims of S. Job." He returned to Paris, where he received letters of naturalisation in 1629, and became Professor and Rector of the Academie de Paris. He married the daughter of the painter Duchesne, whom he succeeded as painter to Marie de' Medicis, and was employed to decorate the Luxembourg. Champagne was patronised by Cardinal de Richelieu, for whom and for Louis XIII. and XIV. he executed some important works. He was closely connected with the Brethren at Port Royal, and "The Last Supper" which he painted for them is held to be his masterpiece. The works of Philippe de Champagne are very numerous. They show that he was thoroughly master of the scientific part of his art. His drawing is correct and his colouring true and vigorous. He was also the best portrait-painter in Paris of his time, and the portraits of Cardinal Richelieu in our National Gallery give a correct idea of his style. The following are the prices at which pictures by Champagne have been sold : Breaking the Bread, Julienne's sale... Moses, La Live de Jully's sale The Presentation in the Temple, Strange' s sale The Last Supper, Dickenson's sale ... Breaking the Bread (the above picture), Couii's sale Portrait of Vicomte de Turenne, Craufurd's sale Portrait of Henri de Lorraine, Craufurd's sale Portrait of Cardinal Richelieu (seated), Craufurd's sale... Portrait of liis own Wife, Craufurd's sale ... Portrait of La Marquise de Langeau and Philippe d' Orleans Avhen young, Craufurd's sale £ s. d. 1767 .. . 16 1770 .. . 60 1773 ., 10 1774 .. . 241 10 1777 .. ,. 100 1820 .. 12 1820 .. ao 1820 .. 10 1820 .. 10 1820 .. 12 182 PAINTERS AND THEIR WORKS. £ s. (1. 1828 ., ,. 77 1845 .. . 129 1859 .. . 41 1865 .. . 175 1865 .. . 90 1869 .. . 74 11 1877 . 99 15 Adoration of tlie Shepherds, Beck- ford's sale ... The Annunciation, Fesch's sale Adoration of the Shepherds, Mont- calm's sale... Portrait of Madame de la Valliere, in a nun's dress, Pliipps's sale ... The Marriage of the Virgin (the altar-piece from the chapel of the Palais Royal), Pourtale^' sale ... Portrait of his Eldest Daughter, Pourtales' sale Portrait of Louis XIII., Webb's sale. . . Portrait of Louis XIIL Investing a Knight, Vernon's sale Chardin (Jean Baptiste Simeon).— b. Paris, 1699 ; d. Paris, 1779 ; s. Gazes and Noel Coypel ; p. genre, portraits, and still life. This charming painter was the son of a clever joiner, who was employed to make billiard-tables for the king, and his son was early destined to be an artist. He was received into the Academie de S. Luc, and, in 1728, into the Academie de Paris. Of the latter he became, in 1743, one of the council, and treasurer in 1752. He was employed to assist J. B. van Loo in restoring the paintings at Fontainebleau ; he also had lodgings in the Louvre, and a pension from the king. In 1765 he was elected a member of the Academie de Rouen. He also occupied, during twenty years, the difficult position of ' ' Arrangeur et Ordonnateur du Salon," was, in fact, in himself the hanging committee at the exhibition of paintings in the Louvre. Chardin first made for himself a good reputation as an artist by painting still life. This arose from the following circumstance : Under Gazes he had been set to copy only his master's works ; but Noel Goypel, having engaged Ghardin to assist him in a portrait of a sportsman, placed before him a gun with great care as to how the light fell upon it, and told Ghardin to copy it exactly in his picture. This is said to have been his first study, and he soon proved how much he had profited by it, for his pictures of still life were mistaken for those by much older Dutch masters. About 1726 Ghardin began to paint droll pictures, such as an old macaw examining a medal, and monkeys ; but in 1733 he produced ' ' A Servant Lighting a Taper, and a Lady preparing to Seal a Letter from It," of which there is an engraving. From that date Ghardin painted those pictures which come under the denomination of PAINTERS AND THEIR WORKS. 183 " genre," and portraits, both of which are now so much admired. It was Chardin's custom to draw at once on the canvas the subject he intended to paint, and he spent so much time over his pictures that it was a cause of complaint from those who gave him commis- sions. Drawings on paper by him are therefore rare. Considering the high prices which are now paid for his pictures, it is interesting to tind, by a letter from the Secretary to the Swedish Embassy in Paris to Le Comte Tessin, that in 1745. Chardin declared that he could not paint two pictures for less than 25 louis d'or each (about £25), or undertake to deliver them in less than a year. The reason for the delay is, the secretary says, that he has " le malheur de travailler si lentement." A full list of the pictures exhibited in Paris by Chardin, between 1728 and 1779, is to be found in Huot de Goncourt's " L'Art du Dix-Huitieme Siecle." They are now dispersed all over Europe. After the French Revolution of 1780, when the works of David and his adherents came into fashion, pictures by Chardin and Boucher were frequently sold for a few francs. It is curious, therefore, to note how they have regained their place in general esteem. They have been sold as follow : Jeune Ecolier jouant au toton, Laroque's sale Two, La Fontaine, et La Blan- chisseuse, Laroque's sale... Two, L'Ecureuse, et Le Gary on Cabaretier, De Vence's sale Le Benedicite, Fortiei-'s sale ... A Boy Drawing, Farquiei-'ssale Mother and Daughter, Bernard's sale A Woman and Tliree Children, Hamilton's sale ... A Court of Justice Nurse giving a Parting Charge to a Schoolboy ... Tavo, Le Jeune Dessinateur and L'Ouvriere (two signed pictures), Lemoy ne' s sal e Interior, Lady ]Jn^^lliIlg her Son's Hat, Warren( ler' s sale ... Instruments de Musique, Baroilhet's sale ... ... La Serinette, D'Houdelot's sale Deux Lapins Morts, D'Houdelot's sale ... £ s. d. 1745 .. 2 1745 .. . 20 1761 .. . 25 1770 .. . 30 1789 .. 6 1789 .. 10 1801 .. 17 17 1809 .. 14 3 6 1828 .. 14 14 1828 .. 1 12 1837 .. 29 8 1855 .. . 80 1859 .. . 190 1859 .. . 25 184 PAINTERS AND THEIR WORKS. s. d. 1864 .. . 73 10 1 QRK looo ZvxJ A U A U 1865 .. . 340 loD/ loo U A U 1867 .. . 33 loO/ OOO u A u 1867 .. 65 1871 .. . 79 16 1872 ., . 89 5 1874 .. . 189 1876 ., .. 245 1876 .. .. 930 Madame Geoffrin (seated) Lyndhiir.st's sale ... La Serinette (see above), De Moiny's sale ... La Petite Re veuse, De Moray's sale... La Pourvoyeuse, Lajjerlier's sale Les Billies de Savon, Laperlier's sale Two, Attributs," Laperlier's sale ... Le Goblet d' Argent, Laj)erlier's sale... Larder, Cat, and Dead Game, Du Bonllay's sale Boy with House of Cards, Brodcrip's sale ... Two, Interior, Lady and the Com- panion, Angerstein's sale Garfon Cabaretier, Murcille's sale ... L'Ecureuse, etc, Murcille's sale (the same pictures as those sold in De Vence'ssale, 1761, for £25) Charlet (Nicolas Toussaint).— b. Paris, 1792 ; d. Paris, 1845 ; s. Gros ; p. military scenes and genre. One of the cleverest sketchers that the modern French school has produced, his works showing great power of observation and a wonderful facility of hand. By some of his pictures he proved also that he could do more than sketch. He was the intimate friend of Gericault. He visited England in 1836, the year in which he exhibited his picture of a scene during the ' ' Campagne de Russie," now at Versailles. Others of his pictures are the "Passage du Rhin," a " Convoi de Blesses, "at Valenciennes, and another, "Scene at the Campagne de Russie," at Lyons. Charlet was the son of a dragoon ; and although his sketches of Arabs are very clever, his best works are those which represent scenes in French military life. His admirable lithographs number about 2000. Pictures by Charlet have been sold as La Visite du Cure, Charlet's sale ... L'Antiquaire, Charlet's sale... Sergent de Voltigeurs, Thevenet's sale Le Sans-culotte Converti, Seymour's sale ... Fete du Grandpapa, Seymour's sale Concert burlesque, Seymour's sale ... L'Imj)rovisateur, Seymour's sale Cherons (The).— A Protestant family of French artists in the seventeenth century. follow : £ s. d. 1846 .. 6 1846 .. 7 1851 .. 13 1860 .. . 30 1860 .. . 80 1860 .. . 40 1860 .. . 41 PAINTERS AND THEIR WORKS. 185 Cheron (Elizabeth Sofie).—B. Paris, 1648; d. Paris, 1711; s. her father ; p. portraits and history. She was a very accom- plished woman, and was received into the Academie de Peintiire, in Paris, in 1676. Besides painting in oil, water-colonr, pastel, and enamel, she was an excellent musician and poet ; and becom- ing a Roman Catholic, remained in France. Her x^aintings are superior to those of her brother, especially the female portraits. Cheron (Henri).— b. Meaux ; d. Lyons, 1677 ; s. ; p. miniatures. His enamel portraits are valuable ; but nothing is known of his life, excejDt that he was the father of Elizabeth, Louis, and Marie Cheron. Cheron (Louis). — b. Paris, 1655; d. London, 1713 ; s. his father ; P. history. He went to Rome, and on his return to Paris painted two pictures for the Church of Notre Dame. On account of the religious troubles, he left France, in 1695, and came to England, where he was employed by the Duke of Montague. Excepting as regards drawing, his works have little to recommend them. Cheron (Marie Anne).— b. Paris, 1649; d. Paris, 1718; s. her father ; p. miniatures. She, like her sister, became a Roman Catholic, and remained in France. Her works are in- ferior to those by Elizabeth. Chimenti (Jacopo).— Empoli. Chinnery (George).— b. ; d. Macao, about 1850 ; s. ; p. portraits and scenes in India and China. This artist worked in oil, miniature, and pastels. He exhibited at the Royal Academy in 1791, when he was residing in London. In 1798 he was painting in Dublin, and was elected a member of the Irish Academy. He returned to London in 1802, but spent the last fifty years of his life in India and China, where lie sketched or j)ainted many scenes in both countries, besides many portraits, a few of which he sent to be exhibited at the Royal Academy. There are drawings by Chinnery at South Kensington Museum. Christophsen.— /Sec Cristus. Ciccio (L'Abate).— /See Solimena. Cignani (Carlo)— b. Bologna, 1628 ; d. Forli, 1719 ; s. Albano ; p. history and portraits. Cignani was the best scholar of Albano, and surpassed him in grandeur of style. Without ever equalling his model, he imitated Correggio. Being of a noble family, he had great facilities for imx3roving himself, and probably availed himself of them to visit different cities in Italy, as it is said that 186 PAINTERS AND THEIR WORKS. it was on his return to Bologna that he was employed by Cardinal Farnese to decorate the great saloon of the Palace at Bologna, where he painted ' ' The Entry of Pope Paul III. into Bologna " and "Francis I. of France Touching Persons Afflicted with Scrofula." He accompanied the Pope on his return to Pome, and remained there three years, in the course of which he painted two pictures for the Church of S. Andrea della Valle. After his return to Bologna he painted at San Michele, in Bosco, scenes representing the time of the plague, also many pictures for the Archbishop of Milan and other persons. He decorated the gallery of the Duke of Ranuccio, at Parma, and was knighted by him and by the Pope. Among liis easel pictures, executed about the same time, were his "Joseph and Potiphar's Wife," now at Dresden; " Hagar and Ishmael, " for the King of Poland ; and "The Descent from the Cross" and " Christ Appearing as a Gardener," for Louis XIV. of France. His greatest work, the decoration of the Cux)ola at Forli, occupied him from 1686 to 1706. On the foundation of the Clementine Academy at Bologna, by Clement XL, Cignani was appointed the first President ; he, however, subsequently retired to Forli, where he died surrounded by his pupils, who were so much attached to him that they had followed him to that place. Besides those we have mentioned, fine works by Cignani are to be found in most of the great galleries in Europe — in England in Hampton Court and at Chatsworth. The prices paid for pictures by Carlo Cignani have been : A Woman Holding a Book, Tallard's £ s. d. sale ... 1756 .. . 120 The same, Gaignat's sale 1768 .. . 130 Galatea and Triumph of Bacchus (two), 23in. by o2in. 1771 .. . 58 5 Jupiter Carried off by the Corybante;-, Felino's sale 1775 .. . 36 Charity, 59in. by 77in., Yandergucht's sale ... 1776 .. . 145 Jupiter and Danae, Le Brun's sale ... 1778 .. . 62 The Five Senses 1780 .. . 80 17 Roman Charity, Rendlesham's sale... 1806 .. . 105 Allegorical picture of children, Coxe's sale ... 1807 .. . 51 Portrait of Pius V., Northwick's sale 1859 .. 14 14 Adam and Eve, Northwick's sale ... 1859 .. . 54 12 Virgin, Child, and S. John, North- wick's sale ... 1859 .. 22 1 PAINTERS AND THEIR WORKS. 187 Cigoli or Gigoli (Luigi Cardi da).— b. Cigoli, 1559 ; d. Rome, 1613 ; s. Ales-saiidro Allori and Santo di Titi ; p. history. Cigoli was one of the greatest artists among the later Florentines. He carefully studied the works of the Venetian painters, and on his return to Florence was admitted into the Academy and employed by the Grand Duke at the Pitti Palace, in which is his best picture, the " Ecce Homo," with life-size figures. S. Francis was a subject that he painted frequently. Pope Paul V. called him to Rome, where he painted, for the Church of S. Peter, " S. Peter Healing the Lame Man at the Beautiful Gate of the Temple, " which is classed among the best pictures in Rome. There is much grandeur in the works of Cigoli. He was made a Knight of Malta, but died when he was about to receive his nomination. He was painter, architect, sculptor, poet, and musician, and was employed at Florence to arrange the decorations ordered on the occasion of the marriage of Maria de' Medici with Henri Quatre. Cigoli was fond of introducing glories of angels into his pictures, and they sometimes remind us of those by Correggio. Although his works are numerous, they seldom appear in sales, and the only one which can be cited is : "The Flight into Egypt," Ash- burnham's sale, 1850, £22 Is. Cima (Giovanni Battista), called Cima da Conegliano. — b, probably about 1460; alive in 1517; s. Giovanni Bellini; p. history and landscapes. Everything relating to this artist is uncertain, yet his works are, in many respects, finer than those of any of the Bellini. They are better composed, the drawing is more correct, the expression in the faces is more grave, and the colouring is not inferior to theirs. The earliest date found hitherto on any of Cima's pictures is 1489 on one in tempera, representing the Virgin and Child under an arch, with vine- leaves, and SS. Jerome and John the Baptist. By 1492 he had, however, mastered the difficulty of painting in oil, as a "Pieta" in oil, bearing that date, is in the Academy at Venice. One great beauty in his works is the landscape backgrounds, many of which represent scenes in the neighbourhood of his native place, Conegliano. Two of his finest works are altar- pieces, in the gallery at Parma. One, with an arched top, represents the Virgin holding the Child ; Conegliano is seen in the distance, and all the details in the foreground are treated with great skill. The other represents the Madonna and Child enthroned. The Madonna's hand is stretched out ab( )\e the head of S. Damian, who is kneeling, and the child bestows 188 PAINTERS AND THEIR WORKS. the benediction on S. ApoUonia, At the sides are SS. Cosmo, Paul, Catherine, and John the Baptist. An angel, seated at the foot of the throne, pauses in his music and looks up. Although most of the pictures by Cima represent sacred subjects, at Parma there are also two small circular pictures by him, one representing " Endymion Asleep," and the other "Apollo and Pan." There is a fine example of Cima's work, "The Incredulity of S. Thomas," in the National Gallery. Easel pictures by Cima are to be found in nearly all the galleries in Europe, where they are frequently attributed to Bellini, and some of them are by imitators. Pictures by Cima have been sold as follow : Virgin and Child, 15in. by 20in., £ s. d. Powerscourt's sale 1845 ... 54 12 Virgin and Child, who holds a cross to S. Francis, Rogers's sale ... 1856 ... 38 17 S. Catherine standing on pedestal, with the Wheel (signed), North- wick's sale 1859 ... 840 Virgin and Child, with SS. John and Ja<^eph, Northwick's sale 1859 ... 28 7 The Madonna with Angels, Leroy d'Etiolles' sale 1861 ... 100 Holy Family and Portrait, Russell's sale 1863 ... 69 6 Virgin and Child, Bromley's sale ... 1863 ... 52 10 Virgin and Child, in landscajje, 23in. by 19in., Levy's sale 1876 ... 378 S. George, 26in. by I7^in., Anderdou's sale " 1879 ... 28 7 Madonna and Child, from Fonthill, 13in. by lOin., Hamilton's sale ... 1882 ... 651 Life of Virgin, three parts, 13iin. by 15|in., Graham's sale ..." ... 1886 ... 84 SS. Sebastian and Mark, Eastlake's sale 1894 ... 378 Cimabue or Gualtieri (Giovanni Cenni, called).— b. Florence, about 1240 ; d. probably at Pisa, 1302 ; s. ; P. history. It is now generally agreed that Vasari's statement that Cimabue gained his knowledge of art from Greek artists who were employed in Florence, must not be taken too literally. On the other hand, it is by no means impossible that there were Greeks working in Florence, particularly in mosaic, when Cimabue was young, and that he may have profited by this to gain PAINTERS AND THEIR WORKS. 189 knowledge of what we may term the handicraft of art ; but there are also documents of the years 1282 and 1294 which show that there were then twenty-one painter-masters, all Italians, who were teaching pupils. It is nearer the truth to say that Cimabue broke away from an old traditionary style, that by the study of nature he gave greater freedom to art, and made a nearer approach to truth, not only in representing the human form, but also in flowers, fruits, and everything which he drew or painted. He did more, for to a certain degree he succeeded in animating the figures and giving expression to the faces of the persons he represented. If he instructed Giotto, what Cimabue must have tried to do is very clear, although it remained for the pupil to carry out the intentions of the master. What remains of the paintings by Cimabue in the Upper Church of San Francesco at Assisi and in Santa Maria Novella proves the strong impetus which he gave to modern art. Of his easel paintings there also remain several which lead to the same conclusion. The most celebrated of these is ' ' The Madonna and Child Enthroned " in the latter church ; others are in our National Gallery and the Louvre, also at Munich and Venice. A few pictures assigned to Cimabue have appeared in sales : Half-length figure of a young girl seen in profile, Lebrun's sale Virgin and Child Enthroned, S. Francis, S. Bernard, and four Female Saints, Rogers's sale ... S. Thomas d' Aquinas holding Book and Inkstand, Rogers's sale Virgin and Child, with Angels, North^ick's sale ... Clone— Sec Orcagna. Cipriani (Giovanni Battista).— b. Florence, 1727 ; d. Hammersmitli, 1785 ; s. Hugford or Heckford, and Gabbiani ; P. history, Cipriani was of a good family at Pistoia. He was a fellow-pupil of Bartolozzi the engraver, under Hugford. In 1750 he went to Rome, and on his return painted in the Convent of S. Maria Maddalena de Pazzi. In 1755 he came to England : here he painted at Houghton, restored Verrio's paintings at Windsor, and those of Rubens in Whitehall in 1778. Cipriani's high reputation is, however, founded upon his drawings, which, combined with the exquisite engraving of Bartolozzi, will always, owing to the rich invention they display, and the elegance of the £ s. d. 1810 .. . 40 1856 ... 52 1856 .. 69 6 1859 .. . 13 13 190 PAINTERS AND THEIR WORKS. ; follow : £ s. d. 1781 ... 60 18 1782 ... 35 14 1801 ... 56 14 1815 ... 4 6 1819 ... 10 10 1825 ... 73 10 figures, be valued by those who have a taste for art. He also engraved a few plates. Cipriani was one of the original members of the Royal Academy. He married an English lady, and their son, Captain Henry Cipriani, was brought up as an artist, but became a clerk in the Treasury ; he died in 1820. The elder Cipriani was buried at Chelsea, where Bartolozzi erected a monu- ment to his memory. There are three water-colour drawings by him at South Kensington: "The Triumph of Cupid," "The Jealousy of Darnley," and "Comedy," dated 1783. Drawings by Cipriani have been sold c The Nine Muses The Rape of Dejanira... Three drawings of the Portland Vase, which were engraved by Barto- lozzi, Hamilton's sale Two drawings, Tragedy and Comedy, Coxe's sale ... Head of one of the Muse?, Knight's sale ... Venus Drawn by Doves, Frazer's sale Circignano.— >S'ee Pomerancio. Ciro Terri.—See Ferri. Civetta.— /S'ee Bles. Claes Pietersz.— >S'c3 Bercliem (Nicolas). Claude Lorrain, Claude Gellee, Gillee, or Gillier, called also Claude de Lorraine and Le Lorrain. — B. Chamagne, in the Department of the Vosges, 1600 ; d. Rome, 1682; s. Agostino Tassi ; p. landscapes and marine subjects. The authors who have described the early life of Claude appear at first to contradict one another, but they all agree as to the most interesting parts of it. His parents were very poor, and the cooks and bakers of Lorraine were then celebrated. Claude as a boy was placed under either one or the other. His parents died when he was twelve years of age, and he then went to live with an elder brother, a wood-engraver, at Fribourg, in Brisgau ; and subsequently he accompanied another relation, a lace-merchant, to Rome. Taking these circumstances into con- sideration, it is not astonishing that Claude, having to earn his livelihood, should have entered the service of Agostino Tassi, a good landscape-painter, especially if, as is very probable, a taste for drawing had already been acquired by Claude when living PAINTERS AND THEIR WORKS. 191 with his elder brother. It must not be forgotten that when Claude was young the relations between a master and his pupils were very different from what they are now, for it would not be difficult to find other instances of pupils then making themselves generally useful in the houses of their masters. What is certain is that Claude, before 1619, was acting as an assistant to Tassi when he was painting at Bagnaia for the Cardinal Montalto, and that Claude was paid by the Cardinal and not by Tassi — who says expressly that he was himself only at the head of four painters emx)loyed by the Cardinal, and one of whom he speaks of as " Claudio cli Lorena." About 1625 Claude returned to Lorraine, and worked at Nancy either under, or in conjunction with, Claude Dernet, or Dervet : the latter had been in Italy and was in high favour with Henri II. de Lorraine, who ennobled him. See Callot aii.I Dernet. Claude went again to Italy in 1627, and on his journey met Charles Errard, who was the first to hold the office of Director of the French Academy at Rome. Sandrart arrived in Rome at about the same time, and for many years the closest intimacy existed between him and Claude. They constantly studied from nature together, and therefore what Sandrart related of Claude deserves to be considered the best source of information regarding his early life. One of the first patrons Claude found in Rome was M. de Bethune, the French Ambassador ; but he was also befriended by Cardinal Bentivoglio, who introduced him to Urban VIII. From that time Claude, as he painted very slowly, must have found it difficult to meet the wishes of his numerous friends. Fortunately he kept a record of the pictures he produced in a book of drawings, to many of which he added the name of the person for whom he painted the picture. This book, known as the "Liber Veritatis," is in the possession of the Duke of Devonshire, and in his collection there is also a drawing by Claude, on which are the horizontal and other lines that show how he worked out the perspective in his pictures. It is said that Claude was of opinion that the best of the many pictures he painted was one destined for Montpellier, the subject of which was " Esther before Ahasuerus " : this is not, however, included in the modern catalogues of his works. Claude etched about forty-two plates, the dates on which vary from 1630 to 1663. It is as well to remember that there was another painter, Charles Meslin, also called " Le Lorrain," who etched plates, and was contemporary with Claude Gellee. In some of Claude's pictures the figures are by F. Lauri, Courtois, 192 PAINTERS AND THEIR WORKS. Both, and other contemporary artists. He signed his works in various ways. At the end of that useful and elegant work, "Claude Lorrain la Vie et ses Ouvres," Paris, 1884, by Mrs. Mark Pattison (Lady Dilke), will be found the most comjDlete catalogue of Claude's works which has ever been made. Pictures by Claude Lorrain always sell now by auction for high prices, but the great rise in their value has occurred since the beginning of the present century. The following list gives the prices paid prior to 1800 for his pictures, many of which must since then have produced far more : Two pictures, De Verrue's sale Two landscapes, La Roque's sale ... Two landscapes, Bragge's sale A marine view, Waldegrave's sale ... A landscape, Waldegrave's sale A seaport with landscape, Julliemie's sale ... View near Naples, Bowles's sale Two landscapes, De la Guicbe's sale Two landscaj^es, De Cboiseul's sale Departure of Jacob, Strange's sale ... A landscape, Dickenson's sale Seaport, the Arch of Constantine, 30in. by 36in., Dickenson's sale... Morning (the companion), Le Brun's sale ... Landscape, Colebrooke sale ... Landscape, Colebrooke sale Italian landscape, from Lady Betty Germain's Collection, Colebrooke sale ... Evening, Bladen's sale Italian Seaport, Bladen's sale Seven pictures, all by Claude, Blondel de Gagny's sale ... Israelites Worshipping the Golden Calf, Montford's sale View of the Temple of Peace, Biondi's sale ... Meeting of Jacob and Esau, 55in. by 62in., figures said to be by Velasquez, Vandergucbt's sale ... Landscape, Narcissus and other figures, Bernard's sale Landscajje, cattle, and figures, Le Chevalier D'Eon's sale £ s. d. 1737 140 1745 . ,.. 95 1750 12 16 1763 . .. 50 8 1763 231 1767 . .. 150 1770 . .. 252 1771 . .. 320 1772 . .. 270 1773 . .. 420 1774 . .. 194 1774 73 10 1774 . .. 106 1774 . 52 10 1774 . .. 65 1774 . .. 131 1775 . .. 33 12 1775 . .. 42 1776 . .. 2450 1776 . .. 525 1776 . .. 33 12 1776 . 64 1783 . .. 84 1784 . 13 5 PAINTERS AND THEIR WORKS. 193 Tivoli, Story of Tobit and Angel, Le £ s. d. Bran's sale... 1785 . . 35 Landscape, sea in distance, Johnson's sale ... 1785 . . 304 Landscape — Morning, 18|in. by 21iin., Antrobus's sale ... 1788 . . 33 Italian Seaport, Vandergucht's sale... 1788 . . 304 10 Landscape, Kigby's sale 1789 . . 278 Harbour on Coast of Barbary, from De Piles's Collection, European Museum sale 1791 . .. 180 Landscape, with figures 1792 . .. 97 Flight into Egypt 1794 . 34 13 Landscape, S. George and Dragon, Calonne's sale 1795 . . 178 10 Apollo and Marsyas, Calonne's sale... 1795 . . 65 Landscape, Calonne's sale 1795 . .. 105 Seaport with ruins, Calonne's sale ... 1795 . .. 283 10 Landscape, castle on rising ground (supposed to be The Enchanted Castle," sold in 134S for £2100), Calonne's sale 1795 . .. 546 The companion picture, Calonne's sale 1795 . . 525 View near the Castle of Gondolfi, Reynolds's sale 1795 . .. 152 Landscape, Angel Appearing to Hagar, Reynolds's sale 1795 . .. 120 15 The Worship of the Golden Calf, Vandergucht's sale 1796 . .. 500 The Landing of Cleopatra, More's sale ... 1796 . .. 2620 1 Landscape in La CamjJagna, More's sale ... 1796 . 51 9 Seaport, 36in. by 48in 1797 . .. 126 Laban and Daughters, from Halifax's Collection ... 1798 . .. 220 10 Seaport, from Avaux's Collection 1798 . .. 241 10 Sunset on Ruins, Bernard's sale 1799 . .. 105 Since 1800 about two hundred pictures by Claude have been sold by public auction in London and Paris. The prices paid for them have varied from £25, for a landscape, ''Sunset — Artist Sketching," at Lord North wick's sale in 1859, to £6090, paid for "The Sacrifice to Apollo," at Sir P. Miles's sale in 1884. The latter is said to have been bought in Paris in 1732, but unfortunately the -price then paid for it is not known. The following pictures have sold for £300 and upwards : N 194 PAINTERS AND THEIR WORKS. £ s. d. Landscape, from Colonna Palace 1800 . .. 346 10 The companion, from Colonna Palace View on the Tiber, W. Y. Ottley's 1800 . .. 357 sale ... 1801 . .. 388 10 Landscape, Ascanius Killing Sylvia's Stag, from Colonna Palace A Sea-piece, Dido and ^neas Landscape, Flight into Egypt, Pur- 1801 . .. 464 1801 . .. 840 ling's sale ... 1801 . .. 383 5 Landscape, from Collection of Prince Charles of Lorraine, Sir S. Clarke's sale 1802 . .. 504 Landscape, Civita Castellana in dis- tance, W. Porter's sale ... 1803 . .. 735 Landscape, Mercury and Battus, from Choiseul Collection, W. Porter's sale ... 1803 . .. 682 10 ^neas on the Coast of Africa, Box- ellis's sale... 1804 . . 1522 ^neas Led by the Sibyl to the Infernal Regions, Boxellis's sale 1804 . .. 1050 Landscape, Civita Castellana, from Choiseul Collection, Heathcote's sale ... 1805 . .. 367 10 Landscape, S. Paul Carried into Bondage — Evening, Lord Lans- downe's sale 1806 . .. 535 10 The Grotto of Neptune, Lafontaine's sale ... 1807 . .. 430 10 Seaport, supposed to be Genoa (etched by Claude), Lafontaine's sale ... , 1807 . . 1995 The companion, Lafontaine's sale ... 1807 . .. 840 The Enchanted Castle, Rinaldo and Armida, 66in. by 41iin.,Froward's sale ... 1807 . .. 1050 Salmacis and Aphrodite, from Colonna Collection, Lord Ber- wick's sale ... 1825 . .. 1165 10 Landscape — Evening, Three Girls Teaching a Dog to Dance, 15in. by 20in., from De Merle and Smit/h Collections, twice .en- graved," oval, Lord Radstock's sale 1826 ... 733 Landscape, subject from Ovid, from Colonna and Berwick Collections, Zachary's sale 1828 ... 1627 10 PAINTERS AND THEIR WORKS. 195 Landscape, IVIoiint Parnassus, painted for the Constable Colonna (bought from Colonna Collection by Du- rand, of Paris), Emmerson's sale Rape of Eurox^a, Lord Gwydir's sale Seaport and figures, from De Prissac Collection ... Evening — Attack of Banditti, Lord Mulgrave's sale ... Seaport, Mediterranean, 30in. by 38^in., Nieuwenhuys' sale Seaport, Triumphal Arch, from Conde Collection, Grey's sale ... Landscape, from Colonna Collection, Coesve It's sale Seaport — Sunrise, Sir S. H. Clarke's sale ... Seaport — Evening, Lady Stuart's sale ^neas Visiting Helenus, Harman's sale ... Flight into Egypt, Penrice's sale ... The Water-mill, Wright's sale Italian Landscape, from Hesse, Cassel, Malmaison, Talleyrand, Gray, and Owen Collections, Higgin- son's sale ... ^neas Visiting Helenus, Higginson's sale ... Herdsman Tending Goats, 16in. by 21in., Wells's (Redleaf) sale ... Mercury and Argus, 22in. by 26in., Wells's (Redleaf) sale The Enchanted Castle, 46in. by eO^in., Wells's (Redleaf) sale ... Landscape, Mules Crossing Bridge, Hope's sale... The Israelites Worshipping the Golden Calf, Metcalf's sale ... View in the Bay of Naples, Lord Ash- burton's sale View near Rome, Ponte Molle, Lord Ashburton's sale... Port de Mer, King of Holland's sale The "Diamond Claude," Piping- Herdsman, two goats, from Swedish Minister's Collection (bought in), Woodburn's sale ... £ s. d. 1829 577 10 1829 . .. 2100 1829 . .. 420 1832 .. 367 10 1833 . .. 409 10 1836 315 1837 . .. 640 10 1840 . .. 735 1841 640 10 Q 1844 . .. 1837 10 1844 708 Q Q 1845 . .. 451 10 1846 . .. 1470 1846 . .. 1260 1848 . .. 315 1848 . .. 346 10 1848 . .. 2100 1849 . .. 577 10 1850 . .. 1102 10 1850 . .. 1123 10 1850 . .. 1890 1850 . 710 1854 .. 315 N 2 198 PAINTERS AND THEIR WORKS. Seaport, boat, three figures under portico, from Baudiville, Robit, and Clarke Collections, Grant's sale ... Landscape, with piping herdsman, 12in. by 14|in., S. Kogers' sale Italian Seaport, Vessel at anchor (No. 31, Liber Veritatis), Brain's sale Mount Parnassus — Morning, Mcin- tosh's sale ... Landscape, bridge, two figures, cattle, Lord North wick's sale ... ^neas Visiting Helenus, 37in. by 50in., Higginson's sale ... Seaport, round tower, fort, temple, four figures in boat, Phillips's sale Italian Seaport (and engraving), Frederick's sale ... Mount Helicon, 36in. by 54in,, from Colonna Collection, Ellis's sale... Lake, sportsmen, cattle, 23in. hj 32^m., Munro'ssale Baptising the Eunuch, 33in. by 55in., Munro's sale Seaport, temple, towers (engraved), Munro's sale Herdsman Tending Goats, 16in. by 21in., Redleaf Collection, Bates's sale ... Mercury and Argus, 23in. by 29in. (etched by Claude), from Redleaf Collection, Bates's sale ... Ariadne and Bacchus, 29in. by 39|in. (engraved), Duke of Hamilton's sale ... Juno, To, and Argus (Smith's Cata- logue), 22in. by 28in., Lord Sudeley's sale Landscape, road scene, herdsman, woman on ass, from Farnborough Collection, Long's sale ... The Sacrifice to Apollo, 69in. by 89in., Sir P. MUes's sale The Landing of ^neas, 69in. by 89in., Sir P. MUes's sale The preceding two are known as the " Altieri Claudes." 4? 3t s. A d 1854 399 1856 . .. 693 1857 .. 525 1857 . .. 450 1858 . .. 315 1860 .. 892 10 1866 . .. 504 1874 . .. 336 1876 . .. 315 1878 . .. 315 1878 . .. 840 1878 . .. 3150 1881 . .. 420 1881 . .. 640 10 1882 . .. 840 4:01 u 1882 . .. 425 5 1884 . .. 6C90 1884 . .. 3990 PAINTERS AND THEIR WORKS. 197 £ s. d. 1884 . .. 2047 1884 . .. 525 1884 . .. 525 1886 . .. 409 10 1888 . .. 220 10 1890 . .. 378 1890 . .. 299 1891 . .. 913 10 1895 . .. 509 5 Herdsman and Cattle at a Ford (etched by Claude), Sir P. Miles's sale ... A Seaport — Evening, 23in. by 36in,, Sir P. Miles's sale... A Seaport, 39in. by 53in., Sir P. Miles's sale The 2^i'6ceding two are on copper. Mount Helicon, Graham's sale Landscape and Sportsman An Italian landscape, Perkins's sale Mount Helicon Embarkation of S. Paulina, 43in. by 54in., Lord Haldon's sale Artist sitting on the shore drawing a coast scene, 13in. by 19in., Lyne Stephens' sale Clennell (Luke). — b. Ulgham, near Morpeth, 1781; d. Newcastle-on-Tyne, 1840 ; s. Bewick ; p. history, landscapes, and marine views. This talented artist was the son of a farmer, and assisted in the shop of a grocer, a relative, until he was sixteen. His love of drawing led to his being apprenticed in 1797 to Bewick the engraver, under whom he made rapid progress, both in drawing and in engraving on wood. In 1804 Clennell came to London, and married the sister of Charles Warren, the engraver. He was soon fully employed in wood-engraving, and among his works are the illustrations to Falconer's ' ' Shipwreck " and Rogers's Poems, from Stothard's designs. Clennell, however, abandoned wood-engraving. He drew beautifully in water-colours, and made the designs for Walter Scott's "Border Antiquities." Clennell contributed to the Water-colour and Royal Academy Exhibitions between 1812 and 1816. He competed successfully for the premium of 150 guineas offered by the Directors of the British Institution for the best sketch of the decisive charge by the Life Guards at Waterloo, engraved by Bromley. In 1814 Clennell received a commission from the Earl of Bridgwater, for a large picture representing the dinner given to the Allied Sovereigns at the Guildhall, London. He was proceeding vigorously with his picture, but the anxiety and difficulties of the work were too great for his mind, and he became suddenly insane ; and althougli he partially recovered from time to time, he died imbecile in 1840. His wife, who had suffered much, was 198 PAINTERS AND THEIR WORKS. left unprovided for, and shortly afterwards also became insane and died. Clennell was highly talented as a painter, his works being- true and powerful ; lie also sang well, and wrote poetry. The prices obtained at sales for his works in oil have been : Baggage Waggon in a Storm, £ s. d. Allnutt's sale 1863 79 16 Charge of the Guards at Waterloo, 24in. by 18in., Vaughan's sale ... 1885 ... 89 5 In water-colours : Tilbury Fort, in sepia, Pooley's sale 1875 ... 16 16 The Logan Stone, Quilter's sale ... 1875 ... 18 18 A Ferry-boat, QuUter's sale 1875 ... 12 12 Ferry-boat, U^in. bv 32in., Pooley's sale ."^ 1880 ... 67 4 Cleveleys (The). — There were two painters of marine subjects of this name, who were not relations. John was born in London about 1745, and died in London in 1786. He studied under Paul Sanby, was a draughtsman in the Navy in 1774, and accompanied Capt. Phipps to the Arctic regions and Sir Joseph Banks to Iceland. He painted principally in water-colours, but sometimes in oil. The other was Robert, who, in early life, was a sailor, and was appointed Marine Painter to the Prince of Wales. He also painted in water-colours and in oil, but generally in the latter. His chief works are large pictures representing the great naval victories at the end of the last century. He painted also a few good landscapes, Robert Cleveley was killed by falling over the cliff at Dover in 1809. The works of both the Cleveleys have much merit. There are drawings by them at South Kensington. Paintings in oil by John Cleveley have been sold as follow : A Sea View with Dutch Boats, £ s. d. Bridgwater's sale 1802 ... 9 9 Old London Bridge in 1760, 17in. bv 40in., Bohn's'sale 1885 ... 89 5 Clint (George). — b. London, 1770; d. Kensington, 1854; s. ; P. portraits and dramatic scenes. Clint was the son of a hairdresser who had a shop in Brownlow Street. Holborn. He was successively apprenticed to a fishmonger, in an attorney's office, house-painter, miniature-painter, mezzotint-engraver, and made copies by the dozen of Holland's pictures. His first success was a mezzotint plate of Harlow's picture The Kemble Family," PAINTERS AND THEIR WORKS. 199 which became so popular that it was re-engraved three times ; it brought him in contact with many players and admirers of the drama, and he commenced painting a series of dramatic scenes and portraits of favourite actors. These caused him to be elected an Associate of the Royal Academy, which position he resigned in 1835. Clint's pictures are valuable as preserving the portraits of dramatic celebrities. Those of Liston, Mathews, and Kean are very like. His mezzotints are. as works of art, superior to his paintings, which are rather weak as regards colouring. The following are some of Clint's best pictures : Tayleure, Mrs. Davenport, and Clara Fisher, in " The Spoilt CMld" (painted for Lord Liverpool), Fawcett and Charles Kemble as Captain Copp and Charles IL (painted for Mathews). Mathews, Liston, and Blanchard, in "Love, Law, and Physic." Mathews as the Lying Valet. Bartley as Sir John FalstafF. Oxberry as Master Peter. Harley as PopoKno in " The Sleeping-draught." Liston and Farren in " Charles XII." (The preceding six painted for Lord Essex.) Miss Foote as Maria Darlington (painted for Colonel Berkeley). Young as Hamlet. Kean as Richard III. Macready as Macbeth. Liston, Madame Vestris, Miss Glover, and Williams, in " Paul Pry," 1831 — in South Kensington Museum. Charles Young"^ Hamlet, and ^liss Glover as Ophelia, 1831 — in South Kensington Museum. Clouets or Cloets (The), known also as Jehannet and Janet. — ■ There were at least four painters of this family. Clouet or Cloet (Francois), the younger, called Janet, a diminutive of the name Jehannet, by which his father was known. — b. Tours, probably 1510 ; d. probably at Tours, 1572 or 1580 ; s. his father ; p. portraits and history. This artist was the son of Jean Clouet, known as Jehannet. He was painter to Francois I., Henri IL, Fran9ois II., Charles IX., and Henri III. When Fran9ois 1. died, Janet was the artist who took the wax cast from his face for the cfUgy which represented the body at the funeral, and he did the same when Henri II. died. Janet painted 200 PAINTERS AND THEIR WORKS. not only the sovereigns of France of his time, but many persons connected with their court, as Elizabeth of Austria, wife of Charles IX., and Mary Queen of Scots. The works of aD the Clouets show the Flemish style. Those which are harder in outline, and more simple and old, are probably by the younger Jean or his brother Franfois, but the majority are by the younger Francois (Janet). They are generally small whole-lengths, and in them the old Flemish style is modified by French and Italian art. No doubt also many por- traits of the sixteenth century attributed to Janet are not by him. In his the grounds are often of a light bluish-green, or a green curtain is introduced. They have not the strength and character of Holbein's, and the accessories are very much worked up. The following are thought to be certainly by Janet : Portraits of Charles XI. and Elizabeth d'Autrich, in the Louvre ; a portrait of Franfois II. when the Dauphin, at Antwerp ; and some in England. At Castle Howard, besides those of Catherine de' Medici and her children, and of Mary Queen of Scots, there is a large collection of portraits in black-and-white chalk, and others are in the British Museum. There were also many small portraits in the Bernal Collection, of which the finest were sold as follow : Isabelle, Queen of Charles IX., 14in. £ s. d. by lOin 1855 ... 154 Eleanor of Portugal, 15Mn. bv 12in.... 1855 ... 225 15 Henri II., on white horse \ 1855 ... 163 15 Henri III., on brown horse 1855 ... 215 Diane de Poictiers, signed " Fr. Janetti Opus," Sir R. Frederick's sale 1874 ... 131 In France portraits by Janet have been sold as follow : Portrait of Eleanor of Austria, sister £ s. d. of Charles V., Bruge-Dumesnil's sale 1851 ... 18 Portrait of a Woman, Pourtales' sale 1865 ... 162 Portrait of Charles IX., Hedouin's sale 1866 ... 80 Portrait of Jacqueline Comtesse de Montbel et d'Entremonts (on wood), 24 by 20 centimetres, Marcille's sale 1876 ... 160 Charles IX., Magniac's sale ... ^ ... 1892 ... 294 Portrait of a Gentleman, Magniac's sale 1892 ... 451 PAINTERS AND THEIR WORKS. 201 Clouet or Cloet (Jean).— b. Brussels, 1420 ; d. ; s. ; p. portraits. This Jean is the first of the family of whom anything is known. He was in the service of the Duke of Burgundy, for whom he worked in 1475. An artist of the same name is men- tioned in the accounts of the City of Brussels from 1498 to 1499. Clouet or Cloet (Jean), called Jehannet le Jeune, son of Jean le Vieux. — b. probably at Brussels, about 1485 ; d. probably at Paris, 1541 ; s. his father ; p. portraits. He was painter to Francis I. of France, and a document in the Tresor des Chartes shows that he came from abroad, and married Jeanne Boucault at Tours, where his son Francois was born. Jehannet, ne^•ertheless, lived in Paris, and probably died there. He had, however, not been naturalised in France, and therefore on his death his goods would have become the property of the Crown, had not Francis I. granted letters of naturalisation to his son Francois in 1541. There is not any portrait in existence which can with certainty be proved to be the work of Jehannet, although he was fully occupied in painting ]Dortraits during his lifetime. He had also a brother Fran9ois, who was painter to Margarette and Henri de Navarre. The following are recent auction prices paid for Jehannet's pictures : £ s d Francois I., Magniac's sale 1892 ... 913 Henri II., Magniac's sale 1892 ... 913 Clovio (Giulio).— B, Grizaii^, in Croatia, 1498 ; d. Rome, 1578 ; s. ; p. history in miniatures. The real name of this very celebrated miniaturist was Juraj (George) Glovicic, or Glovichsich. The name of "Crovata" or "Grovata" simply meant a native of Croatia. He signed his works " Crovatinus," "Crovata," "lUiricus," " di Crovazia," or "da Crovazia." Probably his family came from Macedonia, as he has been called " II Macedone," or "Macedo." As there were in almost every monastery in the southern Slav countries monks who were scribes and illuminators, it is very possible tliat Clovio, who re- mained in his native country until he Avas eighteen, had studied painting in one of them, perhaps at Fiume or Novi Bazar, before he went to Italy, Clovio was eighteen in 1516, and Vasari's statement that he entered the service of Marino Cardinal Grimani, who was a Venetian, is probably correct, as also that Clovio became intimate, at Rome, with Giulio Romano (who was the same age as himself), and profited by his advice. We next find 202 PAINTERS AND THEIR WORKS. Clovio, in 1524, in the service of Louis II., King of Hungary, who perished, in 1526, at the battle of Mohacz. This event doubtless caused Clovio to return in that year to Rome, where he entered the service of Cardinal Laurenzio Campeggio. Clovio's residence in Rome enabled him to continue his study of the works of Michael Angelo and those of Raphael. When the sack of Rome by the Germans occurred in 1527, he was taken prisoner, and escaped with difficulty from their hands. On reaching Mantua, where he met Giulio R.omano, he entered the Monastery of S. Rufino, and on becoming a monk took the name of " Giulio, " by which he was afterwards known. Clovio remained three years in the monastery, and it was when going from one monastery of the order to another that he met with an accident which detained him at the Monastery of Candiana, near Padua. There he was neglected or ill-treated by the monks until rescued by his old patron Cardinal Grimani, who obtained from the Pope permission that Clovio should be relieved from his vows. While with the Cardinal at Perugia, Clovio executed some of his finest works, among others the "Commentary on the Epistle of S. Paul," now in the Soane Museum, which the Duke of Buckingham bought of one of the Grimani family for 1000 guineas. Clovio subsequently returned to Rome, and worked for Pope Paul III,, Cardinal Farnese, at Florence for Cosmo I., and for Philip II. of Spain, for whom he is said to have painted "The Victories of Charles V.," now in the British Museum. Modern critics have expressed doubts as to this last being by Clovio, but they appear to forget that their opinion necessitates the admission that there were other men as able as Clovio and his contemporaries. He worked also for John III. of Portugal, and many princes and nobles. Clovio lived in Rome towards the end of his life in the palace of Cardinal Farnese, in which he died in his eightieth year. As he retained his j)ower of working to the last, this long life accounts for his works being so numerous. They are, however, so valuable that they have nearly all passed into public collections, and very few remain in private hands. Owing to the very large number of works by or attributed to Clovio, it is necessary to mention those which are admitted on all hands to be by him. The Papal Lectionary, executed for Cardinal Farnese, and presented by him to his uncle, Paul III., called "The Townely Clovio," sold by Messrs. Sotheby in 1883 for £2050, now the property of an American amateur. PAINTERS AND THEIR WORKS. 203 The Commentary oii S. Paul's Epistle, in the Soane Museum; a small Book of Offices, in the British Museum ; a Missal, dated 1537, in the Holford Collection — London. The Poems of Eurialo D'Ascoll — Imperial Library, Vienna. The Second Volume of Dante — Vatican Library, Rome. The Missal of 1546, executed for Cardinal Farnese. The Breviary of Cardinal Farnese, formerly in the Royal Library at Naples, but now said to be missing. It is signed ' ' Julius Clovius Macedo." Cocq^.—See Coques. Coeberger or Coeberghen.— >S'cc Koeberger. Coedyk.— >S'/ '3 Koedyck. Coello (Alonso).— *S'fc' Sanchez Coello. Coello (Claudio)— B. Madrid, between 1630 and 1640 ; d. Madrid, 1 693 ; s. Ricci ; p. history and portraits. Claudio Coello was the son of a Portuguese sculptor in bronze. He was the last of the great painters of the Spanish school, which declined rapidly after his rival, Luca Giordano, arrived in Spain. He thoroughly studied the works of Titian and Van Dyck, and worked very carefully. The frescoes which he painted in conjunction with his friend Donoso are inferior to his pictures in oil. They distinguished themselves, however, by the elaborate arches and other decorative works erected on"^he occasion of the public entry of Queen Maria Louisa into Madrid. After holding several other appointments, Coello succeeded the younger Herrera (in 1 686) as Painter-in-Ordinary to King Charles II., received the key of Chamberlain, with the usual allowance, and was deputy Aposentador. Coello's pictures in oil have much of Alonso Cano's grace, and something of the rich colouring of Murillo and the strength of Velasquez's works. The principal one is the altar-piece in the sacristy of S. Lorenzo, in the Escorial, representing ' ' The Adora- tion of the Miraculous Host," an immense composition on which he worked for seven years. It Avas the opinion of Cean Bermudez that had Claudio Coello lived at a time more favourable to art than his, he would have been one of the greatest painters that Spain produced. Pictures by Claudio Coello have been sold as follow : Three boys, a girl, and a lamb, Law's £ s. d. sale 1782 ... 11 S. Pedro de Alcantara, Lebrun's sale 1810 ... 300 Virgin and Child, S. Joseph and S. Elizabeth, Penrice's sale 1844 ... 215 204 PAINTERS AND THEIR WORKS. £ s. d. Jesus and S. Peter, Salamanca sale... 1875 ... 24 Donna Maria, Magniac's sale ... 1892 ... 572 Coignet (Leon).— b. Paris, 1794; d. Paris, 1880; s. Guerin ; p. history, genre, and portraits. A painter of the modern French school, who produced highly dramatic works. He resided for some , years in Rome, was professor of drawing at the Lyceum and the Ecole Polytechnique, and was elected a member of the Academie des Beaux Arts in 1849. There are several large military pictures by him at Versailles, but his best work is "Tintoretto Painting his Dead Daughter," which striking picture Coignet painted in 1845 ; it is now in the museum at Bordeaux. Coignet was remarkable as a teacher and for the number of able painters who learned their art in his school. Cole (George).— B. 1810 ; d. 188o ; self-taught ; p. animals, landscapes, etc. This painter had a natural talent for art. While painting show-canvases for Mr. Woombwell, "A Tiger- hunt in the Jungle with Elephants," 20ft, square, made him known as an animal-painter. He was then living at Portsmouth and became much employed by influential persons to produce hunting scenes. George exhibited his Avorks for the first time in London in 1838, and between that year and 1880 showed sixteen at the Royal Academy, thirty-five at the British Institution, and 209 in Suffolk Street. In 1850 he was elected a member of the Society of British Artists. Since 1867 pictures in oils by George Cole have been sold by auction in London at prices ranging from £105 for " Milking- time," at his executors' sale in 1884, to £383 5s., paid at a sale in 1874 for "Fern-gatherers." Cole (George Vicat).— b. Portsmouth, 1833; d. London, 6th April, 1893 ; s. his father ; p. landscapes, etc. Vicat Cole was the son of George Cole, and exhibited at Suffolk Street for the first time in 1852. From that date to 1880 the landscapes shown by Vicat amounted to fifty-three at the Royal Academy, forty- eight in Suffolk Street, and ten at the British Institution. In 1860 Vicat Cole received the medal from the Society of Arts for "A Surrey Cornfield." In 1870 he was elected an associate of the Royal Academy, and in 1880 a full member. Later he produced * ' The Pool of London, " a picture which was a great success, was purchased out of the Chantrey Fund, and is now at South Kensington. Many of his pictures have been engraved or etched. Most of them represent Surrey cornfields or scenes on the upper Thames. PAINTERS AND THEIR WORKS. 205 The following pictures by Vicat Cole have produced over £200 Sunset — Pause in a Storm, Dobree's sale ... Sunlight in the Woods, 30in. by 48in., Cottrill's sale Showery Weather, 38in, by 60in., Dixon's sale Autumn Solitude, 40in. by 60in., Dixon's sale On the Arun, IQJin. by 29^m., Timmins's sale April Skies, 48in. by 72in. (bought in), Holmes' sale ... Arundel (bought in), Chigwell's sale Summer Noon, 57in. l)y 35in., Brooks's sale ... ... ... Noon (large size), Drew's sale Kiver at Arundel, 24in. by 38in., Lovatt's sale A Surrey Pastoral, Slee's sale Harvesting — Showery, Marshall's sale On the Arun, Marshall's sale Autumn, 1872 (bought in), Elkingtoifs sale ... ... TT> Pa.ssing Showers Autumn Solitude, 3Siu. by 60in., Taylor's sale Welsh Valley, 40in. by 60in., Lee's sale On the Arun, Murrieta's sale On the Arun, Murrieta's sale Harvesting, Murrieta,'s sale... Evening Shadows, Agnew's sale A Harvest Field, Grieg's sale On the Arun, 234in. by 35^in., Lovatt's sale Summer Rain, Teasdale's sale Landscape, Webster's sale ... Summons to Surrender, Cole's sale Oxford On the Arun, Medwin's sale ... Cole (Thomas).— B. Bolton-le-Moors, D. Cattskill, United States, 1848 ; self-taught ; P. landscapes. His father emigrated to the United States and established a paper- hanging manufactory at Steubenville, in Ohio. Thomas Cole was £ s. d. 1873 ... 787 10 1873 ... 451 10 1873 700 1873 ... 393 1873 ... 204 15 1873 ... 651 1878 ... 882 1879 ... 441 1880 ... 682 10 1881 ... 525 1881 ... 241 10 1881 ... 393 15 1881 ... 336 1881 ... 220 10 1882 ... 299 5 1883 735 1883 ... 341 1883 ... 231 1883 ... 451 10 1883 ... 609 1884 ... 267 15 1884 ... 294 1885 ... 435 15 n u 1886 ... 892 10 1889 ... 257 1893 ... 441 1894 ... 556 1894 ... 294 in Lancashire, 1801; 206 PAINTERS AND THEIR WORKS. then about eighteen years of age, and, his wish to become a painter increasing daily, he suddenly left his home, and with difficulty reached Philadelphia and New York, where he started painting landscapes in a garret. His talents soon recommended him to Trumbull and older artists, and he met with some wealthy patrons, from whom he received substantial assistance. They enabled him to visit Italy and England, and, finally settling down in the United States, he was for long the best landscape-painter in America. His works are seldom seen in England ; but he exhibited in 1830 and 1831, three landscapes at the Royal Academy, five at the British Institution, and one in Suffolk Street. Probably all were views in the United States. Colle (Haphael dal), called Raffaellino, or Paffaello di Michel- angelo dal Colle. — b. Colle, a farm three miles from Borgo ; D. 17th November, 1566, buried at Borgo; s. Raphael Santi ; p. history. After the death of Raphael^ who employed Dal Colle in the decorations of the Loggie (where he painted a portion of the History of Moses), he worked under Giulio Romano at Mantua ; also with Bronzino on the designs for tapestry at Florence, and with Vasari in the decorations for the wedding of the Duca Alessandro. The works he executed on his own account are little inferior to those of the great masters to whom he acted as assistant. The principal are an "Annunciation," at Citta di Castello ; an "Entombment," in "the Servi"; and "The Virgin with S. Sebastian and S. Roche," in the Church of S. Francesco at Cagli. There are also pictures by him in the Chapel of the Olivet Monks at Gubbio. Collet (John).— B. London, 1725; d. Chelsea. 1780; s. George Lambert ; P. humorous subjects and portraits. He imitated Hogarth, not only in humorous subjects, but also in painting portraits in what were then termed ' ' conversation pieces." Many of his works were engraved by Goldar, and he etched some of his own designs. There are two water-colour drawings by Collet at South Kensington. Collins. — There have been about a dozen artists of this name, of whom the chief were : Collins (Hichard).— B. in Hampshire, 1755 : d. London, 1831; s. Jeremias Meyer; p. portraits in miniature and in enamel. This artist practised at Bath and Dublin, and in 1777 exhibited at the Royal Academy, Avhere his works became some PAINTERS AND THEIR WORKS. 207 of the most attractive in the exliibitions. In 1787 he was apjDointed miniature-painter to George III., and executed some fine portraits of the King and members of the Royal Family. As a painter in miniature he divided with Shelley and Cosway the fashionable patronage of his time. He retired from his profession about 1813, as he was in easy circumstances. Collins (William).— B. London, 1788; d. London, 1847; s. George Morland ; p. rustic and coast scenes, landscapes, history, and portraits. This charming painter was the son of an Irishman who settled in London, was a writer, journalist, and picture dealer, and lived in Great Titchfield Street. He was acquainted with George Morland, whose "life" he subsequently wrote. William early showed an inclination to become a painter, had the advantage of learning what he could from seeing Morland paint, and, what may very well have been of more use, of sketching from nature and copying pictures in company with his friend, John Linnell, who, although younger in years, had already made considera|)le progress as a landscape-painter. The works of William CoUms are, however, so original that we may almost say he was self- taught. He nevertheless became a student at the Royal Academy in 1807, and by 1809 his pictures, both at the Royal Academy and at the British Institution, began to attract attention. In 1812 he had the misfortune to lose his father, which rendered his mother and the family dependent upon his exertions. In 1813 he exhibited "The Sale of the Pet Laml)," a picture which added much to his reputation. Yet it was in 1815, at Cromer, in Norfolk, and while living at Hastings in 1816, that Collins made the studies which were the foundation of pictures such as "Fishermen Coming Ashore before Sunrise" and "Sunrise," that were admired even more than his groups of cottage children, and ultimately helped him to overcome the difficulties by which he was surrounded for many years after the death of his father. There were several good judges of art, such as Sir Thomas Heathcote, Sir Robert Peel, and others, who bought the early works of Collins ; still, it was the purchase in 1818, by the Prince Regent, of his "Scene on the Coast of Norfolk" that led to his receiving many commissions, and from that time Collins rose rapidly into fame and comparative affluence. Wilkie had long been his intimate friend, and in 1818 Collins accompanied Leslie and Washington Allston to Paris. He had been elected an Associate of the Royal Academy in 1814, and in 1820 became a full member. 208 PAINTERS AND THEIR WORKS. In 1822 Collins married, at Edinburgh, Miss Geddes, the sister of Mrs. Carpenter, the portrait -painter. Of their two children, the younger, Charles Allston, began life as a painter, but soon devoted his time to literature ; the other was the well-known author, Wilkie Collins. Besides going to Paris in 1818, Collins visited Holland and Belgium in 1828, Italy in 1836, Germany in 1840, and the Shetland Isles in 1842. During his stay in Italy, when at Sorrento, he had a rheumatic attack, which produced disease of the heart, and, although he lived eleven years after, his health was never good. The few pictures of sacred subjects Collins painted are by no means his best works, but the prices we give below prove how well his rustic, and especially his coast scenes with figures and animals, have maintained his reputation as a very able artist. He also painted in water-colours, and etched a few of his own drawings. Pictures by Collins should never be hung near those that are strong in colour, for they make his appear weak, which they are not in reality. In a list of nearly one hundred and fifty pictures in oil by William Collins, the prices paid at public auctions run from £13 13s. for "A Brook, Hendon," sold in 1847 at the sale of his effects after his death, to £3780, paid at Gillott's sale in 1872 for " Cromer Sands," 40in. by 47in. Space will only permit of giving some other high prices paid for some of his best works in oil. A view in Westmorland, Woman Washing, De Tabley's sale ... Seashore— Sunrise, De Tabley's sale... Happy as a King, Knott's sale The Peacemaker, Knott's sale Sunday Morning, Knott's sale Boulogne, T. Baring's sale Taking Seaf owls' Eggs, T. Baring's sale ... Sunday Morning (see above), Bacon's sale ... Rustic Hospitality, Walker's sale ... Coast scene, Boys Lifting Fish in Baskets, 34in. bv 26in., dated 1823, Wells's sale The Dead Robin, Higgins's sale The Cherry-seller, Higgins's sale ... Doubtful Weather, Higgins's sale ... Coast scene. Boys Lifting Fish (see above), Hammond's sale ... £ s. d. 1827 . .. 189 1827 . .. 210 1845 . .. 214 1845 . .. 273 1845 . .. 294 1848 .. . 241 1848 .. ,. 257 1850 . ,. 430 10 1851 .. . 294 1852 .. . 210 1853 .. . 315 1853 .. . 472 1853 .. . 661 10 1854 .. . 336 PAINTEES AND THEIR WORKS. 209 The Skittle-players, 34m, by 43|in. (this picture cost Mr. George Young £420 about 1844), Young's sale ... Coast scene. Evening, Fisher Boy and Dog, Mcintosh's sale Stirling Castle, Burnett's sale Selling Fish, 33^in. by 4G^in., etched by Collins (cost Bicknell 400 guineas), Bicknell's sale Early Morning, Sussex Coast, 34Mn. by 47iin., Bicknell's sale Cliildren Feeding Rabbits (portraits of Mr. Rice's children), Rice's sale Boulogne Fisherwonien on Sands, dated 1830, Tunno's sale The Card-players, 16in. by 22in,, Knowles s sale The Nutting Party, painted for Rev. R. A. Thorpe, Dickson's sale ... The Reluctant Departure, exhibited 1815, Bullock's sale Sale of the Pet Lamb, painted 1813, Reed's sale ... Stirling Castle (see above), Cope's sale Barmouth Sands, 22in. by 42|in., Gillott's sale Cromer Sands, 40in. by 47in., Gillott's sale ... Cromer Sands, Sketch, 8in. by lO^in., Gillott's sale Landscape, Benzon's sale The Venturesome Robin, 27in. by 36in., Faruworth's sale ... Stirling from the Teith, 28in. by 36in., Heugh's sale Skittle-players (see above), Mendel's sale ... Girl on Grey Pony, in landscape, Chichester Cathedral, painted in 1821 for Mrs. Currie Dartmouth, Devon, 36in. by 48in., Maddy's sale Borrowdale, Children, 34in. by 44in., Sharp's sale Prawn-fishing, Randall's sale... Selling Fish (see above). Skipper's sale £ s. d. 1856 . .. 1207 1857 . .. 456 15 1860 . .. 453 1863 . .. 1228 10 1863 . .. 1018 1863 . .. 525 1863 . .. 387 10 1865 . .. 210 1870 . .. 9j^5 1870 . .. 1470 1872 . 204 15 1872 . .. 882 1872 . .. 1785 1872 . .. 3780 1872 .. 315 5 1874 .. 829 10 1874 .. 840 1874 . .. 1102 10 1875 . .. 2415 1876 . .. 593 5 1879 . .. 1575 1881 . .. 2625 1884 . .. 420 1884 . .. 892 10 210 PAINTERS AND THEIR WORKS. Blackberry-gatherers, 20in. by 24in., exliibited 1817, Watts' s sale ... 1885 The Morning Bath, 27in. by 36in., McConnells sale... 1886 Harvest Showers ... ... ... 1887 The Skittle-players, Bolckow's sale... 1888 Barmouth Sands, Walker's sale ... 1888 Kustic Hospitality, Lee's sale ... 1888 Fishermen Coming Ashore before Sunrise Shrimp- boys at Cromer, dated 1816 ... The Capstan at Work, dated 18*20 ... The Kitten Deceived, dated 1817 ... Children Playing with Puppies, dated 1812 Hop-pickers, dated 1835, Wells's sale Scene at Aberystwith( with portraits), dated 1842 Minnow-catchers, Bolckow's sale Cromer Sands, Cheylesmore's sale ... Cromer Sands, dated 1835, Bell's sale Samphire-gatherers, dated 1845, Brocklebank's sale Bird's Nest, Field's sale Fish-auction, Essex's sale Disposal of a Favourite Lamb, Mont- rose's sale ... Cromer Sands, Gibbon's sale Returning from Haunts of the Sea- fowl, Gibbon's sale For water-colours by William Collins the realised have been : £ s. d. 315 892 10 409 10 1585 10 1050 997 10 1889 . .. 525 1890 . .. 1260 1890 . .. 840 1890 . .. 682 1890 . .. 241 loyO .. 357 1891 . .. 430 1891 . .. 1575 1892 . .. 2205 1893 . .. 430 1893 . .. 535 1893 . .. 231 1893 . .. 787 1894 . .. 420 1894 . .. 241 1894 . .. 325 highest prices Buying Fish, Fordbam's sale... Coast scene. Fishermen and Children, Brown's sale Fisherman and Pericles, Tyrrell's sale Coast scene, Children, Dunmore's sale Fisherman's Bay, Isle of Wight, 20in, by 26in., Levy's sale Fisherman's Bay, Isle of Wight Comitibus {'De).—S66 Conti. Conegliano (Cima).— /See Cima. Coninck.— /See Koninck. Constable (John).— b. East Bergholt, Suffolk, 1776; d. London, 1837 ; s. Royal Academy ; p. landscapes and portraits. £ s. d. 1860 . . 138 12 1860 . . 258 6 1874 . . 197 8 1874 . . 199 10 1876 . . 367 10 1885 . . 110 PAINTERS AND THEIR WORKS. 211 The family of Constable came from Yorkshire. His father, Gokliiig Constable, inherited considerable property, including the water-mill at Flatford ; he purchased also a water-mill at Dedham, and two windmills near East Bergholt. At the last-named place he built a house, to which he removed in 1774. He married Miss Ann Watts, and they had three sons and three daughters. John, the second son, was born 11th June, 1776. Although he was baptised the same day, as he was not expected to live, yet he grew up to be a man of great personal strength, and was knoAvn as "the handsome miller." He was at three schools, the last being that of Dr. Grinswood, near Dedham, and acquired some knowledge of Latin and French, but at the age of sixteen or seventeen had become devotedly fond of painting. He had an opportunity of indulging this taste, for John Dunthorne, a plumber and glazier, who lived in a cottage close to the gate of Golding Constable's house, employed his leisure time in painting landscapes from nature, and many of Constable's early attemjjts were made in the open air. His father was anxious that John should study and become a clergyman, but finding him averse to studying desired to make a miller of him. Nothing could, however, destroy Constable's desire to become an artist, and his mother procured for him an introduction to Sir George Beaumont, who frequently visited his mother. Lady Beaumont, at her residence at Dedham. Sir George was pleased with some sketches Constable had made, showed him his picture of "Hagar," by Claude Lorrain, which he often carried with him, and allowed him to study about thirty drawings by Girtin, which he possessed. Upon the works of these two painters and nature Constable founded his art. In 1795 he came to London, bearing a letter to Farrington, the painter, who predicted Constable's future distinction as a painter in an original style. Constable returned to Bergholt in the following year, and at first devoted his time to anatomy, painting figures, and etching. To please his father he, however, worked in his father's counting-house, and it was not until 1799 that he returned to London and was admitted a student at the Royal Academy. He copied also pictures by Ruisdael, and received advice from Farrington and Reinagle ; but it is evident from his letters that even then he trusted more to what he could teach himself by painting from nature than to imitating the works of others. In 1800 Constable visited various parts of the country, in- cluding Derbyshire, but when in London he attended Brookes's o 2 212 PAINTERS AND THEIR WORKS. Anatomical Theatre, and even made there coloured drawings of a large size. It was in 1802 that he exhibited his first picture, a landscape, at the Royal Academy. He received much encourage- ment at this period from West, who was then President. There is a passage in one of Constable's letters, written by him in 1802, which explains better than anything else the means by which he became the great painter he was. He says : ' ' For the last two years I have been running after pictures and seeking the truth at secondhand. I have not endeavoured to represent nature with the same elevation of mind with which I set out, but have rather tried to make my performances look like the work of other men. I shall return to Bergholt, where I shall endeavour to get a pure and unaffected manner of representing the scenes that may employ me. There is room enough for a natural jKiinter. The great vice of the present day is bravura, an attempt to do something beyond the truth." In 1803 he was on board "The Coutts," East Indiaman (commanded by Capt. Torm, a friend of his father), for a month oti" Deal and Dover. He visited the Fleet in the Downs, and made no less than one hundred and thirty sketches, among which were three of the "Victory," from different positions. Owing probably to the bad weather, he went ashore at Deal, and left the drawings behind him ; but was fortunate enough to recover them. In 1806 he exhibited a drawing of "His Majesty's Ship ' Victory, ' in the Battle of Trafalgar, " between two French ships of the line. In the same year he was in Westmorland and Cumberland, and was employed by the Earl of Dysart to make copies of pictures, chiefly by Sir Joshua Reynolds. He painted the altar-piece, ' ' Christ Blessing the Bread and Wine, " for Neyland Church, in 1810. About this time he was on intimate terms with John Jackson and Wilkie, and sat to the latter for the head of the physician in his picture "The Sick Lady." Since 1800 Constable had been acquainted with Miss Maria Bicknell, the daughter of Charles Bicknell, Solicitor to the Admiralty, and after many difficulties they were married at S. Martin's Church, on the 2nd October, 1816. During this time, although he continued to paint portraits for profit, Constable, in pursuing his favourite style of art, was advancing to the first rank as a landscape-painter, yet many of his works remained un- sold, and he had even advertised : ' ' Mr. Constable's Gallery of Landscapes, by his own hand, is to be seen gratis daily, by application at his residence." He himself explained the reasons PAINTERS AND THEIR WORKS. 213 when writing : ' ' My art flatters nobody by imitation, it courts nobody by smoothness, tickles nobody by petiteness, it is without fol-de-lal or fiddle-dS-dee ; how can I then hope to be popular ?" But fame at last came from a quarter whence it was little to be expected. A French speculator bought three of his pictures at the Royal Academy — -"The Hay cart," "A View near London," and ' ' The Lock on the Stour " — and sent them to the Paris Salon in 1824. The power shown in them caused them to be much ad- mired, and the King of France awarded Constable a gold medal. Constable did not, however, live long to enjoy his success, for he died suddenly in Charlotte Street, Fitzroy Square, London, on the 1st April, 1837. The peculiar merit and no\'elty in Constable's works cannot be expressed better than in the words used by Redgrave : ' ' Landscape- painters had hitherto usually painted with the sun at their backs, to the right or to the left, out of the picture," and "many had painted the sun in the picture gradually sinking in the low horizon. But Constable chose the time when the sun was high in the heavens, far above, out of his canvas, but still in front of him, and painted almost always under the sun, and much that is peculiar in his art arose from this cause." In a list of over a hundred pictures in oil ])y Constable, the prices range from £7 7s. for "A Hayfield," in AUnutt's sale, 1863, to £6510, for "The White Horse," in Hemming's sale, 1894. The following are a few of the high prices paid for some of his works : Landscape, Salisbury Cathedral, Wag- gon and Horses, Taunton's sale Dedham from Towing-path, the companion (both bought in, see below), Taunton's sale ... Waggon Passing through River, Higginson's sale ... The Embarkation of George IV. to Open Waterloo Bridge (see below), Baring's sale Landscape, Salisbury Cathedral (see al )ove), Taunton' s sale Dedham (see above), Taunton's sale... The Jumping Horse, Birch's sale ... Lock on the Stour, Dedham (see below, 1861), Oddie's sale £ s. d. 1846 ., . 441 1846 . .. 357 1846 . .. 378 1848 33 12 1849 .. . 430 1849 ., .. 157 1858 .. . 393 15 1854 ., ,. 204 15 214 PAINTERS AND THEIR WORKS, ''The White Horse" The Opening of Waterloo Bridge in 1817 (see abov*, Wallis's sale ... The Lock, Gambart's sale ... The Glebe Farm (bought in), Con- stable's sale The Mill-stream, 33in. by 38in. The Hay-wain, 50in. by 73in., dated 1831, Young's sale Lady with Geranium, Constable's sale ... Weymouth Bay (see below), Bullock's sale... Hampstead Heath, Bullock's sale ... Heath scene, cart, cattle, and don- key, 23in. by 30in. (see below), Bullock's sale On the Stour, Kent, Burnett's sale ... London from Hampstead, 8|in. by 1 1 |in . , Gillott' s sale On the Stour, 24in, by 45in., Gillott's sale ... Weymouth Bay, 34in. by 44in. (see above) (now in the Louvre), Gillott's sale Heath scene, cart, cattle, and donkey (see above), Hargreave's sale ... Hampstead (Bullock's picture). Wood's sale River scene, Suffolk, 28in. by 36in,, Mendel's sale Stratford S. Mary's, Suffolk, 12in. by 19Mn., Johnstone's sale... Stoke-by- Wayland, Suffolk, 48in. by 56in., Nield's sale The Thames, Westminster, Nield's sale ... Hampstead Heath, Sharp's sale Helmingham Park, Scovell's sale ... View on the Stour, 36in. by 54in. (study), Dunlop's sale The Lock, Vaughan's sale ... A Dell in Helmingham Park, 44in. by 51in., McConnell's sale Hampstead Heath, dated 1830, Con- stable's sale rORKS. £ s. d. 1855 ., ,. 630 1861 ., ,. 462 loOi AlO i- loDo 1865 ., .. 693 1866 .. . 1365 1869 .. . 279 6 1870 . .. 535 10 1870 . .. 588 787 10 1872 . .. 477 15 1872 . .. 405 10 lO i Z 1872 . .. 735 1873 . .. 1050 1874 . ,. 934 10 1875 . .. 630 1875 . .. 325 10 1879 . .. 777 1879 . .. 430 10 1881 . .. 577 10 looo 945 JLOoO 1249 1885 . 367 10 1886 . .. 2400 1887 . .. 1050 PAINTERS AND THEIR WORKS. 215 The Mill-stream, Lett's Cottage, £ s. d. Fish's sale ... 1888 . .. 325 10 The Lock, AndreAvs's sale 1888 . .. 252 Carrying Hay ... Landscape with Windmill, Santurce's 1890 . .. 222 sale ... 1891 . .. 210 Dedham Vale, Constable's sale 1891 . .. 514 Brighton... 1892 . .. 309 Hampstead Heath 1892 . .. 472 Hampstead Heath, dated 1830, Baring's sale 1893 . .. 2677 "The White Horse," Hemniing's sale 1894 . .. 6510 Dell, Helmingham Park, Graham's sale ... 1894 . .. 241 Yarmouth Jetty, dated 1820, Gibbon's sale ... 1894 . .. 514 Two in water-colours, ' ' Cottage and Mill-sluice " and ' ' Rustic Cottage and Pond," ^ere sold at Hibbert's sale, in 1860, for £111 6s. and £58 10s. respectively. Conte (Jacopo di Francesco del), whose surname was Calvi.— B. Florence, 1500; d. Rome, about 1588; s. Andrea del Sarto ; p. history and portraits. This artist was not the same person as Jacopo, called Jacone and Jacapone, another scholar of Del Sarto, whose manner he imitated very closely. Del Conte went early to Rome, where he painted some sacred subjects for churches, but is best known by the excellence and number of his j)Oi^traits, he having painted those of more dis- tinguished persons than any artist of his time, among them the Popes from Paul III. to Clement VIII., and Michael Angelo Buonarroti. Conti (Bernardino de), called De Comitibus. — b. Pavia, about 1450 ; D. 1525 ; s. Foppa ; p. history and portraits. The master- piece by this artist is in the Brera, and represents the Virgin and Child enthroned, and the four fathers of the Church, with Lodovico il Moro, Beatrice his wife, and their children, kneeling in front. Another fine work by him is the portrait of a bishop, dated 1499, in the Berlin Museum. Pictures by De Conti are not only fine, but interesting, since competent judges are of opinion that several pictures and drawings formerly attributed to Leonardo da Vinci are by De Conti — among others, the famous portrait of a lady, supposed to be Lucrezia Crivelli, and known as ' ' La Belle Ferroniere," now in the Louvre. 216 PAINTERS AND THEIR WORKS. Cook (Samuel).— B. Camelford, Cornwall, 1806; d. 1859; self-taught ; p. marine views and landscapes. This painter is known as "Cook of Plymouth." He was employed in a woollen factory, where he spent all his leisure time in drawing, and after- wards in sign-paintiiig and painting scenes for travelling peep- shows. He next went to Plymouth, and engaged himself as a house-painter, which business he ultimately carried on by him- self. The time that he could spare was, however, devoted to sketching on the coast and quays ; and his drawings attracting attention, he was i)ersuaded to submit them to the Committee of the Water-colour Society, of which he became a member on its foundation in 1830. From that time he was a constant contributor to its exhibitions until his death. Cook's works are chiefly coast scenes in the neighbourhood of Clovelly and Plymouth. They are simple and true, the sea being well in motion. There is a view of " Stonehouse, Plymouth," by him at South Kensington. Water-colours by him have been sold as follow : £ s d The Lime-burners, 16iin. by 2S*in. ... 1862 ... 27 Comtessbury Craigs, Storm (bought in) 1862 ... 63 The Mewstone, Bullock's sale ... 1870 ... 52 10 Cooke (Edward William).— b. London, 1811; d. Groom- bridge, 1880 ; s. his father ; p. marine subjects and landscapes. This artist was the son of George Cooke, the engraver, and was brought up to follow his father's profession. In 1832 he turned his attention to painting in oils, and in 1835 he exhibited "Honfleur Fishing-boats" and "Hay-barge off Greenwich" at the Poyal Academy. Of this institution he was elected an Associate in 1851, and a full Member in 1864. He contributed many fine pictures to the Academy exhibitions, it is said in all one hundred and thirty works, without counting those he sent to the British Institution and those he painted in water- colours. Cooke's works represent very varied scenes, not only in England, but also in Holland, France, Italy, and Morocco. The strongest proof of their merit is the high prices that have been paid for them at public auctions since 1851. In a list of about a hundred and fifty sold since then, the prices range from £84 to £892 10s. Probably, taking one with another, the works of no other modern English painter have produced so many high prices. Only a few of them can be given : PAINTERS AND THEIR WORKS. 217 Sea-view, Fresh Breeze, Northwick's sale ... Calais Harbour, Stiff Breeze, Wells's sale ... Unloading a Fishing-smack, Wells's sale ... The Entrance to Calais Harl)our, Flatow's sale Dutch Boats in a Calm, 35in. by 55in. Carthagena, Spain, 26in. by 42in., Agnew^s sale Dutch Trawlers at Anchor, Morby s sale Dutch Fishing-boats, Davis's sale ... Biva degli Schiavoni, 19|in. by 31 in., Knowles's sale Alicante Castle and Bock, Moore's sale Coming Ashore, Lancaster's sale Trouvilie Fisliing-craft, Northcote's sale ... Venice, Canale di San Giorgio, Fallow's sale ... Goodwin Sands and Lifeboat Zuyder Zee Fisliing-boats, Wheeiei-'s sale ... ... ... Vessels Scudding near Bass Bock, Laurie's sale ... Axmouth Harbour, Coulson s sale ... Trouvilie Fishing-craft, 36in. by 54in,, DLxon's sale Venice by Moonlight, Cooke's sale ... Venezia ! Venezia ! Chi non te vide, ei non te prezia, 1852, Cres- singham's sale Beurtman Aground, 6'3in. by 44:in., Leafs sale ... Scheveningen Trawler, 35in. byo-iin,, Mendel's sale Sloop Entering Calais ... Dutch Pinks, 3Hin. by 48in., Grant's sale Danish Craft on Elbe ... Porto del Lido, 19in. by 33iin., Turnei-'s sale Port Delzijl, 26iin. by 41iin., Arden's sale ... Venice, 2G|in. by 42in., Arden's sale £ s. d. 1359 . . 325 1860 . . 367 10 1860 . . 330 15 1861 . . 367 10 1861 . . 355 19 1861 . . 300 1864 . . 630 1865 . . 640 1865 . . 399 1866 . . 367 1868 . . 383 5 1868 . . 446 5 1868 . . 304 10 1869 . . 593 5 1871 . . 430 10 1873 . . 330 15 1873 . . 330 15 1873 . . 603 15 1873 . . 320 5 1874 . . 315 1875 . . 483 1875 . . 892 10 1876 . . 336 1877 . . 443 1877 . . 735 1873 . . 556 10 1879 . . 346 10 1879 . . 850 10 218 PAINTERS AND THEIR WORKS. Dutch Boats Running for Brockhaven, £ s. d. Cooke's sale 1880 .. 409 10 The Zuyder Zee, Cooke's sale 1830 . .. 483 Dutch Coa t at Camperdown, Cooke's sale ... 1880 .. . 430 10 Hastings, 36iu. by 60iu., Holds- worth's sale 1881 ., ,. 614 10 Beurtnian Aground, 42in. by 66in., Hermon's sale 1882 . .. 555 10 Hauling the Pink, 42in. by 65in., Toulmins sale 1336 ., ,. 493 10 On the Scheldt, dated 1867, Bolckow's sale ... 1888 .. . 336 Church of S. Maria della Salute, Bolckow's sale 1888 .. . 745 10 The Piazetta, Venice, Bolckow's sale 1888 ., ,. 630 Dumbarton Castle 1890 .. . 400 The Thames off Mill wall, dated 1857, Cosens's sale 1890 .. . 346 Kynance Cove, Bolckow's sale 1891 .. . 420 Off the Isle of Wight, dated 1871, Kurtz's sale 1891 .. . 330 Catalan Bay, dated 1863, Matthew»'s sale ... 1891 n Bella Venezia, Burnand's sale 1892 .. . 504 French Lugger, Calais, Burnand's sale ... 1892 ., . 735 Bristol Channel, Price's sale ... 1892 .. . 220 Dutch Fishing-craft, Price's sale 1892 .. ,. 388 For Cooke's water-colours the prices have ranged from £32 to £152. Cooper (Abraham).— B. London, 1787 ; r>. Greenwich, 1868 ; s. ; p. animals and battles. He was the son of a tobacconist, and at the age of thirteen was employed at Astley's Theatre among the horses. When about twenty-two he painted, with great success, a horse belonging to Sir Henry Meux, and was engaged to draw portraits of horses for the Sjwrtinr/ 3Iagazine. In 1814 he sent his " Tani-o'-Shanter " (engraved by Allen) to the British Institution, the directors of which awarded him, in 1816, 150 guineas for his sketch of "The Battle of Ligny." He was elected the same year an Associate of the Royal Academy, and in 1820 a full Member. In 1819 he exhibited his "Battle of Marston Moor," and was held to be the best painter of battles of his time. He exhibited constantly up to 1868. PAINTERS AND THEIR WORKS. 219 Cooper's works are generally small in size, very spirited and true, but somewhat leaden in colour. Many of them were engraved. He painted both in oil and in water-colours. Pictures in oil by him have l^een sold as follow : Fight at Cropredy Bridge, Knott's £ s. d. sale 1845 ... 101 17 Retreat from Marston Moor, dated 1855, Cressingham's sale 1874 ... 28 7 Cooper (Alexander).— B. ; d. ; s. John Hoskins ; p. miniatures. He was a nephew of John Hoskins and the elder brother of Samuel Cooper, and he painted, not only portraits, but also landscapes, both in oil and in water-colours. He went abroad, and resided some time at Amsterdam and in Sweden, where he was appointed painter to Queen Christina. Cooper (Samuel).— B. London, 1609 ; d. London, 1672 ; s. John Hoskins ; p. miniatures. Unlike his brother Alexander, he painted almost exclusively portraits in water-colours, and soon surpassed, not only him, but also his uncle Hoskins, both in boldness of style and in colouring. Samuel Cooper's talent was, however, confined to painting a head, and his drawing of the figure is often inac- curate. His miniatures are peculiarly valuable, owing to so many of them being portraits of very celebrated persons, not only of England, but also of France and Holland. He passed some time in both those countries, in which his miniatures were highly valued, and he was also a good musician and linguist. The miniatures by Samuel Cooper, which are very numerous, are generally the finest to be found in large collections. He closely studied portraits by Van Dyck, and his miniatures, for which he was in the habit of making sketches with black chalk' on coloured paper, have much of the freedom and strength of that master's works. An interesting drawing by Samuel Cooper, made probably from life for a miniature of Oliver Cromwell, is in the Master's house at Sidney College, Cambridge ; and Mr. Cromwell Frank- land, of Chichester, had one of his finest works, a small portrait of Cromwell, set in a snufi-box. There is a tradition in the family that Cromwell surprised Cooper while copying this picture, at which he was indignant, and took it away with him, and that this accounts for the body Ijeing unfinished. Horace Walpole had a miniature of Richard Cromwell by S. Cooper, and there is one of Milton, the poet, in the collection of the Duke of Buccleuch, which was purchased at Caen by an English gentleman named 220 PAINTERS AND THEIR WORKS. Villiers, who, on tearing off the paper from the back, found by whom it was painted. ' Samuel Cooper was Avell paid for his works, as Pepys, in his ' ' Diary " of the year 166D, says, speaking of the miniature of the wife of Pepys : "He hath £30 for his work, and the crystal- and-gold case comes to £8 3s. 4d. more." In 1809 S. Cooper's miniature of Prince Rupert was sold in the P^iuncefort sale for M7 5s. • Copley (John Singleton).— b. Boston (U.S.), 1737 ; d. London, 1815 ; s. Peter Pelham ; p. history and portraits. He was taught the first rudiments of his art by his step-father, Peter Pelham, a painter and mezzotint engraver, to whom Mrs. Copley was married after his father's death. His mother's maiden name was Singleton. When only sixteen, Copley painted and engraved a portrait of the Rev. William Welsteed, of Boston. This brought him many com- missions, and, among other interesting portraits, he painted, in 1755, a miniature of George Washington, afterwards in the possession of Washington Irving. About 1774, he painted the " Boy with a Squirrel," which was the portrait of his half-brother, Henry Pelham ; this was exhibited (thanks to the influence of West) anonymously in London, at the Royal Academy, and was so much admired that Copley was advised to come to England. He quitted America early in 1774, and never returned to it. From England he went to Italy, and studied at Parma and at Rome. On his return to London in 1776, he was elected an Associate of the Royal Academy, and he became a full Member in 1779. As a painter Copley was almost self-taught, and his work was better than that of many Academicians. His principal ]3ictures, representing events in history, and containing many portraits, will always be valuable, as he took great pains to make them good likenesses. He at first resided in Leicester Fields, but later in George Street, Hanover Square, where he died, as did also his son, Lord Lyndhurst, in 1864. Some important works by Copley were destroyed by fire, at BostoAi (U.S.), in 1873. A sketch of his life and a list of the pictures and portraits by him in America, by A. T. Perkins, was pri /ately printed at Boston (U.S.), in 1873. Copley's most important works are : The Death of Lord Chatliam, painted 1779-80 ; the Death of Major Pierson, painted 1783 — National Gallery, London. PAINTERS AND THEIR WORKS. 221 The Siege and Relief of Gibrcaltar (the .studies are in the National Gallery and at South Kensington) ; Portrait of Lord Heathfield (study in National jPortrait Gallery) — The Guildhall, Loudon. The Princesses Mary, Sophia, and Amelia, daughters of George III. (one of his best coloured pictures) — Buckingham Palace, London. Portrait of the Earl of Mansfield (painted 1783)— National Portrait Gallery, London. The Copley Family — Mr. Amory's Collection, Boston, U.S. The most interesting sale of Copley's works was that which took place after the death of his son, Lord Lyndhurst, in 1864. The principal lots were : Samuel and Eli (si(ice l)urned at Messrs. Graves') Portrait of Admiral Duncan ... Sketch for The Three Princesses at Buckingham Palace Portrait of Lord Mansfield in Robes (in National Gallery) The Death of Major Pierson (in National Gallery)... The Boy with the Squirrel (painted 1760) Portraits of the Copley Family (l)ought in)... Coques (Gonzales).— b. Antwerp, 1614; d. Antwerp, 1684; 8. David Ryckaert ; p. portraits, family groups, landscapes, and animals. The name of this painter is in reality Cocq. He studied under the third Pieter Breughel in 1626-27, and also with David Ryckaert, whose daughter Catharina he married in 1643. In 1640 he had been received as a Master into the Guild of S. Luke at Antwerp, and was Dean in 1663 or 1665, and again in 1680-81. He took an active part in its manage- ment, and received from it, in 1680, a gift of 1550 florins. In 1671 he was appointed painter to Le Comte de Monterey, Governor-General of the Low Countries. As a poet Coques was, in 1653, a member of the societies of " The Marigold" and " The Olive-branch." In private life he was, however, unfortunate, as he lost in succession his daughter, Gonzaline, at the early age of twenty-four, her child three years afterwards, and finally his first wife. He married a second wife, Catharina Ryslieuvels, in 1675. £ s. d. 1864 . .. 105 1864 . .. 246 15 1864 . .. 257 15 1864 . .. 241 10 1864 . .. 1600 1864 . .. 241 10 1864 . .. 1050 222 PAINTERS AND THEIR WORKS. As an artist Gonzales Coques took Van Dyck's works as his model, and although painting on a small scale, succeeded in giving the same correctness, breadth, and freedom to his portraits and figures that distinguish those of Van Dyck. During his life- time his works ranked next to those of that great Fleming, and so numerous were the commissions he received from persons of the highest rank, that he could only execute them with difficulty. Our Charles I., the Archduke Leopold, and the Prince of Orange, all employed him, and the last presented him with a medallion bearing his portrait and a gold chain. The number of pictures by Gonzales Coques is very small ; Smith, in his " Catalogue Raisonne," could only cite forty-six. Among them is a very curious one, at The Hague. It represents a picture gallery with figures of Coques, the small pictures on the walls being by contemporary artists. In our National Gallery there are no less than seven, one, a family group, being an excellent example of the master's style. He sometimes i)ainted in conjunc- tion with Gyzels. The prices at which some of the more interest- ing works of Coques have been sold are : Gonzales Coques and his Fannly ; £ s. d. the landscape by J. Artois, 57in. by 72in., AnselPs sale 1770 ... 42 Melchior de Stanza and his Family, 57in. by 72in 1771 ... 120 15 Half-length portrait of a Child looking at itself in a Looking-glass, Blondel de Gagny's sale 1776 ... 85 Flemish Family of Six Persons, R obit's sale 1801 ... 120 (Sold again in King of Holland's sale, in 1850, for £290, and in Patureau's sale, 1857, for £1000) The Family of the House of Orange, • Heathcote's sale ... 1805 ... 89 5 Small portrait of David Teniers, juu., Taylors sale 1823 ... 22 Smallportraitof himself, Taylors sale 1823 ... 21 The Verbiest Family, 2Hin. by 28in., copper, Radstock's sale 1826 ... 488 Family portraits, 24^in. by 29:^in., from Dancot Collection, Nieu- wenhuys' sale 1833 ... 199 10 A Family, two Dogs, Black Servant, and Grey Horse, Camden's sale 1841 ... 483 PAINTERS AND THEIR WORKS. 223 £ s. d. 1848 . 70 1859 . .. 315 1861 .. 257 1864 . .. 120 1867 . .. 1625 1867 . .. 180 1873 . .. 725 A Cavalier and a Lady with an Infant on Her Lap seated on a Terrace, Wells' sale Family portraits, Northwick's sale Terrace, Gentleman in Black, Seated Lady with Child in Arms, 19in. by 41in., Scarisbrick's sale The Doctor, Van liuyter, Giving a Lecture on Anatomy (the land- scape and animals by Gyzels), Oppenheim's sale Artists at a Banquet, Pommersfelden's sale ... .\ Family Group, Salamanca's sale Portrait of a Gentleman, Roche- brune's sale Portrait of a Dutch Family, terrace, landscape, and Atlantis figures, 20in. by 29in., Marlborough's sale 1886 ... 525 10 Portraits of a Dutch Family, Nieu- wenhuys'sale 1886 ... 510 Portrait group, Adrian Hope's sale ... 1894 ... 514 Corbould (Henry).— b. London, 1787 ; d. Robertsbridge, Sussex, 1844 ; s. his father ; p. history. He was the third son of Richard Corbould. He exhibited pictures in oil at the Royal Academy ; but his high reputation rests upon his illustrations of books and his drawings from antique marbles, as he was the artist chosen to make the drawings from the Elgin marbles, which were engraved. He drew also for the Duke of Bedford, Lord Egre- mont, the Dilettanti Society, and the Society of Antiquaries. Corbould (Richard).— b. London, 1757 ; d. Highgate, 1831 ; s. ; P. portraits, landscapes, and history. There is hardly a branch in the painter's art which Richard Corbould did not practise, and he excelled in book-illustration. He exhibited largely at the Royal Academy. His second son was George James, the engraver. Cornells de Hollande.— /Sec Engelbrechtsen. Cornelius (Peter von).— b. Ditsseldorf, 23rd September, 1783 ; D. Berlin, 6th March, 1867 ; s. Academy of Diisseldorf ; p. history and portraits. This great artist was the son of Aloisius Cornelius, the Inspector of the celebrated gallery at Diisseldorf, and from his earliest years showed a strong inclination towards the study of art. It is said, however, that the merits of his early efforts were 224 PAINTERS AND THEIR WORKS. SO little appreciated by his friends that they were opposed to his studying at tjhe Academy, where, however, he continued drawing from the antique with great perseverance. His father died when Peter was in his sixteenth year, leaving his mother and a large family dependent upon his elder brother, Lambert, and himself for their support. Under these circumstances, some friends urged Peter to become a goldsmith, and his mother alone seems to have foreseen his future success as a painter, and to have encouraged him to continue his studies in that direction. The admiration for the antique at that time knew no bounds at Diisseldorf, yet the first public work of Cornelius, the decora- tions of the church at Neuss, show a careful study of the works of Raphael. At twenty- six he produced his compositions from "Faust." In 1811 Cornelius went to Rome, where, in common with his friend Overbeck, he became a member of the Brotherhood of Painters, which has been so often described. While at Rome, he was employed in the decoration of the Villa Bartoldi and on his illustrations of the Nibelungenlied, From Rome he returned to Diisseldorf to reform the Academy, and then went to Munich to direct the execution of the frescoes at the Glyptothek. This caused him to resign the post of Director of the Academy in his native city, and on the death of Sanger, he was appointed Director of the Academy at Munich. There, with the assistance of his numerous pupils, he created what is known as the School of Munich, and executed the great works that adorn the edifices of that city. Among his smaller works may, however, be cited the design for the silver shield that the King of Prilssia presented to his god-child, the Prince of Wales, which was shown at the Great Exhibition of 1851. Cornelius may be said to have tried to combine the stately grandeur of Byzantine art with what he admired most in the works of modern masters. His drawing is fine, and the whole effect of his works striking and often grand, but the weak colouring tends to lessen the result he aimed at. Corot (Jean Baptiste Camille).— b. Paris, 1796; d. Paris, 1875 ; s. Michallon and Bertin ; i\ landscapes. Corot, whose works have been so much admired and valued, was educated in the Lyceum at Rouen, and subsequently placed in a draper's shop. It was not until he Avas past twenty that he followed his inclination for art. He then began his studies under Michallon and Bertin, and in 1826 went to Italy. In the following year he first exhibited in the Salon at Paris. Corot studied nature carefully, PAINTERS AND THEIR WORKS. 225 especially its aspect at dawn, sunset, and under moonlight, and in winter he painted his pictures from the sketches he had made in the open air. His object was to give the general etFect of the scene he represented, and for a long time he had to struggle with poverty ; but once the style of art he had adopted, which was to a certain extent original, became popular, wealth flowed in upon him rapidly, and its increase was equalled by his generosity to artists less fortunate than himself. His pictures may be slight and his drawing vague, but they are always highly poetical, full of the freshness and calm of nature at the time he chose to represent it. Corot had the good ifortune to find his works appreciated by his contemporaries. We received four medals, was an Oflicer of the Legion of Honour, and shortly before his death his brother artists presented him with a gold medal. To the Luxembourg he bequeathed two views, ' ' The Forum " and " The Colosseum," at Rome; and the remainder of his works, which were in his possession at the time of his death, produced by auction £16,000. Besides those in Paris, pictures by Corot are to be found in the museums of all the great towns in France. Those which have changed hands in France have risen continually in value. In England some have reached the following prices : Wood scene, Durand RueFs sale (bought in)... Wood near the Sea, Durau Ruel's sale (bought in) ... River scene with figures, Forbes's sale Jouville-sur-Mame, De Murrieta's sale The Lake-side, 14in. by20in., Forbes's sale ... ... Evening, 18in. I)y24in., Forbes's sale Landscape with figures, Forbes's sale Midday Rest, Forbes's sale ... The Cottage, Forbes's sale ... Landscape, Barlow's sale S. Sebastieu (Salon 1867), Barlow's sale ... Morning by the River, 22|in. by 31iin., Sandemaii s j>ale (bought in)"' Corradi.— aS'jc Ghirlandajo. Correggio (Antonio da), whose surname was Allegri, or Lieti. — B. Correggio, 1494 ; d. Correggio, 1534 ; s. his uncle Antonio P £ s. d. 1873 . .. 131 6 1873 . .. 130 5 1874 . .. 126 1875 . .. 74 11 1882 . .. 210 1882 . .. 362 5 1882 . .. 336 1882 . .. 141 15 1882 . .. 204 5 1883 . .. 173 5 1883 . .. 1228 10 1883 . .. 4.30 10 226 PAINTERS AND THEIR WORKS. Allegri, Antonio Bartolotti or Bartolozzi of Correggio (born 1450, died 1527), and Francesco Bianclii (called "II Frarre"), of Ferrara ; p. history, mythological subjects, and landscapes. The family of Allegri can be traced back at Correggio to 1329. The father of Antonio was named Pellegrino, and he had an elder brother, Antonio, who was a painter. In 1520 Correggio married Girolama, the orphan daughter ' ' del f u Bartolommeo Merlini de Braghetti, Armigero, " who was an esquire to the Duke of Mantua. By her he had three daughters and a son, Pomponio, who became a painter. His wife also died in 1534, but his parents, his son, and his daughter Francesca, survived him. The stories relative to Correggio's poverty are contrary to known facts. His father belonged to what we now speak of as the upjDer middle class, and was perfectly able to and did give his son a good education ; for among other things the latter studied anatomy under Giam- battista Lombardi of Correggio, who, after being a professor at Bologna and at Ferrara, was physician to Niccolo, the Lord of Correggio. The family of Allegri was also in favour with the Lords of Correggio, and Correggio was everywhere well paid for his works. As regards the artistic education of Correggio, historians nearly agree in saying that the three masters we have given were those under whom he first studied painting, and perhaps he learnt modelling under Begarelli. But in 1511 the plague raged with such violence at Correggio that Giberto, who was then lord of that place, and his wife, the celebrated Veronica Gambara, went to Mantua, and Quirina Bigi, of Correggio, who published a life of the painter Correggio, asserts that he accompanied them to Mantua, where he studied the works of Lorenzo Costa, Leon Bruno, and Mantegna. Correggio was then about sixteen or seventeen. It is, however, the opinion of some modern critics that he finished his apprenticeship to Bianchi in 1507 or 1508, and went then to continue his studies under Francia, at Bologna, with whom and Lorenzo Costa Bianchi had worked in the Bentivoglio Palace at Bologna. Although this has not been proved, it is certain that Correggio was at Modena and Bologna in 1513, but never in Rome. At the same time, we may point out that it is always as well to receive with caution the opinions of the most learned critics when they are founded simply on what they term the influence of one painter on another. One thing, nevertheless, cannot be disputed, that Correggio was a very precocious genius, for the beautiful httle picture of the ' ' Virgin and Child, " in the Uflizi, at Florence, is PAINTERS AND THEIR WORKS. 227 said to have been painted about 1511 or 1512, in which year, Bigi tells us, Correggio returned from Mantua to his native place. The altar-piece known as ' ' The Virgin and S. Francis, " now at Dresden, is signed and dated 1514, and tliere are several other pictures painted before Correggio was twenty. The successful career of Correggio as a painter may, however, be dated from 1518, when he was invited to paint a room in the Convent of S. Paolo at Parma for the Abbess. As the very best description of the beautiful paintings he did there is that given by Sir Austen Layard, it is copied here for the benefit of those of our readers who are not likely to see the pictures. He says : ' ' The subjects are from ancient mythology. On the principal wall is Diana returning from the chase in a car drawn by white stags. The light drapery of the goddess conceals but httle of her perfect and youthful form. On the domed ceiling is painted a trellis-work of vines, with sixteen oval openings, in which are charming groups of Cupids, some with the attributes of the chase, such as horns, hounds, and the hea.d of a stag, others playfully caressing each other, or plucking fruits from the borders of the vine. It is im- possible to conceive httle boy figures more bewitching than these. Lower on the walls are sixteen lunettes, in chiaroscuro, filled also with mythical subjects — the Graces, Fortune, the Fates, Satyrs, etc. The choice of these subjects for a convent appears strange ; but in the beginning of the sixteenth century the nuns of Italy enjoyed considerable freedom, while the abbess lived in princely splendour and luxury. In 1524, however, the convent of S. Paolo underwent a reformation, and the works by Correggio were with- drawn from the eyes of the public." They have since been admirably engraved by Toschi. The illness of his maternal grandfather, Francesco Agomanni, caused Correggio's return to Correggio in 1619, and the illness ending in Agomanni's death, he left his property to Correggio, who, as we have already stated, married in the following year. It was also in 1520 that he undertook the decoration of the cupola of the Church of S. Giovanni, at Parma, and the work there occupied his time until 1524. The large frescoes in the Duomo in the same city were executed between 1526 and 1530, and not finished when he died. These are the works that separate Cor- reggio from those of the painters that liad preceded him in Italy, and they have not since been equalled as regards breadth and aerial perspective, or the life and motion infused into the figures, which are results much more difficult to produce than the effects p 2 228 PAINTERS AND THEIR WORKS. of mere correctness in lineal perspective and mechanical fore- shortening. Besides these great works there is a class of pictures by Cor- reggio that are truly charming, and which were painted either as a present to his sister Caterina, on her marriage, in 1519, or in the following year, about the time of his own. They repre- sent the marriage of Sf. Catherine, the Virgin bending lovingly over the Child, or a domestic scene, as in the beautiful small picture in the National Gallery. In mythological subjects, as in easel pictures, Correggio showed also that he was not only a master of his art, but also possessed that refinement of mind which led him to treat them so that they are free from gross - ness. Of these the "Apollo Teaching Cupid to Read," in our National Gallery, is the best example. Pungileoni, in his " Memorie" of Antonio Allegri, published at Parma, in 1817-21, gives full lists, not only of pictures by Cor- reggio, but also of the engravings from them. Some of the pictures which have long passed as being by Correggio are, how- ever, now considered very doubtful, among others the famous "Reading Magdalen," at Dresden, which is said to be by Adriaan van der Weerf. There are also many old and fine copies of Cor- reggio's works which were made by the Carracci or their scholars. Further, it must not be forgotten that he had a scholar, Antonio Bernieri, who was eminent as a miniature-painter, and is some- times called ' 'Antonio da Correggio " ; he was born in that place in 1516, and died there in 1565. In addition to those works already mentioned, some that are not less famous are : The Virgin, Child, S. Jerome, and Mary Magdalen, known as II Giorno (or The Day), for its force and brilliancy — The Academy, Parma. The Adoration of the Shepherds, La Notte (or The Night), in which the chief light proceeds from the Child ; Virgin Enthroned, S. George, etc. — The Gallery, the Dresden. Ecce Homo ! and Christ on the Mount of Olives — National Gallery, London. The Virgin and Child, known as La Zingarella — The Gallery, Naples. Jupiter and Antiope — Louvre, Paris. The following are the prices paid for some important pictures by Correggio sold by public auction since 1742 : PAINTERS AND THEIR WORKS. 229 Holy Family, Carignan's sale Leda (cut into three pieces), Coypel's sale Leda (the same picture when mended), Pasc[uier's sale Virgin, Child, and S. John, Schaub's sale S. Catherine and two Angels, Conti's sale ... Venus, Cupid, and Satyr, Vander- gucht's sale Virgin and Child, Orleans (in London) sale Danae, Orleans (in London) sale Noli me tangere, Orleans (in London) sale ... Portrait of Ctesar Borgia, Orleans (in London) sale Cupid, from Charles I.'s Collection, Bayly's sale ... Virgin and Child, Ottley's sale Christ Appearing to Mary, from Orleans Collection, Udney's sale Virgin, with Rabbit, Walsh Porter's sale ... Christ in the Garden of Olives, Villa Novellari sale The Flight into Egypt, Villa Novel- lari sale Ecce Homo ! the picture engraved by Agostino Carracci, Udney's sale Danae, the picture cut in pieces and restored by Coypel, 60in. by 76in., Udney's sale Virgin and Child and S. John, from Modena Collection, Lafontaine's sale ... Adoration of the Shepherds, Elwyn's sale ... Virgin and Child, 20in. by 12in., from the Collection of the King of Naples, Elwyn's sale Flight into Egypt, from Modena Collection (see above), Davies' sale ... ... ... ... Danae (see above), Parma sale £ s. d. 1742 .. . 120 1752 .. . 645 1755 .. . 840 1758 . ,. 220 17:^7 .. 150 1796 . .. 630 1798 . .. 1260 1798 . .. 1041 1798 . .. 420 1798 . .. 525 1799 . .. 200 1801 . . . 304 10 1802 .. 325 10 1803 . .. 210 1804 . .. 745 10 1804 . .. 1575 1804 . .. 159 12 1804 . .. 210 1807 . .. 3150 1807 . .. 462 1808 . . . 530 1811 ... 283 10 1816 . .. 324 230 PAINTERS AND THEIR WORKS. The Virgin and Infant, *'La Vierge £ s. d. an Palmier," M|in. by ll^in. (appears to be the picture in the National Gallery bought in 1825 from Mr. Nieuwenhuys for £3800), Parma sale 1819 ... 252 The Marriage of S. Catherine, Thor- niond'ssale 1821 ... 225 15 Virgin seated, with Child on her lap, Kudstuck's sale 1826 ... 336 10 The Education of Cupid, Erard's sale 1832 ... 400 Virgin Adoring the Child, with S. Joseph, from Orleans Collection, Rogers's sale 1856 ... 252 The Virgin Suckling the Child, S. John presenting some birds (belonged to Madrazo), Sala- manca's sale 1867 ... 360 Cortese (Jacopo).— .S' e Courtois. Corticellis.— aS'^c Licinio (Giovanni Antonio). Cortona (II Gobbo da.).—See Gobbo. Cortona (Pietro Berretini da).— b. Cortona, 1596 ; d. Rome, 1669 ; s. his uncle Filippo, Commodi, and Ciarpi ; p. history, mythological subjects, and landscapes, Cortona was a man who possessed an extraordinary natural genius and good taste, but who lived at a time when the only style of painting that was liberally rewarded was the decorative. He came to Rome as a poor boy, and was in great distress until Cardinal Sachetti, having seen some of his sketches, placed him under Ciarpi, and gave him every encouragement. While still very young he began his most celebrated work, the ceiling of the Grand Saloon in the Palazzo Barberini, at Rome. The younger Richardson, who saw it nearly 200 years ago, when the colours and gilding were fresh, says of it: "In his palace is the finest composition that P. da Cortona made, and I believe the most copious and rich that ever was made. The colouring is exceedingly bright and beautiful ; and though there is such a vast number of figures, the ceiling being very large, they are not crowded. It is called the ' Triumph of Glory,' and the whole is a magnificent compliment to the Barberini house." Modern critics have, however, preferred the paintings he executed for the Pitti Palace at Florence, Cortona's talent was not confined to painting : he soon rose also to eminence as an architect. In both arts his style became, long before his death, PAINTERS AND THEIR WORKS. 231 the model upon which most of the young artists of his time formed their taste. The result was the very rapid decline of Italian art in the seventeenth century, for which, however, the great patrons of Arts in those days were more to blame than the artists ; most of the former being old men, they cared less how work was done than that it should be finished in their time. Yet it is impossible not to admire the richness of the composition, the beauty and elegance of some of the female figures in Cort^na's pictures, or the harmony of his colouring and his management of light and shade. His drawings, particularly of mythological subjects, are very fine and among the rarest of those by the great Italian masters. As not many of Cortona's best easel pictures have been sold by auction, we give the prices they went for : Hagar and Iwhinael, Waldegrave's £ s. d. sale 1763 ... 315 Jacob and Laban, Conti's sale ... 1777 ... 150 The Flight of Jacob, from Orleans Collection, Clarke and Hibbert's sale 1802 ... 336 The same picture, Bryan's sale ... 1304 ... 420 Virgin and Angels in Clouds, Rendle- sham's sale 1806 ... 170 The Holy Familv, Angels supporting _ Cross, Hope's sale " 1816 ... 136 10 Elijah and tlie Widow of Sarepta, Erard's sale 1833 ... SO Cosimo (Pietro di), called also Orifice, properly Piero di Lorenzo di Piero d' Antonio. — b. Florence, 1462 ; d. Florence, 1521 ; s. Cosimo Rosselli ; p. history, mythological subjects, and landscapes. This artist acquired the name by which he is commonly known from being the scholar of Cosimo Rosselli, whom he accom- panied to Rome about 1480, and assisted in decorating the Sistine Chapel, where he painted the landscape in Rosselli's picture of the "Sermon on the Mount." Pietro di Cosimo was very eccentric, and after the death of his master in 1507 he gave the rein to his originality and fantastic ideas. He excelled in mythological subjects, ijortraits, and landscapes. In our National Gallery is one of his most beautiful and characteristic works, ' ' The Death of Procris." Others are three of " The History of the Persius," in the Uffizi ; and ' ' Venus, Cupid, and Mars, " in the Berlin Gallery. Among the sacred subjects which he painted, the more remarkable are " The Marriage of S. Catherine," in the Foundling Hospital, at Florence ; another is " The Conception," in the Uffizi; 232 PAINTERS AND THEIR WORKS. and ' ' The Adoration of the Shepherds, " in the Berlin Gallery. The following pictures, formerly attributed to other masters, are now believed to be by Pietro di Cosimo : The Virgin and Child, known as "La Vierge au Pigeon ; " a "Holy Family," at Dres- den, formerly assigned to Luca Signorelli ; and another in the Borghese Gallery, at Rome, hitherto attributed to Raphael. Pictures by Pietro di Cosimo, whether in fresco or in tempera, are exceedingly rare, even in Italy. They are distinguished by great originality in the treatment of the subject, fine drawing, transparent and brilliant colouring, and beautiful landscape back- grounds. He was also a good portrait- painter, and inventor of the strange masque known as "The Triumph of Death," which was the fashion at the Carnival in Florence, and which his scholar Andrea del Sarto helped to arrange. Pictures by Pietro di Cosimo are seldom to be seen in auction - rooms, but a few have been sold as follow : Virgin and Child Enthroned with. £ b. d. Saints, North wick's sale ... 1859 ... 15 15 A Triumphal Procession of Lorenzo de' Medici (belonged to Woodburn), Bromley's sale 1863 ... 173 5 The companion, containing portraits, Bromley's sale 1863 ... 157 10 The Triumph of Chastity, 60in. bv 72in., Graham's sale \ 1886 ... 273 Cosimo or Cosme da TevvsLvsi.—See Tura. Cossa (Francesco del).— b. about 1430 ; d. between 1480 and 1485 ; s. his father ; p. history. This old artist of the Ferrarese school was the son of Cristofano del Cossa, a painter, under whom the son worked in 1456, in the Episcopal Palace at Ferrara. He was afterwards one of the artists employed in painting the upper hall of the Schifanoia Palace. In 1470 he removed to Bologna and settled in that city, where he was employed by the Bentivogli, and his work had influence on the style of the other artists in that place. It is there also that his finest works are to be found, the chief being " The Virgin and Child," enthroned under an arch, with SS. Petronius and John, and the kneeling figure of Alberto de Catanei, one of the donors. This picture, painted in 1474, is now in the Pinacoteca. The finest part of it is the S. Petronius, and there are also other fine stately figures by him in the Church of S. Petronio. There is at Dresden a fine "Annunciation," and in our National Gallery is S. Vincentius Ferrer, looking up at PAINTEES AND THEIR WORKS. 233 Christ in glory, surrounded by angels, which is a good example by a very remarkable painter. Costa (Ippolito). — B. Mantua ; d. Mantua, 1561. He had a brother, Girolamo ; both were sons of Lorenzo Costa the elder, and painters. Girolamo had two sons, Francesco and Alessandro, who died of the plague in 1595. Costa (Lorenzo), the elder. — b. Ferrara, 14:6\) ; d. Mantua, 1535 ; s. Cosimo Tura and Cossa ; p. history and portraits. The elder Costa was one of the best artists among the Ferrarese painters, for in the opinion of good judges he equalled, if he did not surpass, his contemporaries Perugino and Francia in imagina- tion, richness of composition, and strength of drawing. He was also an excellent colourist, and his landscape backgrounds are peculiarly tine. It may be as well to mention here that the Ferrarese artists, in such pictures as the "Virgin Enthroned," often left an opening, sometimes an arch, in the throne under the Virgin, through which a landscape is seen. It is doubtful if Lorenzo Costa ever went to Florence : but after painting in the Hall of the Schifanoia for Duke Borso of Ferrara, about 1480, he visited Bologna, and settled there about 1483, when, as we have said -in our notice of Correggio, he painted, in conjunction with Bianchi and Francia, in the Bentivoglio Palace. Costa remained in Bologna at least twenty-three years, and his best works are to be found there. Many of them were executed for the Benti- voglio family, until its expulsion in 1506-7 from Bologna, upon which it is probable that Costa returned to Ferrara. In 1509 he was invited by the Duke of Mantua, Francesco (II.) Gonzaga, to that place ; and shortly afterwards, the Duke being taken prisoner by the Venetians, Costa painted the portraits of Isabella a'Este and her daughter, which she sent to her husband to con- sole him in prison. Costa remained in the service of the Gonzagas until the time of his death. Besides the frescoes at Bologna there are several pictures by Costa, in tempera, there and elsewhere, of which the most re- markable is : Madonna Adored l)y (riovanni Bentivoglio and his Family — Sau Giacomo, Bologna. Among his pictures in oil the more cele})rated are : The Adoration of the Magi — Biera. ^Fihui. Portrait of a Man in a red ca])— Pirti, l"'l(»rence. The Presentation in the Temple ; a PiSce Kraebeth. Craesbeeck.— /See Craasbeek. Craeyer or Crayer (Gaspar de).— e. Antwerp, 1582 ; d. Ghent, 1669 ; s. Raphael Coxie ; p. history, jjortraits. De Craeyer owed the high reputation he obtained rather to study than to his master. He was admitted into the Guild of Painters at Brussels in 1607. A portrait of the Cardinal Ferdinand, which De Craeyer had painted, was sent to his brother the King of Spain, and gave so much satisfaction that De Craeyer was appointed Court painter, and received a gold chain and medal. De Craeyer was much employed for churches and convents at Brussels and Antwerp, yet he removed to Ghent. One of his finest works is the i^icture representing ' ' The Centuric»n Dismounting from his Horse to Prostrate Himself before Christ," which he painted for the Abbey of Affleghem. After Rubens had admired this picture some time, he exclaimed, ' ' Craeyer ! Craeyer ! it would be difficult to do better than you !" De Craeyer ranks next to Rubens and Van Dyck among the Flemish artists. His colouring resembles most that of the latter, and his drawing is very correct. De Vadder and Achtschelling painted the landscapes in* some of his pictures. Van Dyck painted his portrait. PAINTERS AND THEIR WORKS. 251 De Craeyer's pictures are so numerous that we can only mention his principal works, "The Death of the Virgin," which is at Madrid, and " The Virgin and Child Adored by Several Saints," at Vienna. There is also at Munich a similar subject in which De Craeyer has introduced portraits of himself and members of his family, and signed it " Gaspar de Craeyer, fecit, 1646." Pictures by De Craeyer have been sold as follow : Assumption of the Virgin, De Fraula s £ s. d. sale ... 1738 .. . 24 Diogenes and Alexander, Rubempre's sale ... 1765 .. . 40 Holy Family, Pawvel' s sale ... 1803 .. 30 Virgin and Saints, PaAVvel's sale ... 1803 .. . 120 Resurrection of Lazarus, Pawvel' s sale ... 1803 .. . 160 Beheading of S. John, Pawvel' s sale 1803 .. . 125 A Group of Dancing Nymphs from the Colonna Palace, Mitchell s sale ... 1819 .. . 43 2 Equestrian Portrait of Don John of Austria, Hill's sale 1824 . . 152 5 Tancred and Erminia ... 1827 . 20 9 Dance of Sylvan Nymphs, engraved by Le Brun, North wick's sale ... 1859 . . 105 Christ Delivering the Keys to Peter, North wick' s sale ... 1859 . 42 Christ with Martha and Mary, acces- sories by Snyders, North'\^ick's sale ... ... 1859 . . 60 18 A Pieta, 36in. square, Graham's sale 1886 . . 241 10 Craig (William Marshall).— b. prolKibly at Edinburgh ; D. ; s. ; p. miniatures, landscaj)es, etc. Very little is known regarding this painter. He was residing in Manchester in 1788, where he exhibited for the first time at the Royal Academy, Between that year and 1828 he exhibited in London of pictures classed as landscapes, 127 at the Royal Academy, ten at the British Institution, and twelve in Suffolk Street. Moreover, in 1814 he made a special exhibition of his water-colour drawings in Brook Street, London. About 1791 he settled in London, and. was appointed painter in water-colours to the Queen and miniature- painter to the Duke and Duchess of York. Besides making many drawings for "The British Gallery of Pictures," he was author of several books, for which he drew illustrations. 252 PAINTERS AND THEIR WORKS. Cranach or Kranach (Hans).— b. ; living in 1553; 1). ; s. ; P. history. He is said to have been the third son of Lucas Cranach, but more probably was simply a relation. An altar-piece at Weimar, signed " H. C." and dated 1537, is supposed to be by hiui. Cranach (Johann Lucas).— b. 1503; d. Bologna, 1536; s. his father ; p. history and portraits. He was the eldest son of Lucas Cranach, and painted the same subjects and people. Cranach (Lucas), the elder, or Meister Lucas, or Cranius, properly Lucas Sunder. — b. Cranach, near Bamberg, in Bavaria, 4th October, 1472 ; d. Weimar, October, 1553 ; s. his father and perhaps Griinewald ; p. history and portraits. He was early attached to the Court of the Electors of Saxony, and is said to have accompanied Frederick the Wise to the Holy Land in 1493. It is certain that in 1504 he was appointed Court painter to that Elector, from whom in 1508 he received a patent of nobihty and coat of arms — a crowned winged serpent on a gold ground — which he used with the letters " L. C." as his mark on his pictures and engravings. Cranach became a man of importance in Wittenberg, as he was Biirgermeister of that place in 1537 and 1540, and, besides large art workshops, carried on a printing business and an apothecary's shop. His house in Wittenberg, called the "Adler," was destroyed by fire in 1870. In 1509 he was sent to the Em- peror Maximilian, probably on purpose that he might paint the portrait of that monarch's grandson, afterwards Charles V. Cranach was Court painter to three Electors of Saxony, and was so much attached to John Frederick that after the Battle of Miilberg, in 1547, he preferred sharing for five years the latter's captivity at Innsbruck, to accompanying the Emperor to the Netherlands. This Lucas Cranach lived when Luther was urging on the Reformation, and was not only his intimate friend, but is said to have brought about the marriage between Luther and Catherine Bora. He painted the portrait of Luther several times, and in- troduced into his works the portraits of his contemporaries, and also engraved them. By his marriage with Barbara Brengbier, Cranach had two sons (Johann and Lucas) and three daughters, and Lucas, his second son, had a son Lucas. It has even been said that the first Lucas had a third son, also named Johann or Hans. The men were all painters. As an artist, Cranach takes rank after Albert Durer and Holbein, as, although his colouring is good, his drawing is often PAINTERS AND THEIR WORKS. 253 defective. The manner in which he has treated the subjects of his works is also very homely, to say the best of it. His portraits are, however, often very interesting, and some of the females pleasing. The pictm-es by him are very numerous. One of the more curious is a " Crucifixion, " in the Stadkirche at Weimar, which contains portraits of Luther, Melancthon, and the painter; and one of the best, " The AVoman Taken in Adultery," is in the Pinakothek at Munich. As an engraver, both on copper and on wood, the elder Cranach is said to have produced no less than 800 prints. Pictures, drawings, and engravings by him are to be found in all the great collections in Europe. Not many of the pictures by Cranach which have been sold in the last fifty years have pro- duced high prices. A few have, however, been disposed of as follow : Christ Blessing Little Children, the £ s. d. boy in red supposed to be Martin Luther, De Bammeville's sale ... 1854 ... 158 11 The Judgment of Solomon 1860 ... 106 1 Christ Blessing Little Children (perhaps the above picture), Pommersfelden's sale 1867 ... 125 Allegory of Charity, De Blaisel's sale 1870 ... 55 Virgin and Child, with fruits, from Ceneral Meade's Collection, Grinnell's sale 1881 ... 100 16 Portrait of a Lady, red dress, gold embroidery, ll^in. by 9in., Duke of Hamilton's sale 1882 ... 325 10 Judith, 31in. by 32in., Duke of Hamilton's sale 1882 ... 115 10 Cranach (Lucas), the younger.— b. 1515 ; d. Wittenberg, 1586 ; s. his father ; p. history and portraits. Like his father, he was Biirgermeister of Wittenberg, and painted the same subjects, only his works are more feeble than his father's. He marked them also with the winged serpent, but the wings are folded. It is supposed that he made the designs for the woodcuts in Luther's translation of the Bible, printed at Leipsic in 1542, and for some portraits among the series of the Electors of Saxony. In his "Preaching of S. John," at Brunswick, the face is that of Melancthon. Cranius.— >S6e Cranach. •254 PAINTERS AND THEIR WORKS. Cra.yev.—See Craeyer. Credi (Lorenzo di), known also as Lorenzo Sciarpelloni. — B. Florence, 1459 ; d. Florence, 1537 ; s. Verrocchio ; p. history. Credi was at first a goldsmith. It has been stated that his family- name was Clone ; but that was the family name of Verrocchio, who was also a goldsmith, whereas the goldsmith under whom Di Credi worked before he studied painting under Verrocchio, bore the name of Credi. Lorenzo's real name was Lorenzo d'Andrea d'Oderigo Barducci, and he was called Di Credi from his first master's name. Under Verrocchio he was a fellow-pupil with Leonardo da Vinci and Pietro Perugino. Di Credi was a follower of Savonarola, and much esteemed by his contemporaries. He appears also to have been the trusted pupil of his master, for when Verrocchio went to Venice to model the statue of Colleoni, he left his workshop and its contents in the care of Di Credi, who, when Verrocchio died in Venice and appointed Di Credi, by his will, to finish the statue, went to Venice and brought Verrocchio's body to Florence. The works of Di Credi difi'er in many respects from those of Leonardo da Vinci, with which they are sometimes confounded. The figures have less dignity and grandeur, the faces have a gentle yet unmeaning expression, and the forms are not graceful. Yet some of his works are remarkable for refined sentiment and beautiful colouring. The architectural backgrounds in his pictures are often fine. Two of the best specimens of his skill are "Christ Appearing to the Magdalen," now in the Louvre, and "Nativity," in the Florence Academy. His smaller pictures are usually the best, yet in all the beauty of the colouring and the purity which the colours still retain are very remarkable. Pictures by Di Credi have always been much sought for by collectors. The following have been sold in London since 1853 : Virgin and Child, S. Joseph and three Angels (circular), Woodburn's sale The Coronation of the Virgin, bought by S. Rogers in Rome, Rogers's sale ... Virgin and Child (small), Northwick's sale ... Holy Family (circle), Northwick's sale Holy Family, Virgin seated under tree, river and buildings, North- wick's sale ... £ s. d. 1853 . .. 51 9 1856 .. ,. 399 1859 .. . 315 1859 .. . 24 1859 .. . 525 PAINTERS AND THEIR WORKS. 255 Virgin and Child, Virgin kneeling in £ s. d. Adoration (now in National Gallery), North\vick't> sale ... 1859 ... 64 1 Heathen (jods Revij^iting the Eartli, Woodburn's sale 1860 ... 109 4 Virgin and Child and S. John, Woodbnrn's sale 1860 ... 231 Virgin and Child, in landscape, 22^ in. by 14in., Uzielli's sale 1861 ... 215 5 Portrait of a Gentleman, crimson dres.s, black cap, rino- on forefinger, Webb's sale... ^ 1869 ... 182 6 Virgin and Child in landscape. Prince Napoleon's sale 1872 ... 136 10 Virgin and Child and S. Joseph, Virgin kneeling, Barkei-'s sale 1874 ... 483 Virgin, Child, SS. John and Joseph, in landscape, Barker's sale ... 1874 ... 127 Virgin and Child enthroned with six Saints, Barkei-'s sale 1874 ... 126 Virgin and Child Enthroned, S. Sebastian, and vase of Howers, Barkei-'s sale 1874 ... 483 Virgin Kneeling, Child, andS. Joseph, landscape (circular), Barker's sale 1874 ... 325 10 Virgin Seated, with Cliild, Barker's sale 1874 ... 315 Virgin Kneeling, Angels, S. Joseph, landscape (circular school copy), Barker's sale \.. 1874 ... 126 Virgin and Child with S. John, Dudley's sale 1876 ... 425 Virgin and Child with Angel, Graham's sale "... 1886 ... 267 15 Virgin and Saviour, Cavendish Ben- tinck's sale 1891 ... 325 Virgin and S. John, Dudley's sale 1892 ... 2520 Crespi (The). — There were two families of this name, and several members of each were painters. The one family worked principally at Milan, the other at Bologna. Of the former the most distinguished was Crespi (Giovanni Battista), called II Cerano. — b. Cerano, 1557 ; D. Milan, 1633 ; s. the Procaccini ; p. history, animals, and birds. He was one of the best artists of the time at which he lived, as there is much spirit in his design, and his colouring is 256 PAINTERS AND THEIR WORKS. £ s. d. 1764 ... 28 1776 ... 55 1813 .. 3 10 1816 .. 9 10 1819 .. 10 10 1822 .. 5 15 1856 .. . 35 14 1860 .. 9 9 harmonious ; but his works are often disfigured by the affectation and exaggeration which then prevailed. Crespi (Giuseppe Maria), called Lo Spagnuolo. — b. Bologna, 1665; D. Bologna, 1747; s. Canuti ; p. history and droll scenes. He was the principal artist of the Bolognese family of the name, and was employed by the Grand Duke Ferdinand in the Pitti Palace. His works somewhat resemble those of Solimena and Murillo. His pictures rarely sell for high prices, as may be seen by the following : A Peasant Feeding Fowls, the Elector of Cologne's sale... The same picture, Blondel de Gagny's sale ... The Murder of the Innocents, Willett's sale ... Alexander and Diogenes, Hope's sale An Italian Fair (belonged to Sir Joshua Reynolds), Mitchell's sale The Nativity, Bute's sale A Girls' School, S. Rogers's sale A Scene from the ** Decameron " Cresti (Domenico), called II Passignano. — b. Passignano, near Florence, 1558 ; d. 1638 ; s. Federigo Zuccaro ; p. history. This painter lived some time at Venice, where he is said to have had the advantage of instruction from Paolo Veronese ; and in the richness of his compositions and architecture, and the splendour of the dresses, his pictures resemble those of the great Venetian's more than the works of any Florentine. His extraordinary facility, however, caused him to paint in so slight a manner that the pictures he executed in S. Peter's, at Rome, have perished. His best works are at Florence, and some of his designs are very fine. Easel-pictures by him so seldom appear in sales that only " Christ Healing the iSick," sale in 1833, £11, can be cited. Creswick (Thomas).— b. Sheifield, 5th February, 1811 ; D. London, 28th December, 1869 ; s. Barber of Birmingham ; p. landscapes. This charming painter came to London in 1828, and shortly afterwards began to exhibit at the British Institu- tion and the Royal Academy. To the exhibitions at the latter he continued to contribute until his death. In 1842 the directors of the former awarded him a premium of eighty guineas for his works, and in the same year he became an Associate of the Royal Academy, but was not a full member PAINTERS AND THEIR WORKS. 257 until 1852. His earlier pictures are generally scenes in Wales or Ireland, and his later ones are of places in the North of England. Thomas Ores wick was very clever in the choice of his subjects ; he delighted in painting lakes, streams, and picturesque bridges, in the representation of which he excelled. His works have always been exceedingly popular owing to the agreeable subjects he selected, and to their truth, which arose from his painting very much from nature. He painted both in oil and in water-colours, made many charming designs for books, and etched with much taste and skill. As regards the present value of Creswick's pictures, some idea can be formed by the fact that, in a list of over 200, which have been sold by auction since 1845, the lowest price paid was £70, for "A Barn and Cattle," 27Mn. by 20 Jin., in 1861; and the highest, £2100 for "The Trent Side," in 1881 (for the latter Creswick was paid 500 guineas), and in this long list only three were sold for less than £100. Among them were nearly all Creswick's finest works in oil, but only a few can be given : Landscape, with Peasants, Horse and Cart, 1855, Rodgett's sale Mountain Stream, Northwick's sale Rural scene — Evening, cows, Shep- herd's sale... The Ford, figures hy Frith, 35in. by 26iin. , Heath's sale • Landscape, artist sketching, figure by J. Philip, Mitchel's sale ... Rough Road, figures by F. Goodall Landscape, Surrey, figures by F. Goodall, 26in. by 37in., Agnew's sale ... The River Trent, 4'iin. l)y 70in., Agnew's sale Shallow Stream, Redpath's sale Landscape, The Stepping-stones, 28in. by 35in. , Bicknell's sale ... Afternoon, 1845 (bought in), Bodichon's sale ... A Mountain Road, Threlfall's sale ... The Avenue at Derby, 36^in. by 47iin., Hay ward's sale ... Over the Sands, Davis's sale ... The Park, figures by Ansdell, I7|in. by 59^in,, 1855, Siebel's sale £ s. d. 1859 . .. 841 1859 . .. 367 10 1860 ., ,. 462 1860 .. . 288 15 1860 . .. 183 15 1861 . .. 168 1861 .. . 241 10 1861 . .. 525 1862 .. . 294 1863 .. . 262 10 1864 .. . 372 15 1864 .. . 225 15 1864 .. . 378 1865 .. . 572 5 1865 .. . 367 10 258 PAINTERS AND THEIR WORKS. £ S. d. The Windmill, Moore's sale 1866 ... 378 The Shade of the Beech-trees, Young's sale 1866 ... 327 12 Thorsgill, Yorkshire, figures bv Faed, Grundy's sale ... 1867 ... 252 Roadside Inn, figures by Bottomley, Betts's sale 1868 ... 651 Sunshine and Showers, Creswick's sale 1870 ... 672 Drover's Halt, figures by Ansdell, 1857, Wheeler's sale 1871 ... 525 Vale of CxAvynant, Halliwell's sale 1872 ... 357 The Avenue, 72in. by 56in., Dixon's sale ... 1873 ... 787 Cardigan Bay, figures by Philip and Cooper, 41|in. by 49in., Pendei-'s sale 1873 ... 840 Landscape, sheep by Cooper, Craven's sale 1874 ... 420 Pont-v-Pant Mill, 50in. by 40in., Mendel's sale 1875 ... 441 Crossing the Stream, Marsh's sale ... 1876 ... 577 10 Westminster Bridge, 16in. by 48in., Levy's sale ... ' 1876 ... 441 First Glimpse of the Sea, 36in. bv 59in., Grant's sale 1877 ... 1102 10 S. Michael's Mount, Cornwall, figures by Ansdell, 44in. by 71in. Grant's sale 1877 .. .. 1417 Scene in South Wales, 21^m. by 35|in., Brooks's sale 1879 . .. 441 River Tees at WyclifFe, figures by Frith, Fenton's sale 1879 . .. 640 10 River scene, Banbury's sale ... 1879 . .. 514 Richmond, Yorkshire, McLean's sale 1881 . .. 924 The Trent Side (see above), Marshall's sale ... 1881 . .. 2100 The King of the Forest, 27in. by 35in., Sharpe's sale 1881 . .. 682 10 Barnard Castle, 36in. by 48in, , Holds- worth's sale 1881 . .. 430 River scene, with figures, Adam's sale 1882 . .. 498 15 First Glimpse of the Sea (see above). Lee's sale ... 1883 . .. 1312 10 A Beck where the Trout Lie, 40in. by 48in 1884 . .. 504 Landscape, trees, cottages, figures, 48in. by 72in., Watts's sale 1885 , ... 798 PAINTERS AND THEIR WORKS. 259 The Passing Cloud, old windmill, £ s. d. summer sky, figures by Frith, animals by Ansdell, 58in. by 88in., Toulmin'ssale 1886 ... 1680 Woody river scene in Wales, Hunt's sale 1890 ... 325 Tintern Abbey 1891 ... 451 Crossing the Ford, animals by Ansdell, Matthews's sale ... 1891 The Woodcutters, 1883, figures by Frith, Matthews's sale 1891 Nearest Way in Summer-time, Burnand's sale 1892 Richmond, Yorkshire, 1836, Price's sale 1892 ... 1312 Green Lanes, 1846, Cosier's sale ... 1894 ... 336 Autumn Morn, Dunbar's sale ... 1894 ... 262 Squally Day, Gibbon's sale 1894 ... 367 Water-colours by Creswick have been sold as follow : 577 504 630 Dover, 1835, Oslear's sale 1862 Homestead ... ... ... ... 1870 Crossing the Brook ... ... ... 1870 A Country Lane (there were many others in this sale), Creswick' s sale 1870 Landscape and Windmill ... ... 1873 Cristall (Joshua).— b. London, 1847 ; self-taught £ s. 53 11 88 4 58 16 28 7 162 15 Camborne, in Cornwall, 1767 ; d. p. classical subjects and landscapes. His father was a Scotchman, and master of a small trading vessel, who settled at Rotherhithe, and apprenticed his son Joshua to a china-dealer. He opposed his son's taste for painting, but as soon as the apprenticeship expired, Joshua Cristall found employ- ment in the Potteries as a painter on china ; and on his return to London, being secretly assisted by his mother, he obtained admission into the schools of the Royal Academy, and diligently studied the antique. He was also enabled to frequent Dr. Munro's house. Cristall was one of the foundation members of the Water-colour Society, several times its President, and, from 1805, a frequent contributor to its exhibitions. He married in 1813, and resided in London until about 1821, when he purchased ^ cottage at Goodrich-on-the-Wye ; but after the death of his wife he returned to London, in 1840. The subjects of his early works are classical, and he added classical figures to Barrett's landscapes. Late in life he painted rustic figures, gleaners, fisher- R 2 260 PAINTERS AND THEIR WORKS. men, landscapes, and added such figures to Robson's pictures of Scotch scenery. He pamted in a very good, simple way, used no body-colour, and indulged in no trickery. Water-colour drawings by Oris tall have l3een sold as follow : Group of Welsh Milkmaids, Allnutt's £ s. d. sale ... 1863 .. . 44 2 A classical subj ect 1875 .. 4 15 Cottage Girl Lace-making, 15^in. by 13in., Levey's sale 1876 ... 12 12 Cottage Door, Pool ey's sale ... 1880 ... 16 5 Milking- time, Pooley's sale The Lifeboat, Russell's sale 1880 ... 16 16 1884 ... 16 16 A Girl Spinning, Percy's sale... 1890 ... 6 6 Cristus [Xps] (Petrus), wrongly called Christophsen. — B. Baerle, near Tronchiennes, a village in Flanders, early in the fifteenth century ; d. Bruges, after 1471 ; s. the Van Eycks ; p. history and portraits. The chief facts which are known re- garding this old Flemish artist are that he painted in oil in 1417, was a burgher in Bruges in 1444, entered the Guild of S. Luke there in 1450, worked at Cambrai in H54 and at Bruges in 1463, and was elected Dean of the Guild at that place in 1471. His works are inferior to those by the Van Eycks. They are to be found in all the great galleries in Europe, and Crowe and Caval- caselJe assign to him the portrait of Marco Barbarigo which is in our National Gallery and is attributed to Gerard van der Meire. Crivelli (Carlo).— b. probably about 1430; d. after 1493; s. ; p. sacred subjects. Very little is known of the life of Crivelli, whose works are peculiarly interesting, as showing the perfection to which painting in tempera had been brought before the use of it was superseded by that of oil. It is very probable that he studied in the school of Squarcione, and his works connect him with the artists of Padua and Murano. He represents the art of the fifteenth century by its faults and beauties. His out- line Qiay be hard, but it is correct, and the expression in the heads is often dignified or tender ; the colouring is brilliant, and the richness of the general effect is heightened by the lavish use of ornaments in relief and gold, to which may be added such accessories as fruit and flowers. Crivelli appears to have resided long at Arcoli, as the altar-pieces by him were mostly executed for the churches in that place, or for towns in the March of Ancona. The dates on his pictures are from 1468 to 1493. He was knighted in 1490, by Ferdinand of Capua, and appears, from PAINTERS AND THEIR WORKS. 261 the signature on his works, to have afterwards been promoted to a higher rank in the order, perhaps when Ferdinand became King of Naples; if so, CrivelJi was alive in 1495. Our National Gallery is richer than any other in Europe, not excepting the Brera, in fine works by CrivelJi, but pictures by him are to be found in most of the great galleries. The folloAving are the prices at which pictures by Carlo CrivelJi have been sold by auction in London : Virgin and Cliild Giving Keys to S. Peter, with otlier Saints, from tlie Brera, W. Couyngliam's sale Virgin and Child, seated on a cushion, W. Jones's sale S. George, from Fesch's Collection, Bromley's sale S. James, from Fesch's Collection, Bromley' s sale S. Dominic, from Fesch's Collection, Bromley's sale S. Nicholas, from Fesch's Collection, Bromley's sale Virgin and Child, enthroned (signed and dated 1472), Morland's sale Virgin and Child, enthroned, with angels, Du Blaisel's sale ... Two, S. Catherine and The Magdalen, Barker's sale Virgin in Ecstasy, Deity and angels, flowers, etc. (signed and dated 1492), Barkei-'s sale Three Saints, in niches, with fruits — (exhibited at Leeds in 1868), Barker's sale Virgin and Child, under an arch, with flowers, L. Dudley's sale ... Virgin and Child, enthroned. Child holding apple, several Saints, L. Dudley's sale ... Holy Family, circle, 40in., Barker's sale ... Crucitixion, 30in. by 20in., arched, Barkei-'s sale Altar-piece, Virgin, Child, and five Saints, 7oin. by 48in., Barkei-'s sale £ s. d. 1849 .. . 910 1852 . .. 157 10 1863 .. . 109 4 1863 .. . 39 18 1863 .. . 46 4 1863 .. . 47 5 loDo Do 1 1 A u 15 /Z oy A 1874 .. . 210 1874 .. . 577 10 1874 ., ,. 567 1876 . .. 42 1876 ., ,. 315 5 1879 . .. 53 11 1879 . .. 100 16 1879 . .. 215 262 PAINTERS AND THEIR WORKS. Virgin and Child, gold ground, 38in. £ s. d. by 17in., Graham's sale 1886 ... 131 5 S. George and the Dragon, Leyland's sale 1892 ... 846 SS. Peter and Paul, Leyland's sale ... 1892 ... 315 Virgin, Cliild, and Saints, Leyland's sale 1892 ... 7350 Pieta, Leyland's sale 1892 ... 399 Crome (John), known as Old Crome. — b. Norwich, 21st Decem- ber, 1769 ; D. Norwich, 22nd April, 1821 ; self-taught ; p. land- scapes and sea-pieces. Crome was the son of a poor weaver and was born in a small public-house. lie had very little instruction at school, and the first we learn of his employments is that he was at twelve years of age in the service of Dr. Rigby, of Norwich, and that his principal occupation was carrying out medicines to the doctor's patients. He must, however, have had a strong wish to become a painter, for he apprenticed himself to a certain Frank Whistler, a house and sign-painter in Norwich. At the time he was thus laying the foundations of his future success there were no schools of art, yet Crome found the best of all iii the picturesque city in which he was born, and the truly rural scenery by which it was surrounded. It had not then been devastated by the im- prover, and the river wound its way through the Broads, past thatched cottages, and oaks which had been alloMred to grow as they would, with plenty of room to spread their branches. These and the barges and wherries, with their tanned sails, as seen by either day or moonlight, were the objects that made Crome a painter, and which he at last succeeded in representing better than any English artist had done. While still very young he formed a friendship with another youth, Robert Ladbrooke, and they lodged and painted from nature together. It is, however, a singular fact that Crome usually made his studies in water- colours and painted some of his finest pictures in oils from them and memory within doors. Gradually his talents became known among his neighbours, and Mr. Thomas Harvey, of Catton, who himself painted, assisted him by buying his sketches and intro- ducing him as a drawing-master. He also allowed Crome to study some pictures by Dutch artists which he had in his posses- sion. There were more than one by Hobbema among them, and Crome appears early to have adopted the works of that great Dutch artist as his model. It was also by Mr. Harvey that Crome was introduced to Sir William Beechey ; this gentleman had resided, from 1781, four or five years in Norwich, and his wife was a Miss PAINTERS AND THEIR WORKS. 263 Jessup, of Norwich. Beechey had risen from an origin as humble as that of Crome, to be the most fashionable painter of portraits in London. Crome was then under twenty years of age, and Sir WiUiam, when sjDeaking of what occurred, says : " ' Crome, when first I knew him, must have been about twenty years old, and was a very awkward, uninformed lad, but extremel}^ shrewd in all his remarks on art, though he wanted words and terms to express his mean- ing. As often as he came to town he never failed to call upon me and to get what information I was able to give him upon the subject of that particular branch of art which he made his study. His visits were very frequent, and all his time was spent in my painting-room when I was not particularly engaged. He improved so rapidly that he delighted and astonished me. He always dined and spent his evenings with me." Under these circum- stances it is certainly singular that Crome's reputation as a painter should not, during the greater part of his life, have ex- tended beyond his native country, and that he should have depended to some extent upon teaching for his subsistence. It is said that he never at any time sold a picture for more than £50, and many realised only £15. Even the indefatigable Nagler, who knew so much about British artists, in his " Ktinstler Lexicon," published in 1835, devotes only four lines to Crome, in which he speaks of him as a distinguished English painter, and adds : "The events of whose life are unknown to us." Crome had then been dead fourteen years. He had, however, in February, 1803 (he was then thirty-four), laid the foundation of what has since been called the "Norwich School," by forming the "Norwich Society," of which he was President and John Sell Cotman Vice-president, and among the members of which were the painters James Stark, George Vincent, Joseph Stannard, and John Thistle, and the etchers Edmund and Richard Griling, and John Bernay Crome. Crome married early (he and his friend Ladbrooke married sisters), and though he depended chiefly on teaching drawing, that brought him many friends who bought his pictures, but at low prices. He did not exhibit at the Royal Academy until 180(5, and only occasionally up to 1818. But out of the "Norwich Society " arose the Norwich Exhibition of Works of Art, in 1805, which was, we believe, the earliest exhibition of pictures in any provincial town. Crome did not always confine his studies and subjects to Norfolk, for he made, with the assistance of Mr. John Gurney, of Earlham, and other friends, journeys to Wales and the 264 PAINTERS AND THEIR WORKS. North of England before 1805, and later to Paris and the Nether- lands. He was fond of society, was a very jovial companion, and loved boating parties or visits to the rural resorts near Norwich ; at the same time he was a man much beloved and respected by all who knew him, as may be learned from Dawson Turner's memoir of him. It is not to be wondered at, therefore, that some of his pictures are rather slight, or that he painted with a full brush, and often without retouching ; but his style was founded on that of Hobbema and Ruisdael, who had done the same, and he came very near to their models. Redgrave says he saw one of Crome's pictures sold at Christie's as being T»y Wynants. A good example of his work is the " Mousehold Heath," now in the National Gallery. The great glory of Crome as a teacher is that the Norwich S.chool produced such men as Colman, Stark, and Vincent, and that although his pupils profited by his advice, they were all, to some extent, self-taught. Crome Jiad four sons and a daughter : only the eldest and the youngest sons and the daughter became professional artists ; but they all painted more or less. It is said that there is not any representation of nature in winter by Crome in the shape of an oil or water-colour picture ; but in his etchings almost all the trees have few or not any leaves. Crome was very particular to place every tree and plant in a place where it would be likely to grow, and no less so as to the position of cottages and other objects or figures. He even paid great attention to the direction of the wind at the time he made a sketch. This accounts for there being so little of what is termed "composition" in his works. In this he acted in direct opposition to Turner's practice. At the exhibitions of the Norwich Society between 1805 and 1821, Crome exhibited, in- cluding pictures and sketches, above 250 works. On the other hand, at the Royal Academy he only exhibited fourteen. But at the Winter Exhibition of 1878 (nearly sixty years after his death), at the Royal Academy, no less than twenty- seven of his works were exhibited. The etchings by Crome, although much praised by his con- temporaries, would not at the present day excite much admira- tion. They look very much like those of some of the Dutch masters, and are simply very minute and the result of much labour. They were published after his death. Crome died rather suddenly, and his last words were as charac- teristic as those of Gainsborough. After lying for some time in a lethargic state, he suddenly exclaimed, with a strength and tone PAINTERS AND THEIR WORKS. 265 that startled those about him, ' ' Oh, Hobbema, my dear Hobbema, how I have loved you !" and in less than fi^'e minutes his pulse had ceased to beat. In a list of about eighty pictures in oil by John Crome, sold by public auction in London between 1855 and 1894, the prices range from £12 Is. 6d. for a "'Farmhouse with a Group of Trees," in Bryant's sale in 1863, to £1575 for a "Road Scene, Trees, and Figures," 71in. by 55in., at Mendel's sale in 1875. Only eleven, however, of the eighty sold for less than £100. The following are some of those which reached higher prices : Yarmouth Regatta, Bishop of Ely's sale ... Woody Landscajje, Robert's sale View of Cromer, Wynn Ellis's sale ... The Blacksmith's Shop, Pearce's sale Rocky Road Scene, 15|in. by 24:in., Gillott's sale Windmill, Monsehold Heath, 44Mn. by 36iin,, Gillott's sale ... Richly-wooded Landscape, 25in. by 33in., Gillott's sale Old Bathing-place at Norwich, Baker's sale ... Hautbois Common, from Sherrington Collection, Ellison's sale Norwich by Moonlight, Wood's sale... Landscape, Hawthornden, 30in. by 40^in., Heugh's sale Road scene, trees, and figures, 71in. by 55in., Mendel's sale ... Bruges — Moonlight, Woolner's sale ... Landscape near Thorpe, Woolner's sale View near Norwich, 27in. by 35in., Adamson's sale Hautbois Common, 25in. by 35in., Levy's sale... Yarmouth Harbour, 15^in. by 26in., Wynn Ellis's sale The Oak, 35in. by 42in., Wynn Ellis's sale ... Skirts of the Forest, 41in. by 31in., Anderson's sale ... Mousehold Heath, lO^in. by 8|in., Anderson's sale ... Oaks in Kimberley Park, 46^in. by 36in., Fuller Mai tland's sale ... £ s. d. 1864 . .. 294 1867 267 15 1867 1100 1872 . 273 1872 ., .. 315 5 1872 . .. 368 1872 . .. 735 1873 . .. 315 1874 . .. 420 1874 . .. 299 5 1874 . .. 556 10 1875 . .. 1575 1875 . .. 294 1875 . .. 304 10 1875 . .. 273 1876 . .. 404 5 1876 . .. 420 1876 . .. 346 10 1879 . .. 194 5 1879 . .. 189 5 1879 . .. 210 266 PAINTERS AND THEIR WORKS. Oaks on Sandy Bank, 31m. by 47in., £ s. d Fuller Maitland's sale 1879 . . 357 Hawthornden, Miirrieta's sale 1883 . . 362 5 Forest scene, beaters and dogs, 21in. by SS^in. , De Zoete's sale 1885 . . 609 Yarmouth Jetty, 20m. by 32in., De Zoete's sale 1885 . . 309 15 Yarmouth Jetty, 17in. by 22in., De Zoete's sale 1885 . . 273 Bruges by Moonlight, 2 Sin. by 31in., De Zoete's sale 1885 . . 189 A Sea-piece, 20in. by 26in., Graham's sale ... 1886 . . 210 The Porlington Oak, WMtehouse's sale ... 1890 . . 787 Household Heath, Drake's sale 1891 . . 236 Yarmouth Harbour, Lawrence's sale 1892 . . 472 Of drawings in water-colours by John Crome, which are scarce, may be quoted ' ' Landscape with Cattle in a Pool, " Percy's sale (1890), £10 10s. Crome (John Bernay). — b. Norwich, 1793; d. Great Yar- mouth, 15th September, 1842 ; s. his father ; p. landscapes. He was the eldest son of John Crome (Old Crome), and was brought up to be an artist. He exhibited at the Royal Academy in 1814 "Old Buildings on the Norwich River," and occasionally up to 1842. Many of his works are moonlight scenes. Neither he nor his youngest brother William, who was also brought up as an artist, ever took a high place as painters, but one picture by J. B. Crome, "Off the Coast of Norfolk," 19in. by 35in., realised £115 10s. in Adamson's sale, 1875. Cross (John). — b. Tiverton, 1819 ; d. London, 1861 ; s. Picot ; p. history. His father was superintendent of a lace factory, and went to S. Quentin, in France. There John Cross attended the School of Design, and afterwards in Paris was a pupil of Picot. He sent a cartoon of "The Death of a Becket" to the West- minster competition of 1843, but it was not noticed. In the second exhibition he had better success, and for his oil painting of "Richard Coeur de Lion" he was awarded a premium of £300, and the commissioners purchased the picture for £1500. He exhibited afterwards several pictures at the Royal Academy, but they did not add to his reputation. After his death his pictures were exhibited at the Society of Arts, with a view ta PAINTERS AND THEIR WORKS. 267 providing for his family. His ' ' Death of a Becket " was x^iir- chased. by his friends, who placed it in Canterbury Cathedral. Crovata, Crovatinus, or Crovazio.— >S'(36 Clovio. Cruikshanks (The). — There were several artists of this name: Isaac, his two sons Isaac Robert and George, and Percy. Cruikshank (George).— b. London, 1792 ; d. London, 1878 ; s. his father ; p. historical and comic scenes. In an interesting letter addressed by George Cruikshank to Mr. Reid, of the British Museum, when the latter was drawing up a list of this artist's works, he says that he worked under his father and assisted his brother, and, with reference to his own early works, remarks : ' ' Many of my first productions, such as Halfpenny ' Lottery Pictures ' and books for little children, can never be known or seen, having, of course, been destroyed long, long ago by the dear little ones who had them to play with." He adds that Isaac Robert had a son Percy, a draughtsman and wood-engraver, and Percy a son named George, and that to avoid confusion the latter thought of signing his name George Calvert (his mother's name) or George Percy. It may be useful also to say that despite what George Cruikshank says about his early works, Mr. Reid men- tions several, and that they bore the words, " Printed and sold by W. Belch, Newington Butts, London." Cruikshank's father died when George was very young, and the latter worked hard from that time to support his mother and himself. How impossible it is for us to give a full account of his works will be easily understood when we state that Mr. Reid's catalogue includes 5265, and that even to this large number additions have been made. George Cruikshank was a man whose energy and industry were such as few possess or practise, and although in 1847, when he published the series of eight wood-cuts called "The Bottle," he was not a teetotaler, he soon became one of the most fanatical of what are termed total abstainers, and did rather harm than good to the cause he had at heart by some of his later productions, which verged on the ludicrous. Yet among designers and etchers he will always hold a high rank, although as to that of a jDainter, his works, such as "The Worship of Bacchus," now in the National Gallery, are rather designs in paint than pictures. George Cruikshank died in London in 1878, after a long and honourable life, and was buried in S. Paul's Cathedral. Mr. Reid's catalogue of his works was published in 1871 by Bell and Daldy, of London. At the sale in 1878, after his death, two 268 PAINTERS AND THEIR WORKS. water-colour drawings, "The Sober Man's Sunday "and -'The Drunken Man's Sunday," produced £44 2s. ; and in Dr. Percy's, in 1890, "La Bagatelle," with the engraving, was sold for £12 12s., and "Uncle Tom's Cabin" for £2 4s. Cruikshank (Isaac).— b. Edinburgh, 1756 or '57 ; d. London, 1810 or '11 ; self-taught ; p. caricatures. Isaac was the son of one of the followers of the Pretender, in 1745 ; being poor, the father came to London with his son, and died shortly afterwards. The first print by Isaac was published in 1796, and was in defence of Pitt, who was then assailed by Gilray. Laurie and Whittle were the publishers of most of Isaac's designs, such as his illus- trations of the works of Swift, Joe Miller, John Brown, etc. His water-colour drawings are well finished and have merit. It is said that he exhibited at the Poyal Academy in 1789 ; but the entry in the catalogue of that year is ' ' No. 483. ' Return to Lochaber,' by J. Cruikshanks, of No. 1, Saint Martin's Court." In the catalogue for 1790 there is, "No. 515. 'Visit to the Cottage' (see Joe Thomson), by J. Cruikshank, of 7, Saint Martin's Court"; and in that of 1792, "No. 713. 'The Dis- tresses and Triumph of Virtue' (ride Curate of Elm wood), by J. Cruikshank," while the address is given "J. Cruikshanks, No. 203, High Holborn." Moreover, in the catalogue of 1802, when he exhibited "Design for a Medal," he is described as "J. Cruikshanks, of Bury Street." It is probable, therefore, that the family name was originally Cruikshanks. Drawings by Isaac Cruikshank have been sold as follow : £ s. d. The Dame School, Dr. Percy's sale ... 1890 ... 15 Morning, and a Landscape with Figures, Dr. Percy's sale 1890 ... 12 A Relish, Dr. Percy's sale 1890 ... 1 Cruikshank (Isaac Robert, not Robert Isaac). — b. about 1790 ; D. 1856 ; s. his father ; p. portraits and comic designs. He was the eldest son of Isaac, and began life as a midshipman on board the East India Company's ship " Perseverance." The success of his brother George as a caricaturist induced him to leave the Company's service and to try to gain a livelihood by painting por- traits and designing caricatures. His water-colour drawings and comic designs are, however, very inferior to those by George. In connection with George he illustrated "The Universal Songster," "Cruikshank at Home," and "The Odd Volume," to which Seymour also contributed. The best designs by Robert Cruik- PAINTERS AND THEIR WORKS. 269 shank, as he is usually called, are the illustrations for Cumberland's " British Theatre " and " Minor Theatre." At Dr. Percy's sale, in 1890, "The Highland Dance," by Robert Cruikshank, produced £6 10s. Cuitts (The). — There were two artists of the same names, father and son : Cuitt (George), the elder. — b. Moulton, near Richmond, in Yorkshire, 1743; d. Richmond, 3rd February, 1818; studied at Rome ; p. landscapes, history, and x^ortraits. Having shown an early taste for drawing, he was sent by Sir Lawrence Dundas, in 1769, to Rome, and returned to England in 1775. He exhibi- ted in the following year at the Royal Academy ' ' The Infant Jupiter Fed with Goat's Milk and Honey " and some portraits. He must, however, be ranked as a landscape-painter, and his last contribution to the Academy Exhibitions was in 1798. He painted some of the scenery in Moor Park ; and having resided at Richmond for nearly forty years, he was constantly employed in the North in making pictures or draAvings of parks or residences in that part of England. He frequently painted in body-colours. At Dr. Percy's sale in 1890, two drawings by G, Cuitt were sold, "The Eagle Tower, Conway," for £l 15s., and " Tanfield Castle, Bedale, Yorkshire," for £31. Cuitt (George), the younger. — b. Richmond, in Yorkshire, 1779 ; D. 15th July, 1854 ; s. his father ; p. landscapes. He was the son of the other George Cuitt, and besides painting in water-colours, by studying Piranesi's etchings, became a very deservedly esteemed etcher, for his works are well drawn, vigorously etched, full of truth and spirit, and unlike those of any other English artist. About 1804 he went to Chester, where he resided for some years and taught drawing, and he published his first etchings in 1800-11. By the age of forty he had accumulated sufficient property to enable him to retire to Masham, near Richmond, where he built a house and lived until his death. His principal works are several collections of etchings of old buildings in Chester, and "Yorkshire Abbej^s," and in 1848 he published a collection of his Avorks, as ' ' Wanderings and Pencilling amongst the Ruins of Olden Times." Culmbach.— /^'je Kulmback. Cunningham (Edward Francis).— b. probably at Kelso, about 1742 ; d. London, 1795 ; studied in Italy ; p. portraits. He 270 PAINTERS AND THEIR WORKS. was of a good family, and after the defeat of the Pretender, in 1745, his father fled from Scotland, and took Edward to Italy. There the latter studied diligently at Parma, Pome, Venice, in 1764, and afterwards in Paris. He inherited the family and other property, but soon dissipated both. He next went to Pussia in the suite of the Duchess of Kingston, whom he quitted, but found employment at the Russian Court as a portrait-painter. In 1788 he was at Berlin, where also he was much employed. Finally he returned to London, and was equally successful. He was, however, so improvident that he died very poor, in London, in 1795. His portraits have merit, and many of them have been engraved. It is said that while in Italy he assumed the name of "Calze." Cuylenburgs or Kuilenburgs (The).— There were three, if not more, artists of this name resident at Utrecht or at Haarlem, in the seventeenth century. The most known of these is : Cuylenburg (Abraham).— b. ; d. ; s. Poelenburg; p. landscapes and figures. He is said to have been born at Utrecht, and to have been admitted into the guild of S. Luke of that x^lace in 1660 ; but an Abraham Cuylenburg is described as the son of Giurinus (Krijn) Cuylenburg, who was a painter, and was inscribed in the books of the Guild at Haarlem in 1670. This Abraham was also admitted into the same guild in 1680, and inscribed in 1681 as "bachelor, of Emden," and "a line- engraver." He was buried at Haarlem in 1688. It appears, therefore, that there were two Abraham Cuylenburgs who were contemporaries. There was also a painter Gerrit, Cuylenburg, who was admitted into the Haarlem Guild, 3rd December, 1715. The landscape backgrounds of Cuylenburg's pictures are not so much like Poelenburg's as his small figures. He also painted single figures in bacchanalian and mythological subjects, which are sometimes a foot in height. Few of the pictures by him which have been sold in London since 1794 have produced £10 each; but in that year was sold " Puins and Figures," 36in. by 42in., Dundas's sale, £54 10s. Cuylenburg (Cornelius van).— b. Utrecht, ; d. The Hague, about 1824 ; s. his father ; p. portraits, landscapes, etc. He was the son of the statuary, Cornelius Cuylenburg. In the year 1783 he was admitted into the Guild at Utrecht, but resided * at The Hague from about 1814 to the time of his death. In the PAINTEKS AND THEIR WOEKS. 271 Museum at Amsterdam is a fine portrait by him of ' ' Den Schout-Bij-Nacht, Willem Crul." Cuyps (The).— Up to the year 1884, when the Dutch author G. H. Veth published the result of the researches he had made relative to the family of the Cuyps, nearly all that had been written respecting them was wrong. The first he mentions was Gerrit Gerritsz, who is described as ' ' glasscriver van Venloo " (a writer on glass, or annealer, of Venloo). He was a member of the old Guild of S. Luke at Dordrecht from 1584 to 1605, when he must have died ; and he left a son, also named Gerrit Gerritsz, who also had a son named Gerrit Gerritsz, and a Gerrit Gerritsz remained on the register till 1649. The following is the pedigree of the Cuyps as given by Veth, who thinks it unlikely that the name was ever written Kuyp by any of them ; yet the C in the signature of Aelbert's father looks very much like a K, and Aelbert's name stands in the register of his marriage as Albert Kuyp : GERRIT GERRITSZ (the first), native of Venloo. (Before hi s marriage.) | (By his marriage with Gertge Mat hysek.) I I " I I I Maritke, Anneke, Arram. Isaac. .Jacob, born 1585, married | | born Dec. 1594, probably Goorsen Jacob. Geertruyt, married died VAN Been. married 13 Nov., * young. Pieter Aertken, HULSTMAN. CORNELIS (dr.) T VAN COOTEN. I Aelbrecht, known as Aelbert, born October, 1620. * Year not given. t The final dr. means dochter (daughter of). It results from this pedigree (as Gerritsz is an abbreviation of Gerritszoon) that the father of the Gerrit who came from Venloo to Dordrecht, must also have borne the name of Gerrit, and that Benjamin was cousin to Aelbert. Of the life of the first Gerrit Gerritsz we have no particulars. Cuyp (Aelbrecht), known as Aelbert. — b. Dordrecht, October, 1620; D. November, 1691; s. his father; p. landscapes, marine sub- jects, figures, portraits, still life, etc. This celebrated artist was, as we have shown, the son of Jacob Gerritsz Cuyp, under whose able instruction he became one of the best painters that Holland Gerrit Gerritsz (the second), married Jurynke Alberts. Gerrit Benjamin, Gerritsz born (the third), Dec, 1612. married Belyntje tiellmans. 272 PAINTERS AND THEIR WORKS. has produced. What is known of Aelbert's life may be thus summed up : His mother was Aertken, the daughter of Cornelis van Cooten, of Utrecht. His father died in 1650 and his mother in 1654. He was their only son. On the 30th July, 1658, he married Cornelia Boschman, widow of Johan van de Corput. She was the daughter of a clergyman ; her first marriage took place in 1636, and her father and first husband both died in 1650. It is probable, therefore, that she was older than Aelbert Cuyp, and may have been rich. The legend that he was a brewer at Leyden has been discredited by Van Eynden and Van der Willigen, and he evidently was one of a long line of artists. As regards Aelbert Cuyp's art-training, it must not be for- gotten that he had such predecessors in landscape and marine painting as Van Goyen, Saftleven, and S. de Vlieger ; and Veth gives a curious instance of a picture representing ' ' The Dutch Fleet lying before Dordrecht," which appeared at one sale as being by De Vlieger and at another as by Cuyp. It is probable that before his marriage CuyjD travelled in Gelderland and on the Rhine. From whatever source he derived his skill as an artist, it is evident that he studied nature constantly, that he chose with remarkable discernment what would make a good picture, and. trusted little to what is termed composition. Also he represented with equal truth still-life, living objects, the earth, and, above all, the sky and clouds as they appear at different times of the day, and in different weather. Smith asserted that no picture by Aelbert Cuyp was sold in Holland before 1750 for more than a couple of pounds, and Veth cites some instances of this. It is not, however, so surprising as it appears, as the early Dutch collectors valued most the striking effects of light and shade to be found in the works of Rembrandt, and the high finish in those of Gerard Dou and Mieris. Their successors were smitten with a love for a style which was a mixture of the native and the Italian. During the latter part of Aelbert Cuyp's life, too, the wealth of the Dutch as a nation had been very much lessened, and a taste had sprung up in Holland for drawings which made it more profitable to artists to make them than to paint in oil. Moreover, when the French dealers began to pay regular visits to Holland, they knew that their countrymen in those days would buy Dutch pictures rather as curiosities than as pictures, and that the most highly finished would be the most saleable. The field was therefore left open to the English, who fully appreciated the excellence of Aelbert's PAINTERS AND THEIR WORKS. 273 pictures ; and this country lias thus become the one in which they can be most fully studied. There are a few etchings by Cuyp, though they are not remarkable. More than two hundred pictures by Aelbert Cuyp have been sold by public auction since 3767. The prices range from £6 ]6s. 6d. for "A Girl's Head," in the Waldegrave sale of 1842, to £5400, paid for "The Avenue at Dort," in the San Donato sale in 1868. Among these pictures are many of Cuyp's finest works ; but the enumeration is confined to those which changed hands at very high prices, or are curious from the subjects re- presented : View of Nimeguen, Colebrook sale ... Landscape (probably the picture sold in Clarke's sale in 1802 for £309 15s.), Lebrun's sale... Landscape, man on grey horse, woman, cows, etc., 52in. by 78in. (now in the National Gallery), Dundas's sale ... View on the Meuse, Robet's sale A frost piece, with many figures, Bryants sale Landscape, horses ready for mount- ing, black boy, dogs, etc., Rendles- ham's sale ... Landscape, man and woman, and cows. Grand pre's sale ... Le Chateau, La Fontaine's sale Aelbert Cuyp Sketching from Nature, boy and horses, lO^in. by 17iin., Duke of Bedford's sale ... (Sold again in Granville's sale, 1845, for £525, and in Cope's sale, 1872, for £1249 10s., and the com- panion for £409 10s.). La Partie de Chasse, from De la Peyriere's Collection, Emmerson's sale View on Maes, near Dort, Stuart's sale The companion, Stuart's sale... View of Dort from the River, Herman's sale ... Departure for the Chase (Smith, No. 177), Higginson's sale £ s. d. 1774 . .. 304 10 1791 . .. 210 1794 . .. 89 1801 . .. 410 1804. fil4. 1/ 1806 . .. 500 1809 . .. 1200 1822 . .. 462 1827 . .. 593 10 1828 . .. 1063 1841 . .. 1102 1841 . .. 1522 1844 . .. 1060 10 1846 . .. 546 s 274 PAINTERS AND THEIR WORKS. Philip Baptising the Eunuch, 66in. by 45in., Duke of Buckingham's sale A Ruined Chateau, cavalier riding (bought in), Ashburnham's sale Homeward Bound, stiff breeze, from Beckford's Collection, Blaine's sale ... Landscape, with portraits of P. Both and his wife, and negro, North- Avick's sale ... Morning, 62|in. by SS^in. (Smith, No. 138), Higginson's sale The Avenue at Dort, San Donato sale Cattle near a River, San Donato sale Landscape, shepherd and shepherdess, 42in. by 54in., Ellis's sale View on the Rhine, Forster's sale ... Early Morning, cavalier on grey horse, 26in. by 32in., Forster's sale ... Homeward Bound, De Zoete's sale ... Milking-time, Nieuwenhuys' sale ... Landscape, travellers at inn near river, white horse, two men, one putting on boots, boy, girl with pewter jug, 24^in. by 32|in., Duke of Marlborough's sale Milking-time View over a River, Fawkes's sale . . . Group of Seven Cows, Perkins's sale Landscape, Cavalier Bentinck's sale Grand Landscape, Dudley's sale Departure for Hunting, Adrian Hope's sale Two Travellers, Adrian Hope's sale... Cuyp (Benjamin Gerritsz).— b. Dordrecht, December, 1612 ; D. at the end of the seventeenth century ; s. J, G. Cuyp ; p. history. He imitated Rembrandt, and his touch and colouring are light and warm, but his drawing is weak. Pictures by him have seldom been sold for high prices. His signature is " B. G. (interlaced) Cuyp." Cuyp (Jacob Gerritsz), often called Old Cuyp. — b. Dordrecht, 1594 ; D. Dordrecht, between 1649 and 1662 ; s. his father ; p. portraits, landscapes, and battle-pieces. He became a pupil of Abraham Bloemart, and was one of the four painters who formed, in 1642, the new Guild of S. Luke, at Dordrecht. Although he £ s. d. 1848 . .. 1543 10 1850 . .. 2100 1857 .. 300 1859 .. 966 loOU A u A U 1868 .. 5400 1868 . .. 2000 1876 . .. 1197 10 1876 . .. 3150 1876 .. 5040 1885 .. 535 1886 .. 525 XOO i A y) 1887 . .. 682 10 1890 . .. 787 1890 . .. 997 1891 . .. 577 1892 . .. 1890 1894 .. 2100 1894 . .. 556 PAINTERS AND THEIR WORKS. 275 painted different subjects, he is most known as a j)ortrait-painter and as the father of the famous Aelbert Cuyp. His portraits are remarkable for the sunny glow he threw over them, for the dark dresses and large white rutFs in which the personages are dressed, and for the skill with which he formed them into groups. They are not often offered in sales ; but the following may be cited, and among them are his finest works : A Group of the Troost Family — Ryks Museum, Amsterdam. Three Children in a Landscape, dated 1635 ; Portrait of an Officer, dated \QU; Portrait of a Lady, dated 16M— Museum, Rotterdam. Landscape with Figures — Museum, Brussels. Town near a River — Pinakothek, Munich. Portrait of a Lady — Stadel Museum, Frankfort. Two Soldiers sitting at a Table— Hermitage, S. Petersburg. Three portraits, one of an old woman, dated 1624 — Berlin Gallery. Two portraits, one signed '*J.G. (interlaced) Cuyp, fecit A. 1649"— Metz Muse e. The only price which can be given is one that does not show what a fine portrait by him would now produce : Portrait of a young woman in a black dress with a rulf, Zachary's sale, 1838, £7 15s, Cyl (Va.n).—See Zyll. D'Agnola (Andrea).— /See Andrea d'Agnola. Dahl (Michael).— B. Stockholm, 1656 ; d. London, 20th October, 1743 ; s, Ernstraen Klocke ; p. portraits. His master was painter to the Crown in Sweden, and Dahl, when in Rome, painted the portrait of Queen Christina of Sweden, Dahl came to England at the age of twenty-two, and after staying about a year went to Paris, and on to Italy, where he remained about three years. He returned to London in 1688, The competition between him and Sir Godfrey Kneller does not appear to have caused them to be jealous of one another, as Kneller painted his portrait, Dahl was in favour with Queen Anne, and painted whole-length portraits of her and of Prince George, There are others of ladies by him at Petworth, also at Windsor. In his portraits, the likenesses are said to have been good. His son was likewise a painter, but his pictures are inferior to those by the elder Dahl. The only known price at which a portrait by Michael Dahl has been sold is: "Portrait of Gay, the Poet," Fen- ton's sale, 1880, £46 4s. ; this portrait is now in the National Gallery. s 2 276 PAINTERS AND THEIR WORKS. Danbys (The). — There have been several painters of this name. Danby (Francis).— b. near Wexford, 16th November, 1793 ; D. Exmouth, 9th February, 1861 ; s. O'Connor ; p. historical scenery and landscapes. Francis Danby was the son of a small farmer living near Wexford. His family removed to Dublin, where, his father being dead, his mother permitted him to follow art. for which he had a strong inclination, as a profession. He studied in the Royal Dublin Society's Schools, and under O'Connor. In 1812, he exhibited, at Dublin, his first picture, "Landscape — Evening." In 1813 Danby, George Petrie (the future President of the Hibernian Academy), and O'Connor visited London ; but having spent their money, they started, penniless, for Bristol, on their way home. There Danby, by the sale of a few drawings, enabled O'Connor to return to Dublin, but determined to remain himself in Bristol, where he appears to have supported himself until 1824, by giving lessons in drawing. He had exhibited for the first time at the Royal Academy in 1817, his picture being "A View in Scotland." In 1828 his ' ' Opening of the Sixth Seal, " exhibited at the Institution, gained for him a premium of 200 guineas, and from that time his reputa- tion was established for the grand style of landscape he had chosen. He was also elected an Associate of the Royal Academy, and came to reside in London. In 1829 he sent two other pictures of subjects from ' ' Revelations " to the Academy ; but a quarrel ensued between him and the authorities there, and Danby left England for Switzerland, where he resided for eleven years. There he amused himself by boatbuilding and yachting on the Lake of Geneva, and painting a few pictures on commission. It is said that he also visited Norway. He, however, exhibited his "Golden Age "at the Academy in 1831, and " Rich and Rare were the Gems she Wore " in 1837. Danby returned to England in 1841, and from that year exhibited both at the Academy and at the Institutions, ' ' The Evening Gun, " which was at the former, in 1848, being one of his finest works. He resided at Exmouth from 1847, and died there in 1861. Danby will always occupy a distinguished position among English landscape-painters. He must have been endued with a powerful imagination, and expressed his conceptions in a grand, broad, and beautiful manner. His two sons, James Francis and Thomas, survi^ved him. Many of his pictures have been engraved. PAINTEKS AND THEIR WORKS. 277 The following are some of Francis Danby's finest pictures, the dates indicating the years in which they were exhibited : 1817. View in Scotland. (He is described in the Academy Catalogue as G. Danby, of Clifton.) 1820. The Upas-tree of Java. (Now at South Kensington.) 1821. Disappointed Love. (In the Catalogue of this year his name is given as F. Danby, of Kingsdown Place, Bristol.) 1822. Clearing up after a Shower. 1824. Sunset after a Storm at Sea. 1825. The Delivery of the Israelites out of Egypt. 1828. The Opening of the Sixth Seal. 1831. The Golden Age. 1837. "Rich and Kare were the Gems she Wore." 1848. The Evening Gun. Pictures by him have been sold as fol] Sunset at Sea, Sir T. Lawrence's sale Sunset after a Storm, sailor on a raft, 37in. by 57in., Lake's sale Opening of the Sixth Seal Calypso on Enchanted Isle, Jones' sale Morning on Lake of ' Zurich — Pilgrims Embarking, Towns- hend's sale... Golden Moments of Sunset ... Song of the Wood - nymph to the Rising Sun, North wick's sale . . . The Raft, Gambart's sale Still there is Hope, 30in. by 41in., Agnew's sale The Dance of the Muses, 57in. by 82in., Agnew's sale A Boy, Cupids, and Nymphs — Sunset, Threlfall's sale Grand Sunset, Eden's sale Lake Leman, 24in. by 35in., Mendel's . sale ... Sunset, Watt's sale The Vale of Tempe, Graham's sale . . . At Hibbert's sale, 1860, "The Crucifixion," in water-colours produced £21. Danby (James Francis).— b. Bristol, 1816 ; d. London, 22nd October, 1875 ; s. his father ; P. landscapes.- This artist was the eldest son of Francis Danby. His landscapes are treated Dw : £ s. d. 1830 . . 107 2 1845 . . 202 13 1847 . . 525 1852 . . 204 15 1854 . . 693 1856 . . 350 1859 . . 378 1861 . . 231 1861 . . 236 5 1863 . . 350 1864 . . 351 15 1868 . . 257 5 1875 . . 525 5 1885 . 99 15 1887 . . 210 278 PAINTERS AND THEIR WORKS. with the same poetic feeling and brilliant colouring as are those by his father. Pictures in oil by James Danby have been sold as under : Dorset Coast (his last work), J. £ s. d. Danby'ssale 1876 ... 103 19 Off Hastings, J. Danby's sale ... 1876 ... 102 18 Sark— Sunset, J. Danby's sale ... 1876 ... 66 .3 The Wreck, Romilly's sale 1878 ... 110 5 Dance (Nathaniel), afterwards Sir Nathaniel Dance Holland. — B. London, 1734 ; d. Wmchester, 1811 ; s. Francis Hayman ; p. history, portraits, and landscapes. He was the son of George Dance, the architect who built the Mansion House, and having shown an early inclination for painting, studied for some time under Hayman. Subsequently he went to Italy, where he con- tinued his studies for eight or nine years. On his return he met with considerable success in his profession. In 1761 he was a member of the Incorporated Society of Artists, and ex- hibited with them in 1763 his picture of "Dido and JEneas." He was also one of the foundation members of the Royal Academy in 1786. During his stay in Italy he followed Angelica Kauff- mann and wished her to marry him ; but not succeeding in that, he returned to England, married a Mrs. Drummer, the widow of a Hampshire gentleman, and with her acquired a large fortune. He was elected a Member of Parliament for East Grinstead, took the name of Holland, and was made a baronet in 1800. The strongest proof of Nathaniel Dance's merit as an artist is that portraits by him have been ascribed to Sir Joshua Reynolds. He painted the portraits of George III. and Queen Charlotte, also those of Thomas Browne and of Captain Cook. The last-named is at Greenwich Hospital, and gives a very favourable impression of Dance's talent, although his portrait of Garrick in the character of Richard III. is held to be the best he painted. It was en- graved by John Dixon, as were also his " Timon of Athens" by Hall, his ' ' Virginia " by Haid, and his ' ' Portrait of Oniai " by Bartolozzi, His manner of painting heads is very well shown in William Daniell's Hthographs from his portraits. Pictures and portraits by Dance have been sold thus : The Worn-out Soldier, Lady £ s. d. Holland's sale 1826 ... 6 6 Landscape with horsemen halting, Lady Holland's sale ... ... 1826 ... 3 5 Portrait of Arthur Murphy 1830 ... 15 4 6 PAINTERS AND THEIR WORKS. 279 Portrait of Garrick, presented to Mr. £ s. d. Taylor by him in 1771 (probably not the engraved portrait), Taylor's sale 1840 ... 19 8 6 Daniele (Pellegrino da San).— >S'e6 Martino da TJdine. Daniells (The). — There were five painters of this name : Daniell (Abraham).— b. ; d. Bath, 29th August, 1803; s. ; P. miniatures. He was an able artist, and painted at Bath towards the end of last century. Daniell (John). — b. ; d. about 1806; s. ; p. scenes in India. Nagler says John Daniell was long with Samuel in Ceylon, but Redgrave does not mention him. Perhaps he was a younger brother, or there is some confusion in the Christian names. There was a James Daniell, an engraver, who was contemporary with the others. Daniell (Samuel).— b. 1775; d. Ceylon, December, 1811; s. probably of Medland ; p. landscape scenes in Africa and figures. He was the brother of William Daniell, and went to the Cape of Good Hope early in life. He travelled some distance into the interior of Africa, where he made many drawings, plates from which were published, after he returned to England in 1804, in a book entitled "African Scenery." In 1806 he exhibited at the Royal Academy "African Animals and Scenery," and the same year went to Ceylon, where he resided for six years. From the drawings he made, there was published "The Scenery, Animals, and Native Inhabitants of Ceylon," in which the plates were engraved by William Daniell. Samuel's health had, however, suffered from exposure there in pursuit of his art, and he died at the early age of thirty- six. He had sent home a painting of "The Talipot-tree of Ceylon," which was exhibited in 1812. Daniell (Thomas).— B. Kingston-on-Thames, 1749; d. Lon- don, 1840 ; s. ; p. English landscapes and Oriental scenery and figures. He was the son of an inn-keeper at Chertsey, and served his time to a herald- painter. In 1774 he became a student at the Royal Academy, and exhibited flower-pieces and landscapes up to 1784. He then went to India, accompanied by his nephew William. During ten years they accumulated a large series of views and scenes with figures in that country, which, on their return to England, they published in a work named "Oriental Scenery," in six volumes, completed in 1808. From 1795 280 PAINTERS AND THEIR WORKS. Thomas Daniell contributed to the Royal Academy exhibitions, the subjects of his pictures being ahiiost exclusively Indian, and he excelled in painting water. He was elected an Associate of the Academy in 1796, and a full member in 1799 ; also a Fellow of the Royal, the Asiatic, and the Antiquaries' Societies. He occasionally sent a picture to the Academy up to 1828, but led a very retired life, unmarried, at Earl's Terrace, Kensington, where he died on March 18th, 1840, at the age of ninety-one. The more interesting works by Thomas Daniell are mostly Indian subjects, which have been sold as follow : View in the Interior of India, Michell's sale Great Pagoda in Hindostan Indian Palace with elephants, Cop- land's sale The Temple at Agra, Allnutt's sale... The Upas-tree (probably a sketch), Allnutt's sale ... The Battle of the Nile Indian Women Floating their Lamps upon the Ganges — Moonlight, Cartwright's sale ... Indian Grass-gatherers on the Banks of the Ganges, Cartwright's sale... Daniell (William).— b. 1769; d. New Camden Town, 16th August, 1837 ; s. his uncle ; p. landscapes, figures, etc. At the age of fourteen he went to India with his uncle Thomas. There he became gradually capable of assisting him in preparing the materials for the "Oriental Scenery," which they produced after their return to England. He exhibited at the Royal Academy for the first time in 1795, and for several years, Indian sub- jects; but in 1802 and subsequent years, his pictures were views in the northern counties of England and in Scotland. His contributions lasted up to the time of his death. In 1826 £100 was awarded him by the British Institution for his sketch of " The Battle of Trafalgar." He painted, in 1832, in conjunction with Parris, a ' ' Panorama of Madras, " and afterwards alone, "The City of Lucknow" and "The Mode of Taming Wild Elephants." He had entered the Royal Academy as a student in 1799, in 1807 he was an associate, and in 1822 a full member. William Daniell published several books, in some of which the plates are from drawings by his brother Samuel ; but ' ' A Voyage £ s. d. 1819 .. 5 10 1825 .. . 31 10 1836 .. 22 1 1863 .. 4 4 1863 .. 2 10 1864 .. 42 1865 .. 22 1 1865 .. 3 10 PAINTERS AND THEIR WORKS. 281 round Great Britain," begun in 1814. and finished in 1825, was entirely the work of his own hands. D'Arpino (Giuseppe Cesari), called also Giuseppino, and 11 Cavaliere d'Arpino. — b. Arpino, in the Kingdom of Naples, about 1568 ; D. Rome, 3rd July, 1640 ; s. Pomerancio ; p. history, portraits, and battles. This artist was the son of an obscure painter of Arpino, and went early to Rome in search of work, which he found at first under the painters employed in the "Vatican. Having naturally a talent for intrigue, he contrived that some of his designs should attract the notice of Danti, the superintendent of the works, who recommended him to Pope Gregory XIII. From that moment Cesari rose rapidly into fame, and was patronised by the Popes who succeeded Gregory. Clement VIII. made him a Knight of the Spur. As an artist D'Arpino had wonderful facihty, and excelled in expressing motion, hence battle-pieces are amongst his best works ; he was also often successful in colouring. As the head of a large school he was the great opponent of the Carracci and Caravaggio. His works are to be found in Rome, Naples, and many other places in Italy. Easel pictures by D'Arpino seldom sell for high prices. Of nine sold in London, the prices range from £3 3s. to £53 lis., the latter being the price paid for a battle-piece at Sir James Stuart's sale, in 1836. In 1777, ' ' Adam and Eve Driven from Paradise, " produced, in Conti's sale, £120. David (Gheeraert), called also Gheeraert van Brugghe and Oudewater. — b. Oudewater, about 1450 ; d. Bruges, 13th August, 1523 ; s. ; p. history. This artist's works were long known as by "Oudewater," but Mr. Weale found (by research at Bruges) that his real name was Gheeraert, son of Jan, son of David of Oudewater, in Holland. About 1484 he settled at Bruges, and was at once admitted as a master-painter into the Guild of Saddlers and Painters, of which he became Dean in 1501. In 1496 he had married Cornelia, daughter of Jacob Cnoop, Dean of the Guild of Goldsmiths, and became a member of the Brotherhood of " L'Arbre Sec " in 1508. It is evident that he was an important personage at Bruges, as after the death of his wife and his own, their armorial bearings were placed on their gravestone. He had also, when he visited Antwerp, in 1515, been made a member of the Guild of S. Luke, of that place. 282 PAINTERS AND THEIR WORKS. In his pictures Gheeraert David followed the styles of Dirk Bouts and Hans Memlinc ; and in some of them the backgrounds were, it is believed, painted by Joachim Patinir, who was ad- mitted into the Guild of S. Luke, at Antwerp, in the same year as David, and is usually spoken of as the founder of the Dutch school of landscape-painting. He and Bos were among the first Dutch artists who used oil paints. Many pictures which have been long attributed to Memlinc are now known to have been painted by David. Those by him which appear to be well authenticated are : Two representing the Punishment by Cambyses of the Unjust Judge ; a triptych of the Baptism of Christ — Academy, Bruges. A triptych — S. Basil's, Bruges. The Virgin and Child with Angels and Saints, 1509 — Mus^e, Ptouen. A Canon and his Patron Saints — National Gallery, London. This picture was formerly the property of Mr. Barret, of Lee Priory. At the sale there in 1859 it was bought by Mr. White for £551 5s. Others attributed to David are at Munich, Berlin, Madrid, and Frankfort. His "Marriage of S. Catherine" produced £231 at a sale in 1894. David (Jacques Louis).— b. Paris, 1748; d. Brussels, 1825 ; s. Vien ; p. history and portraits. His father having been killed in a duel when David was still a boy, the care of his education devolved upon his mother and an uncle named Baron, an architect, and they wished him to follow his uncle's profession. They, however, consented that he should become a painter, and he was placed with Boucher, who probably was not sorry to turn over to Vien a pupil who flattered himself that he was born to regenerate French art. David only gained the ' ' Prix de Rome " after five attempts ; but once in Italy, whither he went with Vien, who had been appointed Director of the French Academy in Rome, he assiduously studied the antique. On his return to Paris in 1780, he was made an Academician, and had lodgings in the Louvre. David produced his pictures of ' ' Belisarius " and ' ' The Death of Hector," and having married, visited Flanders, and Italy for the second time. About the same time he painted ' ' The Oath of the Horatii" and "Brutus," and these were well suited to the taste of his countrymen, who were then entering upon the con- flicts of the Revolution : into this he plunged, regardless of PAINTERS AND THEIR WORKS. 283 consequences. In 1792 he was elected a representative of Paris to the Convention, joined the party of Robespierre, was twice thrown into prison, and narrowly escaped with his life. Probably this had moderated his admiration of the Republic, for, on his release, in 1795, he abandoned politics, and devoted his energies to painting. On the rise of Napoleon to power, David was made a member of the Institute, and appointed his "First Painter." He then became a staunch Imperialist, and on the restoration of the Bourbons fled to Brussels, where he resided until his death. It required nothing less than a convulsion like that of the French Revolution to cause the works of David to be admired, and any beneficial influence he may have exercised on French art was rather shown in the works of his pupils than in his own. Of the latter, those which are now valuable are his portraits, and a few representing historical events, painted during the time of the Empire. In the Louvre are many of the former that are highly interesting ; in the Museum at Rouen, one of Mme. Vigeele Brun, the artist ; and at Versailles, that of Barere. Among the latter there are at Versailles, ' ' Napoleon Crossing Mount S. Bernard, " 1805; "The Coronation of Napoleon and Josephine," 1808; "The Oath of the Army on the Champ de Mars," 1810 ; to which must be added ' ' The Oath in the Fives Court " and the portrait of Napoleon I. Pictures by J. L. David have been sold by auction for the following prices : Death of Hector (sketch), Choiseul- Praslin's sale Portraits (together) of the Pope and Cardinal Caprera, Lafitte's sale Portrait of David by himself, Gerard's sale Psyche and Cupid, Sommariva's sale Judith with the Head of Holofernes (a miniature), Bernal's sale Belisarius, Northwick's sale ... Another, same subject, Meffre's sale Life-size portraits of the Pope Pius VI L and Cardinal Caprera, Pour- tales's sale ... Portrait of Madame Montgiraud, Boittelle's sale Portrait of Napoleon L, 79in. by 48in., Hamilton's sale ... £ s. d. 1808 ., .. 50 1834 . .. 250 1837 . .. 25 1839 .. ,. 95 1853 . 3 10 1859 ., .. 110 5 1863 . .. 290 1865 .. . 720 1866 ., ,. 210 1882 .. . 378 284 PAINTERS AND THEIR WORKS. Davises (The). — There have been at least six painters of the name of Davis. The most noted are mentioned below : Davis (Edward).— B. Worcester, 1833 ; d. Rome, 1867 ; s. in the School of Design at Worcester ; p. figures. He exhibited at the Royal Academy in 1854 "Meditation," and similar subjects up to the time of his death, the last being "The Little Peg-top." Davis (J.P.), known as Pope Davis. — b. ; d. 1862 ; s. ; p. portraits and figure subjects. He first exhibited at the Royal Academy in 1811. In 1824 he went to Rome, and while there painted ' ' The Talbot Family Receiving the Benediction of the Pope," for which the British Institution awarded him £50. He returned to London before 1826, and exhibited several works, the last being a portrait in 1843. He was an intimate friend of Haydon, and attacked the Royal Academy in a book, published in 1858, entitled ' ' The Royal Academy and the National Gallery : What is the State of these Institutions ?" Davis (John Scarlett).— B. Hereford, about 1800 ; d. about 1841 ; s. ; p. interiors of buildings and genre. He was the son of a shoemaker in Hereford ; but began to study art early and went to Paris, where he worked in the Louvre and acquired great facility and skill, especially in painting the interiors of buildings. He exhibited first at the Academy, in 1825, a picture called "My Den," after this the Interior of the Gallery at Florence, and that of the Louvre, and became noted for such works. In 1841 he was living in Amsterdam, and sent two pic- tures to the Academy, "Jack, after a Successful Cruise, Visit- ing his old Comrades at Greenwich," and "The Interior of the Cathedral at Amiens," which were his last. He lithographed, in a masterly manner, some heads after studies by Rubens, and some views of Bolton Abbey from nature. Of his pictures sold by auction we may mention : Interior of Rubens's Picture Gallery, £ s. d. J. 8. Davis's sale 1846 ... 85 1 Interior of S.Peter's, Hinxman's sale 1848 ... 56 14 Davis (Pope).— /See Davis (J.P.) Davis (Richard Barrett).— b. Watford, 1782 ; d. March, 1854 ; s. Sir W. Beechey ; p. animals. He was a son of the hunts- man to George III. At nineteen he was admitted into the schools of the Royal Academy. In 1802 he exhibited at the Royal PAINTERS AND THEIR WORKS. 285 Academy a landscape, and in subsequent years a number of works in which horses form the principal objects. In 1841 he was appointed " animal-painter" to William IV., and painted for that monarch the cavalcade which formed his coronation procession. Davis joined the SuHblk Street Society in 1829, and was one of the influential members and exhibitors. His pictures are very carefully finished, and they contain the portraits of many famous racehorses. The two following have been sold : Portrait of a Favourite Racer, and £ s. d. figures, at Newmarket 1827 ... 9 9 Shooting the Popinjay, Bicknell's sale 1863 ... 5 Davis (W. H.).— B. Dublin, 1812 ; d. London, 1873 ; s. Dub- lin Academy ; p. portraits and stil] life. He left Dublin, and settled at Liverpool, where he at first painted portraits ; but being elected a member of the Liverpool Academy of Arts, and later Professor of Painting, he devoted his time to painting landscapes, which are true and highly finished. He exhibited occasionally at the Royal Academy, and his picture, " Harrowing, " was in the International Exhibition of 1862. Dawe (George).— B. London, 8th February, 1781 ; d. London, 15th October, 1829 ; s. Royal Academy Schools ; p. history and portraits. G. Dawe was the son of Philip Dawe, the engraver, an intimate friend of George Morland, who was godfather to Dawe's son. hence his Christian name. George Dawe was brought up as an engraver, but abandoned that profession for painting when he was twenty-one. his last engraving being of Bacon's group to the memory of the Marquis Cornwallis. George Dawe gained the Academy gold medal in 1803, for his picture of " Achilles Frantic for the Loss of Patroclus " ; also two premiums from the British Institution, one of £50 in 1809, and another of £122 in 1811 for his "A Negro Overpowering a Buffalo." Nevertheless, from that time he mostly exhibited portraits, among others that of Miss O'Neill as " J uliet, " which he painted by lamplight. He was elected an Associate of the Royal Academy in 1809, and a full member in 1814. After the Battle of Waterloo, he painted portraits of several of the officers who were distinguished in it, also of Princess Charlotte and Prince Leopold several times, and was em- ployed by the Czar of Russia to paint the officers who took part in the wars with Napoleon. He left England for Russia in January, 1819, and on his way thither painted at Brussels the Prince and 286 PAINTERS AND THEIR WORKS. Princess of Orange, at Coburg the reigning Duke, and, at Weimar, Goethe ; also the Grand Duke of Saxe-Meiningen, and the sister of the Czar of Russia. In the course of a nine years' residence in Russia, Dawe painted 400 portraits which are in a large gallery at the Hermitage, and many others, including a whole-length of the Duke of Wellington and a portrait of the Emperor Alexander on horseback, which is 20ft. in height. In 1828 Dawe came to England for a short time, and on his way back to Russia painted at Berlin portraits of the King of Prussia and the Duke of Cumberland. He went in the suite of the Emperor Nicholas to Warsaw in 1829, and painted a portrait of the Grand Duke Constantine. Shortly afterwards, being in bad health, he visited Aix-la-Chapelle, and having returned to London in August, died in October of that year, in the house of his brother-in-law, Wright, the engraver. On the 27th October Dawe was buried in St. Paul's, near Fuseli. As an artist Dawe was well acquainted with anatomy, and his portraits are said to have been excellent likenesses, but they are rather heavily painted, and show the labour he bestowed upon them. He made, it is said, £100,000 hy his art, principally in Russia, but after his death this large sum was reduced by litiga- tion to about £25,000. Dawe (Henry).— B. Kentish Town, 24th September, 1790 ; d. Windsor, 28th December, 1848 ; s. his father and the Royal Academy ; p. subject pieces and portraits. He was the younger brother of George Dawe, and was distinguished as an engraver and a painter. Many of his pictures were engraved. Dawson (H.).— b. Hull, 1811 ; d. Chiswick, December, 1878 ; s. Pyne ; p. landscapes and marine subjects. Although he received six lessons in 1838 from Pyne, this artist was otherwise self- taught, and remained little known until the exhibition of his works at Notttingham in 1878 showed his talents ; but his pictures now sell for high prices. Dawson went to Nottingham with his parents at an early age, and began life in a lace factory. Having, however, a taste for painting, he found time to produce small pictures, which he sold for about half-a-crown each. In 1835 he gave up the lace trade and devoted all his time to painting. He removed from Nottingham to Liverpool in 1844, where his pictures rose into repute, and he received better prices for them. In 1849 he brought his family to London, and then settled at Croydon, at which place he painted some of his best pictures. PAINTERS AND THEIR AVORKS. 287 "The Wooden Walls of Old England" was exhibited at the Bristol Institution in 1853. This was followed by "The Rain- bow," "The Rainbow at Sea," " London Bridge," and "London at Sunrise." A few of his later works are somewhat in the style of Turner, but they always show the work of an original painter who founded his art upon nature, which he studied incessantly. In a list of about fifty pictures by Dawson, sold since 1862, the prices range from £81 18s., for "View of Worcester," 42in. by 60in., sold in Flint's sale in that year, to £1417 10s,, paid at Timmins's sale in 1875, for "The Wooden Walls of Old Eng- land," 57in. by 36in. The following are high prices which have been realised at public auction, or at which pictures have been ight in by his executors : 4? 3& s. A d. On the Trent, Norris's Bale... 1874 . .. 294 Harvest-time, Westmoreland, Norris's sale ... ... 1874 . .. 504 The Wooden Walls of Old England, 57in. by 36in. , Timmins's sale . . . 1875 . .. 1417 10 stormy Weather on the Conway, Good's sale 1876 . . . 378 Approaching Storm, Ball's sale 1879 . .. 262 15 Morecambe Bay, Ward's sale 1881 . .. 462 Guardship Saluting at Sheerness, 50in. by 32in., H. Dawson's sale 1882 . .. 577 10 Quiet Pool, near Moseley, 30in. by 20in. , Dawson's sale 1882 215 Upper Mall, Hammersmith, 30in. by 20in., Dawson's sale 1882 . .. 241 10 Durham, 30in. by 20in., Dawson's sale 1882 . .. 246 15 In W^indsor Park, 42in. by 36in. (bought in), Dawson's sale 1882 . .. 525 Ancient City, 48in. by 36in. (bought in), Dawson's sale ... 1882 . .. 556 Durham Cathedral, 72in. by 48in. (bought in), Dawson's sale 1882 . .. 1050 Arundel Castle, 36in. by 24in., (bought in), Dawson's sale 1882 . .. 336 Rydal Lake, 36in. by 24in. (bought in), Dawson's sale 1882 . .. 276 Dover Castle, 36in. by 31in., Dawson's sale ... ... 1882 . .. 399 Common and Fir-trees, 30in. by 20in. (bought in), Dawson's sale 1882 . .. 225 15 Sunset, 30in. by 20in. (bought in). Dawson's sale 1882 . .. 294 288 PAINTERS AND THEIR WORKS. Autumn on the Trent, Woodward's £ 8. d. sale ... 1882 . .. 420 Harvest-field ... 1882 . .. 210 Newstead 1882 . .. 201 12 The King's Mills, Leicester, Davis's sale ... 1882 . .. 609 The Old Lock, Windsor, Pott's sale 1883 . .. 262 10 River scene, cattle, sunset, dated 1858, Teesdale's sale 1886 ., ,. 380 Houses of Parliament and West- minster Abbey, Millward's sale S. Paul's, Millward's sale 1890 . . 435 1890 .. . 630 The Tower, Millward's sale ... 1890 .. . 357 Ely Cathedral, Millward's sale 1890 .. . 278 York Cathedral, Millward's sale 1890 .. . 241 Lincoln Cathedral, Millward's sale , . . 1890 .. 204 S. Paul's, dated 1860 1893 ., .. 399 Dayes (Edward).— b. ; d. May, 1804 ; s. William Pether ; p. miniatures and landscapes. It is strange that none of the authorities give the date of this artist's birth, but as William Pether died in 1795, and Dayes was older than Girtin, he was born at least as early as 1770. The miniatures by him have been justly described as ' ' graceful, simple, and finished " ; yet as a painter in water-colours his merit, as the first to improve the old tinted drawings, and as the teacher of Girtin, has been somewhat overlooked. He drew figures, too, well, and introduced them eflfectively into his drawings, to which they give life, especially to those that may be called topographical. Edward Dayes' method of painting can be shortly described thus : When the sketch is made, lay on the shadows and middle tints with Prussian blue and brown Indian ink ; then the sky and clouds with the same colours ; then the distance, rather stronger than the middle ground, leaving out the blue towards the foreground, and working that up with Indian ink alone. The aerial grey tint is then to be brushed over any parts of the terrestrial portion of the drawing to be kept down, "as colour laid over the grey will, of course, not be so light as where the paper is without it." Proceed then with the use of the other colours (which appear to have been yellow ochre, raw and burnt sienna), and lastly retouch the darker parts of the foreground with Van Dyck brown. Redgrave, when describing this method, says : ' ' Such was the older method in which the works of Webber, Siandby, and Cozens were wrought, but which was afterwards PAINTERS AND THEIR WORKS. 289 changed by Dayes, Girtin (his pupil), and Turner (the rising genius who was to go beyond all who had preceded him)." To this we need only add that the perfect state in which some drawings by Dayes now remain, nearly a hundred years after they were painted, proves that the old method was not one to be rashly condemned. The principal drawings by Dayes are : The Koyal Procession to S. Paul's in 1789. The Trial of Warren Hastings. Buckingham House, 1796 ; Ely Cathedral, 1792 ; Winder- mere, Keswick Lake, View of Bath — South Kensington. Corwen, Merionethshire ; Porchester Castle ; Gouldings, near Hertford ; Pteview of Volunteers in Hyde Park, 1790; The Interior of S. Paul's During the Thanks- giving in 1789— British Museum, London. Drawings by Dayes do not often appear at sales, but Dr. Percy had collected a number of them, which were sold at his sale in 1890, as follow : £ s. d. An Old Bridge, Bewdley 12 12 A group of Ladies at a table ... ... ... 110 Near Chepstow ... ^ 880 River scene, bridge, buildings, and figures ... 330 Porchester Castle 5 5 A Harvest-field and Ruins 2 15 Wanstead Houses, etc. (slight sketches) 110 Salisbury Cathedral (and engraving) 29 Richmond Bridge 31 10 As regards his mezzotints, Nagler speaks of Dayes as having worked in 1780, and names the following as by him : Rustic Courtship and Polite Courtship. Two Harnessed Coach-horses. CMldren in a landscape, after Morland. The Visit to the Grandfather, after J. R. Smith, dated 1788. Dayes was also the author of ' ' An Excursion through Derby- shire and Yorkshire, " ' ' Instructions for Drawing and Colouring Landscapes " (which was translated into German by Pichlhofer), and " Professional Sketches of Modern Artists." "Professional Sketches," however, are full of violent attacks on contemporary artists, and show that he had no regard for the feelings of other people. Nevertheless, they contain a few curious facts. It is remarkable that, like Hay don, who was' also at war with all around him, Dayes should have died by his own hand. T 290 PAINTERS AND THEIR WORKS. Debucourt, De Bucourt, or Bucourt (Philibert Louis).— B. Paris, 13th February, 1765 ; d. Paris, 22nd September, 1832 ; 8. Vien ; p. genre and caricatures. Although this artist owes his reputation to those wonderful engravings in colours, " Promenade de la Gallerie du Palais-Poyal, 1787," and "Promenade Publique, 1792," which enable us to realise the state of society in Paris about the time of the Great Revolution of 1789, he had produced many pictures in the style of Teniers before he applied himself to improving the art of printing engravings in colours. A list of the pictures he exhibited between 1781 and 1824 is to be found in Huot de Goncourt's "Art du Dix-huitieme Siecle," together with much information which we cannot give. Some of them have produced in sales from £20 to £25. They are painted in a very smooth manner, and are somewhat like those by Wilkie. Decamps (Alexandre Joseph or Gabriel).— b. Paris, 3rd March, 1803 ; d. Fontainebleau. 1860 ; s. Abel de Pujol ; p. history. Oriental scenes, animals, etc. The pictures by this artist show that he was one of the most original geniuses, and among the best colour ists, that the French School has produced, although he can hardly be said to have belonged to it, for he broke loose from all its traditions. Instead of studying in its schools he travelled far and wide, and particularly in the East, where he acquired the power of representing scenes in Oriental life, and producing those effects of strong light which have made his name more famous, perhaps, abroad than in his own country. His great ambition, however, was to paint historical subjects, such as ''The Defeat of the Cimbri by Marius," which he produced in 1834 ; and it cannot be denied that his "Joshua Commanding the Sun to Stand Still" is a grand picture, as regards both composition and light and shade. Still, his reputation rests upon his Eastern figures and landscapes. Among his most widely-known pictures are : Sancho Panza — Rothschild's Collection. A School in Turkey. Turkish Children and the Tortoise, 1833— Due d'Aumale's Collection. The Connoisseurs. Soldiers of the Vizier's Guard, 1827 ; Turkish Patrol, Smyrna, 1831 — Sir R. Wallace's Collection. Towing-horses, 1842 ; The Caravan — Louvre, Paris. Several Turkish subjects — Fedor Museum, Amsterdam. Among the works of Decamps which have been sold are : PAINTERS AND THEIR WORKS. 291 The School in Turkey (purchased in £ b. d. Paris at Thevenni's sale in 1851, for £425), Du Bois's sale 1860 ... 450 Tlie Orange-seller, Lord Ashburton's sale 1871 ... 533 Monkey s as Cooks, from the Deniidoff Collection, Lord Ashburton's sale 1871 ... 997 10 Ditto, Grote's sale 1872 ...1050 Decker, not Dekker (Adriaau). — b. ; d. ; s. C. van Everdingen ; p. landscapes. Very little is known regarding this artist. He is supposed to have been the father of Cornells and Jan Decker. He was inscribed in the Corporation of Painters at Utrecht in 1635. A landscape by Adriaan realised £375 at Field's sale, in 1893. Decker, not Dekker (Cornells Gerritz). — b. early in the seventeenth century ; d. Haarlem, March, 1678 ; s. Sol. Ruisdael ; p, landscapes. The year in which this artist was born is not known, but his name is inscribed under the date 1643 in the register of the Guild of S. Luke, at Haarlem. His works resemble the dark landscapes by Ruisdael, and have been sold as being by that artist ; while some of them have been ascribed to Hobbema. They recall to mind also the etchings by Waterloo. The Ostades and Adriaan van de Velde painted the figures in some of them. In Dutch books of his time are to be found prints marked, ' ' Designed and etched by Cornells Decker " ; but one bears the date, Haarlem, 1685. Pictures by him have been sold for from £3 15s. to £189. The following are the higher prices obtained for them Landscape, Coccler's sale ... ... 1789 . Landscape, Bryan's sale ... ... 1804 A Water-mill, John Webb's sale ... 1821 . Landscape, water and buildings, G. W. Taylor's sale 1823 . Evening View of Village ... ... 1825 View on a Canal in Holland, showing the residence of Isaac van Ostade, figures by him, M.M. Zachary's sale ... River Scene, vessels, figures, G. Hibbert's sale Landscape, figures by Isaac Ostade, Mortimer's sale ... Country Cottage.^, Fesch's sale £ s. d. 50 32 11 73 18 39 18 37 16 1828 .. . 86 2 1829 .. 32 11 1829 .. . 189 1845 .. 40 T 2 292 PAINTERS AND THEIR WORKS. Village on the Brink of a Kiver, Van £ s. d. Cleef's sale 1846 ... 85 Landscape, De Morny's sale 1865 ... 80 Dutch Village, 18in. by 24iin., Mayne'ssale 1881 ... 110 5 Decker, not Dekker (Frans). — b. Haarlem, baptised 7 th March, 1684 ; d. Haarlem, 30th November, 1751 ; s. De Hooge and Engels ; p. portraits, history, caricatures, and landscapes. There were several artists of the name of Decker, whose pictures are to be found in large collections, yet Frans is the one who is most known ; but rather as a restorer of and dealer in old pictures than as an artist. In the former capacity he restored the old portraits of the Counts and Countesses of Holland, in the Town Hall at Haarlem, as well as the portrait of Laurens Koster, the printer, in front of the house in which the last-named lived. As a dealer Decker was entrusted, in 1749, to manage the sale of the celebrated collection of pictures which had belonged to Fabricius, the Sheriff of Haarlem. It consisted of fifty-seven pictures, among which were the famous ' ' Young Bull, " by Paul Potter, three by Adriaan van Ostade, and others by Philip Wouverman, N. Berchem, Rembrandt, etc., the whole of which produced only 6318 florins, 10 stivers — about £530 ! It api^ears, however, that Frans Decker did not forget his own interest, for he obtained "The Young Bull," by Potter, which is now in the museum at The Hague, for less than £40, a picture which no amount of money would now purchase. "Deelen.—See Deleu. Delacroix (Eugene, properly Ferdinand Victor Fugene). — B. Charenton S. Maurice, near Paris, 26th April, 1798 ; D. Paris, 14th August, 1863 ; s. Guerin ; p. history and portraits. Eugene was the son of Charles Constant Delacroix and Victoire Oben, The former was born in 1740 j in Champagne, was an advocate in the Parliament, secretary to Turgot, and a depute for La Marne. In the Convention he voted for the death of Louis XVI. He was one of the " Conseil des Anciens," Minister for Foreign AlFairs under the Directory, and Ambassador in Holland. Subsequently he was Pr(^fet at Marseilles and at Bordeaux, where he died in 1805. His wife was the daughter of Oben, the pupil of Boulle, the famous ' ' Ebeniste, " and Riesener, the painter, the son of another famous ' ' Ebeniste, " was uncle to Eugene Dela- croix. Philarete Chasles, who was a pupil at the Lyc^e at the PAINTERS AND THEIR WORKS. 293 same time as Eugene, says that even at the age of eighteen or nineteen the latter seemed never to tire while covering his copy- books with figures in all sorts of positions, and sums up in a few words his character, when he says, "Everything in Delacroix was vehement, even the friendship he felt for me, and which continued until his death." It was natural that so ardent an innovator as Eugene Delacroix should have to struggle for years against the taste for mock classic art which reigned in France when he entered the school of Guerin, in 1817, for admiration of David and his doings had become national, and all good Frenchmen felt it was a point of honour to express it. Although, in 1822, "Dante and Virgil," the first picture exhibited by Delacroix, was a success, it was not until after the Revolution of 1830 that he, his fellow-pupil Gericault, and the other artists of the new school, began to be patronised. Delacroix in the following year visited Algiers, Morocco, and Spain, and from that time his reputation, as the most original painter of the modern French school, and one of its most power- ful colourists, has constantly increased. His industry was also astonishing, for, between 1832 and 1855, he executed — besides many easel pictures — large decorative works at the Chamber of Deputies, at the Library of the Luxembourg, in the Gallerie d'Apollon, at the Louvre, in the Salon de la Paix, in the Hotel de V^ille, and in the Church of S. Sulpice. Delacroix was elected at the Academy in 1857, and exhibited for the last time in the Salon of 1859. A list of the etchings, engravings, and lithographs by Delacroix, is given in Moreau's "Delacroix et son CEuvre," Paris, 1873. He wrote some articles in the Revue des Deux- Mondes, and his letters were published by Burty in 1880, His life, by Eugene Veron, is in the series of " Les Artists Celebres." Many persons are of opinion that Delacroix's finest picture is "The Massacre of the Bishop of Liege," to which may be added a few other works : The Death of Marino Faliero, 1827— formerly in Sir K. Wallace's Collection. Charge of Arab Cavalry ; Algerian Women at Home — Musee Montpellier. Dante and Virgil ; Je^^•ish Wedding in Morocco — T^onvre, Paris. Taking of Constantinople by the Crusaders— Musde, Versailles. 294 PAINTERS AND THEIR WORKS. Pictures by Delacroix seldom appear in sales, but in 1871 his "Ophelia," which belonged to E. Allen, was sold at Messrs. Christie's for £420. De la TsigQ.—See Lafage. Delaroche (Paul).— b. Paris, 17th July, 1797 ; d. Paris, 1856 ; s, Watelet and Gros ; p. history, portraits, and landscapes. This celebrated artist called himself " Paul," but it has been said that his name was "Hyppolyte." He was the son of one of the valuers of works of art at the "Mont de Piete. At first he studied landscape-painting under Watelet, and competed in 1817 for the Prize for Rome. But he soon entered the school of Gros, and formed for himself a style which may be described as one between the classical and the romantic. His great talents and ap- plication soon rendered him famous, and in 1824 he was awarded a gold medal for three pictures, " S. Vincent de Paul Preaching," "Joan of Arc Examined in Prison," and " S. Sebastian." The first and second were engraved. In 1827 Delaroche received the Cross of the Legion of Honour. In 1831 he exhibited his well- known picture, now at Hamburg, " Cromwell Contemplating the Body of Charles the First." Delaroche was appointed Professor at the Ecole des Beaux- Arts in 1833. The following year he went to Pome, and in 1835 married Anne Elizabeth Louise, the only daughter of Horace Vernet, who was then the Director of the French Academy in that city. She died in 1843. Delaroche having refused to undertake part of the decoration of the "Madeleine," as he thought the whole ought to be done by a single artist, and returned the money which had been advanced, received the commission for his great work, the decoration of the " Hemicj^cle de I'Ecole des Beaux- Arts," which Was engraved by Henriquel Dux)ont. Delaroche was promised £3000 if he did the work according to his first sketch, which contained twenty- four figures, but in the finished work he introduced no less than seventy-five, and declined to receive a larger reward when, after four years of labour, he had completed it. After the Revolution of 1848, he again showed the same generosity by declining to undertake very large works, that they might be given to other artists. On the 16th December, 1855, an accident occurred which nearly destroj^ed the paintings in the "Hemicycle." On that day medals were to be distributed in the "Ecole," and the stage erected for the ceremony caught fire, from which the result of so much labour received injury. Delaroche contemplated restoring PAINTERS AND THEIR WORKS. 295 the work himself, but his death prevented that, and the restora- tion was done l)y Robert Fleury. As regards easel pictures, his portraits are among his most masterly works. It would extend this notice too much to give a list of even the most generally admired pictures of this great artist. Further information is to be found in a folio published in 1868, " L'CEuvre de Paul Delaroche," with a biographical notice by Yicomte Henri Delaborde, and eighty-six photographs by Jules Godde. There was an exhibition of the works of Delaroche in the Palais des Beaux Arts in 1858. The following are the prices at which pictures and sketches by Paul Delaroche have been sold in England : Napoleon Crossing the Alps, Dillon's sale ... Execution of Lady Jane Grey, 17^in. by 21in., from Demidolf Collec- tion, Heugh's sale Strafford Coing to Execution, 17|in. by 20in., from Demidoft' Collec- tion, Heugh's sale Portrait of Napoleon I. (bought in), Graham's sale Another, which belonged to Napoleon III., Graham's sale Napoleon Crossing the Alps, Sin. by 6in., Mendel's sale Portrait of President Duranti, 21in. by 18in., from Demidoff Collection, Mendel's sale Delatour, De la Tour, or La Tour (Maurice Quentin).— B. S. Quentin, 5th September, 1704 ; d. S. Quentin, 1788 ; s. Spoede ; P. portraits. Among the French artists who excelled in painting portraits in pastel in the eighteenth century, Dela- tour takes the first place. Despite the opposition which his father offered to his wish to become a painter, he went alone to Paris, in 1719, where Spoede, who was a kind-hearted man, took him into his house and taught him to paint. He probably worked at first in oil, and was at Rheims in 1722, the year in which Louis XV. was crowned there. There is also reason to believe that Delatour was at Cambrai when the Congress assembled there in 1724, and painted several portraits ; for it is said that, having then become known to the English Ambassador, the latter induced hhn to come to England, where he may have painted portraits, though £ s. d. 1869 .. . 567 1874 . .. 829 10 1874 . .. 787 10 1874 . . . 430 10 1874 .. . 99 15 1875 .. 42 1875 .. . 656 5 296 PAINTERS AND THf]IR WORKS. he did not stay long, but went back to Paris. There is not, how- ever, any portrait in oil which can be proved to be by Delatour ; although he did not exhibit portraits in pastel until 1737, when he sent those of Mme. Boucher and of himself to the Salon of that year. Notwithstanding that his pastels were so much admired that they became rapidly more and more fashionable, and that he had been elected an Academician in 1746, L' Academic refused, in 1749, to receive any more " peintres en pastel"; yet Delatour continued to exhibit up to 1773. The character and strength of expression which Delatour gave to a portrait, and the truth of the likeness, are said by his contemporaries to have been astonishing ; but he was a very eccentric man, and many curious stories are told of the manner in which he treated those who sat to him. It is related that when he went to Versailles to paint the famous portrait of Mme. de Pompadour, now in the Louvre, before he set to work he divested himself of his wig, cravat, garters, and even the buckles of his shoes, all of which he hung upon a girandole, and, putting a small silk cap on his head, began the portrait. While he was at work, however, Louis XV. came into the room, upon which Dela- tour took down his wig, etc., and, saying that he did not like to be interrupted when he was painting, walked into an adjoining room, where he put them on and went away. This portrait was, nevertheless, finished somehow, for it was exhibited in 1755, and he was paid £1000 for doing it. It is said also that this portrait is not equal to some of his earlier ones, that the best were painted about 1742, and that, as he became moire eccentric, he injured some of his best works by retouching them. Delatour grew rich, and in 1778 founded and endowed a School of Design at S. Quentin. To that place he retired in 1784, and, becoming imbecile, the management of his affairs was taken out of his hands before his death, which occurred in 1788. At the "Exposition Retrospective," formed in Paris in April, 1885, some of the finest portraits ])y Delatour were exhibited, among others those of the painter Silvestre, Mme. Rougeau, Le Pere Emmanuel, the painter Parrocel, and De Bachery, all from the Musee of S. Quentin ; and from private collections, those of Voltaire and I'Abbe Raynal, with many of ladies. Delen or Deelen (Theodor or Dirk van).— b. probably at Heusden, 1605 ; d. Arnemulden, 1671 ; s. ; p. architecture. landscapes, and genre. The pictures by this painter are well PAINTERS AND THEJR WORKS. 297 £ s. d. 1771 .. 25 1836 .. . 60 18 1839 .. . 65 12 1863 ... 90 1886 .. 94 10 coloured, and the lineal and aerial perspective excellent. What adds to their merit is that the figures in them are usually painted by the best figure-painters of his time, yet they seldom produce more than £20 at auctions. The following were, however, excep- tions to this rule : Une Eglise, Braamcamp's sale A Mansion (figures by Teniers) A Ball in a Palace (figures hy Apshoven), Mellish's sale Le Festin, Maffre's sale A Colonnade, Avoman kneeling, 21 ^in. by 34in., panel signed and dated 1655, Duke of Marlborough's sale Dello CDellD.—Sce Uccello. De Marne.— /S'ce Marne. De Moor (Karel).— aSYc Moor. Denner (Balthasar).— b. Altona, 15th November, 1685 ; D. Rostock, 14th April, 1747 ; s. ; p. portraits. Denner was taught drawing by an obscure local master named Ammana, learned to paint in oil at Dantzic, and went in 1707 to Berlin, where he continued his studies in the Academy, and by the following year was able to earn a livelihood by painting portraits that were much admired. He was patronised by Frederick II., which caused him to be invited to various courts in Germany, He also visited Holland, and when in Hanover received so much encouragement that he came to England in 1721, and remained here until 1728. Among his patrons was Christian VI. of Denmark, and the Emperor Charles VL paid him £470 for a picture of the head of an old woman, for which it is said he had refused £500 in England. The Empress of Russia also off"ered him 1000 ducats, and to pay the expense of his journey, if he would come to her Court, but he refused the offer. It has become the fashion to speak of Denner's works as if their only merits were the extraordinary labour and finish which they show ; but many have the appearance of having been good like- nesses, and have therefore preserved those of persons distinguished in history, besides which they are sometimes well coloured, and his miniatures in water-colours are about the best executed at the time when he lived. Since 1791, portraits by Denner have been sold at prices ranging from £7 17 s. 6d. to £525. A few of the higher figures that have been paid in England or abroad are these : 298 PAINTERS AND THEIR WORKS. An Old Woman's Head, Jones's sale A Man's portrait, Bertel's sale Female Head, blue dress, I Sin. by 14in., Levigne's sale Old Man, ISin. by Min., Von Heyt- huysen's sale His own portrait, Trouchin des Delices sale ... Portrait of an Old Lady, Beckford's (Fontliill) sale ..."^ His own portrait, from Pawne's Collection ... His Wife's portrait, from Pawne's Collection ... His Motliei-'s portrait, from Van Zautere's Collection Head of an Old Man, Count de Morny's sale Portrait of a Woman, signed and dated 1724, Count De Morny's sale ... Portrait of an Old Man, Meffre's sale Portrait of a Princess of Mecklen- burg, Weyer's sale Portrait of a Man, Weyer's sale ... Head of an Old Woman, De Morny's sale ... An Old Woman in a white cap, on copper, from Orleans Collection, Austen's sale Portrait of Handel (presented to Handel by J. C. Smith), Sacred Harmonic Society's sale ... Head of an Old Woman, Gibbons's sale Derby (William). — b. Birmingham, 10th January, 1786 ; D. London, 1st January, 1847; s. ; p. miniatures and copies. This well-known copyist was a drawing master at Birmingham, and came to London in 1808, where, besides copies, he exhibited occasionally miniatures and portraits at the Royal Academy. His son (Alfred T. Derby) assisted him in his works, and died at the age of fifty-two, 19th April, 1872. The principal copies made by the Derbys were : The reduced drawings for the Stafford Gallery, ditto for Lodge's "Portraits of Illustrious Persons," and copies for Lord Derby, in water-colours, of all the portraits of members of his family since the time of Henry VII. which could be found in different collections. s. A u.. 1791 .. . 157 10 1 OQ Wo 1 Q u 1 Qon 1<5UU 11 1 a A u loUU io A U ioUi oo A u o Oi Q if A U 1 891 oi iU A u 1 ftOI lo^ i io A U 1831 .. 33 12 1848 .. . 178 10 yj 1862 .. 60 1862 . 60 1862 . 75 1865 .. . 150 1882 .. . 126 1883 . . 110 5 1894 .. . 362 PAINTERS AND THEIR WORKS. 299 Dernet or Dervet (Claude).— b. Nancy, 1588; d. Nancy; s. Claude Henriot ; f. history, portraits, and genre. Dernet visited Italy, and lived subsequently at Nancy, He was ennobled by Henri II., Duke of Lorraine, and was held in great favour by him. Louis XIII. himself drew the portrait of Dernet, probably after he took possession of Nancy in 1634. Under this portrait, which was found at Nancy in 1864, is a ridiculous eulogium in verse. Dernet was the contemporary and rival of Callot, who, neverthe- less, engraved a full-length portrait of him. There are at Orleans and Nancy pictures by Dernet. See Claude Lorrain. Dervet.— /Sec Dernet. Desportes (Alexandre Pran9ois).— b. Champigneul, in Champagne, 1661 ; d. 1743 ; s. Nicaise Bernaerd ; p. portraits, animals, and still-life. Desportes was the son of a labourer, and went to Paris when twelve years of age. There he became the pupil of Bernaerd, known as Nicasius," who was a pupil of C. Snyders, also then in Paris. Desportes was the friend of F. Audran, and painted with him at the Chateau d'Anet and the Menagery at Versailles. He went to Poland, where he painted the portraits of Sobiesky, the Queen, and many of their courtiers. He was recalled to France by Louis XIV., and received into the Academy in 1699. He painted many hunting scenes at which Louis XIV. was j^resent. In 1712 Desportes came to England in the suite of the Duke d'Aumont, and painted some pictures in this country. Desportes was protected by Louis XIV., Louis XV., and the Regent, and made designs for Gobelin's tapestry. The pictures by Desportes are very numerous, but they are valuable, not only as works of art, but from the portraits they contain. He painted also some good pictures of still-life. His son, Claude Fran9ois (born 1695, died 1774), and his nephew, Nicolas (born 1718, died 1787), painted the same subjects, but in an inferior manner to Alexandre Fran9ois, Pictures by A. F. Desportes have been sold as follow : £ M. d. Still-life, De Julienne's sale 1767 ... 20 Animals, La Live de Jully's sale ... 1770 ... 28 Animals and Fruits, L'Empereur's sale 1773 ... 5 Two Fruits, a Pasty, and Ham, Lafontaine's sale ... ... ... 1810 ... 4 Hunting Scene, Patureau's sale ... 1857 ... 430 Oysters and a Ham, sale in Paris ... 1874 ... 120 800 PAINTERS AND THEIR WORKS. Two Dogs and Dead Game, Good- £ s. d. ricke's sale 1879 ... 157 10 Detroy.— *S'ee Troy. Devis (Arthur William).— b. London, 10th August, 1763 ; D. London, 11th February, 1822 ; s. his father, Arthur Devis ; p. history. Arthur Devis is principally known by his having been employed to restore the paintings by Thornhill in the Hall at Greenwich. The son was a painter of more importance. After receiving his first instructions from his father, he studied at the Royal Academy and gained a silver medal. When about twenty he went as a draughtsman in the " Antelope " on a voyage of dis- covery, and was wrecked on the Pelew Islands. Having at length reached China, he went from there to Bengal, whence he sent a portrait to the Royal Academy Exhibition of 1791, and returned to England in 1795. He then painted several historical pictures, of which the most generally known is " Lord Cornwallis Receiving the Sons of Tippoo Sahib." After the Battle of Trafalgar he went on board the "Victory," and made Sb facsimile of the cockpit, and other studies : from these he painted the fine ' ' Death of Nelson " which hangs in the gallery at Greenwich Hospital, and was engraved, as were several of his other works. He exhibited at the Royal Academy from 1796 to 1821, and many of his con- tributions were portraits. He had a brother, Thomas Anthony, who also painted portraits, and an uncle, Anthony Thomas, who was a landscape-painter. The sketch for the large picture of " The Death of Nelson " was disposed of in Dyson's sale, 1825, for £105. De Vriendt.— >S'(3c Floris. De Wint (Peter).— b. Sbone, Stalfordshire, 21st January, 1784 ; D. London, 30th June, 1849 ; s. Royal Academy Schools ; p. landscapes. This artist, whose works are so generally admired, was a descendant of an old and wealthy merchant family of Amster- dam, one of whose members emigrated to America. His grand- father resided in New York, and his father was sent to Leyden to study medicine. The latter took his degree as a physician, but having married a young English lady who was poor, his father dis- inherited him. He came to England and practised at Stone, where Peter, his fourth child, was born in 1784. Disliking his father's profession, Peter was allowed to follow his own wish to become an artist ; and in 1802 he was placed under John Raphael Smith, painter in crayons and engraver, with whom he was a fellow-pupil PAINTERS AND THEIR WORKS. 301 with Hilton. This led to a life-long friendship between them, and De Wint married Hilton's sister. In 1807 De Wint entered the schools of the Royal Academy. The same year he exhibited three landscapes at the Academy's Exhibition, and he con- tributed others there up to 1828. In 1810 he was an "associate exhibitor " at the Water-colour Society, and he was elected a member in 1812. For nearly forty years he contributed almost exclusively to its exhibitions. Peter de Wint's inclination was altogether towards painting in water-colours from nature, and he thus formed for himself a style which was strictly his own. As a teacher he enjoyed a high reputation, and being a very agreeable companion, many of his pupils became his friends. De Wint was never so happy as when painting in the country, and, with the exception of a visit to Normandy, he never left England, but sought in the Eastern and Northern counties, the scenes which he painted so well. His drawings are true as regards colouring, and the management of light and shade in them is masterly, but he evidently only placed figures in them for the effect their colouring produced upon the whole work. He did not use body-colour, and his works belong to the best period of English water-colour painting. There are good examples of his skill at South Kensington. The drawings he made for John Hughes's ''Views in the South of France" were done from sketches by Hughes. De Wint died of disease of the heart, and was buried in the Chapel Royal, Savoy. He painted so few pictures in oil, that we can only give the prices at which two have been bought in : ^ , ^ £ 8. d. Fiskerton Church, Radley's sale ... 1872 ... 362 5 Road Scene, Castle — Sunset, Burnett's sale 1882 ... 94 10 In a list of over 200 drawings by Peter de Wint which have been sold by auction since 1859, the prices paid vary from £32 31s. for a "Landscape with Cattle," at Bicknell's sale in 1875, to £1753 for "Lincoln," in Quilter's sale, 1889. The sum of £1732 10s. was produced by "Southall, Nottinghamshire," 36in. by 12in, , at W. Quilter's sale in 1875, and for this drawing, it is said, Mr. Vokins paid De Wint £35 — a price which at the time when it was painted was a fair one, and did not leave the pur- chaser a very large X)rofit. To show that this is not an isolated case of the enormous increase in the prices paid for De Wint's water-colour pictures, the following list is given : 302 PAINTERS AND THEIR WORKS. River, Canterbury Meadows, Bick- nell'ssale ... Corn Harvest, Bicknell's sale. . . Gleaners Disturbed, Bicknell's sale . . . Road Scene with Landscape, Allnutt's sale ... Landscape, Corn Harvest, Bone's sale Making Haystack, Boothby's sale . . . The Haystack ... Crowland Abbey Fishermen ... Dunster, figures in Hayfield, Bigg's sale Cornfield near Pevensey, Clare's sale The Shores of MorecanilDe Bay, stormy weather, Allen's sale Landscape with Windmill, Allen's sale Cornfield, Waggon, and Figures, 30in. by 18in., Leyland's sale ... Road Scene, bird's-eye view, 13^in. by 22in. , Gillott's sale Minehead Pier, I7^in. by 32in., M 'Lean's sale Cornfield, Lincoln, ll^in. by 26in,, James's sale Black Combe, ISin. by 30in., Farn- worth's sale Lincoln, f rom Brayf ord, 40in. by 27in., Ellison's executors' sale ... Christchurch, Ellison's executors' sale Torksey Castle, Ellison's executors' sale ... Gloucester, from S. Catherine's, Elli- son's executors' sale Newark Castle and Bridge, 20:|in. by 30in., Heugh's sale Matlock, Derbyshire, 20in. by 26|in., Heugh's sale Harvesting, 16in. by 30in., Heugh's sale ... Barges on the Witham, 16in. by 21 in., Heugh's sale Road Scene, near Lincoln, 28|in. by 1 5in . , Burnett's sal e Farmyard and Buildings, 18in. by 14in., Quilter's sale Lancaster, 36in. by 12in., Quilter's sale Southall (Notts), 36in. by 12in., Quilter's sale £ s. d. 1863 . . 283 10 1863 . .. 262 10 1863 . .. 383 5 1863 . .. 341 1 QdO loDO A A 1868 . .. 321 1868 . .. 319 1868 1868 ." . 357 JL OUO OOKf 14 ooo Jl O 1869 . . 313 19 1872 . .. 493 1872 . .. 315 15 1872 . .. 253 1 Q'70 lo/o oo/ A U A u 1 QIA Loi'± OKI A U A u 1 C7/1 nil on 1 o o 1874 . .. 966 1874 . .. 682 10 1874 . .. 640 10 1874 . .. 493 10 1874 . .. 735 1874 . .. 498 15 OI4: u A u 1875 . .. 362 5 1875 . .. 504 1875 . .. 950 5 1875 . .. 1732 10 PAINTERS AND THEIR WORKS. 303 ggygj'lgy^ from Hillison's Collection, £ s. d. Parker's sale 1875 971 Gloucester, from Ellison's Collection 1875 378 j^gygj-jgy from Ellison's Collection 1875 724 10 Lincoln, from Ellison's Collection 1876 .. 498 15 Lowtlier Castle, siieep and figures, STiin. by 41iin., Knowles' sale 1877 656 - Lincoln, White's sale ... 1878 . .. 761 Harvest-field, 15in. by 30in., Green- wood's sale ... 1878 761 Lincoln, from Brayford, Romilly's sale 1878 367 Lancaster, 292iu> by olin., Lonsdale's sale 1879 1417 10 Tewkesbury Abbey, 23in. by 34iin., Lonsdale's sale 1879 630 W liitebaven, 21in, by 35in., Lonsdale's sale 1879 /35 Lowtlier Castle, 29in. by39in., Lons- dale's sale 1879 677 5 Kenilworth Castle, 16in. by 21in., Bale's sale 1880 . 409 10 Landscape, 15:§in, by 24in. 1881 420 10 Putney Bridge, Davies's sale 1882 682 Dunster, 23in. by 33in., Sumner's sale 1885 320 Tewkesbury Sumner's sale 1805 399 Lancaster, 30in. by 53in. , Saunders' sale 1885 1008 On the Severn, near Bridgnorth, Leech's sale 1887 . .. 370 Lancaster, Quilter's sale 1889 . .. 1155 Lincoln, Quilter's sale... 1889 . .. 1753 Near Keswick, Austen's sale... 1889 . .. 273 On the Yare, Heron's sale 1890 257 Stacking Hay, Heron's sale 1890 .. 252 Torksey Castle, Houldsworth's sale... 1891 498 Bolton Abbey ... 1892 . .. 945 Cambridge, Murrieta's sale ... 1892 . .. 630 Landscape, Murrieta's sale ... 1892 . .. 288 Matlock, Bolckow's sale 1892 . .. 304 Hay Harvest, Allen's sale 1893 . ,.. 278 Corn, Allen's sale 1893 , ,.. 283 Bolton Abbey, Allen's sale ... 1893 , ,.. 252 Diepenbeeck (Abraham van).— b. Bois-le-Duc, 1699; d. Antwerp, 1675 ; s. Rubens ; p. history, portraits, and animals. The first mention of this artist is that he came to Antwerp about 1629, and practised glass-painting, which he must have done as late as 1635, if it was then that he executed the windows in the 304 PAINTERS AND THEIR WORKS. Cathedral. He was inscribed a citizen of Antwerp in 1636, and as a master in the Guild of S. Luke in 1638. Since, however, he certainly worked in oil as an assistant to Rubens long before that, he must have practised the two styles of painting at the same time. It was in 1620 that Rubens was called to Paris to decorate the Luxembourg, and Diepenbeeck may have been in Paris a few years later, as he made the designs for the engravings in the Abbe de Marolles' "Tableaux du Temple des Muses," and was certainly in England long before the death of Charles I., for he was employed by the Duke of Newcastle to paint his portrait and those of members of his family ; he also made the designs for the Duke's book on "Horsemanship." It is said that Diepenbeeck went to Italy, but it would be difficult to say when. This artist painted more solidly than Rubens, and the colours are more blended in his works. The landscape backgrounds in his pictures are carefully and well painted. As a designer he made very many drawings for engravers, and there is an etching by him of " A Peasant and an Ass," which is rare. The pictures by Diepenbeeck which have been offered in sales have realised from £20 to £30 ; but there was an exception when, in 1770, his " Diana Returning from the Chase," produced in Col. Bowles's sale £89 5s. Dietrich or Dietrici (Christian Wilhelm Ernst).— b. Weimar, 30th October, 1712 ; d. Dresden, 24th April, 1774 ; s. his father and Thiele ; p. history, genre, landscapes, etc. There were several artists of this name, of whom Christian was the most distinguished. He travelled in Holland and in Italy, was protected by Count Bruhl, and became painter to Augustus King of Poland. He possessed extraordinary skill in imitating old masters, and was an excellent colourist. In 1746 he was appointed Keeper of the Dresden Gallery, and was likewise Director of the School of Painting at the Meissen manufactory of porcelain. There are a number of pictu/res by him at Dresden ; he also etched in the manner of Rembrandt and in that of Ostade. Many pictures by Dietrici have been sold for from £20 to £30. The following, however, produced more, and will show how varied were the subjects he painted : £ s d Flight into Egypt, Conti's sale ... 1777 ... 90 Women Bathing, Conti's sale, ... 1777 ... 165 Landscape with animals, Randon de Boisset's sale 1777 ... 80 WORKS. 305 £ 8. d. 1795 .. 63 1795 ... 147 1798 ... 157 10 1806 .. 390 1812 .. . 70 i 1812 ... , 85 1821 .. 60 \ 1843 ... 150 1845 .. . 36 1859 .. . 32 1859 .. . 52 10 1886 ... 168 1886 ... 99 15 PAINTERS AND THEIR WORKS Flight into Egypt, Calonne's sale ... Two landscapes, Calonne's sale The Deposition, engraved by Ward, Bryan's sale Descent from the Cross, Dr. Rendle- sham's sale... Two Landscajies, Langeac's sale Kesurrection of Lazarus, Solirene's sale ... Presentation in the Temple, Lenoir's sale Presentation in the Temjjle, Aguado's sale ... Flight into Egypt, Fesch's sale A grand view of Tivoli, from Lord Ashburton's C oil ection . . . Nymphs, Satyrs, and Cattle in land- scape, engraved, Northwick's sale Fete Champetre, 43iin. by 55in. Nieuwenhuys' sale Fete Champetre, companion, Nieu- wenhuys' sale Dighton (William Edward).— b. 1822 ; d. Hampstead, 1853 ; s. William Miiller, of Bristol, and F. Goodall. We first hear of this artist as coming in 1838 to Bristol, where he lived in Park Row, and became the pupil of William James Miiller. When the latter moved to London, in 1839, Dighton came also, and they continued to work together for some time, for he was always a favourite pupil of Miiller's. They went to France together in 1840. Owing to his working constantly in Miiller's studio, Dighton contracted so much of Miiller's manner of paint- ing that his early works appear like copies of Miiller's. To counteract this habit he went to study with Frederick Goodall. This Miiller felt very keenly, and perhaps never forgave. It is said that ' ' Dighton's manner was very winning ; he had a fine person and pleasant voice, and when he had withdrawn from Miiller's studio the latter felt for a time solitary and became almost morose." As regards Dighton, had he lived longer he would have become a distinguished landscape-painter. He left, as it was, some fine pictures, which are almost all in the hands of collectors in Liverpool. On his deathbed he bequeathed a picture to each of his friends. The only picture by Dighton of which the price can be given was a "Storm off Jersey," Lord C. Townshend's sale, 1854, £84. XT 306 PAINTERS AND THEIR WORKS. Dionisio riammingo.— /S'ee Calvaert (Dionysius). Divino (El).— See Morales. Dobsoii (William).— B. London, 1610 ; d. London, 28th October, 1646 ; s. Sir R. Peake and F. Cleyn ; p. history and portraits. The father of this artist was a man of good family at S. Albans ; but, having wasted his property, was appointed master of the Alienation Office, probably by his friend Lord Bacon, His son was apprenticed to Sir Robert Peake and worked after- wards under Francis Cleyn. For some time Dobson was little known ; but Van Dyck, having seen some of his works, befriended him, and introduced him to Charles 1. After the death of Van Dyck he was appointed Sergeant Painter to the King, and Groom of the Privy Chamber. He went to Oxford when the Court removed to that city, and painted the/re the king's portrait and some others of distinguished persons of the time. He also painted a portrait of Milton. There is a ''Beheading of S. John" at Hampton Court, and elsewhere are other pictures of sacred subjects, into which he introduced portraits of persons then alive. He is most known, however, as a portrait-painter. The portraits by him are warmer in colour than those by Van Dyck, but they are life-like, and, it is said, were capital likenesses. Owing to the troubled times in which he lived, Dobson became in debt, and was thrown into prison. Although released by a friend, he died soon afterwards, and was buried at S. Martin's Church. The value of portraits by Dobson has risen very consider- ably of late, and it is singular that the works of a painter which had been praised by Van Dyck and Sir Joshua Reynolds, should not always have commanded high i)rices, as the following list will show : A head of Inigo Jones, Lord Bess- borough's sale £ s. d. 1801 ... 4 4 Portrait of Lord Arundel, Lord Bess- borough's sale 1801 ... 12 1 6 Portrait of Himself, Lord Bess- borough's sale 1801 .. . 12 12 Portrait of Prince Rupert, W. Hamilton's sale ... 1801 ... 5 5 Portrait of King Charles's Dwarf, Beckford's (Fontliill) sale 1823 .. 7 17 6 Portrait of Sir Charles Lucas 1827 .. . 21 Portrait of a Lady, Standish's sale . . . 1827 .. 8 10 PAINTERS AND THEIR WORKS. 307 d. 1832 57 15 1839 .. . 36 15 6 1859 / o 10 Q XOOif 84 1860 .. . 54 12 1860 .. 15 15 1868 115 10 1870 .. 37 16 1886 .. 5 15 6 1888 .. . 400 Portrait of Himself, G. W. Taylor's sale ... Portrait of Queen Henrietta Maria, with pa;>e and monkey, Mellish's sale ... ... Portrait of Sir W. Farmer, North- Avick'8 sale ... Portrait of Duke of Newcastle, Broderip's sale ... Portrait of Marquis of Montrose, Cooper's sale Portrait of a Cavalier, Cooper's sale Portrait of Van Dyck, holding a sun- flower, Owen's sale Portrait of Oliver Cromwell, in ar- mour, C. Dickens's sale ... Portrait of Charles I., in armour, lOin. by 8in. (now in National Gallery of Ireland), Bentley's sale Portrait of Endymion Porter, Gatton Hall sale ... ... Does (Jacob van der), the elder. — b, Amsterdam, 1623 ; d. Amsterdam, 1673 ; s. Nicholas Moijaert ; P. landscapes, figures, and animals. His grandfather and father held official positions in Amsterdam. In his twentieth year he went to Italy, where in painting he followed the style of Pieter van Laar. He was the friend of Karel du Jardin, and on his return to Holland settled at The Hague, There he was one of the founders of the Guild of S. Luke in 1656, and was chosen one of the three directors. His landscapes are mostly Italian scenes, and he excelled in painting sheep. Unfortunately, many of his pictures have darkened very much. One at Vienna, signed "J. V. Does," 1652, is held to be his best work. There are others at Copenhagen and at Brunswick. He also etched a group of five sheep in a very excellent manner ; the print is signed and dated 1650, and has been closely copied by Bartsch, as the original is very rare. Pictures by this artist have been sold as follow : £ h. d. Landscape, Randon de Boisset's sale 1777 ... 36 , Landscape, Vander Plaas' (of Rotter- dam) sale 1824 ... 120 Landscape, Durand Duclos' sale ... 1847 ... 12 Does (Jacob van der), the younger. — b. Amsterdam, 1654 ; T).^ about 1699 ; s. his father ; p. landscapes, animals, figures, and history. He was the younger son of the elder Jacob van der u 2 308 PAINTERS AND THEIR WORKS. Does, and studied successfully under Karel du Jardin, Netcher, and Lairesse. While young he went with the Dutch Embassy to France, and died, probably in that country, in the prime of life. This artist was in the habit of destroying his pictures if he was not satisfied with them, so that they are very scarce. Does (Simon van der).— b. Amsterdam, 1653 ; d. Amster- dam, 17 17 ; s. his father ; p. landscaj)es, animals, and portraits. He was the elder son of old Jacob van der Does, and painted similar subjects, ljut in a tone more resembling that of Cuyp, and his portraits are delicately painted in the style of Netcher. He resided at The Hague and in Friesland, travelled into England, and lived some time at Antwerp and at Brussels. He also etched. Pictures by him have usually produced in sales from £5 to £10, and drawings in Indian ink nearly as much. Dolci or Dolce (Carlo).— b. Florence, 25th May, 1606 ; D. Florence, 17th January, 1686 ; s. Jacopo Vignali ; p. history and portraits. Dolci's works have been praised chiefly for the care which he l)estowed upon them, but many of them are remarkable not only for high finishing, but also for delicacy and refinement. His drawing also is excellent, and is especially shown in the beautiful hands. He, however, repeated the subjects he chose many times, and these repetitions vary very much in quahty. Like so many highly-finished pictures, it is evident also that Dolci's have in numerous instances been injured by over -cleaning. Moreover, his daughter Agnes made copies of his pictures, which are sold as Ijeing by her father. Among Dolci's finest works are the figure of "Poesy," in. the Corsini Palace at Rome, the " S. Cecilia," at Dresden (painted for the Grand Duke Cosmo III.), and S. Andrew," in the Pitti Palace. He also painted some fine portraits. Pictures hy Carlo Dolci are to be found in all the great galleries and in many private collections. Taking about a hundred which have been sold by auction since 1771, the prices paid range from £14 14s. for a portrait of Cardinal Ghisi, afterwards Alexander VII., in Beckford's sale at Fonthill in 1823, to £6930 58. for" La Madonna colle Stelle," at the Duke of Marlborough's sale in 1886. The following list includes other high prices paid for fine examples of the master : Virgin and Child, 48in. by 42in., Sir £ s. d. II. Strange' s sale 1771 ... 546 Virgin and Child, Vandergucht's sale 1796 ... 225 15 PAINTERS AND THEIR AVORKS. S. Louis of Bavaria, Lebriin's sale... Virgin and Child, with Howers, oval, \V, Porter's sale ... S. John, dressed in green and red, Clarke's sale S. Matthew Writing, from Bonaparte's Collection, Clarke's sale ... Tohn the Bapl Stuart's sale Magdalen, Harman's sale S. John Preaching, from Hamlet Col- lection, Higginson's sale. . . The Daughter of Herodias, Lord Ash- burnliam's sale S. Luke, King of Holland's sale S. John Writing the AjDocalypse, North wick's sale ... S. Catherine, Pourtales' sale... Madonna, Pommersfelden's sale The Daughter of Herodias, 47in. by 37in., H. Hoare's sale The Virgin, 13in. by llin. (oval on copper), P, Miles' s sale ... The Adoration of the Magi, 28in. by 22|in., Duke of Marlborough's sale (bought in) ... La Madonna colle S telle, 45^in. by 38in. (the Virgin is dressed in blue, with a nimbus of eight stars ; engraved by Maudel, 1848), Duke of Marlborough's sale (bought in) 1886 ...6930 5 Ecce Homo, Perkins's sale 1890 ... 535 Domenichino (Domenico Zampieri, called). — b. Bologna, 21st October, 1581 ; d. Naples, 15th April, 1641 ; s. Dionysius Calvaert and the Carracci ; p. history, portraits, and landscapes. This great painter entered the school of Calvaert while still a boy, and passed from it into that of the Carracci. There he gained the friendship of Albano, which he enjoyed throughout his troubled life. He next visited Parma, Modena, and Reggio, to study the works of Correggio, and soon afterwards joined Albano in Rome. There he was employed by Annibale Carracci to assist him at the Farnese, and painted from his own design " The Death of Adonis." His next works weie the altar-piece, "The Liberation of S. Peter," and the frescoes representing scenes from the life of S. Jerome, to which must be added "The ORKS. 309 s. d. 1810 .. . 210 1810 ., 315 1840 . .. 480 1840 ,. 955 10 1841 . . 451 10 1844 . .. 724 10 1846 . .. 399 1850 . .. 735 1850 . .. 480 1859 . .. 2165 10 1865 . .. 1008 1867 . . . 254 1883 . .. 483 1884 . .. 383 5 1886 . .. 992 5 310 PAINTERS AND THEIR WORKS. Flagellation of S. Andrew," painted in 1608. After the death of Annibale Carracci, he executed, in 1609-10, the series of frescoes from the life of S. Nilus, at Grotto Ferrata. Domenichino was the greatest painter among the Bolognese, and perhaps it would only be doing him justice to assign him a position among the greatest painters without any qualification. The above-mentioned works were followed by the mythological subjects in the Castle of Bassano, which he painted in conjunc- tion with Albano, and his celebrated frescoes representing scenes in the life of S. Cecilia, in San Luigi de Francesi. It is by his works in fresco that Domenichino ought to be judged, but ' ' The Last Communion of S. Jerome," his great picture in oils, is that by which his talents are usually estimated, and it is therefore as well to recall the fact that Nicolas Poussin, a man who knew what is bad or good in art, gave it as his opinion that among the pictures in oil in Rome it was the next best to "The Trans- figuration," by Raphael. Buchanan tells us that when Raphael's ''Transfiguration," Agostino Carracci's "Communion of S. Jerome," and Domenichino's picture of the same subject were hung near each other at the Louvre, in 1814, a general opinion appears to have x>revailed that the "Communion of S. Jerome" (that by Domenichino) was the first picture in the magnificent collection of works of art which was at that period exhibited at the Lou\Te ; and, speaking of the portrait of Cardinal Colonna, he says, " It may be fairly asserted that no portrait ever approached so near to nature." Valery says that Domenichino received only fifty scudi (equal to about £15 of our present money) for painting the " Communion of S. Jerome," and lived to see a French artist receive twice as much for making a copy of it. In 1617 Domenichino returned to Bologna, and having in the meantime painted the frescoes in the Duomo of Fano, was again in Rome in 1621. Subsequent to that year he executed the fine figures of the Evangelists in Andrea della Yalle, and, among other works, "The Martyrdom of S. Sebastian," for S. Peter's. In 1630 Domenichino went to Naples to decorate the Capella del Tesoro, a work which occupied his time for the last ten years of his life, and which he carried on amidst violent opposition by the painters established in Naples — Corenzo, Ribera, and Carracciolo — who at last drove "him for a time from that city, although he was obliged to return and continue his work, as, it is said, the price of the liberty of his wife and daughter, who had been imprisoned. Domenichino died, however, in Naples, PAINTERS AND THEIR WORKS. 311 and it was suspected that he was poisoned. Among the mythological subjects treated by Domenichino, "Diana and her Nymphs," in the Borghese Gallery, takes the first place. As a landscape-painter, Domenichino also ranks high among the Bolognese artists, although his works are so dilferent in style from those of his great contemporary Claude. There are likewise many fine designs in red chalk by his hand, and some of them are very carefully drawn and finished. It is only necessary to examine the volumes devoted to the works of Domenichino in Lan don's " Vie et (Euvres des Peintres les plus Celebres," 1803-34, to be convinced that he was one of the greatest artists that Italy has produced. In a list of about 150 pictures attributed to Domenichino, the prices range from £12 12s. for "Moses and the Burning Bush," at the Waldegrave sale, in 1763, to the "S. Cecilia," from the Pallavicini Collection, sold at the Walsh Porter sale in 1810 for £1837 10s. In purchasing pictures assigned to Domenichino, it is well to remember that there are many copies of his works in existence. The following prices are those paid for pictures which are undoubtedly by him : Time Tramijling on Youth, 86in. by 66in. Holy Family, circular (engraved by Brooke), Rigby's sale S. Cecilia, Lebrun's sale S. Cecilia (from Colonna Palace) Landscape, with Abraham and Isaac, Clarke and Hibbert's sale Landscape, with Girls Catching Birds (see sale in 1856), from Borghese Palace The Magdalen (three-quarter to the knees), Ruding's sale Magdalen, Heathcote's sale ... Adoration of the Magi, Lord War- wick's sale ... ... S. Cecilia, 54in. by 45in., from Cardi- nal Sassi's Collection, F reward's sale ... S. Cecilia, Bryan's sale S. Cecilia, from Pallavicini' s Collec- tion, W. Porter's sale The Batli of Diana, from Lepsis Collec- tion at Milan, Lord Kinnaird's sale £ s. d. 1778 . .. 153 6 1791 . .. 120 1793 . .. 400 1800 . .. 357 1802 . .. 131 1804 . 72 9 1804 . .. 556 10 1805 . .. 525 1806 . .. 273 1807 . .. 588 1808 . .. 525 1810 . .. 1837 10 1811 . .. 735 312 PAINTERS AND THEIR WORKS. Landscape with figures, Willett's sale £ b. d. (bought in) 1813 ... 315 Diana Hunting, from Giustiniaui Palace, Delahante's sale 1814 ... 462 S. George and Dragon, 20^in. by25in,, from Lucien Bonaparte's Collec- tion, Campernowne's sale ... 1820 ... 430 10 S. Cecilia Dying, J. Webb's sale ... 1821 ... 157 10 Virgin and Child and S. John, en- graved i)late by Vitelli, and the drawing, Beckford's sale 1822 ... 241 10 S. Jerome, G. W. Taylor's sale ... 1823 ... 267 10 Landscape, with Hercules Overcoming Achelous 1823 .., 231 Portrait of the Wife of Cosimo II., Bianchetti's sale 1824 ... 182 14 Conversion of S. Paul, 31in. by 42|in., from San Vitali Collection, Lord Radstock's sale 1826 ... 78 10 S. Cecilia with Violin, 38^m. by 28|in., from S. Cloud, Lord Radstock's sale ... 1826 ... 136 10 Landscape, Moses and the Bush, 17iin. by 13in., from Colonna Palace, Lord Radstock's sale 1826 ... 283 10 Landscape, Tobit and the Angel, from Colonna Palace, Lord Radstock's sale 1826 ... 451 10 Landscape with John the Baptist, 44in. by 61in. (painted for Giustiniani family). Lord Rad- stock's sale 1826 ... 577 Europa attended by Cupids 1833 ... 556 10 Roman Charity, De Fraynaies' sale 1838 ... 220 The Magdalen, Sir S. Clarke's sale 1840 ... 698 5 S. Cecilia, W. Wells's sale 1843 ... 609 Sybilla Persica (in fine Venetian frame), Duke of Buckingham's sale 1843 ... 724 10 S. Cecilia playing Violoncello (the one painted for Cardinal Sassi), Lord Suffolk's sale 1855 ... 525 Landscape, The Bird-catchers, from Borghese Palace (see sale in 1804), S. Rogers' sale 1856 ... 126 Pursuit of Love, oval, 5in. by 4in., Duke of Hamilton's sale 1882 ... 126 PAIJ^TERS AND THEIR WORKS. 313 S. John in a Vision, 103in. by 80in., £ s. d. from G.ustiniani Gallery, Rome, Sir P. Miles's sale (bought in) ... 1884 ... 735 Domenico Veneziano. — b. probably Venice ; d, Florence, 15th May, 1461 ; s. ; P. history. Very little is known about this artist except the dates at which he worked in different places. In 1438 he was at Perugia, and decorated the vestibule of the Casa Baglione. Next he is found in Florence, painting, between 1439 and 1445, in a chajjel in S. Maria Nuova. He was there assisted by his scholar, Piero della Francesca, as, according to Vasari, he had beeii previously at Loretto. As regards his painting in oil. and his supposed assassination by Castagno, sec Castagno (Andrea del) and Antonello da Messina. Only two of Domenico's works are known, "The Virgin and Child Enthroned ajid Four Attendant Saints," now at Florence in the Ufiizi; and "The Virgin and Child Enthroned," in our National Gallery, which was painted at Florence. Dono (Paolo di)—See Uccello. Donth (Arnold).— B. Ghent, ; d. Rome, 1665; s. Van Dyck ; p. portraits and figures. Very little is known about this painter ; but Orlandi, writing about 1700, says that ' ' he was equal to Van Dyck in portraits ; of a very gentle, amiable character, and followed to the grave by all the painters in Rome, where he was l)uried in San Lorenzo in Lucina, the 3rd April, 1665." Probably portraits by him have ])een sold as being by Van Dyck ; and it is to be remembered that the initials of his name would on a picture be the same as those of Van Dyck's. As Van Dyck died in 1641, Donth survived him more than twenty years. Dore (Louis AugusteGustave).—B. Strasburg, 6th January, 1832 (not 1833); d. Paris, 25th January, 1883 ;^:clf -taught ; p. history, caricatures, and landscapes. The father of this cele- brated designer was an engineer in the ' ' Ponts et Chaussees, " who, on receiving an appointment at Bourg en Bresse, took with him his son, known as Gustave, then barely ten years old. The latter was sent to the college of that place to continue his education. It is said that when only eight years of age he could draw with facility, and that, as early as 1845, he emx)loyed there the printer Ceyzeriat, to print some sketches in pen-and-ink. Gustave went to Paris in 1848 with his father. The Journal 314 PAINTERS AND THEIR WORKS. pour Rire, published by Pliilipson, or rather Aubert and Co., in Paris, was known at Bourg ; and one day G ustave, unknown to his father, called on Philipson, showed him some of his sketches, and asked for employment. This Philipson promised him, and, although his father was at first opposed to Gustave becoming an artist, he at last consented, and the agreement was drawn up and signed by Philipson and Gustave's father, to last for three years, that Gustave should receive, for drawings in pen-and-ink, for the Journal pour Hire, forty francs each, and for drawings in chalk, size "quart j(5sus," for "Souvenirs de Garnisons," " moeurs Algeriennes, " and, "A la guer,re comme a la guerre," albums by Cham, fifteen francs each. Of these he was to furnish one every week, except in case of illness, or his having a holiday, as Gustave was still a pupil at the Lycee. It was then that Gustave Dore began his wonderful career, during which he is said to have produced about 20,000 designs. In 1850 he left the Lycee, and he must have begun to study painting in oil very shortly afterwards, as he contributed pictures to the Paris Exhibition of 1852-3, in which he displayed the same wonderful facility that he had already shown in his designs. His talents were, however, not confined to designing and paint- ing, for as a sculptor he was engaged on a monument to the elder Dumas when he died, and he sent a colossal vase decorated with groups of figures to the Exposition Universelle at Paris in 1878. In company with his friend Le Baron Charles Davillier, Dore visited Spain, and "L'Espagne," the result of the voyage, appeared in 1874. Dore was an ardent admirer of the works of Shakespeare, and the last words he spoke to those who were near him when lie was dying were : ' ' Guerissez moi, je vous en supplie, que je puisse terminer mon Shakespeare." The pictures by Dore are too numerous to attempt to give a list of them, and owing to the large size of many of them they do not appear in sale-rooms. The following have, however, been sold by auction : An Alpine Scene, 44in. bv 67in., £ s. d. Kurtz's sale ... 1880 ... 331 Christian Martyrs, 56in. by 90in., Kurtz's sale 1880 ... 798 Moonlight in the Pyrenees, Tennant's sale 1881 ... 199 10 Church-door, Seville, 38in. by 51|in., Potter's sale 1884 ... 157 10 PAINTERS AND THEIR WORKS. 315 Spanish Peasants, 46in. by SS^in., £ s. d. Potter's sale 1884 ... 68 5 Dossi.— ^S'ec Dosso (Giovanni). Dosso (Battista). — b. -; d. Ferrara, 1548; s. Lorenzo Costa ; p. landscapes and caricatures. He was the brother of Giovanni, and painted principally landscapes. According to some accounts he was in Rome and worked under Raphael in 1520. There are landscapes by him at Modena and Ferrara, and two curious ones in the Borghese Palace at Rome. In the Uffizi at Florence is a female saint by him. He was extremely deformed and of a disagreeable character. Dosso (Giovanni di Niccolo Lutero), known as Dosso Dossi. — B. Dosso, in the Ferrarese, 1478 or 1479 ; d. Ferrara, 1542 ; s. Lorenzo Costa ; p. history and xDortraits. This artist, the great colourist of the Ferrarese School, appears to have worked under Costa, at Mantua, in 1512. Accompanied by his brother Battista, he afterwards went to Venice, where it is said they remained eleven years, but it is doubtful if Giovanni ever went to Rome. He was the friend of Ariosto, who has praised his works in the "Orlando Furioso," and probably was personally acquainted with Titian when the latter visited the Court of Ferrara in the time of Alphonso I. His masterpiece is the altar-piece in the Church of S. Andrea, at Ferrara, which is celebrated for the rich- ness of its colouring. Another of his works is the "Circe," in the Borghese Palace at Rome, no less fine in the treatment of the subject than in the colouring. The enchantress, draped in purple and gold, is seated in a magic circle and a beautiful landscape, perhaps the work of Battista Dosso. She holds in her right hand a tablet, on which are necromantic signs, and the expression of her face is that of triumph. At Dresden there are no less than eleven pictures which probably are all by Giovanni. The other great galleries in Europe are not rich in examples of the Dossi's works ; but in the Hermitage, at Petersburg, is a famous copy of Raphael's " S. George," by Dosso; and in the gallery at Modena, his fine portraits of the Dukes of Ferrara. Many pictures, formerly attributed to Garofalo, Giorgione, and other masters, are now known to be by Dosso, or the Dossi, for they often worked in conjunction. Pictures by either of the Dossi seldom appear at sales, and only the following can be given : The Nativity, from the Aldobrandini £ s. d. Palace 1804 ... 40 19 316 PAINTERS AND THEIR WORKS. £ s. d. SS. Catherine and Lucius, Barker's sale 1874 ... 136 10 Scene from "Orlando Furioso," 48in. by 60in., Graham's sale 1886 ... 262 10 Dou, Dow, or Douw (Gerard).— b. Leyden, 7th April, 1613 ; D. Leyden, February, 1675 ; s. Bartolomeus Dolendo, Pieter Kouwenhorn, and Rembrandt van Ryn ; p. genre and portraits. He was the son of a glass-painter, named Douwe Janzoon de Vries van Arentsvelt, and his mother's name was Marytje Jansdr van Rosenburg of Waasenaar. Gerard began to learn to draw when he was nine years of age, under Dolendo, and a few months later with Kouwenhorn. He entered the school of Rembrandt in 1628, and worked under him for three years. Dou, however, except in the management of light and shade, did not follow that master, unless he undertook to perfect the highly- finished manner of Rembrandt's early works. In that case he certainly carried it out to a point which no other artist has sur- passed. In connection with this it is interesting to know how he worked. We are told that he kept the picture he had in progress under lock and key, and that after he had entered his painting-room and locked the door, he sat down before his easel, and before he placed his picture thereon allowed sufficient time to elapse for any dust he might have raised, by coming into the room, to settle. Gerard Dou resided all his life in Leyden, except between the years 1651 to 1657, and 1668 to 1672, and, strange to say, it is not known where he was in those intervals. He must, however, have been in very prosperous circumstances, for one wealthy connoisseur, Van Spiring, is said to have paid Dou annually a thousand florins (about £90) to be allowed to have the refusal of any picture the artist had painted in the course of the year. This was independent of the price of the picture, which was always high. Dou had an elder brother named Jan, but nothing is known regarding him. Gerard was buried on 9th February, 1675, in the Church of S. Peter, at Leyden. The works of Dou are to be found in all the great galleries of Europe and in many private galleries. A list of them would be very long, and it is best, therefore, to give rather an extended one of the prices at which the finest have been sold, and a few early sales to show the enormous rise in value : £ s. d. The Mousetrap, La Verrue'e sale ... 1737 ... 40 Girl Pourmg Milk into a Dish, Wausenaer D'Obdam's sale ... 1750 ... 150 PAINTERS AND THEIR WORKS. 317 de la The Spinner, Vence's sale .. A Hermit Praying, Allard Court's sale Girl Heading, JuUienne's sale Woman Holding a Fish, Gagniat's sale ... The Doctor, Choiseul's sale The Young Woman with the Parrot, Blondel de Gagny's sale Woman Weighing, llandon de Boisset's sale Girl Pouring Milk (see 1750), llandon de Boisset's sale ... Woman Holding a Hare, Conti's sale ... ... The Young Mother, Choiseul-Praslin's sale ... ... ... The Grocer, Choiseul-Praslin's sale ... Servant-girl at a well, Calonne's sale ... Portrait of himself playing the violin, from Orleans Collection, Walker's sale Hermit on his knees, Van Leyden's sale ... The Night School, Vander Pot de Grueneveld's sale ... The Double Surprise (bought in Tolosan's sale, 1801, £290), Emler's sale The Hermit (see 1804), Paillet's sale The Poulterer's Shop (called "The Choiseul G. Dou "), Beckford's (Fonthill) sale^ Portrait of the painter, Erard's sale The Astronomer (Candlelight), 12^in. by 8|in., from Laperiere's Collec- tion, Nieuweuhuys' sale Interior, with the artist looking from the window, from Voyer d'Ar- genson's Collection, Erard's sale Lady Seated Playing on Virginal, 15^in. by 12^in., from several Collections, W. Wells' sale The Flute-player, 14in. by ll:|in. (No. ^ 73, Snuth's Catalogue), Higginson's sale ... £ s. d. 1761 . .. 105 1766 200 A 1767 . .. 125 1768 . .. 250 inn A A u 1776 . .. 240 1777 . .. 625 1777 . .. 360 1777 . .. 800 1793 . . 1350 1793 . .. 1300 1795 . .. 96 12 p 1803 . 304 10 1804 . .. 1680 1808 . .. 1500 1809 . .. 650 1814 . .. 600 1823 . .. 1333 10 1832 . .. 170 1833 . .. 224 14 1833 . .. 603 15 1848 . .. 357 1860 .. 320 318 PAINTERS AND THEIR WORKS. An Astrologer Holding a Candle, £ s. d. 12m. by Sin., from several collections, Earl of Clare's sale ... 1864 ... 703 10 Interior, portraits of the Burgomaster Haeslaar and Wife, 30in. by 24in., Steeven's sale 1869 ... 189 An Astrologer Holding a Candle, 12in. by 8in. (see 1864), Delafield's sale 1870 ... 789 (Sold in Levy's sale, 1876, for £714), Don's Portrait of his Mother, in purple and fur, A Nautilus Cup ; Grant's sale 1881 ... 241 10 An Interior, Stover's sale 1890 ... 294 The Flute-player, Adrian Hope's sale 1894 ...3675 D'Ouvilly (Baron).— /S'ce Gerbier. Dow.Sco DOVL. Doyle (John), known as ''H. B."— b. Dublin, 1797 ; d. 2nd January, 1868 ; s. Dublin Society's Drawing School ; p. portraits and caricatures. He was of a resjjec table family in Dublin, and had some success as a j^ortrait-painter, both in Dublin and in London, to which place he came in 1822. He exhibited six portraits at the Royal Academy between 1825 and 1835. Doyle devoted his time afterwards to lithography and publishing likenesses, more or less caricatured, of leading politicians and representations of scenes in which they figured ; these became very popular. Between 1829 and 1840 he was the principal caricaturist of the time, and influenced, to a certain extent, public opinion. Drooch Sloot ( Joost Cornelisz).— b. Utrecht, ; d. ; s. ; P. festivals and landscapes. This painter worked between 1616 and 1660. He was admitted into the Guild of S. Luke at Utrecht in 1616, and became Dean in 1623-4. He gave to the Hospital of S. Job, at Utrecht, in 1628, a picture of Job and His Friends," in which the landscape is very line. There is also his own portrait, dated 1630 ; but the works by which he is most generally known — particularly his landscapes — are often con- founded with those of Nicolaas Drooch Sloot, an inferior painter, who was born at Dordrecht in 1650 and died in 1702. Pictures known to be by Joost Cornelisz are : View of a Village — Capel, Gallery. View of a Village Street — Dresden Gallery. PAINTERS AND THEIR WORKS. 319 A Kermetse, 1652 ; A Dutch Village, 1652— The Hague Museum. Skaters — Madrid Gallery. Peasants — Modena Gallery. Troops Pasriing through a Village, 1645 — Louvre, Paris. A Frozen Canal in Holland — Hermitage, S. Petersburg. A Village Fete, 1649 — Ptotterdam Museum. Duel between the Dutch Gerhards and the French Friantes in 1600 (painted in 1630) — Vienna Gallery. Drost (Jan, W., or Geraert).— b. probably about 1625, or, according to some, 1638 ; d. perhaps as late as 1690 ; s. Rembrandt ; p. history and landscapes. Very httle is known regarding this artist — even his name is uncertain ; but it is agreed on all hands that he was a pupil of Rembrandt, whose work he imitated so closely that his pictures have been sold as being by his master. Drost visited Italy, where he improved in design. Among fine pictures by him are : Christ and Mary Magdalen after His Resurrection — Capel Gallery The Daughter of Herodias Receiving the Head of John the Baptist — Amsterdam Museum. An Old INIan Teaching a Boy to Read ; Argus and Mercuiy ; the Portrait of a Man (signed J. V. Drost), supposed to be his own — Dresden Gallery. Landscape with Cattle ; The Continence of Scipio — Berlin Gallery. Pictures by Drost have been sold as under : The Daughter of Herodias (the picture £ s, d. at Amsterdam), Fouquet's sale... 1801 ... 65 The Letter, Leroy d'Etiolie^' sale ... 1861 ... 85 Drouais (The).— There were three French painters of this name, all of whom were much employed at the time when they lived : Drouais (Pran90is Hubert).— b. Paris, 1727 ; d. Paris, 1775 ; s. his father ; p. portraits. Besides receiving instruction from his father, Hubert, he studied in the schools of other artists, among whom were Natoire and Boucher. He was received into the Academy in 1758, and became the fashionable painter of the leading beauties of the time, whose airs and rouged faces he re- presented to perfection. Among his best portraits are those of the Comte d'Artois and Clotilde de France when children, Coustou, Bouchardon and Madame de Pompadour. 320 PAINTERS AND THEIR WORKS. Pictures by Fran9ois Hubert Drouais have been sold as under : The Guitar-pLayer, dated 1765, Lons- £ s. d. dale's sale 1887 ... 700 Madame Du Barri m a gauze dress, Lonsdale's sale 1887 ... 950 Drouais (Hubert).— b. Roque, in Normandy, 1699 ; d. 1767 ; s. Detroy ; p. portraits and miniatures. He was elected an Academician in 1730, and was on intimate terms with Nattier, Oudry, and J. B. van Loo. He painted the portraits of a great number of the celebrated persons of his time, among others those of Le Lorrain, the sculptor, and Verdur, who was painter to the king. These portraits are in the Palais des Beaux Arts, at Paris. He worked also in pastel. Drouais (Jean Germain).— b. Paris, 1763; d. Rome, 1788; s. his father, Brenet, and David ; p. history. He was the younger son of Francois Hubert. At the early age of twenty-one he carried off the first prize of the Academy by his fine picture of " The Canaanitish Woman," now in the Louvre. It was so much admired that Drouais was carried in triumph through the streets of Paris. The next year he accompanied David to Rome, and sent to Paris a study of "A Wounded Gladiator, " ' ' Marius at Minturnai," and " Philoctetes Breathing Forth Imprecations against the Gods," all of which are in Paris. Drouais, who was one of the most powerful painters of the modern French school, worn out by incessant labour, died of a fever in Rome, at the early age of twenty- five. Drummond (James).— b. Edinburgh, 1816 ; d. Edinburgh, 12th August, 1877 ; s. Sir W. Allen ; p. history and portraits. He studied in the School of Design ; was elected an Associate of the Scottish Academy in 1846, a full member in 1852, and Librarian in 1857. His pictures, " The Porteus Mob " and Montrose on His Way to Execution," are in the Scottish National Gallery, of which he became curator in 1868. He exhibited some pictures in London at the Royal Academy, the last being, in 1865, " Claver- house and the Duke of Gordon." His pictures of " The Cross of Edinburgh, August, 1600," were sold in Collie's sale, in 1876, for £113. Dubbels (Hendrick, Jan, and Pieter).— It is uncertain how many artists there were of this name, when they lived, and where. They all painted marine subjects, and Jan is said to have been a pupil of Bakhuisen. Their pictures are usually sold PAINTET^S AND THEIR WORKS. 321 simply as being by Dubbels, and some of them have great merit, as may be judged by the following prices obtained for them : £ s. d. A Calm, Dr. Bragge's sale 1750 ., 6 Mouth of a Harbour 1806 .. . 252 Ditto, from CraAvford Collection, Lord Kinnaird's sale 1807 .. . 183 15 Sea-piece, Shipping, Boats, etc., 53|in. by — , Kinnaird's sale 1811 .. . 168 Mouth of a Harbour, Sliips, etc., from Hope Collection 1830 .. . 194 5 Shore at Scheveling, Lake's sale 1845 ., 79 16 Duccio de Buoninsegna.— b, Siena, about 1260; d. after 1339 ; s. ; p. history. This painter was the first at Siena who endeavoured to improve upon the Byzantine style. His works have for the most j)art perished ; but portions of the ' ' Maesta " he executed for the Cathedral of Siena are still there, although no longer in their original positions. He received the commission for it in October, 1308, and finished it by 9th June, 1310. The principal portion of it was carried to the Duomo with great pomp. This altar-piece as it now exists was engraved in outline by Bartoccini in 1847. There are a few easel pictures attributed to Duccio, and the following are probably by him : £ s d Crucifixion, De Bammeville's sale ... 1854 ... 278 5 (Sold in the Bromley sale, 1863, for £262 10s.) S. Peter, Gambler Parry's sale ... 1863 ... 33 12 Duck (Jacob).— B. ; d. ; s. ; p. history and interiors. This artist was admitted as a master into the Guild of Painters at Utrecht in 1626. It has been said that he was the father of Jan le Ducq, but this appears improbable, as that painter was born at The Hague in 1636, and Jacob Duck resided constantly at Utrecht from 1626 to 1646. Five etchings, " drawn and etched by J. Due," representing the story of the Three Kings, supposed to be by this painter, were sold for £5 at the sale of the Van Leyden Collection, in 1811. Ducq (Jan le, or Jan)— b. The Hague, 1636 ; d. probably Noordam, before 1685 ; s. Paul Potter ; p. interiors, genre, and military subjects. He was Director of the Academy at The Hague, but in 1672 entered the army, and died Major-commandant of the Fortress of Noordam, in North Brabant. Although the pupil of Potter, Le Ducq painted more in the style of Palamedes. His X 322 PAINTERS AND THEIR WORKS. works are very highly finished and well coloured, but many pictures which are chiefly brown and yellow pass under his name, though it is very doubtful if they are by him. His drawings and etchings are valuable. Three of the latter were sold at Graaf von Erie's sale, in 1824, for £32. He painted the figures in some of Theodore van Delen's pictures. Pictures by Jan le Ducq usually sell for from £o to £10, but the following were exceptions : Un Corps de Garde, Van Heemskerk's £ s. d. sale 1770 ... 85 Portraits of Lady and Gentleman, , Calonne'ssale 1795 ... 42 Corps de Garde, Tolozan's sale ... 1801 ... 40 (Sold at Maurice's sale, 1808, for £60.) Conversation piece, 18in. by 27in., Sir G. Yonge's sale 1806 ... 84 The Brigands Retreat, Gauthier's sale 1833 ... 60 Corps de Garde, Kirecheletf's sale ... 1869 ... 140 Brigands and Captives, from Count Morny's Collection, Baker's sale 1873 ... 346 10 Interior, with figures, 15Mn. by 18iin., Warden's sale ...^ 1879 ... 99 15 Ducq (Josephus Franciscus) .— b. Ledeghem, in West Flanders, 10th September, 1762 ; d. Bruges, 1829 ; s. Academy of Bruges and of Suvee in Paris ; p. history and allegories. This artist visited Italy, and became afterwards Professor at the Academy of Bruges, Painter to the King of the Netherlands, and Member of the Institute and of the Academy of Antwerp. He was the same person as P. Due. Some of his compositions were engraved in the " Annales du Musee de Paris." His works are rich in composition and correct in drawing. Duffield CWilliam).— B. Bath, 1817; d. London, 1863; s. George Lance ; p. flowers and still-life. Duffield studied also in the schools of the Royal Academy, and later under Wappers at Antwerp. He painted at first portraits at Bath, but sent a fruit- piece, his first contribution, to the Exhibition at the Royal Academy in 1849. In 1850 he married Mary Elizabeth Rosen- berg, of Bath, a clever painter of flowers, birds'-nests, and fish, and settled in London in 1857. The pictures he exhibited at the Academy and in Sufi"olk Street added yearly to his reputation, which is proved by the high prices they produced at auctions : PAINTERS AND THEIR WORKS. 323 Dead Birds and Still-life, Guest's £ s. d. sale ... 1863 . 94 10 A Dead Mallard, Duncraft's sale 1864 .. . 210 Dead Heron and Fruit, Gibbon's sale 1868 ., ,. 148 A Fair Day's Sport, Grant's sale 1868 . ,. 283 10 Dead Sta^" in tlie Snow, Coleman's sale ... 1869 ., . 194 5 Dead Swan, Fruit, etc., Coleman's sale ... 1869 .. . 325 10 A Dead Fallow Deer, Duffield's sale 1872 . .. 100 16 Still-life, Hargreaves' sale 1873 . .. 110 5 Dufresnoy (Charles Alphonse).—B. Paris, 1611 ; d. Villers- le-Bel, Paris, 1668 ; s. F. Perrier and Simon Voiiet ; p. history and landscapes. Although more generally known as the author of the poem, "De Arte Graphica," Dufresnoy's talents were not confined to writing, for he showed in his pictures that he could apply liis profound knowledge of art. It was intended by his friends that he should study medicine, but an irresistible inclination led him to devote his time to the Fine Arts. He went to Italy, and suffered from XDOverty until Mignard assisted him. He then went to Venice in 1653, and returned to France in 1656. Dufresnoy's pictures are remarkable for correct drawing and good colouring. Among them are : The Death of Socrates — Florence. S. Margarite ; Nymphs and Naiades — Louvre, Paris. In De la Reyniere's sale at Paris in 1792, Dufresnoy's ''Armide Abandonn^e" sold for £60. Duncans (The). — There were two contemporary artists of this name : Duncan (Edward).— b. London, 1803 ; d. London, 1882 ; s. ; p. landscapes, marine-pieces, etc. This well-known painter in water-colours was apprenticed to Robert Havell, the aquatint engraver ; he had the advantage of studying the drawings by Robert's brother, William, and probably received some instruction from him in painting. In 1831 Duncan became a lueniher of the New Society of Painters in Water-colours, in 1849 he was elected an Associate of the Society of Painters in Water-coloury, and in the following year he became a member. His x^rincipal works are those of coast scenery, but they embrace a variety of subjects, and are true to nature and skilfully painted. Taking the prices at which 150 water-colours have ])een sold by public auction, they vary from 324 PAINTERS AND THEIR WORKS. £26 5s., paid for ''The Seashore " at Hibbert's sale in 1860, to £483 for " The Lifeboat Going Out," 21in. by 39in., at Brooks's sale in 1879. The following are some of the high prices paid for water-colours by E. Duncan : Gathering Holly, Threl fall's sale ... The llainbow, Constable's sale Shrimpers, Northlleet, 30in. by 22in., Craven's sale Wreck, Rocket-firing, Rodgers's sale The Haunt of the WHdfowl, Clare's sale ... The Cockle-gatherers, Clare's sale ... Storm, Clare's sale Pass of Glencoe, Vokins's sale Off Mumbles, Rennie's sale ... Gale off Mumbles, Cattley's sale... Wreckers, Wales, 18in. by 38in., Faruworth' s sale ... The Lifeboat, Barker's sale ... Snowdou, 13in. by 20in., Levy's sale... Shrimp-boats, Gravesend, with rain- bow, 30in. by 22in., Knowles's sale ... Dutch Boats in a Gale, Topham's sale ... Lobster-fishing, 1842, Birch's sale ... The Cockle-gatherers (see above), Birch's sale The Lifeboat Gomg Out, 21in. by 39in., Brooks's sale Collecting Sheep, ll|in. by 13iin., Brooks's sale Overtaken by the Tide, 18|in. by 35in., Lee's sale On Brighton Downs, 16in. by 18in., E. Duncan's executors' sale Launch of Lifeboat, N. Berwick, 20in. by 39in., E. Duncan's executon^i' sale ... Brig on Rocks, Dunbar, 25|in. by 46|in., E. Duncan's executors' The Haunt of the WiidfoAvl, Kurtz's sale ... Lindisfarne, dated 1870 £ 8. d. 1864 . .. 330 15 looo 189 A 1866 . .. 278 5 18'67 . .. 315 1868 . .. 367 10 1868 . .. 315 Io08 A U A u 1870 . .. 267 15 1870 . ,. 225 15 O 1 A A A u lo/4 A U A u 1875 ., .. 357 1 Ola mo o A u 1877 .. . 341 5 1877 .. . 357 1877 .. . 262 10 1877 .. . 430 10 1879 .. . 483 1879 .. 24:1 1 A 10 A u 1883 .. . 325 10 1883 .. . 241 10 1883 .. . 378 1883 .. . 409 10 1891 .. . 136 1890 .. . 162 PAINTERS AND THEIR WORKS. 325 E. Duncan seldom painted in oil, l)ut pictures by liim in that medium have been sold as under : Wreckers on the Cornish Coast, £ s. d. Jardine's sale 1883 ... 241 Upon the Watery Plain, 36in. by 72in., Gurney'8 sale 1883 ... 125 15 Ludlow Castle, 36in. by 48in., Gurney's sale 1883 ... 330 10 Duncan (Thomas). — b. Kinclaven, Perthshire, 24th May, 1807 ; D. Edinburgh, 25th May, 1845 ; s. Sir William Allan ; p. history and portraits. While still a boy at school, in Perth, Thomas Duncan showed a strong aptitude for art by painting the scenery for ' ' Rob Roy, " which his schoolfellows performed in a loft. His father, however, placed him in the office of a law- writer, where he remained until he was twenty ; he then began to study art under Sir William Allan, with whom he made rapid progress. His "Sir John Falstaff" and "Sweet Anne Page" caused him to be chosen a member of the Royal Scottish Academy in 1830, at which he was subsequently appointed to the Pro- fessorship of Colours, and, after the death of Sir William Allan, to the Mastership. In 1840 he exhibited at the Royal Academy in London his fine picture " Prince Charles Edward and the Highlanders Entering Edinburgh after the Battle of Preston pans," and in 1841 "The Waefu' Heart," now in South Kensington Museum. Other pictures followed, the last being "The Martyr- dom of John Brown, of • Priesthill, in 1685 " (which is now in the Corporation Galleries at Glasgow), with the exception of a portrait of himself ; this, after his death, was bought by some Scottish artists, and placed in the National Gallery of Scotland, where are also his Anne Page Inviting Slender to Dinner. Jeanie Deans and the Robbers. Tliree portraits. Bran, a Scotch Deer hound. The Two Friends : a child and a dog. Du Paon.— >S'ee Le Paon. Dupont.— AS'ee Gainsborough. Diirer (Albrecht).— b. Nuremberg, 21st May, 1471 ; d. Nuremberg, 6th April, 1528 ; s. Michel Wolgemuib ; p. history, portraits, and landscapes. Perhaps the most useful information 326 PAINTERS AND THEIR WORKS. for general readers is the series of well-ascertained dates of the principal events in Albrecht's life. It is said that the family of Diirer is of Hungarian origin, and that the name Diirer is simply a translation into German of the Hungarian name Ajtos. What is certain is, that Albrecht's father, who bore the same Christian name, was settled in Nurem- berg, as a goldsmith, when his son, the celebrated pamter, was born ; moreover, that he had married, in 1467, Barbara, the daughter of Hieronymus Holper, the goldsmith in whose shop he worked, and about the same time became a burgher of Nurem- berg and a master goldsmith in that city. Albrecht, the future painter, was the third of eighteen children, the offspring of that marriage. Antonius Koberger, the printer, was his godfather, and young Albrecht was brought up under his father, who took the lad from school as soon as he had learned to read and write, and taught him the goldsmith's trade. The very fact of his being thus employed implies that he learned to draw other things besides his own portrait, at thirteen, which is still in existence, and that when, in 1486, his father, acceding to his wish to become a painter, apprenticed him to Wolgemut for three years, he had already acquired the rudiments of the painter's art, and even of modelling. In 1490, his apprenticeship having expired, young Albrecht left Nuremberg, and he travelled from that year until 1494. Strange to say, very little is known of how he passed the time or of what places he visited. It seems, however, certain that he was at Colmar in 1492, and probably also at Basle, and at Strasburg in 1494, prior to his return to Nuremberg. The weight of evidence is against his having then visited Italy. Shortly after his arrival in his native cit}^, his father and a certain Hans Frey, a man of pro- perty at Nuremberg, arranged that he should marry Agnes Frey, the daughter of the latter, with whom Albrecht received a dowry of 200 florins, an amount which we must multiply by at least twenty to estimate its real value. We may add, while speaking of this marriage, tliat it appears to have been an unhappy one, and much indignation has in consequence been expressed at the doings of poor Agnes Frey. But if we take into consideration the fact that Albrecht was one of eighteen children who had a mother living, that the young couple lived in old Diirer's house until 1509, and that Agnes had not any children, it is not surprising that she became slightly irritable and somewhat anxious as to what was to become of her if her husband died and left her unprovided for. PAINTERS AND THEIR WORKS. 327 About the time of his marriage Albrecht the younger was received into the Guild of Painters at Nuremberg. What may be termed his " diploma piece " was a pen drawing, which is a fine copy from a rare Italian print, said to be by Baccio Baldini. The portraits of Albrecht at Florence and at Madrid probably give a truer idea of his personal appearance and bearing than the idealised one at Munich. His father,, the elder Albrecht Diirer, died in 1502. Towards the end of the year 1505, Albrecht went to Venice ; he was indebted to his friend Pirkheimer for the money enabling him to undertake the journey, the object of which seems to have been to obtain employment from the German merchants, who were then building their " Fondaco " at Venice. This journey must, however, have been somewhat long, for Albrecht's first letter from Venice to Pirkheimer is dated Twelfth Day, 1506. In it, in relation to some purchases of jewels which Pirkheimer wished him to effect, Albrecht makes the following curious statement: ''Know that I can obtain nothing good or worth the money asked for it, for everything is snapped up by the Germans, who go about on the Riva. They always want to make four times what they are worth out of them, and they are the most faithless people that ever lived, so that one need not expect any honest service from them, and I have been warned to be on my guard against them." He says also that he will repay the money Pirkheimer had lent him out of the money he is to receive from the "Tedeschi" (by which he means the Guild of German Merchants in Venice) : this was for " The Feast of Pose Garlands " (a feast instituted by S. Dominic in honour of the Virgin), which picture is now in the Monastery of Strahow at Prague. Albrecht goes on to tell that "they are to pay me for it 110 Rhenish florins, and not more than five will go for expenses. I shall have prepared and scraped the panel in eight days' time, and then I shall begin at once to paint, so that I may, if God will, have it into its place above the altar a month after Easter." These details are interest- ing, for they show the manner in which Albrecht worked, and the time that he expected to spend in painting the picture. In another of his letters to Pirkheimer Albrecht says, " Giovanni Bellini has praised me highly before several noblemen, and he wishes to have something of my painting. He came himself and asked me to do something for him, saying that he would pay me well for it ; and all the people there tell me what a good man lie is, so that I am greatly inclined to him. He is very old, but yet he is the best painter of them all." This observation gives a 328 PAINTERS AND THEIR WORKS, clear insight into Diirer's position at Venice. His works were more in favour with old Giovanni, then eighty, than with the rising masters Giorgione, Titian, and others, and consequently with those who were the greatest among the Venetian painters, and who went far beyond Diirer and his old friend Giovanni. He says in a later letter, The painters here are very ungracious towards me. They summoned me three times before the magistrates, and I have been obliged to pay four florins to their school." Also that he cannot finish his picture for the Tedeschi before Whitsun- tide, and that ' ' all goes in living expenses, buying, and expenses of all kinds." Several other passages show that whatever money Albrecht may have made in Venice, he found it diflicult to accumulate sufficient to enable him to return to Nuremberg, and he is even obliged to ask Pirkheimer to lend his mother some until he does so. Albrecht took advantage of his visit to Venice to try and obtain an order from the " Signori," prohibiting Marc Antonio and others from copying his engravings ; but it is evident from the number of copies which exist, that he did not profit much by the attempt ; moreover, he had himself drawn largely from the works of other people. Albrecht left Venice at the beginning of 1507, and visited Bologna on his road home. It was after his return from Italy that he painted his finest work — the life-size figures of Adam and Eve — among the repetitions of which that at Madrid, signed and dated 1507, is the best. " The Martyrdom of the Ten Thousand," painted in 1508, is now at Vienna ; the Heller Altar-piece, for- merly at Frankfort, was painted in 1509; and "The Adoration of the Trinity," now at Vienna, in 1511. In 1518 Albrecht went to Augsburg, and there drew the portrait of the Emperor Maximilian, for whom he also executed the drawings for the well-known wood blocks. Between 1520 and 1521, Albrecht, accompanied by his wife, travelled in the Nether- lands, and kept a journal duldng the journey, which has been printed, as have also his letters written while he was at Venice. From that time Albrecht remained at Nuremburg until his death, constantly employed at the various arts he practised, his last works in painting being ' ' The Four Evangelists, " which he presented to his native city, and which are now at Munich. Albrecht Diirer had two brothers — Andreas an elder, ^and Hans a younger brother. The first was a goldsmith at Nuremberg ; the second, a painter born at Nuremberg in 1502, having been appointed painter to the King of Poland, died at Cracow about PAINTERS AND THEIR WORKS. 329 1538, Pictures are attributed to Hans, but chiefly on the strength of their being signed "H.D," To speak of the engravings and plastic works by Albert Diirer would extend this notice far beyond our limits ; but it is necessary that our readers should know that, to fully appreciate the talents of this artist, the great collections of his drawings at Vienna and in our own British Museum must be studied. At the same time, they will do well to form an independent estimate ; for the life of Albert Diirer and his works have been treated very much in the same manner as that in which Lady Morgan dealt with those of Salvator Rosa, and worked up into an interesting romance. It must also not be forgotten that Albert Diirer's best pictures were painted after he had had the advantage of studying the works of the Italians ; while, on the other hand, the decline of art in Italy dates from the time when the Italians took to studying and imitating the works of Diirer. The following are x^rices obtained in public auctions for pictures by Diirer since the end of last century : The Death of the Virgin, Beckford's £ s. d. sale 1789 ... 120 15 The Presentation of the Virgin ; The Circumcision, W. Beckford's sale 1802 ... 147 Virgin with tlie Infant placed on a table and attempting to run ; the word " Veni " in gold before His hand (presented by Philip V. of Spain to the nuns of the convent at Saragossa), Beckford's sale ... Two Magi, bearing golden vases, rendering Homage to the Infant Jesus, Erard's sale S. Catherine Reading, in a landscape, Duke of Buckingham's sale S. Barbara with Book, Duke of Buckingham's sale S. Hubert, King of Holland's sale ... Portrait of a Senator, 23iin. by 19in., bust signed, and dated 1514 (now in National Gallery), De Bam- ville's sale ... The Falconer, S. Rogers's sale Salome Asking for tlie Head of John the Baptist, Pourtales' sale 1823 .. . 157 10 1833 . ,. 75 12 1848 .. . 157 10 1848 .. . 168 1850 .. . 360 1854 .. . 147 1856 . 48 1865 ., ,. 80 330 PAINTERS AND THEIR WORKS. Portrait of Maximilian, Pourtales' sale ... Portrait of the Senator Muffel, of Nuremberg, Pommersfelden's sale ... Triptych, Christ on the Cross, and fourteen medallions representing scenes in His life, Salamanca's sale ... Adoration of Christ, Peleguer's sale Death of the Virgin, Peleguer's sale Procession to Calvary, Duke of Saldanha's sale ... Portrait of Katharina Furleyer, in tempera, from Arundel's Collec- tion, W. Ellis's sale Portrait of Albrecht Diirer, 30in. by 23in., Duke of Hamilton's sale ... Portrait of Albrecht Diirer, 16in. by 12in., Duke of Hamilton's sale ... Christ Led to Calvary, 15in. by llin., on copi^er, Duke of Hamilton's sale ... The Deposition from the Cross, Beckett-Denison's sale ... Virgin and Infant, Exeter's sale Dusart (Cornells). — b. Haarlem, 24th April, 1G60 ; d. Haarlem, 1st October, 1704 ; s, Adriaan van Ostade ; p. genre and landscapes. This artist, who was the best scholar of Ostade, was the son of Jan Dusart, of Utrecht, who was settled at Haarlem in 1650, and married Catharina Brouwers, of Haarlem. Cornells was admitted into the Guild of S. Luke at Haarlem 10th January, 1679, and was Commissary in 1692. In the Museum at Dresden is a picture by him dated 1679 ; he therefore painted it when only nineteen years of age, and he was then admitted into the Guild. An old Dutch record informs us that "his complexion was very ruddy, so that he might have been taken for a drunkard, but that in his conduct he was very modest and serious." Most of his pictures, however, represent peasants enjoying themselves, or markets. It is evident also that Dusart was a man in easy circumstances, for he left a collection of works of art, which were sold after his death. Dusart's pictures are designed and painted with much spirit, and are generally full of figures. They have always been highly s. a. 1865 .. 55 1867 . .. 300 1867 . .. 295 1869 . ,. 600 iooy n u U o\JU n u yj 1876 . .. 338 2 ooo 1882 .. . 409 10 1882 ., . 110 5 1885 . .. 725 1888 ., ,. 200 PAINTERS AND THEIR WORKS. 331 valued hy collectors, as well as liis drawings and etchings. The following list includes the prices that have been paid for some of the best of them : Peasants Regaling, Nogeret's sale . . . A Family at a Kepast, engraved (in the Le Brun Collection), W. Porter's sale Scene in a Village, Van der Pot de Groene veld's sale ... Village Scene : Merrymaking, La Fontaine's sale A Fair, De la Hante's sale ... Interior, Woman looking out of Window, Radstock's sale Interior, Smoker Leaning on Three- legged Chair, Gwydir's sale Le Jeu de Quilles, 22|in. by lO^in., Lake's sale ... Pedlar Offering his Wares to a Man and a Woman, Wells's sale A Dutch Fair, signed and dated 1695, Ri chardson's sale ... A Farmyard, 27in. by 24in,, Brendel's sale ... Dyce (William).— B. Aberdeen, 1806 ; d. Streatham, 15th February, 1864 ; s. Scottish Academy ; p. history and portraits. Dyce was the son of a physician at Aberdeen, and was educated at Marischal College, where he distinguished himself and took the degree of M.A. In his seventeenth year he entered the school of the Scottish Academy, but before he was twenty he went to Italy and studied the works of the old masters in art at Florence and in Rome. He returned to Scotland in 1826, and exhibited his first picture, ''Bacchus Nursed by the ISymplis," at the Royal Academy. He again visited the Continent, but after some years settled at Edinburgh. For about eight years he resided in that city, practising as a portrait- painter, and was elected an Associate of the Scottish Academy in 1835. While in Italy he had made a careful study of ornamental designs, and in 1837 he published a pamphlet on "Schools of Design as a part of State Education." He became superintendent of the schools established by the Government, and made a valuable report upon the Continental systems of art education, which was printed as a Parliamentary paper. £ 8. d. 1780 . 65 1803 .. . 157 10 1808 . .. 150 1813 .. . 163 16 1814 . 173 1826 .. 160 16 1829 . ,. 173 1845 .. . 158 11 1848 ., . 93 13 1871 . .. 76 1875 .. . 325 10 332 PAINTERS AND THEIR WORKS. In 1842 Dyce was made Inspector of Provincial Art Schools, but resigned that appointment in 1844 ; yet he was a member of the Council of Government Schools up to 1848. While thus employed he exhibited portraits at the Royal Academy, and in 1836 his "Descent of Venus" was on view. He was elected an Associate of the Royal Academy in 1844, and a full member in 1848. Having been one of the successful competitors in the Fresco Exhibition at Westminster Hall, he was employed by the Royal Commissioners, and in 1845 completed the first fresco in the Houses of Parliament, The Baptism of S. Ethelbert." In 1848 he received the important commission to decorate the Queen's Robing- room with designs from the legend of King Arthur, of which he lived to complete only five. During his life he con- tinued to exhibit easel pictures at the Royal Academy. Among his numerous works may be cited, ''King Joash Shooting the Arrow of Deliverance," the sketch for "Neptune Assigning to Britannia the Empire of the Sea," which he painted at Osborne ; and the frescoes in the Church of All Saints, Margaret Street, etc. The chief characteristic of his work is, that they show learning and refinement. Dyce was also author of several books on subjects connected with the Fine Arts. Owing to his having been so constantly employed upon large works, the number of easel pictures by Dyce which have been sold by auction is not great. We will therefore give a full list of them : George Herbert at Bemerton, 34in. by 44in. , Agnew's sale ... King Joash with Elisha, 30in. by 43in. , Bicknell's sale Virgin and Child, Brett's sale The Descent of Venus (bought in), Walesby's sale Lear and the Fool in the Storm, 54in. by 72in., Knowles's sale ... The Virgin, Infant Sleeping, Dyce's executors' sale Virgin and Child, Dyce's executors' sale ... John Knox Administering the Sacra- ment at Cawdor House, Dyce's executors' sale Jacob and Rachel at the Well, C. Lindsay's sale Christabel (oval), Haigh's sale £ s. d. 1861 .. ,. 745 10 1863 . .. 231 1864 . .. 278 5 1864 .. 52 10 1865 . .. 483 1865 .. . 362 5 1865 .. . 210 1865 . .. 262 10 1865 . .. 609 1868 .. . 90 6 PAINTERS AND THEIR WORKS. 333 Virgin and. Child (Brett's), Seymour's sale Goody Two-shoes (Brett's), Mrs. Dyce's sale ... ... The Garden of Gethsemane, 16in. by 12in. , Farn worth's sale ... S. Catherine, 20^m. by 17in., Heath's sale Lady with Coronet of Jasmine, Gladstone's sale George Herbert at Bemerton, 34in. by 44in. (Agnew's), Grant's sale The Garden of Gethsemane (Farn- worth's), Grant's sale S. Catherine, 20^in. by 17in., Heugh's sale ... ... ... Madonna and Child, 35in. by 27in., Heugh's sale The Meeting of Jacob and Rachel, 274in. by 35iin. (exhibited in Paris in 1867), Pryor's sale Seeking Advice, dated 1862 Jacob and Rachel Pegwell Bay, dated 1858, Brand's sale Titian's First Essay, dated 1857, Brand's sale S. John and the Virgin, dated 1860, Brand's sale Lear and Fool, dated 1851, Brand's sale ... Drawings in water-colours by Willi? thus : Trebarwitli Strand, Tintagel, 9|in. by 13|in., Pender's sale Puckaster Cove, 9fin. by 13^in., Pender's sale Hospitality^ Sir Tristram, 9in. by 18in., Levy's sale ... Welsh Landscape, with cattle, 6^in. by 12|in., Levy's sale Earle (Augustus). — The son of Ralph Earle, who left his wife and children in England. Augustus was a student at the Royal Academy in 1813, and the intimate friend of Morse and Leslie. He roamed all over the world, but settled for some time at Madras, where he made money by painting portraits, and hually £ s. d. 1869 ... 514 10 1873 ... 85 1874 ... 577 10 1874 ... 325 10 1875 ... 420 1877 ... 1092 1877 ... 388 10 1878 ... 325 10 1878 ... 210 1885 .. 488 5 1889 ... 220 1893 ... 299 1894 ... 535 1894 ... 441 1894 ... 430 ni Dyce have been sold £ s. d. 1873 .. 110 5 1873 .. 105 1876 ... 17 17 1876 .. 10 10 334 PAINTERS AND THEIR WORKS. returned to England. He exhibited at the Royal Academy between 1806 and 1815, and in 1837 and 1838, after he had accompanied Capt. Fitzroy, in the "Beagle," to South America. He published "Views in New South Wales" in 1832, and "A Narrative of a Nine Months' Residence in New Zealand "in 1827, together with a "Journal of a Residence in Tristan d'Acunha." His pictures of "Malta, with the Harbour," and " The City and Harbour of Valetta," were engraved. Earle (James), a portrait-painter, was the brother of Ralph Earle, and died at Charleston in 1796. Earle (Ralph). — b. Leicester, Massachusetts, 1751 ; d. Bolton, Connecticut ; s. West ; p. history and portraits. This artist painted, in 1775, four scenes in the Battle of Lexington, which are said to be the first historical paintings ever executed by an American artist. He came to England, where he studied under West, and returned to America in 1786. Among his other works are a large picture of ' ' The Falls of Niagara " and some portraits. Eastlake (Sir Charles Lock).— b. Plymouth, 17th Novem- ber, 1793; D. Pisa, 24th December, 1865; s. Prout*; p. history. Sir Charles was the youngest of the four sons of George Eastlake, Solicitor to the Admiralty and Judge- Advocate at Plymouth. His mother's name was Mary Pierce, and she belonged to an old Exeter family. The future President of the Royal Academy was educated at Plympton Grammar School, in which Sir Joshua Reynolds was previously a scholar. Samuel Prout, who was also a native of Plymouth, gave him his first instruction in drawing from nature. At the age of fourteen Eastlake was sent to the Charterhouse School, in London, and in 1808 he began the study of art under Haydon, who was his fellow-townsman. In 1809 he entered the schools of the Royal Academy. From that moment, owing to the careful education he had received, his own industry and enthusiasm for art, and the ample means of study which he enjoyed, his future position at the Academy might have been foretold. So early as 1810, some of young Eastlake's designs attracted the notice of Mr. Jeremiah Harman, who gave him a commission for a picture, the subject of this, as finally settled, being ' ' The Raising of Jairus's Daughter." In April, 1814, Eastlake went to France, yet only got as far as Calais ; but on the 1st January, 1815, he arrived in Paris, the bearer of letters of introduction to Visconti, Denon, and Count de Laborde, with which Mr. Jeremiah PAINTERS AND THEIR WORKS. 335 Harman had fiirnislied him. Eastlake was permitted to copy any small picture then in the Louvre, and the one he selected was ' ' The Vision of S. Paul, " by Poussin. Eastlake's letters to Mr. Harman, in which he relates the impressions produced by the pictures, are very interesting, and it is curious to read that he was peculiarly fascinated by Paul Potter's "Young Bull." He remained in Paris until the 19th March, 1815, and left the same evening that Louis XVIII. quitted the Tuileries. By way of Rouen and Dieppe Eastlake reached Newhaven in safety. He then returned to Plymouth, where he painted several portraits ; and when Napoleon arrived in Plymouth Sound, on board the " Bellerophon," at the end of July, from sketches which East- lake made in a boat, he was enabled to paint the portrait of Napoleon, who frequently stood bareheaded at the gangway, and ordered his dress and what was necessary for Eastlake to complete the portrait, to be sent on shore to the artist. This is the small, full-length portrait which was in the possession of Lady Eastlake, and from which the bust was engraved and the larger full-length afterwards painted. It is interesting to know that the small portrait was thought by both Frenchmen and Englishmen who saw it when it Avas painted, to be an excellent likeness. A larger picture, which included other figures, was also painted from this. This latter produced £100 for Eastlake, which enabled him to re- visit Paris ; thence he carried letters of introduction from Visconti to persons in Rome, where he arrived on the 24tli November, 1816. After a visit to Naples, Charles Eastlake left Rome for Greece, at the end of March, 1818. He remained in Athens more than three months, and on his way back was at Malta on the 7th October, and in Rome again on the 20th December, 1818. The result of this journey shows Eastlake's wonderful industry, for he returned with ninety sketches in oil, many of them, to a great extent, finished pictures. On his arrival in Rome he heard of the death of his father, and immediately hurried home to Plymouth. He, however, soon went back to Rome, and lived principally in Italy until he was elected a Royal Academician, in 1830 ; he then settled in London. In 1827 Eastlake's picture, Isadas," had produced a sensation in Rome, and when it was exhibited m London, it probably caused him to be elected an Associate of the Royal Academy, m November of that year. Two years before he had been elected as one of the original members of the Athenseum Club. Eastlake was still 336 PAINTERS AND THEIR ^VORKS. in Rome when he painted his well-known j)ictiire of " Pilgrims Arriving in Sight of S. Peter's at Pome " for the Duke of Bedford, and "Byron's Dream " for Lord Leven and Melville. It was also at the end of 1827 that he sent Mr. Harman, as a present, the Greek girl called " Haidee," which was exhibited at the Royal Academy in 1831, and engraved by Graves. Eastlake came to England in March, 1828, but soon left for a tour in Flanders and Holland by way of Brussels and Amsterdam, and thence to Cologne ; also to many cities in Germany and Munich, He then passed on to Mantua, Padua, and Venice, and arrived in Rome in September ; there he was joined by Turner, who resided with him for several weeks. On the 10th February, 1830, Eastlake was elected a full Member of the Royal Academy, the subject of his diploma picture being Hagar and Ishmael," He returned to England to reside permanently before the 10th December, 1830. He was then thirty-seven years of age. On the way home he visited many places in Northern Italy. With his return to England, Eastlake's work as a pamter may be said to have ended, for after that he painted chiefly portraits or repeti- tions of his earlier works, and only exhibited five pictures after he was elected President and knighted in 1850. In 1841 Eastlake had been appointed secretary to the Royal Commission for decorating the Houses of Parliament, and he took an active part in its labours. In 1842 he was made Librarian to the Royal Academy, and Keeper of the National Gallery. This latter office he resigned in 1847, but was appointed Director in 1855. Sir Charles Eastlake had been in bad health for some time previous to 1865, when he left England accompanied by Lady Eastlake (who was a daughter of Dr. Rigby), for a tour on the Continent, and, his illness increasing at Milan, he with difficulty reached Pisa, where he died on the 24th December, 1865. His body was brought to England, and his widow having, in ac- cordance with his own wish, declined the honour of a public funeral and burial in S. Paul's, he was interred at Kensal Green. In one of his letters Eastlake says, * ' Mr. Turner used to laugh at me for my fastidiousness (he began several pictures and finished three long before I had done one), but in these things men are differently made." It would be difficult to describe more truly, with many words, the difference in the works of the two artists ; and, although it may appear to be a contradiction, Eastlake would probably have been a greater painter had he known less, or learned one thing more — when to leave off painting on a PAINTERS AND THEIR WORKS. 337 picture. His profound knowledge of art, however, renders his criticisms very valuable, and they always show how thoroughly he appreciated excellence in the works of other artists, and how ready he was to acknowledge it. The following are the prices at which some of Eastlake's pictures have been sold in auctions : Napoleon, with Bertrand and other figures, on board the "Bellero- phon " (offered by Eastlake at Messrs. Phillip's, but bought in) Gaston de Foix and his Mistress, Vernon's sale Byron's Dream, J. Harman's sale ... A Roman Peasant, J. Harman's sale Classical LandscaxDe The Sisters, S. Rogers's sale Peasant Girl of Albino and her Blind Mother, North wick's sale The Erechtheum at Athens, Downer's sale ... ... A Contadina Family Prisoners to Banditti, 37^in. by 49|in., Bick- nell's sale ... Portrait of Napoleon on Board the "Bellerophon" (the original small picture, and bought by Lady Eastlake), Gribble's sale ... Ruth Sleeping at the Feet of Boaz, Bullock's sale The Anno Santa, Italy, Moore's sale Salutation of the Aged Friar, Moore's sale ... Virginius, Moore's sale Beatrice, 23in. by 20in., Heugh's sale Pilgrims Arriving in S^ght of Rome, 42in. by 64in., Hermon's sale ... Christ Blessing Little Children, 30in. by 40in., M'Connell's sale The Ransom, 45in. by 70in., M'Con- nell's sale ... Gaston de Foix, }>Qlckow's sale Napoleon on the " Bellerophon " (study), Eastlake's sale Eccardt or Eckhardt (Johann Egidius or John Giles).— 3. Germany; d. Chelsea, October, 1770 ;s. ; r. portraits. Tliis Y £ s. d. 1823 . .. 168 1842 . . 199 10 1844 . . 220 10 1844 . . 278 5 1856 . . 178 10 1856 . . 399 1859 . .. 135 1859 . .. 58 16 1863 . . 619 10 1867 . 63 1870 . 168 1872 . . 483 1872 . . 435 15 1872 . . 116 11 1874 . . 157 10 1882 . . 273 1886 . . 220 10 1886 . . 105 1891 . . 508 1894 . . 210 338 PAINTEES AND THEIE WORKS. painter studied under J. B. van Loo, and came young to England. He settled in London, and was in good reputation as a x)ortrait- painter before Sir Joshua Reynolds returned in 1752. He painted portraits of Sir Robert Walpole and his first wife, Catherine Shorter, Peg Woffington (in 1745), Dr. Middleton, and other persons. Several whole-lengths by him were at Strawberry Hill, and Horace Walpole addressed to him in 1746 a little poem called "The Beauties." Eccardt's Collection was sold by Langford in 1770. His portrait of Gray, the poet, painted in 1750, was sold at Lord Waldegrave's sale in 1842, for £33 12s. Eckersberg (Christoifer Vilhelm).— b. Blaakrog, South Jutland, 1783 ; d. Coj)enliagen, 1853 ; s. ; p. history, por- traits, and marine subjects. He entered the Academy at Copen- hagen in 1803, and won the gold medal with his ' ' Death of Jacob " in 1809. After studying in the school of David, at Paris, he visited Rome in 1813. On his return to Copenhagen in 1817, he was elected a Member of the Academy, and the picture he presented was "The Death of Baldar." As a pro- fessor he had much success, and was elected Director of the Academy in 1827. Between the years 1818 and 1828 he executed the series of historical pictures relating to the House of Oldenburg in the Palace of Christiansborg. Among his best pictures at Copenhagen are : Portrait of Tliorwaldsen, 1815. The Israelites Crossing the Red Sea, 1815. The Sermon on the Mount, 1834. Vessels in the Sound, sea-piece, 1848 — Copenhagen Gallery. Eckersberg (Johan Prederik).— b. Drammen, in Norway, 1822 ; D. Sandvigen, near Chris tiania ; s. Schirmer ; P. land- scapes and marine subjects. This artist, at the age of eighteen, was placed by his friends in a mercantile house in Holland. There he acquired a taste for art, and after two years, against his father's wish, he entered the technical drawing school at Christiania. He made such rapid progress that in 1824 he ob- tained one of the Government stipends for young artists, and went to Diisseldorf, where he studied under Schirmer. He returned to Christiania in 1848, and married in 1850. A few years later, being in delicate health, he went to Madeira, and it was from sketches he made there that he painted his fine pictures of scenes in that island. He returned to Christiania in 1854, and in 1859 founded there an academy of painting, which was PAINTERS AND THEIR WORKS. 339 patronised by the Government. Eckersberg's "Grand Panoramic Scene from a Norwegian Plateau " was exhibited at the Paris Exhibition of 1867. Eckhardt.— /S't^e Eccardt. Edema (Gerard). — b. Friesland, about 1652 ; d. Richmond, in Surrey, about 1700 ; s. A van Everdingen ; p. landscapes. Edema came to England about 1670. He made voyages to Norway and Newfoundland, and many of his pictures represent scenes in those countries. Wyck often painted the figures in his landscapes, and Edema and W. van de Velde lived some time at Mount Edgcumbe with Sir Richard Edgcumbe, and painted several views of the Mount in concert. Edema's pictures are inferior to those of Everdingen, and are worth from £5 to £10. Some of them are at Hampton Court. Edmonstone (Robert).— b. Kelso, 1795 ; d. Kelso, 21st September, 1834 ; s. Harlow ; p. portraits and subject-pictures. This painter was born of respectable parents, and apprenticed to a watchmaker. His industry and natural love of art enabled him to produce pictures which were so much approved at Edinburgh, that he came to London and became a student at the Royal Academy. He exhibited portraits there in 1818 and 1819, and then went on the Continent, where he studied diligently at Rome and other cities in Italy. On his return to England he painted portraits, and from 1824 to 1829 again exhibited at the Academy. The pictures, however, in which he excelled were those into which he introduced children. Thus, in 1830, he exhibited "Italian Boys Playing at Cards." He visited Italy again in 1831-32, and in 1833 sent to the Academy ' ' Venetian Water- carriers " ; also in 1834 some portraits. His works show much refinement and good composition, and the figures are true to nature. Owing to a fever he had sufi'ered from in Italy, Edmon- stone died before he was forty years of age. While at Rome he painted his picture of "Kissing the Chains of S, Peter." His last work was "The White Mouse." At Sir Thomas Baring's sale, in 1848, a study of "Savoyard Boys with Instrument," by Edmonstone, sold for £57 15s. Edridge (Henry).— b. Paddington, August, 1769; d. Margaret Street, Cavendish Square, 23rd April, 1821 ; s. W. Pether ; p. miniatures, Y>oi"traits, and landscapes. This artist, who painted so many miniatures early in this century, was the son of a tradesman in Westminster. At fourteen he was apprenticed to Y 2 340 TAINTEES AND THEIE WOEKS. Pether, and learned from him to paint and engrave in mezzotint. He afterwards studied in the school of the Royal Academy, and in 1786 gained the silver medal, and — what was of more value — attracted the notice of Sir Joshua Reynolds, who allowed him to make copies in miniature of his works. Edridge exhibited at the Academy in 1786 "The Weary Traveller," and in 1803 portraits of George III. and Queen Charlotte. Alter painting on ivory in colours, he began to draw the figures in pencil and finish the faces of his sitters in water-colour. He worked with Hearne, whom he surpassed in colouring. In 1817 and in 1819 he visited France and made many sketches in Paris and in Normandy. Edridge was elected an Associate of the Royal Academy in 1820. Shortly afterwards his health failed, and he died in 1821. He was buried by his friend Dr. Munro in the churchyard at Bushey. At George Watson Taylor's sale in 1832, a drawing by Edridge of the children of Watson Taylor sold for £16 16s. Edwards (Edward).— b. London, 7th March, 1738 ; d. London, 10th December, 1806; s. S. Martin's Lane Academy; p. history. This painter was the son of a carver in London, and gained three premiums from the Society of Arts. In 1773 he was elected an Associate of the Royal Academy, and in 1788 was appointed teacher of perspective. In 1775 he visited Italy, and was employed by Mr. Udney. On his return he painted ' ' Two Gentlemen of Verona" for the Shakespeare Gallery, but his works are very laboured, and he is now chiefly known as the author of "Anecdotes of Painters," a sort of supplement to Walpole's book. There is a water-colour drawing by him in South Kensington Museum. Edwards (Sydenham).— b. about 1768 ; d. Brompton, 1819; s. ; p. animals and flowers. The name of this artist has become widely known through the various botanical works which he published, and the drawings he made forRees's " Cyclopsedia " and the Sportsman^s Magazine. In his peculiar line he was a very able artist. Eeckhout (Gerbrand van den).— b. Amsterdam, 1621 ; d. Amsterdam, 1674 ; s. Rembrandt ; p. history, portraits, and landscapes. This painter was the son of a goldsmith, and worked from 1635 to 1640 under Rembrandt, with whom he lived on friendly terms, as also with Rogman. He is one of the few Dutch artists who have painted historical pictures, and his best works are the smaller ones, in which he has treated subjects taken PAINTERS AND THEIR WORKS. 341 from the Bible. Although composed and coloured much in the manner of Rembrandt, they are more smoothly painted and laboured than his master's works. His interiors are somewhat similar to those by Terburg. Generally speaking, his works have not the transparency of pictures by Rembrandt. The landscape backgrounds are, however, remarkably well painted, and often charming. One of his best pictures, "The Adoration of the Magi," is in the Museum at The Hague ; another is " The Raising of Jairus's Daughter," at Berlin. The following prices have been paid for pictures by Eeckhout : Christ and the Apostles in the Storm, £ s. d. 48in. by 67in 1771 .. . 126 15 The Presentation in the Temple, Nieuhotf s sale 1777 .. . 95 Abraham and Sarah, Van Leyden's sale ... 1804 .. ,. 150 The Woman Taken in Adultery, Mansfield's sale ... 1806 .. . 60 Trie Trac, Delahante's sale ... 1811 ., .. 105 Paul and Barnabas at Lystra, Longcastle's sale ... 1856 ., ,. 176 Christ m the Temple, 24in. by 36iin., De Zoete's sale 1885 .. ,. 157 10 Eeckhout (Jacob Joseph).— b. Antwerp, 6th February, 1793 ; D. Paris, 1861 ; s. his father and Antwerp Academy ; p. history and portraits. This artist was one of the most distin- guished among the painters of the modern schools in the Nether- lands. He was the son of a silversmith, embosser, and chaser, under whom he worked, and at first devoted his attention to sculpture. He soon, however, gave up such pursuits, and studied painting with so much success that he was elected a member of the Academies of Amsterdam, Antwerp, Brussels, and Rotterdam. He settled at The Hague in 1831, and in 1839 became Director of the Academy of that place. Subsequently he lived at Malines, in 1844, afterwards at Brussels, and at Paris in 1859. Among his best works are : The Death of William the Silent. Peter the Great at Zaandam. The Departure of Recruits from Scheveningen. Ees— Es. Egerton (D. T.).— b. ; d. Mexico, 1842 ; s. ; p. land- scapes and figures. Little is known regarding this artist, but he 342 PAINTERS AND THEIR WORKS. was one of the original members of the Society of British Artists, and exhibited at their rooms in 1824, 1829, and 1838. He travelled in America, and in 1839 produced some landscapes in Mexico, into which he introduced groups of figures. They attracted much attention, as did also in 1840 his picture of " Niagara." He was murdered at a village in the neighbourhood of Mexico in 1842. Egg (Augustus Leopold).— B. London, 1816; d. Algiers, 1863 ; s. Sass's School and Royal Academy ; p. history and genre. This artist was the son of the well-known gunsmith in Piccadilly. He showed early a taste for art, and he exhibited a picture in 1837, at Suffolk Street, and in 1838, at the Academy, "A Spanish Girl," which was much admired. In 1849 he was elected an Associate, and in 1861 a full member of the Royal Academy. As he was possessed of a fortune, which he inherited from his father, he painted chiefly for amusement, and seldom exhibited more than one picture in a year. His health was delicate for many years before the winter of 1862-3, which he intended to spend at Algiers, but he died, and was buried there. He painted with great facility and a clear touch. The scene from " Le Diable Boiteux," painted in 1844, which is now in the Vernon Collec- tion, gives a good idea of his first style. Afterwards he fell into the manner of the pre-Raphaelites, of which, among his later pictures, Pepys's Introduction to Nell Gwynne," painted in 1852, is an example. As most of Egg's important pictures have been disposed of by auction, we will give the prices at which they were sold : £ s. d. Autolycus, W. Wells's sale 1852 ... 372 15 The First Interview of Peter the Great and Catherine, Townshend's sale 1854 ... 269 15 Two Gentlemen of Verona, Act iv., Scene 4, Brunei's sale 1860 ... 661 10 Cromwell Praying, the Night before the Battle of Naseby,Agnew's sale 1861 ... 420 (Sold in Mendel's sale, 1875, for £294). Travelling Companions, Egg's execu- tors' sale 1863 ... 346 10 Two Gentlemen of Verona, Knowles's sale 1865 ... 689 5 PAINTERS AND THEIR WORKS. 343 Launce's Substitute for Proteus's Dog, Flatow's sale (Sold in Goupel's sale, 1869, for £630). Buckingham Kebulfed (finished study), Windus's sale Portrait of Charles Dickens as Sir C. Coldstream, Dickens's sale Katherine and Petruchio, 27in. by 46in., Pender's sale Albert Glendenning and Sir Percy Shafton, 42in. by 66in., Har- greaves' sale Katherine and Petruchio, 15in. by 26in., Farmvorth's sale ... Peter and Catherine, 12in. by I8in., Farn worth's sale ... Cromwell and his Chaplain, Joyce's sale Scene from ''The Devil on Two Sticks," 25in. by 30in., Brooks's sale ... Buckingham RebutFed, ISin. by24in., Holdsworth's sale ... Pepys's Introduction to Nell Gwynne, Bolckow's sale Launce's Substitute for Proteus's Dog, Matthews's sale ... Hginton (Francis). — b. probably at Handsworth, near Birmingham, 1737 or 1738 ; d. Handsworth, 25th March, 1805 ; s. ; P. sacred subjects. This artist did much to revive paint- ing on glass at the close of the last century. He executed very considerable works at Magdalen College, Oxford. Among his other works may be named the window at All Souls' College, and one at New College in that city, from designs by Sir Joshua Reynolds ; several at Arundel Castle, Salisbury Cathedral, and other places. Egley (William).— B. Doncaster, 1798; d. London, 1870; s. ; p. miniatures. He was at first employed in a publisher's office, but subsequently devoted his time to painting miniatures, which are carefully finished and coloured. He exhibited for the first time at the Royal Academy in 1824, one of his portraits being that of Yates the actor. After tliat time he was fully employed, and painted very many members of well-known families and distinguished foreigners. One of his last portraits was that £ s. d. 1866 . .. 735 1868 . .. 131 10 1870 . .. 170 1873 . 745 10 1873 .. . 519 15 1874 . .. 210 1874 . .. 315 1876 . .. 168 1879 .. . 147 1881 .. . 230 1888 .. . 400 1891 .. . 210 344 PAINTERS AND THEIR WORKS. of Foley, the sculptor : this was exhibited in 1868 at the Royal Academy, in the catalogues of which many of his miniatures are to be found between 1824 and 1868. Egmont (Justus van).— b. Ley den, or Egmont, probably 1602 ; D. Antwerp, 1674 ; s. Van den Hoeck and Rubens ; P. history and portraits. There is some doubt as to whether this artist was born at Egmont or Antwerp. He was much employed by Rubens in the Gallery of Marie de' Medicis, in Paris. Van Egmont was admitted as a master into the guild in 1627-8. After the return of Rubens to Antwerp, Van Egmont went back to Paris, where he was appointed painter to Louis XIII., later to Louis XIV. , and worked with Simon Vouet. He was named one of the twelve Elders of the French Academy of Painting and Sculpture, when it was established in 1674. There are at Vienna a portrait by him of the Archduke Leopold Willem, and two of Philip IV. of Spain. Perhaps, therefore. Van Egmont accompanied Rubens to Spain ; or they may be copies after Rubens. A portrait of Algernon Sydney is in the National Portrait Gallery, and another is at Penshurst. The latter was painted at Brussels in 1663. Pictures by Van Egmont have been sold as under : £ s d Birth of Venus, Regan's sale 1775 ... 15 A View of the Grand Square, at Antwerp 1827 ... 8 8 Virgin, Child, and Saints 1840 ... 14 10 Eisen (Charles Dominique Joseph).— b. Valenciennes, 1720 ; D. Brussels, 1778 ; s. his father ; p. genre. The father of this artist, Frans Eisen, was born at Brussels about 1685, and settled at Valenciennes, where he painted many pictures for churches and convents. His son, so celebrated as a designer, was also a painter, and there are pictures by him in the museums of Bordeaux, Alengon, and Bourges, which are not devoid of merit. In 1741 Eisen went to Paris, and entered the school of Le Bas, the en- graver. As he was a man of talent and wit, he obtained admis- sion at Court, and became painter and draughtsman to Louis XV., and drawing-master to Mme. de Pompadour. Falling, how- ever, into disgrace, he retired to Brussels, where he died in poverty. Of his designs the most remarkable are in the Fermiers Generaux edition of the Contes de la Fontaine"; but there are very many others, not only in books published in his time, but also as detached plates. PAINTERS AND THEIR WORKS. 345 EUenreider (Maries .—b. Constance, 1791 ; d. Constance, 1863 ; s. Einsle, Langer, and Overbeck ; p. history and portraits. This artist has been held to be the best German female painter of her time. She studied at first under Einsle, the painter in miniature, after that at Munich, from 1813 to 1820, under Langer, and when at Rome profited by the advice of Overbeck. She painted altar-pieces and portraits, one of her best works being a "Virgin and Child." A '*S. Felicitas," by this artist, is in the possession of the Queen. Besides painting, Marie EUen- reider etched twenty-four x^lates after Langer, Overbeck, Rem- brandt, and Titian. Elliot (Robert). — b. ; d. ; s. ; p. naval actions and landscapes. He was a captain in the Royal Navy, and between 1784 and 1789 exhibited many important marine subjects well painted in oils. During his travels he also sketched land- scapes, from which Prout, Stanfield, and other professional artists made drawings. They are mostly views in the East, extending from the Red Sea to Canton, which were engraved and published in parts in 1830-33. Although classed as an amateur, Capt. Elliot painted many pictures which would do credit to any professional artist. Ellis (Joseph P.).— b. Ireland, 1783 or 1784 ; d. Richmond, Surrey, 28th May, 1848 ; s. ; p. marine subjects. This painter came to London about 1818 ; in 1819 he exhibited "The Entrance to a Harbour," and in 1820 "Morning : the Departure." Another picture by him, exhibited at the British Institution, was sold for £60. Unfortunately, he fell into the hands of unscrupulous dealers, who employed him to make many copies of pictures by Canaletti and Verney, which they doctored and sold as original in auctions. His original pictures are scarce, and deserve to be preserved. Ellys (John), called Jack Ellys.— b. 1701; d. after 1755 ; s. Thornhill ; p. portraits. Before reaching the age of fifteen he was placed under Thornhill, and afterwards received instruction from Schmutz. He was about the last artist who painted in the style of Kneller, and it was Ellys who told Sir Joshua Reynolds, when the latter returned from Italy, that as he did not paint like Kneller his portraits would not do. Ellys took Vanderbank's house, and succeeded to much of his practice. He purchased the office of Tapestry-weaver to the Crown, and had the care of the lions at the Tower. The portraits by Ellys are well 346 PAINTERS AND THEIR WORKS. drawn and solidly painted. Among the best are those of George II., Lord Whitworth and his nephew, and that of Figg, the pugilist. Many of them have been engraved. Elmer (Stephen).— b. ; d. Farnham, in Kent, 1796 ; s. ; p. still-life. This artist was a maltster, but painted dead game, and occasionally rural subjects, with great truth and freedom. He was in 17 63 a member of the Free Society of Artists, and in 1772 was elected an Associate of the Royal Academy, to whose exhibitions he was a large contributor up to the time of his death. Although some of his own pictures were destroyed by fire, there must still be many in existence. Several were engraved, such as "The Death of a Fox" and *'An Alarmed Poacher"; also "Partridges," by J. Scott. After his death there was in 1799 an exhibition in the Haymarket, consisting almost entirely of his own works, called "Elmer's Sporting Exhibition." When pictures by him have appeared at sales, they have generally sold for from £5 to £10. Elmore (Alfred).— b. Clonakilty, 18th June, 1815 ; d. Ken- sington, 24th January, 1881 ; s. Royal Academy ; P. history. The father of this artist was a surgeon in the 5th Dragoons, who retired from the service and brought his family to London when Alfred was in his twelfth year. Alfred began his studies in art by drawing in the British Museum, and continued them in the schools of the Royal Academy, which he entered in 1832. The first picture he exhibited at the Academy was " A Subject from an Old Play." That was in 1834, and shortly afterwards he visited Paris, where he continued his studies. In 1840 he left England and went to Munich, in which city he remained some time, and then, by way of Venice, Bologna, and Florence, to Rome, where he remained two years. Elmore returned to England in 1844, and in that year exhibited his " Rienzi in the Forum," a picture which made his name generally known. " The Origin of the Guelph and Ghibeline Quarrel," shown in 1845, caused him to be elected an Associate of the Academy, " The Origin of the Stocking-loom," which was his picture in 1847, was engraved for the Art Union, and few pictures were more admired at the time. Elmore was, however, not elected a Royal Academician until 1857, yet so early as 1841 his "Murder of S. Thomas a Becket " was purchased by Daniel O'Connell, who presented it to S. Andrew's Church, in Dublin. PAINTERS AND THEIR WORKS. 347 It was in 1860 that Alfred Elmore exhibited the picture by which his name will be handed down to posterity, "The Tuileries, 20th June, 1789," in which Marie Antoinette and her children are being insulted by the brutal mob of Paris — a scene so well realised that it was justly described as ' ' almost too painful and too humiliating to human nature to bear patient contempla- tion." Elmore's works will long remain good examples of English art, for he refused steadily to be led astray by the passing fashion of the time at which he painted. The following are some more of Elmore's best works : The Novice, 1843. The Death-bed of Robert King of Naples, 1848. A Religious Controversy in the time of Louis XIV., 1849. The Emperor Charles at Juste, 1856. An Incident in the Life of Dante, 1858. Lucrezia Borgia, 1863. Mary Queen of Scots and Darnley at Jedburgh, 1877. The prices paid for pictures by Elmore vary, in a list of fifty, from £63 for the sketch of "The Origin of the Stocking-loom," 17in. by 12 Jin., at Gambart's sale, 1871, to £1417 paid in Lee's sale, 1883, for "Charles V. at Juste," 65iin. by 47in. The following high prices have been paid for some of Elmore's works : A study for Marie Antoinette at the Tuileries Beppo, 1847, 33in. by 44in., Knowles's sale ... Origin of the Stocking-loom, 56in. by 40in., Hay ward's sale ... Ditto, the small finished picture, I7in. by 12iin. , Hay ward s sale A Religious Controver.-^y in the time of Louis XIV., 47in. by 72in., Knowles's sale Lucrezia Borgia, Fall ow'.s sale The Guardian, Grant's sale ... Mrs. Pepys Sitting to F. Hayls, Dillon's sale Life in Algiers, 36in. by 28in., Farn- worth's sale Two Women shall be Grinding, 13in. by 18in., Farnworth's sale Katherine and Petmchio, 43iin. by 35in., Mendel's sale £ s. d. 1861 . .. 222 1862 . .. 315 1864 . .. 717 3 1864 . .. 189 1865 . .. 1102 10 1868 . .. 693 1863 . .. 257 5 1869 . .. 315 1874 . .. 787 10 1874 . .. 357 1875 . .. 525 348 PAINTERS AND THEIR WORKS. £ s. cl 1877 . .. 535 10 1877 . .. 1260 1879 . .. 283 10 1879 . .. 483 1881 . .. 357 1883 . .. 210 1883 . .. 262 10 1883 . .. 1417 10 1886 . .. 267 15 1888 . .. 1000 Life in Algiers, 35|in. by 27|in., Crrant's sale Charles V. at Juste, 65^in. by 47in., Grant's sale After the Siesta, 18in. by 24in., Nield's sale Columbus at Porto Santo, Nield's sale Hotspur and the Fop, r2in. by 24in., Hold-S'66 Gaudenzio. Ferrato (Sasso).— >S'ee Sassoferrato. PAINTERS AND THEIR WORKS. 371 Ferri (Ciro).— b. Rome, 1634; d. 1689; s. Pietro da Cortona ; p. history. Ferri was the best scholar of Cortona, and could imitate his master's work very closely ; and when he was invited to Florence by Cosimo III. to finish the frescoes begun by Cortona, he did it so well that the whole appeared to be by the same hand. Ciro Ferri was also patronised by Prince Borghese and Alexander VIII. Like Cortona, he excelled in composition, and painted with great freedom, but his easel pictures are inferior to those by his master ; they are nevertheless to be found in all the great galleries in Europe. The most pleasing of them are those which represent children as angels or cupids. Pictures by Ciro Ferri do not often appear at sales. Thb following prices have been realised : £ s. d. The Finding of Moses 1799 ... 20 1 A Magdalen, H. Hope's sale... ... 1816 ... 10 10 Adoration of the Shepherds, 15in. by 20in., on copper, Duke of Hamil- ton's sale 1882 ... 60 18 Feti (Domenico). — b. Rome, 1589; d. Venice, 1624; s. Lodovico Cardi da Cigoli ; p. historical and mythological subjects. When very young, Feti was taken by the Cardinal Ferdinando de Gonzaga, who became his chief patron, to Mantua. There Feti studied the works of Giulio Romano and acquired much of his style, although Feti's drawing is less correct, and it was at Mantua that most of his works were executed. Subsequently he went to Venice, where he improved so much by studying the pictures of the great masters of the Venetian School that his latest works are the best. Occasionally, however, in seeking to give them strength he ran into the blackness of those executed by the naturalist i." Feti led a very irregular life, and died young. His drawings are much sought after by collectors. He painted better in oil than in fresco, and pictures by him are to be found in all the great galleries in Europe. At Castle Howard there is a fine portrait by him, supposed to be that of himself. Those which have appeared at sales have seldom produced much competition. The following are exceptions to the rule : Sight Restored to Tobias, Tallard's £ s. d. sale 1756 ... 240 The Return of the Prodigal, Bladen's sale 1775 ... 118 13 Joseph's Dream, Conti's sale 1777 ... 80 Adoration of the Shepherds, 84in. by 17in., Antrobus's sale 1788 ... 110 5 2 A 2 372 PAINTERS AND THEIR WORKS. Pevre (Le).— >S'66 Le Fevre. Fialetti (Odoardo). — b. Bologna, 1573 ; D.Venice, 1636; s. Cremonini and Tintoretto. Formerly there were many pictures by this master in the churches at Venice, and some very curious ones are now at Hampton Court. They represent ' ' The Senators of Venice in the Senate House " and ''Four Doges of Venice," and were brought from Venice by Sir Henry Wooton, who bequeathed them to Charles I. Fiammingo (Dionisio).— /S'ee Calvaert (Dionysius). Fieldings (The).— There was a whole family of artists of this name, which consisted of the father, Theodore Nathan, and his four sons, Theodore Henry Adolphus, Anthony Van Dyck Copley, Thales, and Newton ; to whom we must add Mrs. Fielding, the wife of Theodore Henry Adolphus. Fielding (Anthony Van Dyck Copley).— b. 1787 ; D.Worth- ing, 3rd March, 1855 ; s. his father and John Varley ; p. landscapes and marine views. This well-known painter in water-colours occasionally produced works in oil ; but his high reputation was derived from his drawings in the former medium. While a pupil under Varley he had the advantage of being a constant visitor at Dr. Munro's. From the commencement of his career he devoted his time to landscape-painting, and never took the trouble to study drawing figures, further than was necessary to enable him to introduce them into his landscapes. Some of his drawings (early ones) are done with a fine pen, and then slightly washed, but they pass gradually into a more modern style of execution. He was an associated exhibitor at the Water-colour Society's Rooms in 1810, and exhibited there up to the time of his death. Tn 1818 he was named Treasurer, the following year Secretary to the Society, and was elected President in 1831. He held that position until his death. Copley Fielding was very frequently occupied in teaching, and some of his works show that he painted t'3 astonish his pupils by his dexterity. He excelled in producing the efi'ect of distance and space, and some of his best works are the marine subjects he painted in the course of a long residence in the neighbourhood of the sea, near which, at Hove, he was buried. There is a large collection of Copley Fielding's works at South Kensington. A strong proof also of his industry and facihty is that he exhibited, between 1811 and 1855, seventeen works at the Royal Academy, 100 at the British Institution, and one in PAINTERS AND THEIR WORKS. 373 Suffolk Street ; still, these formed but a small portion of those he produced. Only the prices at which some of Copley Fielding's pictures in oil have been sold can be given. In a list of about thirty they range from £55 13s. for "An Old Groyne, Brighton," at Lord North wick's sale in 1859, to £3150 for ' ' Travellers in a Storm, " 40in. by 49in., at the sale by Sharp's executors in 1881. Others have produced high prices, as will be seen below : A Scene on the Downs, Wells's (of Redleaf ) sale View in Surrey, Nicols's sale ... Arundel Castle, lO^in. by 15in., Grundy's sale Classical Landscape View of Rivaulx Abbey, Naylor's sale ... Woody Landscape, figures, 16in. by 32|in. , Wynn Ellis's sale South Downs, 24^in. by 35^in., Fleming's sale Travellers in a Storm, 40in. by 49in., Sharp's executors' sale ... Southampton Water, S. Smith's sale Breeze off Bridlington, 17in. by 24in., De Zoete's sale Ben Vorlich, Loch Lomond ... Isle of Staffa, from the South The same subject As regards Copley Fielding's works in water-colours, in a list of about 350 the lowest price is £24 3s. for "London, from Greenwich Park," 13 Jin. by 24iin., in sepia, at Addington's sale in 1886; and the highest £1732 10s., for "The Mull of Galloway," at W. Quilter's sale, in 1875. Space wilJ not permit of more than a selection of others being given, for some of which Copley Fielding did not receive above £30 or £40 : BridHngton Harbour, E. Bicknell's sale ... ... Rivaulx Abbey, dated 1830, E. Bicknell's sale Rivaulx Abbey — Evening, dated 1842, E. Bicknell's sale ... Traeth Mawr, 1850, E. Bicknell's sale Loch Katrine, E. Bicknell's sale £ s. d. 1860 , Ant A U i«57o OKI A r\ U lo/o 1 a w rv U 1874 . .. 798 1875 . .. 235 5 1876 . .. 220 10 1879 . .. 798 1881 . .. 3150 1883 . .. 252 1885 . .. 185 15 1888 . .. 730 1891 . .. 451 1891 . .. 362 £ s. d. 1863 .. . 566 10 1863 ., ,. 480 1863 .. .. 630 1863 ., .. 441 1863 . .. 273 374 PAINTERS AND THEIR WORKS. £ s. d. Bowhill Downs, E. Bicknell's sale ... 1863 .. . 411 12 Langdale Pikes, E. Bicknell's sale . . . Crowborongh Hill, E. Bicknell's sale... 1863 ., . 367 10 1863 798 Bolton Abbey, Wadmore's sale 1863 .. . 246 15 Arundel Castle, 1834, Wadmore's sale ... 1863 .. . 267 15 Fairliglit Downs, Threlf all's sale 1863 ., ,. 220 10 English Landscape, 15|in. by 20in., Blackburn's sale ... 1865 ., ,. 270 15 Cader Idris, 335in. hy 24f in. , Craven's sale ... 1866 .. . 262 10 Culver Cliff, 1847, Robertson's sale ... 1866 .. . 316 1 Benvorlich Mountain, 1850, Robert- son's sale ... 1866 .. . 274 The South Downs, 1848, Grundy's sale 1867 .. . 630 Off Scarborough— Stormy, 1837,Clare's sale ... 1867 .. . 294 Bolton Abbey, 1841, Clare's sale 1867 .. . 456 15 The South Downs, 1847, Clare's sale... 1867 . .. 320 5 Loch Achray, 1840, Clare's sale 1867 . .. 231 Bowhill Downs, 1832, Clare's sale ... 1867 .. .. 582 15 Dunster Castle — Sunset, Morby'ssale 1867 . .. 561 15 Snowdon, cows near river, Robertson's sale ... 1867 . .. 446 5 Isle of Arran, 17|in. by 31in., Camp- bell's sale 1867 . .. 330 15 Worthing, figures, cattle, Allen's sale 1869 . .. 351 15 Off Portsmouth, Ru skin's sale 1869 . .. 483 Lancing Marsh, man on white horse. 1851 (one of his best works), Buxton's sale 1869 . .. '498 15 Minehead and Dunster, 1838, Wor- num'ssale ... ... 1869 . .. 241 10 Ben-y-Gloe 1872 . .. 304 10 Rannoch Moor, 36in. by 25in., Robert- son's sale ... 1872 . .. 299 5 u South Downs, man on white horse, Bagnal's sale lo4^ OOU 1 n yj Chepstow Castle, Heritage's sale OOO o A u Off Hastings, 36in. by 24in., 1829, Ellison's sale 1874 .. 336 Scarborough, Dunmore's sale... 1874 . lU A View towards Dungeness, 18in. by 24|in., Heugh'ssale 1874 . .. 598 10 Staffa and lona, 17in. by 31in., 1853, Farnworth's sale 1874 . .. 472 10 PAINTERS AND THEIR WORKS. Ben-y-Gloe Arundel Castle, Mackinley's sale ... Rivaulx Abbey, W. Quiller's sale.. Loch Awe, Ben Cruachan, W. Quil- ter's sale The Mull of Galloway ,W. Quilter's sale Bridlington Pier, Rucker's sale The Clyde and Arran, 17in. by 30in., Knowles's sale Vessels Driving in a Storm, Bathurst's sale Vale of Neath, 25in. by 38^in„ Fleming's sale Summer's Day at Kingley Vale, Tristram's sale Glen Lochy— Storm, 24|in. by 33in., Pittis's sale ... Scarborough, 25in. by 38in., Han- bury's sale ... Loch Achray, Sumner's sale The South Downs, 25in. by 38iin., Skipper's sale ... View of Seaford and Newhaven Har- bour, 1849, Leech's sale River scene — Sunset, Wilkinson's sale Entrance to Bridlington Harbour, Lee's sale ... The Fairy Lake, Austen's sale View from Box Hill, Austen's sale... Harlech Castle, Austen's sale Morning, Austen's sale Ben-y-Gloe Fresh Breeze off Staffa, Heron's sale Loch Lomond, Bolckow's sale Rivaulx Abbey, Bolckow's sale Loch Achray, Bolckow's sale Staffa, Houidsworth's sale Sea-piece, Houidsworth's sale ScotchLandscape, 1849, Murrieta's sale Off the Isle of Wight, Murrieta's sale Scotch Loch — Early morning, Mur- rieta's sale Glen Falloch, Allen's sale Fairlight Downs, Allen's sale East Coast, Allen's sale Rault Mawr, Cosier's sale Off Whitby, 1840, Theobald's sale ... WORKS. 375 s. Q. 1875 .. . 388 10 1875 . . 536 10 1875 . . 997 10 1875 . . 892 10 10 4 n V 1876 . . 455 14 1877 . . 651 1878 . . 777 1878 . . 409 10 1881 . . 551 5 1883 598 10 1884 483 1885 . . 262 1887 388 10 1887 . . 310 1888 . . 505 1888 . . 230 1889 . 903 1889 . . 672 1889 . . 517 1889 . .. 210 1889 . . 252 1890 . .. 241 1891 . . 525 1891 . .. 960 1891 . .. 430 1891 . .. 204 1892 . .. 1260 1892 . . 257 . 1893 . .. 204 1893 . .. 210 1893 . .. 283 1893 . .. 325 1894 . .. 220 1894 . .. 189 376 PAINTERS AND THEIR WORKS. Fielding (Newton).— B. ; d. 13fcli June, 1856; s. his father ; p. animals and landscapes. He was the youngest son of Theodore Nathan. In 1815 and 1818 he exhibited at the Water- colour Society. He likewise engraved in aquatint, worked as a lithographer, and published some books on art. He taught the children of Louis Philippe to draw, and was well known in France. His engravings must not be confounded with those of Thomas Fielding, who was born in 1758, and was a pupil of Ryland and Bartolozzi. Fielding (Thales).— b. 17— ; d. London, 20th December, 1837 ; s. his father ; p. classical subjects and landscapes. He was the third son of Theodore Nathan. Thales drew the figure well, and was in many respects a clever artist. At the Water-colour Exhibition he had works hung between 1816 and 1820. For many years he was drawing-master at Woolwich Military Academy. Fielding (Theodore Henry Adolphus).— b. 1781 ; d. Croydon, 11th July, 1851 ; s. his father ; p. landscapes. He was. the eldest son of Theodore Nathan, from whom alone he received instruction in painting. He exhibited a view of the North Tyne, near Billingham, Northumberland, in 1779, at the Royal Academy. He was appointed drawing-master at the Military College at Alder- shot. He also published a " Treatise on the Ancient and Modern Practice of Painting in Oil and Water-colours," and other booka of a similar nature. Fielding (Mrs. T. H. A.).— The wife of the above. In 1821 she was elected a member of the Water-colour Society, and she exhibited at their rooms from that year to 1835. She painted flowers, birds, insects, etc., in water-colours. Fielding (Thedore Nathan).— Nothing is known of the early part of the life of this painter. He is first mentioned as living at Halifax, in Yorkshire, and painting in oil, about the middle of the last century. Probably his chief occupation was painting portraits, as he was much patronised by the gentry of Yorkshire and Lancashire. He finished his pictures very highly, somewhat in the manner of Denner. "A Man's Head" by him was sold in 1819 for £8 8s. Between 1775 and 1814 he exhibited landscapes in London — four at the Society of Arts, one at the Free Society, and three at the Royal Academy. These are his best works. They are much in the style of those by Smith, of Chichester, but the foliage is richer and less mannered, and the distances are very delicately painted. PAINTEKS AND THEIR WORKS. 377 Fiesole (Fra Giovanni).— .S'^c Angelico da Fiesole. Filipepi.— .Sec Botticelli. Finch (Francis Oliver).— b. London, 22nd November, 1802 ; D. London, 22nd August, 1862 ; s. John Vaiiey ; p. landscapes. He was the son of a merchant in Cheapside, but, being a weak child, was brought up at Stowe, near Buckingham, and was apprenticed to Varley for three years, yet worked under him for five. After painting a few landscapes in oil, he was elected, in 1822, an Associate of the Water-colour Society, and he became a full mem- ber in 1827. He was obliged, however, to increase his income by teaching. Finch's works show his admiration for those of Barret, but are executed in the pure manner of the early water-colour painters, and very carefully finished. The best are twilight or moonlight scenes. He exhibited occasionally at the Royal Academy. In addition to his talent as a painter, Finch was a good musician and had a fine voice. He also wrote some sonnets, which were published under the title of "An Artist's Dream." His widow, Mrs. E. Finch, published, after his death, a memoir of him. Water-colour pictures by Finch have been sold as follow : £ s. d. Classical Landscape, AUnutt's sale .. . 1863 ... 32 6 A Composition, Quilter's sale ... 1875 ... 37 16 River Scene, Ruined Castle, and Cas- cade, Percy's sale 1890 ... 95 10 Fino (Masolino di Christofano di)—Sec Masolino. Fiore {Del) —See Flor (De). Fiorenzo (Lorenzo di).— b. Perugia, about 1445; d. 1522,- s. Bonfigli and perhaps Benozzo Gozzoli ; P. history. Little is known of the life of this painter, who was contemporary with Perugino. He was in 1472 Decemvir in his native town, and must therefore have been a person of some importance. Among his best works are eiglit pictures in the Gallery at Perugia, represent- ing events in the life of S. Bernadino di Siena, the execution of which shows that he had a rich imagination, painted with facility, and drew gracefully. His landscape backgrounds are like those by Gozzoli. There is in the National Gallery a good example of his work. Tiori.—See Barocci (Frederigo). Fieri (Mario dei).— ,S'ee Nuzzi. 378 PAINTERS AND THEIR WORKS. Fisher (John George Paul).— b. Hanover, 16th September, 1786 ; D. London, 12th December, 1875 ; s. Heinrich Bamberg ; p. miniatures. Fisher was the son of a line-engraver, and Bam- berg was Court painter in Hanover to George III. In 1810 the son came to England, where he painted Queen Charlotte and all the younger members of the Royal Family. These portraits are now at Windsor. He painted Queen Victoria (then an infant in her cradle) in 1819, and a large miniature of her in 1820. Fisher occasionally produced landscapes in water-colours, and he exhibited at the Royal Academy from 1811 to 1871. His last miniature was painted in his eighty-first year. His wife was also an artist. Flamael.— ^ee Flemalle. Flamengo (Miguel el).— ^ee Amberes (Miguel de). Flandrins (The).— There were three brothers of this name, all of whom were painters. Flandrin (Auguste).— b. Lyons, 1804; d. Lyons, 1842; s. ; P. history and portraits. The principal picture by him is "Savonarola Preaching at Florence." Flandrin (Jean Hippolyte).— b. Lyons, 1809; d. Lyons, 1864 ; s. Ingres ; P. history and portraits. Flandrin was one of the great artists of the modern French school, as he proved himself to be when painting the frieze in the Church of S. Vincent de Paul, at Paris. There are also pictures by him in the Louvre. Others are in the museums of Lille, Lisieux, Nantes, Lyons, and Montauban. J. H. Flandrin's pictures are distinguished by fine composition and correct drawing, also by strength of expression ; but the style of colouring is somewhat severe and cold. There are frescoes by him in the Churches of S. Vincent de Paul and S. Germain des Pres, in Paris. Flandrin (Jean Paul).— b. Lyons, 1811 ; d. •; s. Ingres; p. landscapes and portraits. There are pictures by him in all the great galleries in France, and in the Church of S. Severin, in Paris. Flatman (Thomas).— b. Aldersgate Street, London, 1633 ; D. London, 1688 ; s. ; P. miniatures. Flatman was educated at Winchester School and at Oxford, where he was elected a Fellow of New College in 1654. He had a small estate at Tishton, near Diss, in Norfolk, and was by profession a barrister of the Inner Temple, but devoted most of his time to poetry and painting. His poems, although they must have been admired at the time — as he PAINTERS AND THEIR WORKS. 379 received a diamond ring worth £100 for an ' ' Ode on the Death of Lord Ossory " — are now forgotten ; but miniatures by him are valuable, for they are little inferior to those by Cooper and Hoskins. He marked them with an "F." His son died before him ; but his father, who was a clerk in Chancery, survived Thomas. Flemalles (The).— There were four artists of this name, which is often written Flemael, Flamael, or Flemeel. They were natives of Li^ge and painted on glass. The principal, however — Bertholet — worked chiefly in oil. riemalle (Bertholet).— b. Liege, 1614; d. Lidge, 1675; s. Douffet and Jordaens ; p. history and portraits. He was the son of Renier Flemalle, a glass-painter, and went, when twenty-four years of age, to Italy, where he carefully studied the works of the great .masters. He possessed a lively imagination, and composed and drew in a masterly style, somewhat in the manner of Nicolas Poussin. As a portrait-painter he was much employed. In Italy he was in the service of the Grand Duke of Tuscany. Flemalle visited Paris several times, enjoyed the protection of Seguier and Colbert, and was a member, and afterwards a professor, of the Academie des Beaux Arts. One of his principal works, "The Elevation of the Cross," is at Liege. At the sale of Count Fraula's Collection, "The Massacre of the Innocents," by Ber- tholet Flemalle, sold for £35. Flink (Govert or Govaert).— b. Middelburg, 25th January, 1615, or Cleves, 15th January, 1615 ; d. Amsterdam, 22nd Feb- ruary, 1660 ; s. Rembrandt ; p. history and portraits. Although writers differ as regards the birthplace of this artist, they all agree that he began life in commerce at Cleves. He had, however, such a strong wish to become an artist that his father, with that object, placed him under the care of Lambert Jacobz, an Anabaptist preacher of Leeuwarden, and a good painter. There Flink became acquainted with Jacob Backer, who was older than he was, and he accompanied Backer to Amsterdam, where they became pupils of Rembrandt, between 1632 and 1634. Flink must, however, before he entered the school of that master, have made considerable progress in art, for in 1637 he painted Rembrandt's portrait. It is, moreover, thought that Flink had quitted that master when he painted his "Isaac Blessing Jacob,'' which is signed and dated 1638, and even in 1636, as there are pictures signed by him with that date, and by the rules of the 380 PAINTERS AND THEIR WORKS. Guild of S. Luke, so soon as a pupil was sufficiently advanced to sign his name on a picture, he was obliged to pay his sub- scription as a master. The ' ' Isaac Blessing Jacob " is, however, altogether in the style of Rembrandt ; and it must be borne in mind that, later, Flink adopted somewhat of the Italian style of painting. His best works were produced between 1638 and 1650. In 1645 Flink married Ingetje Thovelings, of Rotterdam, and, in 1656, a second wife, Sophia van der Couven, of Gouda. In 1652 he was admitted a burgher of Amsterdam, and appears to have been in prosperous circumstances, for he was much employed by the authorities of that city, and was protected by Prince Maurice of Nassau and the Elector of Brandenburg. He left a. son, Nicolaas Anthonie Flink, who formed a large collection of pictures and other works of art at Rotterdam : most of these passed into English hands. Pictures by Flink are to be found in all the great galleries of Europe ; but the finest are in the Ryksmuseum, at Amsterdam, where, besides his "Isaac Blessing Jacob," already mentioned,, are "The Archers of 1648" and his portrait of the great Dutch poet, Joost van den Von del. The following prices have been paid for pictures by Govert Flink : The Death of Joseph Announced to £ s. d. Jacob,L'Horion de Ghelinck's sale 1788 .. . 12 The Prophet Elisha's Widow 1790 .. . 49 Isaac Blessing Jacob, Van der Pot's sale ... 1801 .. . 75 A MUk-girl, Holderness's sale 1802 .. . 94 10 The Riposo ... ... 1804 .. 13 2 Portrait of a Young Woman, Paignon Dijon val's sale 1821 .. 8 Portrait of a Dutch Admiral, Brienen van Grootelindt's sale ... 1865 .. 18 Portrait of a Man, H. de Kat's sale... 1866 .. . 36 Calvary, San Donato's sale ... 1868 .. . 190 Portrait of a Man, sale in Paris 1874 ., ,. 275 Portrait of a Woman, signed and dated 1649, in the same sale 1874 ., 160 rior (De) or Del Piore (Francesco) and his son Jacobello. — There are examples of the works of these old painters in the Academy at Venice. They are very rude, but curious, as showing the style of painting which prevailed there at the beginning of the fifteenth century, when Gentile da Fabriano visited the city, and before the school of the Bellini rose to eminence. PAINTERS AND THEIR WORKS. 381 Ploris (Prans).— B. Antwerp, 1520; d. Antwerp, 1st October, 1570 ; s. Lambert Lombard; p. history and portraits. The family name of this painter was De Vriendt, but his grandfather and father were also known by the name of Floris, and he himself used it in signing his pictures. He at first studied sculpture under his uncle, but at twenty years of age devoted his time to painting, and went to Li(^ge to study under Lambert Lombard, who had been a pupil of Andrea del Sarto. On quitting Liege Ploris travelled in Italy, and there studied chiefly the works of Michael Angelo. After residing some years in Italy, principally fit Rome, and having improved his taste in design and composi- tion, Floris returned to Flanders, where he acquired the name of "The Flemish Raphael." He was received into the Guild of S. Luke set Antwerp in 1549, was patronised by Counts Hoorn and Egmont, and when the Emperor Charles made his entry into Antwerp in 1549, and also when Philip II. visited Flanders, Floris painted the decorations erected. There is an etching by Frans Floris of "Victory," which formed part of the latter. Frans Floris left two sons, Fodus and Jan Battista. The principal works of Frans Floris are ' ' The Fall of Lucifer, " in the Antwerp Museum, and ' ' The Last Judgment, " in the Brussels Museum. Foldsone (John). — A portrait-painter, the dates of whose birth and death are not known. He painted small portraits in oil in the latter part of the eighteenth century. His practice was to attend the persons who sat to him early in the morning, dine with them, and finish the portrait before evening, when he was paid for it and retired. Probably the portraits were good likenesses, for we have seen some on the back of which he had written his name and that of the person whose portrait it was. Some of them have been engraved. He exhibited at the Royal Academy up to 1783, and it is probable that he died about that time. Poltz (Fhilipp).— B. Bingen, 11th May, 1805 ; d. Munich, 1877 ; s. his father, Ludwig Foltz ; p. history and portraits. In 1825 this artist went to Munich, and became a pupil of Cornelius. He executed many large works there, the principal of which is "Otho King of Greece Taking Leave of his Paternal Castle," which contains forty-two portraits. In 1835 Foltz went to Italy, but he returned to Munich in 1838. He became Director of the Gallery there in 1865. 382 PAINTERS AND THEIR WORKS. Fontanas (The).— Of the Italian artists who bore this name there were at least a dozen, the best of whom, were Prospero and his daughter Lavinia. Fontana (Lavinia).— b. Bologna, 1552; d. Rome, 1602; s. her father ; p. history and portraits. She was, as a painter of easel pictures, superior to her father, and her works have still a certain value ; but her chief talent lay in painting portraits. Besides that of Gregory XIII., she painted those of many of the distinguished persons of her time. She married an artist, Paolo Zoppi, of Imola, and he painted the draperies in many of her pictures, which are, generally speaking, more highly finished than those by Prospero. Pictures by Lavinia have been sold as follow : £ s. d. A Female Portrait 1805 ... 9 9 The Gozzadini Family, Blanchetti's sale 1826 ... 14 14 Portrait of a Youth 1828 ... 2 Queen of Sheba, containing portraits, Prince Napoleon's sale 1872 ... 99 15 Holy Family, 48in. by 42in., Malmes- bury's sale 1876 ... 84 Fontana (Prospero).— b. Bologna, 1512 ; d. Bologna, 1597 ; s. Innocenzio da Imola ; p. history and portraits. He very soon abandoned the careful painting of his first master, and imitated the rapid and careless manner of Vasari, whose faults he was most successful in seizing, and it is to Fontana's influence that Lanzi attributes the sudden decline of painting in his time. Neverthe- less, it was upon the recommendation of Michael Angelo that he was employed by Pope Julius III. , and Primaticcio also gave him work at Fontainebleau. He did not, however, remain long in France, and, going to Genoa, he painted there for the Doria family, and in the Palace of the " Signoria." After his return to Bologna he executed a number of paintings for the palaces and churches. He was several times at the head of the Guild of S. Luke and had a large number of pupils, among whom were the Carracci, Calvaert, Tiarini, and others. As a portrait-painter, Prospero Fontana was one of the best of his time. Foppa (Vincenzo), called II Vecchio. — b. Brescia, early in the fifteenth century ; d. Brescia, 1492 ; s. Squarcione ; P. history. Little is known regarding the early life of this artist, although he became the painter who had the greatest influence on artists at Milan and art there as it existed prior to the time of Leonardo da Vinci. He appears to have been older than Mantegna, who was PAINTERS AND THEIR WORKS. 383 born in 1431, since he was established as a painter at Milan in 1456. There he executed wall-paintings for Cosimo de' Medici and Francesca Sforza. There are also two signed pictures by him at Bergamo bearing that date. Many of Foppa's works have perished, but there still remain important ones at Savona, Milan, and Brescia. There is also in our National Gallery an ' ' Adoration of the Kings," which was formerly in the Fesch Collection, and was purchased at the Davenport Bromley sale in 1863. At Prince Napoleon's sale, in 1872, a portrait of a man with a red cap, by Foppa, sold for £262 10s. Forbin (Charles).— b. Paris, 1815 ; d. Paris, 1865 ; s. Roque- plan and Baume ; p. landscapes and rustic scenes. Pictures by him are to be found in the principal museums in France, in- cluding the Luxembourg. »Some of the more remarkable are Chouans," dated 1853, in Lille Museum; ''La Benediction," in the Luxembourg Gallery ; and Vespers, Morbihan," exhibited at the Paris Exhibition of 1855. Forbin (Louis ITicolas Fhilippe Auguste, Comte de). — B. La Roque d'Antheron, 19th August, 1777 ; d. Paris, 23rd February, 1841 ; s. Constantin, Boissieu, and David ; p. history and landscapes. Le Comte de Forbin played a verj' considera- ble part, not only as soldier courtier, but also as an artist. His influence as Chamberlain to Pauline Bonaparte, as a member of the Institute and the Academie des Beaux Arts, and above all as " Directeur General des Musees," was for a long time very great on French art and artists. From his earliest childhood he had an inclination for drawing and painting, and although, owing to his family having been ruined by the great Revolution during the early years of the Empire, he was almost constantly engaged by his military duties, he never neglected a chance of improving himself as an artist and a judge of works of art. It was not. however, until 1809, when he quitted the service, in which he was then lieutenant-colonel of cavalry, that he devoted himself entirely to art and the study of it during his voyages in Italy, Sicily, and the Levant. As a painter he exhibited at the Louvre as early as 1796, and among his principal works may be named : The Death of Pliny the Elder. Ines de Castro. Religion in the Vaults of the Inquisition. Interior of the Peristyle of a Monastery ; A Chapel in the Coliseum at Rome (in this the figures are by his friend Granet) — Louvi'e, Paris. 384 PAINTERS AND THEIR WORKS. Le Comte de Forbin also published several books, illustrated by engravings from drawings made by him in the course of his travels. Porli (Da.) —See Melozzo. Portuny (Mariano). — b. Reus, near Barcelona, 1839; D. Rome, 2l8t November, 1874 ; s. Academy of Barcelona ; p. history and Eastern and domestic scenes. The short career of this remarkable artist was one of constant activity and work. Before he was twenty he gained the prize which furnished him with the means of visiting Rome in 1858 ; but while studying hard there he was recalled to Spain, and accompanied General Prim to Morocco. There he sketched almost incessantly. Having returned to Barcelona, as he was present at the Battle of Tetuan, the city of Barcelona gave him a commission to paint that event ; but he never finished the picture, and returned the money the city had advanced him. He then went to Rome and Florence. In 1866 Fortuny was in Paris, and from there he went to Spain, where he became acquainted with Madrazo, and married his daughter. He painted ' ' A Fantasy of Morocco " in that year, and executed some etchings. His ' ' Mariposa " was produced about the same time. Fortuny then settled in Rome, where his house and studio formed a centre of attraction for artists and many distinguished persons, as his wife was a most charming hostess. In 1868-69 he painted some fine things in water-colours, and finished "The Spanish Marriage," which was the result of his own. At Rome he produced "A Book-lover in the Library of Cardinal Richelieu," and in water-colours, "A Persian Carpet Merchant." He then went to Paris, and when the Franco-German war began, journeyed to Madrid. After painting there, in water-colours, "A Carnival of the Last Century," he went to Granada, where he made many studies, and from there to Morocco, at which place he lived in an old Moorish palace. When the war was ended, Fortuny sent to Paris "The Fencing Lesson" and "The Tribunal of a Cadi." In 1872, he returned to Rome, and painted his last picture, ' ' The Academy of the Arcadians Listening to an Unpublished Tragedy, in the Gardens of the Society," which was finished in 1874. Owing to the efi'ects of fever in Rome, Fortuny became seriously ill in 1873, and, although he went for a change of air to Venice and Naples, he died on his return to Rome, in 1874. The works of Fortuny, even during his lifetime, sold for very high prices. The following list of water-colours will give an idea of those that have been paid at auctions : PAINTERS AND THEIR WORKS. 385 A Mandolin-player, lOin. by 7in., £ s. d. Johnstone's sale ... ... ... — ... 140 Scene on a Terrace, lOin. by 14in. ... — ... 100 Arab Musician and Monkey, Mur- rieta's sale 1874 ... 73 10 Masqueraders, Burnett's sale 1875 ... 94 10 Morocco Carpet Warehouse, Quilter's sale 1875 ... 1470 An Arab at Prayer, Oppenheim's sale 1877 ... 640 It is said that the price subsequently paid by Baron Rothschild for this last was £800. Two pen-and-ink sketches by Fortuny were sold as follow ; "A Hall Porter," Tin. by 5iii., for £70; and "Study of an Arab," llin. by Tin., for £65. Fosse (Charles de la).— /See Lafosse. Fouquet (Jean). — b. Tours, between 1415 and 1420 ; d. about 1485 ; s. ; p. miniatures. This artist, whose miniatures rival those of Clovio and Attavante, was "Premier peintre " to Louis XI., and was the first artist known to have borne the title of Painter to the King in France. He may therefore be said to have been one of the founders of the French School. There were, some years since, several portraits of Louis XI. (half-lengths, life- size) at Tours, which probably were by Fouquet. In 1443 he was invited to Rome to paint the portrait of Pope Eugenius IV. ; he remained in Italy until 1447, and on his return resided at Tours. As Charles VII. died in 1461, and Fouquet painted his portrait, he may even have been Painter to the King before Louis XL came to the throne. The miniatures by Fouquet had been lost sight of until late years ; now many have been proved to be by him, and several books and articles relating to them have been published in France. The best of these are by Count Leon de Laborde, M. Vallet de Viriville, M. Louis Brentano, and Count de Bastard. Fouquieres (Jacques).— b. Antwerp, about 1580 ; d. Paris, 1649 ; s. Montfer, Jan Breughel, and Rubens ; p. landscapes. In 1614 he was received as a Master into the Guild of S. Luke at Antwerp, yet in 1616 he was admitted into that of Brussels as a Master, and pupil of Arnould van Laken. Rubens sometimes employed Foquieres to paint the landscape parts of pictures. He was also employed by the Elector Palatine, and about 1621 went to France, where he was naturalised, protected by Louis XIII., and ennobled. By order of the king he painted the views of the 386 PAINTERS A.ND THEIR WORKS. principal cities in France, and these pictures were intended to be placed in the Louvre. The favour and the overbearing conduct which he indulged in so disgusted Nicolas Poussin that he quitted France and never returned to it. Fouquieres, however, later fell into disgrace, and died in poverty in the house of a painter named Sylvain, who offered him a shelter, and another artist, Van Plat- tenberg, bore the expense of his funeral. Fouquieres was the master who taught Philippe de Champagne ; he also engraved. His landscapes are well painted. There are examples of them at Berlin, Copenhagen, Darmstadt, Bordeaux, etc. Fragonard. — There were five painters of this name, all of one family : Fragonard (Alexandre Evariste ).— b. Grasse, 1778 ^ D. Paris, 1850 ; s. David ; p. history. He was the son of Jean Honore Fragonard, and, besides his pictures and Hthographs, he executed, as a sculptor, some important works for the public buildings in Paris, among them the pediment of the Chamber of Deputies. As a painter he was much employed by the govern- ments after the Restoration, and was made a member of the Legion of Honour in 1819. His pictures were also purchased by the Duke of Orleans and by private collectors. Several are at Versailles, and at Orleans, in the Museum, is ' ' The Triumphal Entry of Joan of Arc into Orleans." Fragonard (Hippolyte Evariste Etienne).— b. Paris, 1806 ; D. Paris, 1876 ; s. his father ; p. history and genre. He was the grandson of Jean Hoiiort^ Fragonard, and was long employed at the porcelain manufactory at Sevres. Fragonard (Jean Honore).— b. Grasse, Provence, 5th April, 1732 ; D. Paris, 22nd August, 1806 ; s. Chardin and Boucher ; P. historical, mythological, and festive subjects. The father of this artist was a merchant at Grasse, who, having lost money by the failure of the company for extinguishing fires in Paris, established by Perrier, came to Paris to try to recover some of it. Failing in this, he became a clerk to a draper. His son, Jean Honore, was then fifteen, and the father obtained employment for him in a notary's oflS,ce. Jean was, however, so bent upon becoming a painter that the notary advised his parents to ask Boucher if he would take him as a pupil. Boucher declined to do so until he had learned the A B C of art ; but Jean's mother induced Chardin to admit him into his painting-room. There he did so PAINTERS AND THEIR WORKS. 387 little, and made so little progress, that Chardin declared he would neTer make a painter. Unknown, however, to Chardin, Fragonard spent all the time he could in studying the many fine pictures that then adorned the churches in Paris, and in endeavouring to reproduce them from memory at home. He at last ventured to take some of his sketches to Boucher, who, astonished on seeing them, accepted him at once as a pupil, and employed him on some of the large works he was preparing for the Gobelins manufactory. Thus Fragonard learned to colour for tapestry, but made such rapid progress, that Boucher, at the end of three years, urged him to try for the ' ' Grand Prix de Rome, " and he is said to have been the only artist who ever carried it off before he was admitted as a student at the " Academie." The subject given for competition was ' ' Jeroboam Sacrificing to Idols, " and Fragonard's picture is still to be seen at L'Ecole des Beaux Arts. This occurred in 1752. Fragonard then went to Rome, where, it is said, he studied principally the works of Pietro da Cortona. From Italy he sent, in 1755, his picture of ' ' Christ Washing the Apostles' Feet, " which was exhibited in the king's apartment, according to the custom of the time. His picture of " L'Enjeu perdu " is said to have been painted about the same time. Fragonard's pictures, and especially his sketches and etchings, were then more generally known in Italy than in France. It was his large picture of " Coresus et Callirhoe," which is 12ft. by 9ft., that caused him to be received into the Academy at Paris, in 1765, and established his reputation in France. The king also ordered that it should be reproduced in tapestry at the Gobelins. Fragonard, nevertheless, soon abandoned painting historical subjects and devoted his time to representing scenes of love and gaiety, many of which were engraved and became exceedingly popular. Few artists have thrown more spirit into such subjects, especially into sketches ; but when the Great Revolution of 1789 came, his part was played, and although for a time, through the influence of his friend David, he was " Conservateur du Musee," in 1790 he was dismissed with the insulting remark from the minister, that his dismissal was ' ' to enable him to pursue his important labours." Neither this nor the loss of fortune seems, however, to have lessened the natural gaiety of his disposition ; but having imprudently eaten an ice when heated by walking, he was seized with a ' ' congestion cerebrale," which killed him. Fragonard was the intimate friend of L'Abb6 de S. Non. 2 B 2 388 PAINTERS AND THEIR WORKS. They travelled together much in Italy, and Fragonard executed many of the drawings for the ' ' Voyage Pittoresque, " one of the finest publications of their time. In stating the prices at which pictures by Jean Honor^ Fragonard have been sold, we shall give the names by which they are known in French, as so many of them have been en- graved, that it may enable our readers to recognise them. £ s. d. Deux Paysages, Du Barry's sale 1774 . .. 60 Visitation de la S. Vierge, Randon de Boisset's sale ... 1777 . .. 285 Vue d'une Foret, Marin's sale 1790 . 6 The Visitation, Calonne's sale (for this Calonne paid 250 louis d'or) 1795 . .. 84 Paysage, S. Victor's sale 1823 . 3 A Girl Reading a Letter, Standish's sale ... 1827 . 8 8 La Declaration and Le Serment, Vasserot's sale 1845 . 42 L'Heureuse Mere, Baroilhet's sale ... 1855 . . 50 La Seduction, Monbrun's sale 1861 . .. 41 Retour des Champs, Pembroke's sale ... .. 1862 . .. 35 L'Escarpolette, De Morny's sale 1865 . . 1210 Le Souvenir, De Morny's sale Baigneuses, Didier's sale 1865 . .. 1400 1868 . 40 Le Retour au Logis, Didier's sale 1868 . 60 La Fontaine d' Amour, San Donato's sale ... 1870 . .. 1260 La Main Chaude and Le Cheval Fondu, Periere's sale 1872 . .. 420 Le Premier Baiser, sale in Paris 1874 . .. 330 La Fuite a Dessein, Marcille's sale ... 1876 . .. 880 A Woman and Children 1876 . 21 Expectation, Martin's sale 1876 . .. 141 15 Fete Champetre, Townley's sale 1877 . .. 105 Lady in crimson jacket, 12in, by 9in. , Duke of Hamilton's sale ... 1882 . .. 472 Mile. Guisnard, Magniac's sale 1892 . .. 267 Fragonard (Marie Anne Gerard). — b. Grasse, 1745; d. 1823 ; s. Fragonard ; p. miniatures and fans, and etched. She was the wife of Jean Honore Fragonard, to whom she was married in 1769. A good miniature by her, the portrait of M. Trouard, of Besan9on, was sold at Dubois's sale in 1783. PAINTERS AND THEIR WORKS. 389 Fragonard (Theophile).— A son of Alexandre Evariste ; he painted, about 1831, history and genre. Francaschi.— A^evj Francesca. Francesca (Piero della), properly Pietro di Benedetto de Francaschi, called also Piero Borghese. — b. Borgo a San Sepolcro, probably 1416 ; d. Borgo a San Sepolcro, 12th October, 1492 ; s. Puccello and Donienico Veneziano ; p. history and portraits. He worked in 1439 at Florence, under Domenico Veneziano, and no doubt learned from that artist to paint in oil. They also painted together in 1450. In 1451 he worked alone at Rimini. His works in fresco at Borgo San Sepolcro were executed between 1460 and '68. Piero was, however, after 1460, at Urbino, where he appears also, from the portraits he painted, to have been in 1469 the guest of Giovanni Santi. He painted in the Palace of Schifanoia, at Ferrara ; and at Rome frescoes in the Vatican, which were afterwards destroyed to make place for works by Raphael. He worked also at Loretto and Arezzo, for which towus he painted a banner in 1466. Piero della Francesca wrote a treatise on perspective and im- proved painting in oil. According to Vasari, he taught Pietro Perugino and Luca Signorelli painting. Fra Luca Pacioli studied under him sciences, in knowledge of which he may be said to have been the precursor of Leonardo da Vinci. Among the finer works of Piero may be cited the frescoes of "The Story of Constantine and the True Cross at Arezzo," an altar-piece in the Brera at Milan, a small diptych in the Uffizi at Florence, and some in our National Gallery. The few pictures by Piero which have been offered for sale have produced the following high prices : A Duke of Urbino Receiving the Order £ s. d. of the Garter, seated with a Young Prince (contains the portrait of Piero della Francewca), Wood- burn's sale 1853 ... 84 S. John Baptising Christ (now in National Gallery), 65^in. by 45iin., Uzielli's sale 1861 ... 241 10 Virgin, Infant Christ, and Angels, Trevellyan's sale 1869 ... 309 10 The Nativity, 49in. by 48in., from the Marin i Franceschi Familv, Burke's sale 1874 ... 2415 390 PAINTERS AND THEIR WORKS. Madonna, Child, and Two Saints £ s. d. (circle), Burke's sale 1874 ... 152 5 Portrait of La Belle Simonetta, 20in. by ISin. (profile, coral ancl pearl necklace, blue dress and cap), Graham's sale 1886 ... 525 Franceschini. — There were several Italian painters of this name, among whom the principal were : Franceschini (Baldassare), called II Volterrano Giovane. — B. Volterra, 1611 ; d. Florence, 1689 ; s. Matteo Rosselli ; p. history and portraits. He was one of the chief painters in fresco in the seventeenth century. His works are executed in a great style, well composed, and brilliantly coloured. In conjunction with Giovanni da San Giovanni, he painted in the Pitti Palace and at Rome. His finest works are at Florence. Among them are " S. Catharine of Siena before a Crucifix," in the Ufi&zi, and "The Coronation of the Virgin," in the Church of the Annun- ziata. Franceschini (Marc Antonio).— b. Bologna, 1648 ; d. Bologna, 1729 ; s. Galli and Carlo Cignani ; p. history. Owing to his talents and long life, Franceschini was one of the leading artists in Italy at the beginning of the eighteenth century. At first he painted in many places under Carlo Cignani, but later many important works alone. In 1702 he executed, in the Palace of the Council at Genoa, some scenes from the History of the Republic. At Rome, in 1711, he made designs for mosaics in S. Peter's, for which Clement XI. rewarded him with the Order of Christ. He again painted in churches and palaces at Genoa in 1714, and at Crema in 1716. Among his finer works may be cited : A Ceiling — Ranuzzi Palazzo ; The Annunciation — Pinaco- thek, Bologna. The Annunciation — Venice. The Birth of Adonis ; The Magdalen (his masterpiece) — Dresden Gallery. San Carlo Barromeo Succouring those Attacked by the Plague ; Diana as a Huntress — Vienna Gallery. Pictures by this painter seldom appear at sales. The only one which can be named is **The Riposo," Marquis of Bute's sale, 1822, £32. Franceschino.— /See Carracci (Francesco). Francesco da Verona.— ^^ee Monsignori. PAINTERS AND THEIR WORKS. 391 Francesco (Vante di Gabriello di Vanti di).—See Atta- vante. Francia Sigio.—^ee Bigio. Francia (Francesco), properly Francesco di Marco di Gia- como Raibolini. — b. Bologna, 1456 ; d. Bologna, 5th January, 1517 ; s. Lorenzo Costa ; p. history and portraits. It appears most probable that this celebrated artist took the name of Francia from that of the goldsmith under whom he at first worked. He himself became exceedingly skilful in that art, and as such he was much patronised by Giovanni Bentivoglio, who reigned in Bologna when Francis was young. It is supposed that as a painter he received his first teaching from Lorenzo Costa, as his early works are altogether Ferrarese in character. His masterpiece in his first style is the Bentivoglio altar-piece in S. Giacomo Maggiore, dated 1499. The story of his intimacy with Raphael and of the manner of his death is now thought to have no foundation, and the change in his style,' which began about 1500, was in all probabiUty due to the gradual development of his talent, not to the efi'ect produced upon his mind by the sight of pictures painted by other artists. Francia remained in Bologna after the expulsion of his patrons the Bentivogli, under whom he held the office of Master of the Mint. On their return to Bologna in 1511 he was elected one of the Gonfalonieri of the people. In 1512 he was re-elected to the Mastership of the Guild of Goldsmiths, and in 1514 to that of " Master of the Four Arts." It is said also that at one time he had 200 pupils, and it is a curious fact that he signed his pictures " Aurifex." The pictures by Francia are too numerous for us to attempt to give a list of those attributed to him in different galleries : some of them are probably by his sons Giacomo and Giulio, both of whom painted in the same style as their father. It is impossible, too, to name a better example of his work than the altar-piece and the lunette forming part of it which are now in our National Gallery, and which long formed a chief subject for study among the artists of Bologna who survived him. The principal pictures by Francia which have been sold by auction since 1824 have produced the following amounts : Christ on the Cross, 96in. bv 97in., £ s. d. Solly's sale ".. ... 1847 ... 346 10 Virgin and Child, North wick's sale... 1859 ... 194 15 Virgin and Child, Pourtales-Gorgier's sale 1865 ... 860 392 PAINTERS AND THEIR WORKS. Virgin, Child, and S. Joseph, Pour- £ s. d. tales-Gorgier's sale 1865 ... 560 Portrait of a Woman, Salamanca's sale 1867 ... 85 Holy Family, Salamanca's sale ... 1867 ... 725 Portrait of a Yonth, black dress and cap, Pi-ince Napoleon's sale ... 1872 ... 409 10 Virgin, Child, and S. John (circular). Barker's sale 1874 ... 682 10 Magdalen and S. Jerome at the foot of the Cross, Currie's sale ... 1875 ... 157 10 Holy Family, 28in. by 18in., Dud- ley's sale 1876 ... 167 15 Virgin and Child and Angels, Mait- land'ssale 1879 ... 278 5 S. Francis, Graham's sale 1886 ... 136 10 Madonna, Dudley's sale 1892 ... 435 Virgin and Child, Dudley's sale ... 1802 ... 525 S. Koch, Farquhar's sale 1894 ... 997 Prancia (Francois Louis Thomas).— b. Calais, 1772 , d. Calais, 1839 ; s. ; p. landscapes. This painter came, while still young, to London, and exhibited at the Royal Academy from 1795 to 1822. His water-colour pictures were much admired, and he was appointed painter in water-colours to the Duchess of York. There are nine of his works at South Kensington. In 1880, at Pooley's sale, "The Mouth of the Thames," 18in. by 30|in., sold for £23 2s. ; at Dr. Percy's, 1890, a woody road scene, figures, and sheep, realised £21, and a sea-piece with shipping sold for £9. Francisco de Holanda.— Holanda. Prancisque.— iS't^c Millet. Pranck or Prancken. — There have been between thirty and forty painters of this name. Thirty-four are inscribed as painters in the archives of the Guild of S. Luke, at Antwerp, and there were others who were either Hollanders or Germans. Some of them were known in Italy by the name of Franco. Of the Flemings the more important were : Pranck or Prancken (Prans).— Pranck (Nicolas). Pranck or Prancken (Jan Baptist).— b. Antwerp, 1599 ; D. Antwerp, 1653 ; s. his father ; p. history, interiors, and portraits. It is believed that he was the son of Sebastien Franck, and that he was the artist whose portrait Van Dyck painted at PAINTERS AND THEIR WORKS. 303 the age of twenty-eighfc. He at first followed the style of his father, but afterwards improved his own by studying the works of Rubens and Van Dyck. He excelled in painting interiors of galleries and similar subjects, also groups of figures, which were surrounded with flowers by Seghers. In a list of fourteen pictures attributed to Jan Baptist Franck, the prices realised vary from £3 13s. to it33 12s. Franck or Prancken (Johann or Jan).— b. Antwerp, about 1490 ; d. ; s. Jacob van Utrecht ; p. history and landscapes. It is thought that this painter studied under Jacob van Utrecht at Antwerp, about 1512. He was not, however, entered as a master in the Guild of S. Luke in that city, but went to Italy, and was established in Naples in 1550. There he was known as Giovanni Franco, and had the reputation of being a good painter. His works are much in the manner of Frans Floris as regards the drawing ; but they are more freely painted, and the colours are more blended. In the Church of S. Francesco, at Naples, is an "Adoration of the Magi," by him, dated 1550. Wenceslas Coberger, the painter, lived with him, and married his daughter. There were two other artists named Jan Irancken, whose history is not known ; but one painted a picture, " Christ Going to Calvary," which is signed and dated 1597, and is now at Dresden ; and another was, in 1644, the pupil of Abraham Mattys or Matthyssens. Franck or Francken ( Nicolas ).—b. Herenthals, about 1520 ; D. Antwerp, 1596 ; s. Frans Floris ; p. history. There is a picture of "Christ Carrying the Cross," at Courtrai, which is by him. He was the head of the family, and had three sons : Hieronymus L, b. 1540, d. 1610; Frans I., b. 1542, d. 1616; and Ambrosius I., b. 1544, d. 1618. Of these, Frans I. had also three sons: Hieronymus II., b. 1578; Frans II.. b. 1581, D. 1642 ; Ambrosius II., b. , d. 1632. Frans II. had two sons: Frans III., b. 1607, d. 1667; and Hieronymus III., b. 1611, D. ; and Hieronymus III. had a son Constantinus, B. 1671, D. 1717. Among all these Frans 11. was the best painter. After working under his father he went to Italy, and employed three years in copying and studying the great Venetian masters. On his return to Antwerp he was received into the Guild of S. Luke, in 1605, and became Dean of it in 1614-15. He signed his works " D. j. F.," which meant "by young 394 PAINTERS AND THEIR WORKS. Frans, " and later " D. O. F.," " by old Frans," to distinguish them from those of his nephew. Most of his important pictures are in the great galleries. There is a similarity among the small pictures by the above Francks which appear at sales. They are generally catalogued as by Franck," and produce from £5 to £10, seldom more. To the above, however, must be added, Franck, Franckeu, or Vrancx (Sebastien).— b. Antwerp, 1578; D. Antwerp, 1647; s. Adam van Noort ; p. history, battles, and hunting scenes. He was received into the Guild of S. Luke at Antwerp in 1600, and became Dean in 1612. With the exception of a little stiffness in some of the figures, his pictures are excellent, especially as regards composition and colouring. Some have been sold as follow : Appelles Painting the Portrait of £ s. d. Campaspe, sale at Amsterdam (now in the Museum at The Hague) 1765 ... 85 Christ Carrying His Cross, De la Cour's sale 1766 ... 15 Charles V. Receiving an Abbot's Robe from a Bishop, Du Blaisel's sale 1870 ... 20 Franco (Battista or Gio. Battista), called II Semolei. — B. Udine, 1510; d. Venice, 1580; i. Michael Angelo ; P. history and mythological subjects. Nothing is known of the early life of this master, but he went to Rome when about twenty and applied himself diligently to studying and drawing from the works of Michael Angelo, and became so skilful as a draughtsman that, although he knew little of colouring, he was employed in Rome in 1536 on the decorations of the Bridge of S. Angelo, by Raffaello de Montelupo, when the Emperor Charles V. entered that city. He went with Montelupo to Florence for a similar purpose, and in the palace of Octaviano de'Medici did work for Vasari, some of which was from his own designs. He was also employed by the Dukes Alessandro and Cosimo I. Again, at Rome and at Venice, he executed some charming small decorations. The latter are on the Scala d'Oro of the Doge's palace and in a chapel of S. Francesco della Vigna. It was his talent for small compositions which made Battista Franco's name so generally known, for it caused him to be employed by the Duke of Urbino in the manufactory of majolica at Castel Durante, and many pieces of that ware painted from PAINTERS AND THEIR WORKS. 395 }iis designs are still in existence. He etched also a large num- ber of plates, and it is thought that he learned to do so from Marc Antonio. Battista Franco left his work at S. Francesca della Vigna unfinished. As a desigiier he acquired much of the grandeur of Michael Angelo, but his colouring always remained weak, even after he had resided for years in Venice towards the end of his life. Among his larger works is the "Battle of Montemurlo," in the Pitti Palace; and at Berlin is his portrait of the architect and sculptor Giacomo Tatti. Franco (Giovanni).— /Set; Franck (Johann). Francoforto (Adamo di),—See Elzheimer (Adam). Francucci.— A^je Innocenzo da Imola. Frarre ill).— See Bianchi. Frate ill). —Sec Bartolommeo (Fra). Freminet or Freminel (Martin).— b. Paris, 1567 ; d. Paris, 1619 ; s. his father ; p. history. He could have learned but little from his father, who was an inferior painter, but Mar- tin studied in Rome and Venice for fifteen or sixteen years, and on his return to France was named first painter to Henri Quatre. Martin Freminet was employed to decorate the chapel at Fontainebleau, which he finished in the reign of Louis XIII., and that monarch made him a Knight of the Order of S. Michel. His son Louis was also a painter ; he died in 1661. Besides the chapel, Martin Freminet's "Mercury Ordering ^neas to abandon Dido " may be cited as one of his good works. He excelled in composition, but his figures are very narrow across the shoulders, and the muscles are always exaggerated. His colour- ing, too, is somewhat black. He appears to have imitated Parniigiano, and to have seized principally his mannerisms. Tvesnoy.—Sae Dufresnoy. Friano (Maro da Ba.Ti).—See Manzuoli. Friesche Adelaar {'De).—See Geest. Frisian Eagle (The).— /See Geest. Frits (Pieter), called Welgemoed (the Droll). — b, probably at Delft, about 1627 ; d. after 1703 ; s. ; P. principally grotesque subjects and incantations. In 1660 he was inscribed on the register of the Guild of S. Luke at Haarlem. He passed many years in travelling, visited Italy, and settled at Delft, where he became a dealer in pictures and engravings. He married 396 PAINTERS AND THEIR WORKS. the sister of Martine van Hulst {see HoOch), who left Josine, his wife, some money, and from documents relating to this it is evident that in 1702 she was eighty years of age, and her husband Frits seventy-five. There are two pictures by Pieter Frits in the Museum at Madrid. Fromentin (Eugene).— b. La Rochelle, 14th October (not December), 1820 ; d. S. Maurice, 1876 ; s. Remond and Cabat ; p. scenes in Africa, and landscapes. The grandfather of this brilliant artist and writer was an "avocate du Parlement," and his father a physician. It was intended that Eugene should become a barrister, and he was sent to study in Paris in 1839. All his leisure time was, however, devoted to literature, and everything seemed to promise him a distinguished career as a writer, until 1841, when it is said he made the first sketch with a pen which has been preserved. It represents a scene in Alfred de Vigny's play, Chatterton." His father had, how- ever, while a student in Paris, studied painting under Bertin, and frequented, as an amateur, the painting-rooms of Gros and Gerard, and it is extremely improbable that Eugene Fromentin had not made many other sketches before he did the scene in Chatterton." It was, nevertheless, not until 1843 that his desire to become a painter was so strong that his father con- sented that he should do so, on the condition that he studied under Remond. Eugene did not, however, remain long with that master, for about a year afterwards he passed into the painting-room of Cabat, who was his real instructor, as far as a man who possessed such an innate genius for art could be taught by anyone. It was in company with his friend Armand du Mesnil that, in 1846, Fromentin made his first journey to Algiers. The stay he then made in Africa was short, but it was sufficiently long to decide his future career as far as painting was concerned. The only result of it was a few sketches, but in 1847 he exhibited at the Salon a ''Ferme aux environs de la Pochelle," " Une Mosquee pres d'Alger," and '*Vue prise dans les Gorges de la Chifi"a." His success as a painter from that moment commenced. In 1848 he went again to Africa, visited Constantine and Biskra, and passed the month of February at the Oasis of Zaatcha. Besides very many sketches, one result of this journey was his first book, "Une Ete dans le Sahara," which had the honour of being praised by George Sand and Sainte Beuve. Fromentin's other writings are PAINTERS AND THEIR WORKS. 397 " Une Ann^e dans le Saliel,"and " Domenique," a romance. He visited Egypt in 1869, Venice in 1870, and Belgium and Holland in 1875, and his notes on these countries are exceedingly interest- ing. They are to be found in M. Louis Gonse's "Fromentin." It is not, however, as an author that men speak of Fromentin, but as one of the French artists who, like Delacroix, Decamps, Marilhat, Corot, Millet, and others, may be called representatives of the modern French school of painting as regards landscape and scenes in the East. Space will not permit of our giving a com- plete list of the various works of Fromentin, but we must men- tion, in passing, those marvellous scenes of Arabs Hawking, the first of which was exhibited at the Salon of 1857, and one of which, known as "La Curee," is in the Luxembourg. The studies for these, in chalk, are perhaps even finer than the pictures. Among Fromentin's pictures may be cited : The Gorge of the Ghiffa. Hawking in Algeria; Arab Encampment — Luxembourg Gallery. The Falconer. March of Arabs in the Desert. The Simoom, 1859. Arabs Attacked by a Liones-i, 1868. Halt of Muleteers, 1869. Meeting of Aral» Chiefs. A Souvenir of Esneh, 1876. The Nile, 1876. The following are the prices at which fine pictures by Eugene Fromentm have been sold or bought in in this country : The Halt of the Caravan, Everard's sale (bought in) ... Near Cairo, Forbes's sale The Siesta (bought in) Meeting of Arab Chiefs (bought in)... Arab Horsemen, Powerscourt's sale (bought in) Arab Horsemen, Everard's sale Arabs Fording, 43in. by 57in., Kurtz's sale ... Frost (William Edward).— b. Wandsworth, September, 1810 ; D. London, 4th June, 1877 ; s. Royal Academy ; p. mythological subjects and portraits. Frost studied in Sass's Academy before he entered the schools of the Royal Academy. There, at the time when Etty was constantly at work, Frost, without being an £ s. d. 1870 ., ,. 136 10 1874 .. . 199 10 1874 ., .. 394 16 1874 .. . 892 10 1874 .. . 199 10 1875 .. 189 1880 . .. 693 398 PAINTERS AND THEIR WORKS. imitator, chose subjects of the same class as those painted by Etty. and profited by his advice. His female figures have not the energy which Etty infused into the actions of those by him, but they are perhaps more graceful and expressive, and are well drawn and coloured. The portraits by him have the same merits, and were good likenesses, for he took much pains when painting them. His first contribution, in 1836, to the Academy Exhibition was a portrait. He gained the gold medal of that institution, and one of the third class at Westminster Hall, in 1843, for his cartoon of "Una Alarmed by the Fauns." In 1845 he contributed to the Exhibition of the Royal Academy his " Sabrina," and in 1850, " Una and the Wood-nymphs," which was bought by the Queen. Frost was chosen an Associate of the Royal Academy in 1846, but did not become a full member until 1871, and retired from it in the year of his death. In all, he exhibited, between 1836 and 1877, of pictures and studies, seventy-seven at the Royal Academy, thirty -three at the British Institution, and two in Sufi"olk Street. He was much patronised by the Queen and the Prince Consort, and some of his best pictures are in the Royal Collections. As Frost executed all his works with great care, they have not suffered from the effects of time as many of Etty's have, and when offered for sale they always produce good prices. After his death, about a hundred of his works, together with many copies by him from the Old Masters, were sold by his executors, During his lifetime, Frost's pictures, even very small ones, sold for high prices, as may be seen by the following list : Wood-nymphs Bathing, oval, Towns- hend's sale Diana and Actseon, seventeen figures, North wick's sale Sabrina, Northwick's sale Andromeda, Flatow's sale The Disarming of Cupid, FlatoAv's sale ... Evening Star, Ihin. by 5in., oval, Bicknell's sale Naiad, 7^in. by 5^in., oval, Bicknell's sale ... Musidora, 8|in. by 6|in., oval, Bick- nell's sale ... The Sirens, ll^in. by 15iin., Bicknell's £ s. d. 1854 ., ,. 452 11 1859 .. . 708 1859 .. . 216 6 1860 . .. 399 1862 . ,. 357 1863 .. . 77 14 1863 . ,. 116 11 1863 .. ,. 110 5 1863 . . . 294 PAINTERS AND THEIR WORKS. 809 £ s. d. 1863 . .. 819 1865 . .. 1861 1867 . .. 304 10 1872 . .. 315 1873 . .. 261 19 1873 . . . 325 10 1875 . .. 378 1875 . .. 399 1879 . .. 378 1881 . .. 325 1883 . .. 152 5 1886 . .. 141 15 Euphrosyne, 63|in.by 71^iii., Bickiiell's sale ... Venus Lamenting Adonis, study, Tong's sale... Hylas and Nymphs, 35in. by 18in., arched top, Tomes' sale ... The Sea-cave, 18fin. by 16|in, Nymphs Surprised, llin, by 15in., Hargreaves' sale ... The Sirens, 21^in. by 35in., oval, (bought in), Cottrell's sale Nymphs Surprised, 35iu. by 28in, ... Aurora and Zeph}r, 35iu. by 28in,, Mendel's sale Wood-nymphs Bathing, 21^m. by 35^iu,, oval, Brooks's sale Cupid and Nymphs, Holdswoith's sale ... The Sirens, llii.. by loin, (small sepia of the picture in the Queen's Collection), Lee's sale L' Allegro, 15in. by 13in., arched (en- graved). McConnelFs sale Prutta (II Gobbo dalle). -Sec Gobbo. Puessly, Puessli, or Puseli,— There was a family of artists of this name settled at Zurich, of whom there were no less than fourteen, counting from Matthias, born at Zurich, in 1598. The most prominent artist was : Puessly (Henry, properly Heinrich).— b. Zurich, 1741 ; D. Putney, 1825 ; s. his father ; P. history. He was the second son of Johann Kaspar Fuessly, and was educated for the Church ; but after he had entered it he was obliged to leave Zurich — owing to his having exposed the dishonesty of one of the magis- trates — and went to Berlin, where he devoted his time to literature. In 1765 he came to England, and, being 'introduced to Sir Joshua Reynolds, who praised his drawings, in 17 67 he was induced to become a painter, and for the purpose of study went to Italy in the following year. There he remained nine years, the greater part of which he spent in studying the works of Michael Angelo. He never, however, became a great artist as regards either drawing or colouring ; but he possessed a powerful imagination, which led him to choose scenes of which the terrible was the chief characteristic. And it is a singular fact that his 400 PAINTERS AND THEIR WORKS. great-grandfather, Matthias Fuessly, the first artist of the family of whom there is any mention in books on art, was also distinguished by the power with which he represented what is apt to mspire fear or horror. Henry Fuessly left Italy in 1778, and, passing through Zurich, arrived in England in the following year. In 1782 he produced his picture of "The Nightmare," which was so often exhibited, among other places in Leicester Square, that it became generally known. It certainly is his best work, and, although the result of a disordered imagination, is a remarkable picture. Fuessly's next efforts were nine pictures, painted for Boydell's ' ' Shakespeare Gallery," and in 1799 he opened what he termed his "Milton Gallery," in which forty-seven of his works were exhibited. In the same year he was elected Lecturer on Painting, and in 1804 made Keeper, at the Royal Academy, of which he had been a full member from 1790. Fuessly was a good linguist, and would probably have attained to greater eminence in any other career than the one he chose. For many years pictures by Henry Fuessly have been sold for very low prices. The exceptions have been : Theodore and Honoria, from Boc- £ s. d. caccio, Lord de Tabley's sale ... 1827 ... 56 14 Friar Tuck, Lord de Tabley's sale ... 1827 ... 84 Paolo and Francesca in the Whirlwind, from Dante, Lawrence's sale ... 1830 ... 48 6 The Death of QEdipus, Lawrence's sale 1830 ... . 21 Robin Goodfellow, Duroveny's sale ... 1850 ... 32 11 Puller (Isaac).— B. 1606; d. London, 17th July, 1672; s. Perrier ; p. history and portraits. Nothing is known of the early life of this painter except that he studied some time in Paris imder Perrier. In the reign of Charles II. he executed much decorative work in the taverns of London. He painted in the Chapel of Wadham College, at Oxford, "The Children of Israel Gathering Manna, " and an altar-piece for the same college ; also five large pictures of " Charles II. 's Escape after the Battle of Worcester, " which were at Tullymore Park, in Ireland. His best works are portraits, which are powerfully painted. Fuller also did some etchings, but they are of no great value. Fungai (Bernadino). — b. Siena, about 1460; d. 1516; s. Benvenuto di Giovanni ; p. sacred subjects. Some of his works recall those of Perugino, and he was assisted in many of them by PAINTERS AND THEIR WORKS. 401 Pacchiarotti. They are rather numerous at Siena. The charac- ter of his Head of the Virgin is somewhat insipid ; his children and angels are more animated. There is at South Kensington a ' " Virgin and Child " ascribed to Vivarini, which is more probably by Fungai. Pictures by this master seldom appear at sales, but a circular one of " The Virgin and Child," with a bat flitting above them to indicate night, which was exhibited at Leeds in 1868, was sold at Graham's sale, in 1886, for £430 10s. Furini (Francesco). — b. Florence, 1604; d. Florence, 1649; s. his father, Passignano, and Cosimo Rosselli ; p. history. His father was a portrait-painter, but a very inferior artist to the son, whose works have been compared to those of Guido and Albano, and even sold as being by Correggio. He excelled in painting the nude. His drawing of female figures and children, which he was fond of painting, is correct, and the heads have much grace and delicacy. He painted not only in Florence, but at Rome and Venice, and worked with Giovanni di San Giovanni. Among his best pictures are ' ' The Three Graces, " in the Palazzo Strozzi, and ' ' Nymphs Carried off by Satyrs, " in the Casa Galli. The picture of Sigismonda, which induced Hogarth to paint his ■' ■' Sigismonda," was ascribed to Furini, although probably not by him. Pictures by Furini seldom appear in sales, but at the San Donato, in 1870, a S. Sebastian by this master, which is described by Baldinucci, was sold for £80. TvLseli.—See Fuessly. Fuss (Hans).— >S'ee Kulmbach. Fyt (Jan).— B. Antwerp, 15th March, 1611 ; d. Antwerp, 11th September, 1661 ; s. Jan van den Berch ; p. animals, birds, flowers, and still-life. In some resj^ect Fyt was the best of the Flemish painters, of the objects his pictures represent, and even superior to Snyders as regards colouring. The fact that Rubens, De Crayer, and Joidaens employed him to paint certain things in their pictures, shows the high opinion his contemporaries had of his talents. He was admitted as a master into the Guild of S. Luke, at Antwerp, in 1629. In 1632-3 he left Antwerp, and travelled in France and Italy, remaining absent from his native place for seven years. After his return he was admitted, in 1650, into the " Guild of Romanists," the members of which had resided in Rome, and became Dean of it in 1652. In 1654 Fyt married Joanna van den Zande. They had four children. 2 c 402 PAINTERS AND THEIR WORKS. Of all the different subjects Jan Fyt painted, perhaps the best are dogs, and his etchings of them are admirable. In our National Gallery is a good example of his work — a picture of dead birds. Although all his pictures have great merit, they are numerous, and are to be found in all the great galleries in Europe and in many private collections. In sales they have been easily disposed of, although the prices paid for them since 1764 have varied considerably according to their importance. We give rather a full list of them, because many of the pictures mentioned must be in this country. Herons in some Reeds, Elector of £ s. d. Cologne's sale 1764 .. 4 Fruits and Animals, Elector of Cologne's sale 1764 .. 16 \ "XT 11 1 1 • '1 A rsobleman and his family, with dogs, dead game, etc., 86in. by 102in. , Barrett s sale 1769 .. 22 Dead Game, containing r yt s portrait by Van Dyck, 75in. by lOSin. ... 1773 .. 77 14 A Ci '15 TT 1 "1 "T "\ 1 1 \ j_ • 1 A Spaniel s Head and Dead Partridge Dead Game, Clarke and Hibbert's 1802 .. 8 8 sale ... 1802 .. 32 10 Dead Game, Dogs, etc., Yonge's sale 1806 .. 73 10 Dead Game, Dog, Fruit, etc. , Walker's sale 1813 .. 12 1 6 Dead Game 1813 .. 13 2 Melon and Dead Game, Mitchell's sale ... 1819 7 U Dead Partridges, etc., G, Watson Taylor's sale 1823 .. 61 9 A Larder, figure, dead game, fruit, Clay's sale ... 1824 .. 21 10 Dogs and Dead Game... 1825 .. 7 Dead Game, Cat, Greyhound, Imple- ments of the Chase, Gwydir's sale ... 1829 .. . 67 6 Spaniel Guarding Game in landscaj^e, Bagot's sale 1836 .. . 43 1 Dogs and Dead Game... 1840 .. . 13 13 Dead Birds, Camden's sale ... 1841 .. . 15 15 Dead Game Guarded by Dogs, Soult's sale 1852 .. . 85 Interior of a Larder, Le Roy d Etiolles' sale 1857 .. . 45 Still-life, Van den Schneik's sale 1861 .. . 15 PAINTERS AND THEIR WORKS. 403 Interior of Larder ... Heron, Rabbits, Guarded by a Dog, Goodricke's sale ... Game, Fruits, Flowers, signed, Van Cleef's sale... Game Guarded by Two Dogs, Pom- mersfelden's sale ... Dogs, Cats, and other objects, Sala- manca's sale Hunting Scene, Rochebrune's sale . . . Dead Peacock and other Birds, and Cat, from Aguado Collection, Ellis's sale Dead Game, Murray's sale ... Dead Game, signed and dated 1648, Greville's sale Ducks in a Pond, Delamere's sale . . . Interior of Larder, Hill's sale Concert of Birds, Hope's sale Portrait of a Gentleman with Dogs, Boyle Farm sale ' and sale ... Dead Game, Clancarty's sale.. Gaal.— >Scc Gael. Gabbiani (Antonio Domenico).— b. Florence, 1652; d. Florence, 1726 ; s. Sustermans and Dandini ; p. history, land- scapes, and portraits. This artist's works, while he was still young, gave such promise of future excellence that the Grand Duke Cosimo III. sent him to Rome, where he studied under Ciro Ferri. After residing three years in Rome, Gabbiani went to Venice, and improved his colouring. He was invited to Vienna J and painted there the portrait of the Emperor and some historical pictures for the Imperial Gallery. His principal works are those he painted after his return to Florence. Among them is " The Assumption," of the design for which there is a coijy in Charles Rogers's book of ''Facsimiles." Another is his cele- brated picture of " S. Philip," in the Church of the Padri dell' Oratorio. Gabbiani was killed by a fall from a scatFold, in 1726. He excelled in painting children, and his figures are somewhat like those of Albano. His landscapes are executed in a grand style. He also engraved. Gaetano Gabbiani, Antonio's nephew, painted portraits in pastel, and died at Florence about 1750. 2 c 2 £ s. d. ±ouu ZiU n roportion, for in a list of over twenty sold by public auction between 1769 and 1800, the prices vary from £2 for a pair of landscapes, to £101 17s. for one ; and it is necessary to add that in those sales were included the pictures which came into the possession of Mrs. Gainsborough and Dupont Gainsborough after Tliomas Gainsborough's death. We cannot do more than mention the jovial life Gainsborough apx)ears to have led at 408 PAINTERS AND THEIR WORKS. Ipswich and Bath until the year 1774, when he left it and settled in London. There he lived in a part of Schomberg House, in Pall Mall. His passion for music is well known, and if it be true that Dr. Walcott, who was a good judge, on hearing Gainsborough performing in an adjoining room, thought that it was Abel, the great executant on the viol de gamba, Avho was playing, it is very clear that Gainsborough had mastered some of the difficulties of that instrument. In 1766 Gainsborough was a member of the Incorporated Society of Artists, and he was one of the foundation members of the Royal Academy. He sent pictures to one or the other until 1783 ; but, owing to a disagreement with the conmiittee in 1784, regarding the hanging of his portrait group of the three Princesses, he withdrew the picture from the Academy and never again contributed to its exhibitions. The same success which had rewarded the talent and industry of Gainsborough at Bath attended them in London, where some of his finest portraits were painted — among others those of the Duchess of Devonshire, of Colonel St. Leger, and of the members of the Royal Family. Among his pictures were ' ' The Mall of S. James's Park," which was painted in 1786, " The Woodman in the Storm," "The Shepherd's Boy in the Shower," in 1787, and others from that time to his death. About the cause of that the doctors disagreed, some saying it was cancer, others a wen in the neck. When dying Gainsborough wished to see Sir Joshua Reynolds, and as the latter leaned over the bed, Gainsborough, who thought he was on the point of death, said : ' ' We are all going to heaven, and Van Dyck is of the company." After this, however, Gainsborough rallied slightly, but he died a few days afterwards at about two in the morning of 2nd August, 1788. He was buried, by his own desire, in Kew Churchyard, near his friend Joshua Kirby. The following list gives some idea of the prices at which Gains- borough's portraits and pictures have been sold. In a list of about 300, the prices range from £2 for a pair of landscapes sold in 1781, to £10,605 paid for the "Portrait of the Duchess of Devonshire," 59 Jin. by 45in., at the Wynn Ellis sale at Messrs. Christie's, in 1876. Of so large a number only those can be given which for some reason are the more interesting, and it is curious that the first Avhich brought a price worth mentioning belonged to the French dealer Le Brun : PAINTERS AND THEIR WORKS. 409 £ 8. d. Landscape, with figures, Le Brun's sale 1785 ... 42 Landscape, with woodcutters, Dr. Charlton's sale (now in National Gallery) 1790 ... 72 9 Eleven landscapes and fancy subjects were sold after Gains- borough's death by Mrs. Gainsborotigh and Dupont Gainsborough, in 1797 and 1799, the prices ranging from £14 3s. 6d. to £101 17s. From the beginning of the present century the prices have rapidly risen, as is evident from the following list : A Landscape, with cattle and figures. s. d. rivirl CTAWP'fiPv'R tin iP 1802 50 8 Wood Scene, cart and figures, Walsh Porter's sale 1 QOQ loUo 110 in n Gipsies, Halifax's sale... 1807 .. 163 16 Peasant Children, J. Willett Willett's sale ... ... 1813 .. 43 1 Landscape, with cows, J. Willett Willett's sale 1813 .. 84 A Peasant Girl with a Dish of Milk, J. Willett Willett's sale 1813 .. . 157 10 Landscape, woody, cattle, girl with milk-pail, man on horse, drinking, shepherd and sheep, Beckford's (Fonthill) sale 1823 .. . 49 7 Fresh Breeze off Coast, two smacks, De Tabley 's sale ... 1827 .. . 625 A Cottage, Women and Children, De Tabley's sale ... 1827 ... . 215 15 The Market Cart, I2^m. by 60iin., Gwydir's sale (now in National Gallery) 1828 ... 1182 18 The Mall, S. James's Park, Kilderbee's sale 1828 ... 183 15 Waggon and Horses Passing Brook, Ewer's sale 1832 ... 231 Kobinetta, interior of a cottage, two children before the fire, Copland's sale 1836 ... 152 5 Cliild with a Cat in a Landscape, Copland's sale 1836 ... 136 10 Pool of Water near a Park Gate, boy driving cows, Esdaile's sale 1838 ... 220 10 A Landscape, painted for W. Smith of Norwich 1844 ... 294 410 PAINTERS AND THEIR WORKS. Woody Landscape — Evening, gipsies £ s. d. round a fire, Sanderson's sale ... 1848 ... 189 A Lodge in Windsor Park, with the Royal Children descending some stone steps, cows and horses, Baring's sale 1848 ... 325 10 Landscape, girl and pigs. Burton's sale 1850 ... 178 10 Morning (George IV. gave 2000 guineas for this and another by Gainsborough), British Gallery Art sale 1851 ... 210 Repose (given by Gainsborough to his daughter as a wedding present), British Gallery Art sale 1851 ... 945 Woody Landscape, boy, a grey and a bay horse — Morning, W. Wells's sale ... 1852 ... 204 15 Copy of Cornaro Family, after Titian, S. Rogers's sale 1856 ... 68 5 Landscape, cart and men crossing rapid stream, from the Thomond Collection, S. Rogers's sale ... 1856 ... 262 Landscape, cottage near stream, S. Rogers's sale 1856 ... 126 Landscape, cattle, men on bank of river, S. Rogers's sale 1856 ... 204 15 Woody Landscape, two cows, sheep, shepherd, boy, man, and woman, Delawarr's sale 1857 ... 446 5 Portrait of Gar rick, in black-lead, whole-length, Blaine's sale ... 1857 ... 76 13 Woody Landscape, men descending road, woman driving cow. Colonel Baillie's sale 1858 ... 220 10 The Morning Walk, portrait of Miss Haverfield, Haverfield's sale ... 1859 ... 756 Landscape, with portrait of Gains- borough as a gamekeeper. Trim- mer's sale... _ 1860 ... 80 17 There were sixteen other pic- tures by Gainsborough in Trim- mer's sale ; they realised from £4 12s. to £48. The Pink Boy, Grant's sale ... ... 1863 ... 246 15 Landscape, with sheep, 47in. by58in., Bicknell'ssale 1863 ... 399 PAINTERS AND THEIR WORKS. 411 Kepose, 47iin. by 58in,, Bicknell's sale ... Landscape, Longe's sale Lady in Pink Dress, Munro of Novar's sale ... The Harvest Waggon, Wiltshire's sale Landscape, cattle and figures, Wilt- shire's sale ... Portrait of Quin, Wiltshire's sale . . , Portrait of Foote, Wiltshire's sale . . . Portrait of Orpin, parish clerk at Bradford - on - Avon, Wiltshire's sale Portrait of Miss Anne Ford, afterwards Mrs. Philip Thickness (bought in), Richards's sale Landscape, cattle, men, river, boats landing fish, Dillon's sale View near King's-Bromley-on-Trent, cows, figure, dog, portrait of J. N. Lane, 46in. by 65fin., Delafield's sale Portrait of Miss Ann Ford, Richards's sale ... Portrait of Henry Grattan, Harling's Innocence (bought in), Agnew's sale... Landscape, 57in. by 62in., Gillott's sale ... Bullock Waggon, signed and dated 1787, 38in. by 51in., Gillott's sale ... Repose, 48in. by 60in., Gillott's sale Landscape, 48in. by 59in. , Gillott's sale Road Scene — Morning, Scotland, 73in. by 54in., from Lord Coventry's Collection, Gillott's sale Evening, 73in. by 54in., Gillott's sale Portrait of himself, 29in. by 24in. (now in New York Museum), Gniott's sale The Haymaker and the Sleeping Girl, known as " The Mushroom Girl," Dupont's sale The Sisters, portrait of two young ladies, painted and exhibited 1775, Townley's sale £ s. d. 1863 . .. 819 1866 . .. 504 1867 . .. 582 15 1867 . .. 3147 10 1867 . .. 1800 1867 . .. 138 10 1867 .. 38 17 1867 . .. 325 10 1869 . .. 451 1869 . .. 756 .. 787 W 1870 . .. 525 1871 . .. 525 1871 .. 315 1872 . .. 367 10 1872 . .. 525 1872 . .. 945 1872 . .. 1081 10 1872 .. 220 10 1872 .. 315 5 1872 .. 346 10 1872 .. 525 1873 .. 6615 412 PAINTERS AND THEIR WORKS. Landscape, 70|in. by93^in., Colnaglii's sale ... Portrait of Miss Evans, sister of Lady Willonghby, 49in. by 39in., Portrait of Richard Tickell, Tickell's sale ... Portrait of Mrs. Carr, Letcbfield's sale Portrait of Bach, the composer (bought in), Walcott's sale Portrait of " The Great Tenor Getting Out a High Note," 29in. by 24|in., Heugh's sale Countryman on a Road, 40in. by 50in., Lacy's sale Portrait of George IV. when Prince of Wales, 28in. by 24in., Mendel's sale Portrait of Abel, the musician Portrait of Mrs. Badderley, Hawley's sale ... ... Portrait of Tenducci the singer, 29in. by 24in., Levy's sale Gad's Hill Oak, 48in. by 39in., Wynn EUis's sale ... Portrait of the Duchess of Devonshire, 59|in. by 45in., Wynn Ellis's sale (the portrait that disappeared shortly after the sale) Lady Clarges Playing on Harp, Clarges's sale Portrait of Mrs. Gainsborough, 29in, by 24in., Heugh's sale Portrait of his Unmarried Daughter, in hat, 29in. by 24in., Heugh's sale ... View in Shropshire, 46in, by 56in., Heugh's sale Portrait of his Married Daughter, 35^in. by27iin., Heugh's sale ... Landscape — Evening (man, horses, country church). White's sale . . . Horses Watering at a Trough, 48iin. by 39in., from the Leicester Collection, Lonsdale's sale Portrait of Miss Chomley (oval), 27 in. by 24in., Liddell's sale ... s. d. 1873 ... 756 1873 ... 787 1874 ... 1627 1874 ... 409 10 1874 ... 935 11 1874 ... 357 1875 ... 3465 1875 460 1875 ... 52 10 1876 299 15 1876 ... 262 10 1876 ... 325 10 1876 ..10,605 1878 367 10 1878 367 1878 ... 367 10 1878 525 u 1878 ... 378 1879 ... 761 5 1879 ... 1365 1882 ... 1123 10 PAINTERS AND THEIR AVORKS. 413 Landscape, colliers and horses going to £ s. d. market — Early morning, Hoare's sale 1883 ... 2135 Portrait of H. Beaufoy, Jervoise's sale 1884 ... 787 10 Portrait of Miss Linley, Tickeirs sale 1884 ... 267 15 Cat and ChUd — Evening, 58in. by 46in, , Knighton' s sale Portrait of the Dnke of Cnmberland, Knighton's sale ... Landscape, with water and ligures, Neave's sale Cottage Door, Bentley's sale Portraits of the Sisters Lady Day and Baroness de Noailles, Graham's sale Portrait of the Hon. Mrs. H. Fane, dated 1777, Fnlbeck Hall sale ... Horses drinking at a spring, Lonsdale's sale Landscape, with water and figures, Lonsdale's sale ... Musidora Landscape, with Cottages (oval), Fish's sale... Portraits of Mrs. Lane and Miss Gains- borough, Wilkinson's sale Portrait of the Hon. Mrs. Fane Portrait of Elizabeth Duchess of (jrrafton Grand landscape Portrait of Viscount Hampden, Hard- wick's sale Portrait of Richard GodAvell River Scene Camera, with twelve pictures on glass The Harvest Waggon Woody Landscape, Wells's sale Portrait of Lady A. Hamilton, Stover's sale Portrait of Alexander Duke of Hamilton, Stover's s.iJe ... A Road in the Forest, I'erkins's sale View near Sudbury The Mushroom Girl Open Glade, Cav. Ijciitinck's sale ... Landscape, Cav. Bentiiick's sale ... Portrait of a Lady (oval) 1885 .. . 320 5 9J.9 n u u 1886 ., ,. 335 1886 ., ,. 200 1887 . .. 9500 -loo i 1887 . .. 1920 lOO t 300 Q Q J.000 910 ^ J.V 1888 J.000 1888 . .. 200 1888 . .. 2900 1888 970 Q 1888 J.000 500 Q 9 1888 200 Q 1888 JOOO 610 (J 1889 252 (J 1890 215 1890 220 1890 . .. 378 u 1890 , ... 4410 1890 ... 1575 1890 ... 346 1890 ... 273 1891 ... 2572 (J 1891 ... 241 1891 ... 273 u 1891 .,. 252 414 PAINTERS AND THEIR WORKS. £ s. d. Market Cart 1892 ... 593 Portrait of J. Bullock... 1892 ... 525 Portrait of Charles Abel, Egremont's sale ... 1892 ... 1470 Portrait of Raphael Franco, Egre- mont's sale... 1892 ... 882 Portrait of a Youth in Blue, Egre- mont's sale... 1892 ... 1302 Portrait of Mrs. Peacocke ... 1893 ... 299 Portrait of Mary Carr 1893 ... 1245 Portrait of Mrs. Drummond, Revel- stoke's sale 1893 ... 7035 Portrait of Lady Rodney, Revelstoke's sale- ... 1893 ... 2415 Portrait of Lord Mulgrave, Mildmay's sale ... 1893 ... 598 Landscape 1893 ... 299 View near King's Bromley, Hem- mings' sale... 1894 ... 3780 Portrait of WilHam Pitt 1894 ... 420 Portrait of Mme. Le Brun, Montrose's sale ... 1894 . . 3250 Market Cart, Gibbons's sale 1894 ... 4725 Portrait of Judge Willes, WUles's sale 1894 ... 378 Portrait of the Countess Dundonald, Belcamp Hall sale 1894 ... 1275 Galantini (Ippolito), called 11 Cappucino or 11 Prete Genovese. — b. 1627 ; d. Montaghi, near Florence, 1706 ; s. Stefaneschi ; p. miniatures. This artist was a Capuchin monk who was sent on a mission to India, and on his return painted pictures for his Order. His own portrait is in the Uffizi. He must not be confounded with Bernadino Strozzi, who is also called II Prete Genovese. Galantino {11}.— See Aloisi (Baldassare). Galassi ( The ). — There were two Ferrarese painters of this name : Galassi (Galasso), who painted at Mezzaratta, near Bologna, in 1404, and whose works are very rude; and Galassi or Galasso (Alghisi).— b. Ferrara, 1438 ; d. Ferrara, 1473 ; s. Galasso Galassi ; p. history. There are pictures by him at Bologna, and he painted the portraits of Cardinal Besarion and Aretino. It is probable that he studied at Venice. PAINTERS AND THEIR WORKS. 415 Galizia or Gallizi (Pede).— b. Milan, 1578 ; d. ; s. her father ; p. history, portraits, and landscapes. She was the daughter of Ammuzio Galizia, a miniature-painter, and painted both historical subjects and landscapes in the style that prevailed at Bologna before the time of the Carracci. One of the best of her historical pictures is "Christ Appearing to the Magdalen," which is now in the Brera, and was formerly in the Church of the Magdalen at Milan. In the Ambrosian Library is the portrait of P. Morriggio, which she painted when in her eighteenth year. G&ll—Sce Gael, Gallait (Louis).— b. Tournay (Doornik in Flemish), 10th May, 1810 ; D. November, 1887 ; s. Tournay Academy, Celsthue, and Hennequin ; p. history, portraits, and genre. Louis Gallait was the son of Ignace Gallait and Josephine Deronne, and the great artist who was to revive the glory of the Flemish school of painting began life as a clerk to a process-server (a bailiff). That occupation, however, was little to his taste, and he was permitted to indulge the inclination towards art which he had shown at an early age. In 1832 he gained his first prize at Ghent, for his "Christ and the Pharisees." From that moment his career was one long success. Wherever his works were exhibited they formed the chief attraction to the show ; kings disputed with private persons the possession of them, he received connnissions from foreign governments as well as from his own, honours were showered upon him by sovereigns and academies of which he was made a member, and when lie visited London, in 1862, he was entertained at a banquet by the vtists of England. Yet the general admii-ation which his works excited was well earned, and a critic was justified in saying of him : ' ' His ideas are always noble and elevated, and they are realised on the canvas with a master's hand." Only a few of Gaillait's more celebrated works can be named, and the prices at which some of them, or repetitions of larger pictures, have been sold : Christ Ilestoring the Sight of the Blind Man — Tournay Cathedral. The Beggar.s — Liege Museum. Montaigne Visiting Tasso in Prison — Belgian lloyal Collec- tion. Charles V. riCsiiiiiiuM- tlie Covernment of the l-row Countries to his soil I'liilij); tlie Last Moments of Count Egmoiit — Berlin Museum. 416 PAINTERS AND THEIR WORKS. The Last Honours paid to Counts Egmont and Horn — Tournay Town Hall. Queen Joanna Uncovering the Face of her Dead Husband Philip I. — Royal Gallery, Holland. The Taking of Antioch ; Count Baudouin Crowned Emperor of Constantinople ; Art and Liberty (the engraved picture) — Versailles Gallery. The following works in oils have been sold by auction : La Priere, 20|in. by IS^in., Uzielli's sale ... ... The Voice of the Prisoner (bought in), Morby's sale La Chute des Feuilles, from Demi- doff Collection, 30^in. by 25in., Knowles's sale Art and Liberty (the engraved picture) (bought in) ... The Italian Mother (bought in), Everard's sale The Prison-door, 13|in. by 20in., Gambart's sale Mother and Ciiild, ll^in. by 15in., Gambart's sale The Desolate Widow (bought in), Everard's sale Maternal Happiness (bought in) Wayfarers, 9in. by 12|in., Powell's sale Columbus in Prison, 59in. by 43in., Mendel's sale The Wanderers, Slin. by 25in., Mendel's sale Vargas Taking the Oath, 44in. by 60in., Mendel's sale Last Honours to Egmont and Horn, 27in. by 39in., Mendel's sale The Last Momentsof Count Egmont, Burnett's sale The Prison-window, llin. by 8in., Turner's sale Peace, Greenwood's sale ]\Iother and Child — Harvest, Green- wood's sale... The Prison-window, 1862, Slin. by 24in., Fleming's sale Columbus in Prison, 60in. by 43ni,, Kurtz's sale 1861 ., 315 1864 .. . 714 1865 . .. 609 1867 . .. 1323 1870 . .. 745 10 1871 . .. 126 1871 . .. 278 5 1871 . .. 115 10 1874 . .. 787 10 1874 . .. 97 13 1875 . .. 892 10 1875 . .. 635 5 1875 . .. 2677 10 1875 . .. 1155 1876 . .. 556 18 1878 . .. 120 15 1878 . .. 304 10 1878 . ... 278 5 1879 . ... 241 10 1880 , ,.. 787 10 PAINTERS AND THEIR WORKS. 417 Neapolitan Girl, 45in. by 30in., £ s. d. Kurtz's sale 1880 . . 498 15 Columbus in Prison, 38in. by 26in., Kurtz's sale 1881 . . 504 Neapolitan Girl, 45in. by 30in., Kurtz's sale 1881 . . 304 Tasso in Prison, 38in. by 26in., Kurtz's sale 1881 . . 472 10 Faith — A mother and two infants in shrine, Taylors sale 1883 . . 409 10 Columbus m Prison, 60m. by 44m., Pottei-'s sale 1884 . . 420 Art and Liberty, 1864, 19in. by 14in., Schlottel's sale ... 1885 . .. 147 Roman JNIother and Cliild, Graham's sale ... .... ... 1887 . . 300 The following are water-colours : Italian Woman and Child, Sichel's sale 1865 ... 184 16 The Wandering Minstrels, 17iin. by 13in. (bought in), Campbell's sale 1867 ... 273 Art and Liberty, Pocock's sale .. 1869 ... 687 15 0. Art and Liberty, 1863, Smith's sale .. 1870 ... 199 10 Counts Egniont and Horn, Nicol's sale 1873 ... 420 Coronation of Count Baudouin, 14^in. by 26in., Kurtz's sale ... ... 1880 ... 199 10 Burghers before the Bodies of Egmont and Horn, Ptoberts's sale ... 1881 ... 199 10 Gsill.—ScG Gael. GallegOS (Fernando). — b. Salamanca, 1461; d. S(alamanca, 1550 ; s. Pedro Berreguete ; p. sacred subjects. Some writers have asserted that this old painter had studied under Albrecht Dtirer, as there is a certain resemblance in their works ; but it is much more probable that he was taught by Berreguete at Toledo, and some of his works have much of the softness of Raphael's second manner. There are several at Salamanca, the best of which is "The Virgin and Child with SS. Andrew and Christopher," in S. Clement's Chapel in the Cathedral. It is very possible that he imitated Jan van Eyck and Memlinc. Galli (The). — There were at least five painters of this name, of whom the most known was Galli (Ferdinando), called also Ferdinand© da Bibiena, from the birthplace of his father. — b. Bologna, 1657 ; d. Bologna, 2 D 418 PAljqTERS AND THEIR WORKS. 1743 ; s. Carlo Cignani ; P. architecture and decorations. He was celebrated all over Europe for producing the decorations used at public festivals, as they were more sumptuous than any that had been seen previously. There is in our National Gallery a picture by Galli, representing a theatre at Parma when ''Othello" was being performed. Gallizi. — See Galizia. Gambara (Lattanzio).— b. Brescia, 1541 or 1542 ; d. 1574; s. Antonio Campi and Girolamo Romanino ; p. history and por- traits. He was the son of a tailor who settled at Cremona, where Campi, noticing his inclination for art, allowed the lad to study in his school for six years. When Gambara was sixteen he entered the school of Bomanino, who afterwards gave him his daughter in marriage. He surpassed both of his masters, and some of his works are much in the manner of Pordenone. Many of them are at Brescia, but the chief are the frescoes in the Via -del Gambara at Brescia, and twelve in the Cathedral at Parma, which are sufficiently fine to bear the close proximity of those by Correggio. Gandini (Antonio).— b. Brescia, ; d. Brescia, 1630; s. Paolo Veronese ; p. history. His pictures are finely composed, and the figures correctly drawn. The principal one is ' ' The Crucifixion," in the old cathedral at Brescia. His son, Berna- dino Gandini, painted in the same style, and died in 1651. Gandini (Giorgio), called also Giorgio del Grano, from his mother's name. — B. Parma, ; d. Parma, 1538 or 1539; s. Correggio ; P. history and portraits. Correggio is said to have painted on some of Gandini's pictures. The great altar-piece in San Michele, at Parma, is by Gandini, not by Lelio Orsi. The death of Correggio having prevented his painting the tribune of that church, the commission was given to Gandini, who was like- wise prevented from executing it by his death. In the Oldenburg Gallery are a ''Penitent Magdalen" and a ''Holy Family" by him. Gandy (James).— b. Exeter, 1619 ; d. Ireland, 1689 ; s. Van Dyck ; p. portraits. This artist is said to have received instruc- tions from Van Dyck, which is very probable, as copies of that master's works made by Gandy have been sold as being by Van Dyck, and Gaudy's own portraits are Httle inferior to those by the great Fleming. Gandy entered the service of the Duke of PAINTERS AND THEIR WORKS. 419 Ormond, and went with liim to Ireland. It is in that country tliat most of the portraits by Gandy are to be found ; there are also a few in the. West of England* Gaudy (William). — b. probably in Ireland, ; d. Exeter, ; s. ; P. portraits. He was the son of James Gandy, and settled at Exeter about 1700. In Devonshire and Cornwall there are good portraits by him, but he often left everything except the head and hands unfinished. He was at Plymouth in 1714, and having professed to be in the confidence of the Duke of Ormond, who was implicated in the rebel]ion of 1715, he did not think it safe to come to London, and remained at Exeter, where he died, but it is not known when, Garbo (Del). —See Raifaellino. Gardin.— >S'ce Jardin. Garneray (Ambroise Louis).— b. Paris, 1783 ; d. Paris, 1857 ; s. his father ; p. marine subjects. This artist was the son of Jean rran9ois Garneray, a French painter. He went to sea when only thirteen years of age, and after many adventures, of which he published an account, he was taken prisoner by the English in 1806 ; he remained in England until 1814. On his return to France he was patronised by Louis XVIII. In 1816 Garneray exhibited " A View of the Port of London"; he was appointed Director of the Rouen Museum in 1833, and designed during six years for the Sevres manufactory. He also published about a hundred views of seaports in aquatint. It was he who illustrated Las Casas's " Mt^morial de Sainte-H(^lene." Pictures by Garneray are to be found in nearly all the museums in France. Garofalo or Garofolo (Beuveuuto Tisi da).— b. Garofalo, 1480, or Ferrara, 1481 ; d. Ferrara, 6th September, 1559 ; s. Do- menico Panetti ; P. history and mythological subjects. The father of this painter was a native of Garofalo, but he and his wife, Antonia Barbiani, were settled at Ferrara. At the age of ten their son Benvenuto was placed under Panetti, of Ferrara. Seven ye irs later he was working under Boccaccino, at Cremona, and in 1499 he went to Rome, where he lived with Giovanni Baldini, a Florentine painter resident in Rome. Garofalo returned to Ferrara in 1501, but soon afterwards was at Bologna, where he entered the studio of Lorenzo Costa. In 1504 he was again in Ferrara, and on intimate terms with Dosso Dossi, some of whose works have been attributed to Garofalo. In 1509 Benvenuto was 2 I) 2 420 PAINTERS AND THEIR WORKS. again in Rome, and there became known to Raphael, and had an opportunity of studying his works and those of Michael Angelo. By the year 1512 Garofalo was again in Ferrara, and remained there until his death, in 1559. He had the misfortune to lose the siglit of one eye when about thirty years of age, and was blind during the last eight years of his life. It was natural that a painter who worked with or under so many masters should produce pictures in various styles, yet Garo- falo always retained many of the characteristics of the Ferrarese artists, especially in colouring and general delicacy of execution. The clove-pink flower on a cross formed the family arms of the Tisi, and it is sometimes to be found on Garofalo's pictures ; but it was rather an allusion to their native place than one which was personal. The pictures by Garofalo, and those that are attributed to him, are so numerous that they are to be found not only at Ferrara and Rome, but in all the great galleries of Europe, and many of them have been engraved. The prices paid at auctions for pictures by Garofalo have varied from £10 10s. to £1606 10s. ; but the majority have been sold for less than £100. The follow- ing have formed exceptions : The Holy Family, with saints, Ottley's sale The Vision of S. Augustine, from the Corsini Palace, Ottley's sale The Samaritan Woman, Le Brun's sale ... Holy Family and Saints, Campion's sale ... Virgin and Child, with saints and angels, Beckford's (Fon thill) sale Virgin and Child, SS. Dominic and Francis, Harman's sale ... The Circumcision, from Lord Cawdor's Collection, Conyngham's sale ... Riposo, Virgin holding book, SS. Anne and Joseph, S. Rogers's sale Stoning of S. Stephen, from Balbi Palace, North wick's sale An Ancient Sacrifice, Salamanca's sale ... Grecian Sacrifice, Dudley's sale Garrand.— >S'6e Garrard (Marc). £ s. d. 1801 . .. 252 1801 . .. 1365 1810 . .. 150 1810 . .. 315 1823 . .. 299 15 1844 . .. 252 1849 . .. 262 10 1856 . .. 588 1859 . .. 1606 10 1867 . .. 1480 1892 . ,.. 397 PAINTERS AND THEIR WORKS. 421 Garrard (George). — b. 31st May, 1760 ; d. Brompton, 8th October, 1826 ; s. Sawrey Gilpin ; p. animals. This industrious artist was equally able as a painter and as a modeller, for no less than 238 of his works were exhibited at the Royal Academy, at the British Institution, and in Suffolk Street, between 1781 and 1826. He became a student at the Royal Academy in 1778. In 1784 he exhibited a "View of a Brewhouse Yard," which pleased Sir Joshua Reynolds so much that he gave Garrard a commission to paint a picture of the same class. He was elected an Associate of the Royal Academy in 1800. ' ' An Agricultural Show," now at Woburn, is a good example of his style as a painter in oils. Garrard (Marc), the elder. — b. Bruges, early in the six- teenth century ; d. England, before 1604 ; s. Martin de Vos ; p. history and portraits. The name of this painter is given as it appears to have been known in England, but it is foinid in various books Geraats, Gerard, Gheeraerts, Guerard, and, by Balkema, in his " Peintres Flamands et Hollandais," Gand, 1844, Marc Garrand. As, however, that writer confounds the father with the son, perhaps his opinion is of no great value. On the engravings by De Bry after his designs, published in 1664, the name is written Marc Guerard. In 1558 he was the second ' ' Vinder " in the Guild of 8. Luke at Bruges, and from this and his having made a plan of the city of Bruges before 1566, the date of his birth may be guessed. Garrard was one of the painters employed about 1571 by Queen Elizabeth, and pamted a marriage procession which took x^lace at Blackfriars, about 1600. He is said to have engraved it, and it is commonly, although erroneously, called "The Procession to Hunsdon House." If Garrard was dead, as stated by Van Mander, before 1604, as Elizabeth died in 1803, the painter of this name who was employed by James I., and painted the Princes Henry and Charles, must have been Garrard (Marc), the younger.— b. Bruges, 1561 ; d. England, 1635 ; s. Lucas de Heere ; p. history and portraits. He joined his father in England, and, among other works, "The Assembly of English, Spanish, and Austrian Plenipotentiaries, held at Somerset House in 1604," which was sold at the Duke of Hamilton's sale as being by Pantoja de la Cruz, and which is now in the National Portrait Gallery, is attributed to the younger Marc Garrard. 422 PAINTERS AND THEIR WORKS. The pictures and portraits, except a few that are dated, by the two Garrards are so much alike that the prices at which they have been sold are given, without attempting to separate them. Portrait of Duchess of Richmond, £ s. d. whole-length, H. Walpole's sale 1842 ... 39 18 Portrait of Lucy Harrington, Countess of Bedford, leading child holding grapes, whole - length, 69in. by 43in., Bernal's sale 1855 ... 43 1 Portrait of Jane Marchioness of Winchester, half-length, 51in. bv 36iin., Bernal's sale 1855 ... 7 17 6 Portrait of Lady in White and Gold, holding red fan, half-length, 33 Jin. by 28in., Bernal's sale ... 1855 ... 11 10 Portrait of Lady Shirley, flowered dress, 22in. by I7in., Bernal's sale 1855 ... 5 5 Portrait of Princess, crimson dress, red hat, white featlier, 41 in. by 32in., Bernal's sale 1855 ... 5 Portrait of Earl of Dorset and his Secretary, holding Petition from Merchant Adventurers, North- wick's sale 1859 ... 94 10 Garvey (Edmond).— b. probably in Ireland ; d. London, 1813 ; s. ; p. landscapes. As this artist exhibited his early works in Dublin, it is believed he was an Irishman. These landscapes were somewhat hot in colour, but he improved as he went on, and probably visited Italy, as he exhibited six views in that country with the Free Society of Artists in London in 1767, 126 landscapes at the Royal Academy between 1767 and 1809, and six at the British Institution. He gained a premium from the Society of Arts in 1769, and from that time until 1777 he lived at Bath, but subsequently in London. In 1770 he was elected an Associate of the Royal Academy, and he became a full member in 1783. His pictures represent generally, on a small scale, views near Rome, or in the Alps, or gentlemen's seats. Many of his works were sold in 1816. They are somewhat like those of Richard Wilson, but more red and sunny. Gascar or Gascard (Henri). — b. Paris, 1635; d. Rome, 1701 ; s. ; p. portraits. He was much patronised by the Duchess of Portsmouth, which led to his being employed by the courtiers of Charles II. Although he remained in this country PAINTERS AND THEIR WORKS. 423 only a few years, lie had, it is said, amassed £10,000 when he left it in 1680. He was admitted into the Academy, at Paris, in the same year, and was very successful as a portrait-painter in Italy, in which country he resided towards the end of his life. His portraits are in a very tawdry style. One of the best of those he painted here was a half-length of Philip Earl of Pembroke, who married a sister of the Duchess of Portsmouth. Gaspers or Jaspers (Jan Baptist). — b. Antwerp, ; d. London, 1691 ; s. Thomas Willeborts Bossaert ; p. history and portraits. This painter came to England and was employed by General Lambert during the Civil War. After the Restoration he worked as assistant to Sir Peter Lely and Sir Godfrey Kneller, and the portraits of Charles 11. at Painter Stainers' Hall and at S. Bartholomew's Hospital, and that of Hobbes at the Royal Society, were painted by Gaspers. His designs for tapestry were also much admired, as he was a skilful draughtsman and had good taste. Gastineau (Henry G.).— b. 1790 ; d. Camberwell, 17th January, 1876 ; s. Royal Academy ; p. landscapes. After studying in the schools at the Royal Academy he worked at engraving, and next painted in oil ; but in 1818 became an Associate, and in 1824 a full member of the Water-colour Society. He was much occupied in teaching, and was intimate with Turner, David Cox, Copley Fielding, and the other great painters in water-colours. Gastineau's best works are wild, romantic scenes in which there are rocks and waterfalls. He exhibited between 1812 and 1841 twenty-nine landscapes, twenty-six at the Royal Academy and three at the British Institution. Among his works may be cited : Penrhyn Castle and Netley Abbey — South Kensington. The Pass of Klamme, Styria — Paris Exhibition, 1855. Glenarm, Antrim ; Hospice and Pass of S. Gothard — International Exhibition, 1862. The Pass of Killiecrankie — Paris Exhibition, 1867. Water-colours by Gastineau have been sold as under : S. Michael's Mount, Cornwall, Bick- £ s. d. nell'ssale 1863 ... 61 19 Mill near Ambleside, Bicknell's sale... 1863 ... 127 View in Glen Strath glass. Perry's sale 1890 ... 6 16 Gatti (Bernadino), called II Sojaro. — b. Pa via, 1485; d. Parma, 1575 ; s. Correggio ; p. history and sacred subjects. This artist derives his name II Sojaro from the trade of his father. 424 PAINTEES AKD THEIE WOJIKS. who was a potter either at Cremona or at Pa via. His works approach the nearest to those by Correggio of any by his pupils. There are many of his paintings at Parma, Cremona, and Piacenza. At the last place, he finished the works of Pordenone in the Tribune of S. Maria di Campagna, and, in 1560, painted "The Assumption " in the cupola of the Church of the Madonna della Steccata, in which the figure of the Virgin is peculiarly beautiful. Another of his great works is " The Multiplication of the Loaves " in the Refectory of the Church of S. Pietro at Cremona, painted in 1552. In the Museum at Naples are an " Ecce Homo!" and " The Crucifixion," by him. Gaudenzio Ferrari.— b. Valduggia, in Piedmont, 1484 ; d. 1549 ; s. Macrino d'Alba and Scotto ; p. history and sacred subjects. The name of the father of this great Lombard painter was Ferrari, that of his mother Vinci, and he signed himself "Gaudentius Vincius." It^ is probable that he received his first instruction in art from D'Alba at Vercelli, but went young to Milan. When about twenty-four years of age (in 1508) he painted a picture for a church at Vercelli, and in 1511 a ' ' Holy Family with Saints " and the portrait of the donor, a Countess Borromeo, for the Church of S. Maria at Arona. Soon after this he settled at Varallo, where he principally resided. There, in 1513 and the succeeding years, he painted twenty frescoes, representing events in the Life of Christ, in S. Maria dello Grazie. These paintings are well preserved, and some of the smaller pieces are very beautiful. In many of his works the figures are lighted from below. Another of his fine early works is the altar-piece in the Church of S. Gaudenzio at Varallo, at which place he executed other large frescoes in 1524. In 1532-35, assisted by his scholar Lanini, he painted in the transept of the Church of S. Cristofore at Vercelli, and in 1535 decorated the cupola of the church at Saronno. Gaudenzio was six years younger than Luini, but they may have been fellow-pupils of Scotto ; and in the opinion of good judges, although the grace in the works of Luini renders them charming, Gaudenzio surpassed him as regards invention and picturesqueness of conciposition. There is no foundation for the tradition that Gaudenzio was in Rome and worked with Raphael at the Farnesina. Easel pictures by Gaudenzio Ferrari are exceedingly rare. There are, however, examples of his work at Milan, in the PAINTERS AND THEIR WORKS. 425 Brera, at Turin, in the Gallery, at Dresden, and in the Louvre. There are a few also in private hands, one of the principal being "The Virgin and Child, with Cardinal Javerna in Adoration," which belonged to Mr. Holford, Those which have been sold by- auction were mostly small or doubtful. They were disposed of as follow : Holy Family, Prince Trivulzio's sale Holy Family, Coates's sale ... The Visitation of the Virgin to S. Elizabeth, with SS. Joseph, Zach- arias, and Sebastian, from S. Jacobo, at Genoa, 81in. by 65in., Solly's sale... A Poet Singing, with Guitar, of Apollo and Daphne, Lumley's sale ... S. Peter Walking on the Water, Moret's sale The Annunciation, Northwick's sale Virgin and Child Enthroned, with S. Augustine and the Donor, North wick' s sale . . . Virgin and Child, with S. John, Tobit and Angel in the background, Northwick's sale ... Virgin and Cliild, with SS. John, George, and Margaret, North- wick's sale ... Visitation of the Virgin, Saints, W. Ellis's sale ... It is said that this last picture cost Mr. Ellis £600, but it had become doubtful since he bought it. Gaiili or GauUi (Giovanni Battista), called II Baciccio. — B. Genoa, 1639 ; d. 1709 ; s. Borzone ; p. history and portraits. Gauli was one of the last of the great Italian painters in fresco. He went young to Rome, and received advice from Bernini while studying there the works of older masters. By these means he rose into great repute, and formed a grand style of his own, which exhibits much variety, and is either serious or light and graceful, as the subjects require. Of the first class are the works in the vault of the Church of Gesiu at Rome, in which he represented " S. Francis Xavier Taken up into Heaven," and "The Triumph of the Order of S. Francis." Of £ s. d. 1764 .. . 60 1777 60 1847 .. . 399 1853 .. 95 11 1857 .. 20 1859 .. . 21 1859 .. 13 13 1859 .. . 24 3 1859 .. 5 5 1876 . .. 75 12 426 PAINTERS AND THEIR WORKS. the second are subjects into which he introduced children, and his portraits. Asa painter of the latter he was one of the best of his time, and much employed, for he painted the portraits of no less than seven successive popes and those of many distinguished persons then living. It is said, however, that he was a man of most violent temper, and that he struck his son a blow on the face in the presence of a number of friends, which affected the mind of the son so much that he threw himself in the Tiber and was drowned. Gault de Saint Germain (Pierre Marie).— b. Paris, 19th February, 1754; d. Paris, 11th April, 1842; s. Dumareau ; p. history and portraits. Although more generally known as the author of many valuable books on art, Gault de Saint Germain possessed considerable talent as a painter, and among other works his " S. Jerome," in the Hotel Dieu at Paris, has been praised ; we have also his full-length portrait of Marshal Richelieu, engraved by Vangelisti, and " Une Danse de Bacchante." which was in the Sommerard Collection. Gavarni (the real name of this designer and painter in water-colours, who made the signature ' ' Gavarni " so generally known, was Guillaume Sulpice). — b. Paris, 1804; d. Auteuil, November, 1866 ; self-taught ; p. sketches, some in water-colours. Although he had amused himself from a very early age by sketch- ing, Gavarni was twenty-one before he made the acquaintance of a M. Blaisot, who gave him a commission for an album of sketches. In 1824 he did some work for an engraver named Adam, of Bordeaux, and then went on foot to Tarbes : there he was employed by Mr. Lelon, who took him into his house and gave him every encouragement and opportunity for sketching the peasants and the costumes worn in that part of France. Gavarni published in 1825 some lithographs of grotesque figures, and returned to Paris in May, 1828. There he studied incessantly the different scenes of life in the capital, and was advised to offer some of his sketches in water-colours to Susse, a picture- dealer. The latter agreed to buy them if the artist would sign them ; and, it is said, acting on the inspiration of the moment, Sulpice took up a pen and wrote on them "Gavarni," a name under which his sketches were to become so celebrated. From that moment, with the exception of his establishing the Journal des gens du Monde ^ which was a bad commercial speculation, and led to his being imprisoned for debt at Clichy, Gavarni's career was PAINTERS AND THEIR WORKS. 427 one long success. In 1847 he came to Ejngland and did much work in water-colours. After his return to France his life was embittered by the death of his favourite son Jean, and after moving from one place to another in the neighbourhood of Paris he finally settled at Auteuil, where he died. Geddes (Andrew).— b. Edinburgh, about 1789; d. London, 5th May, 1844 ; s. Royal Academy ; P. history and portraits. He was the s.on of David Geddes, an auditor of Excise, and showed at an early age an inclination for art. In 1807 he came to London and studied at the Royal Academy at the time when Hay don, Jackson, and Wilkie were also students there. On his return to Edinburgh he commenced to practice as a professional artist. He came to reside in London in 1814, and afterwards usually passed some months there each year ; and he painted the portraits of Wilkie, of Mackenzie, the author of ' ' The Man of Feeling," and of many other remarkable men. Geddes had ex- hibited from 1808, and continued to do so until 1843. In all he showed one hundred works at the Royal Academy and twenty- eight at the British Institution ; thej^ were mostly portraits. In 1815 Geddes visited Paris, and in 1821 he exhibited at the Royal Academy his picture ' ' The Discovery of the Scottish Regalia," into which he introduced the portrait of Sir Walter Scott and those of many other distinguished Scotchmen. In 1828 Geddes spent some time in Rome, and painted there the portraits of Gibson the sculptor, and Cardinal Weld. He returned to England in 1831, and was elected in the following year an Associate of the Royal Academy. About that time he painted an altar-piece for the Church of S. James, Garlick Hill, the sub- ject being "Christ and the Woman of Samaria." He visited Holland in 1839, and died of consumption in 1844. Andrew Geddes' best works are small full-length portraits, some of which were engraved, and he himself also etched several in the manner of Rembrandt, for he worked skilfully in that branch of art. Besides those we have mentioned, among his pictures may be cited : His own Portrait ; The Portrait of his Mother — Edin1)urgh Gallery. Dull Reading, with Portraits of Terry and his Wife — National Gallery, London. A Man Smoking — South Kensington, London. 428 PAINTERS AND THEIR WORKS. Geddes (Margaret Sarah).— >Sl'3 Carpenter. Geest (Wybrand de), called "the old," and also De Friesclie Adelaar (the Frisian Eagle). — B. probably in Friesland, about 1591 ; D. Antwerp, about 1643 ; s. ; P. history and por- traits. This painter settled at Antwerp, as his children and grandchildren (all painters) were born there. He married, on 19th August, 1622, at Leeuwarden, Hendrickien Ulenburgh, who, it is believed, was a relation oi Rembrandt's iirst wife. There are in the Museum at Amsterdam some fine portraits of Counts of Nassau, who were stadhoulders of Friesland, by this painter. Geest went to Italy, and lived at Rome for a consider- able time. Two pictures attributed to this artist were sold as follow : A Dutch Family, signed Wybrandus £ s. d. de Leruerdlo (Leeuwarden), facie- bat 1621, Pommersfelden's sale 1867 ... 265 Portrait of a Gentleman, dated 1659 (probably by his grandson, who also bore the name of Wybrand), West's sale ... 1882 ... 105 Gelder (Arent or Aart van).— b. Dordrecht, 1645 ; d. Dor- drecht, 1727 ; s. S. van Hoogstraten and Rembrandt ; p. history and portraits. After studying under Hoogstraten, this painter entered, in 1665, the school of Rembrandt, wdth whom he worked for two years. He had, like that master, formed a large collec- tion of old dresses, armour, etc., which he used in dressing the figures in his historical works. They are much in the manner of Rembrandt's, but not equal to his ]3ortraits, some of which are but little inferior to those by that master. One of the most celebrated is that of Peter the Great of Russia, which is in the museum at Amsterdam ; another is that of Cornelius Troost, which is at The Hague. Pictures by Aart van Gelder have been sold as follow : David and Abigail, Linden van £ s. d. Slingeland's sale ... . 20 Portrait of a Lad, Linden van Slinge- land's sale ... . ■ 25 Christ and the Doctors in the Temple, Van de Vos's sale... 10 An Artist's Painting-room, Le Brun's sale ... 1778 .. 10 Esther and Ahasuerus, Lambert's sale 1812 .. . 16 16 Two Portraits, Van den Schriek's sale 1861 .. . 20 PAINTEES AND THEIR WOEKS. 429 There were two other Dutch artists of this name, of whose lives nothing is known — N. van Gekler, by whom there is a picture of ' ' Boors Playing Cards " in the Fitzwilliam Museum at Cambridge, and Pieter van Gekler, who, it is believed, was a ^Dupil of Eem- brandt, and living in 1655. Geldorps (The).— There were three painters of this name : Geldorp (George).— b. probably Antwerp, about 1585 ; D. London, about 1658 ; s. ; p. portraits. The name of this painter is inscribed in the archives of Antwerp as a master-painter in 1610, and is mentioned in them until 1622-23. He must have come to England before 1629, as he was here when Rubens arrived in this country. Rubens and Van Dyck lodged with Geldorp when they first came to London, and Sir Peter Lely worked for Geldorp on his arrival in England. Geldorp was not himself a good painter, but he knew how to avail himself of the talents of other artists, and was "Keeper of the King's Pictures" in the time of Charles I. Geldorp (Gualdorp Gortzius, called).— b. Lou vain, about 1553 ; D. Cologne, about 1611 ; s. Franck and Pourbus ; p. portraits. He was one of the most celebrated portrait-painters of his time, especially in Germany. His works are numerous, and include such subject-pictures as " Lucretia Killing Herself," which is signed, now at S;. Petersburg. At Hartmann's sale, in 1873, two portraits by him sold for £70, and at Neven's sale, 1879, that of a little girl for £45. Geldorp (Melchior).— b. ; d. ; s. ; p. por- traits. It is believed that he was the son of Gualdorp Gortzius. He worked at Cologne and Antwerp about 1620. Gellee.See Claude Lorraiu. Geudall (John).— b. probably Exeter, about 1790 ; d. Exeter, 1st March, 1865 ; s. ; p. buildings and landscapes. This artist is first mentioned in 1820, and was employed with A. Pugin, in 1821, in the production of the books, "Picturesque Views of the Seine," and " Views of Country Seats," between 1823 and 1828. He exhibited, between 1818 and 1863, twenty-five landscapes at the Royal Academy, and one at the British Institution, which were mostly views, in oil and water-colours, of ruins in Devon- shire. After Gendall's death many of his works were sold by his executors. 430 PAINTERS AND THEIR WORKS. Genga (Girolamo).— b. Urbino, 1476 ; d. Urbino, 1551 ; s. Luca Signorelli ; p. history. Tliis artist was architect, modeller, sculptor, and painter, and after assisting Signorelli at Orvieto, he went to Urbino and worked in the school of Pietro Perugino at the time when Raphael was a pupil of that master, and they be- came intimate friends. After having visited Florence and Siena, Genga returned to Urbino to work for Duke Guido Calvo II., who employed him principally as architect and designer of theatrical decorations. He was sent to Rome, where he painted ' ' The Resurrection " for the Church of Cattarina di Siena. Genga was once more at Urbino in 1512, working for the Duke Francesco Maria, whom he accompanied to Mantua and Cesena. There he painted ' ' God the Father, with the Virgin and Four Fathers of the Church," now in the Brera at Milan, which picture, though somewhat extravagant, is a fine specimen of a style that is vigorous, correct in drawing, and good in colour. There is also a ' ' Holy Family " by this artist in the Pitti Palace at Florence. His son, Bartolommeo, who was born at Cesena in 1518, and died at Malta in 1558, was rather an architect than a painter. Geunari (The). — There were at least seven painters of this name at Cento in the sixteenth and seventeenth centuries, whose works are very similar. The more talented were : Gennari (Benedetto), the elder. — b. Cento, 1570 ; d. Cento, 1610 ; s. ; P. history. Guercino is said to have obtained from this painter his chief instruction, and some of the best qualities to be found in his works. The pictures known to be by this oldest of the Gennari are remarkable for their composition, which is simple and grand, and the heads are of a fine character. The colouring and management of light and shade are also excellent. His ''David" is at Florence, and there is a ''Virgin Suckling the Child," by him at Paris. Gennari (Benedetto), the younger. — b. Bologna, 1633 ; I). Bologna, 1715; s. Guercino ; p. history. He was the son of Ercole, the son of the elder Benedetto, and consequently grandson of the latter. Guercino married the sister of Ercole, and became thus the uncle of the younger Benedetto, who studied painting under Guercino, and became tlie ablest imitator of his style. This artist was at Paris from 1672 to 1675. He then went to England, where he was employed by Charles 11. and James II. At Hampton Court there are pictures by him, which he painted PAINTERS AND THEIR WORKS. 431 in this country. Subsequently he went again to France, where he worked for Louis XIV. and the Duke of Orleans. After his return to Bologna he executed many works for churches. The younger Benedetto was, of all the Gennari, the one whose works may be most easily mistaken for those of Guercino, a proof of which is that an allegorical representation of ''Painting," which is now at Dresden, was sold as being by Guercino, at Paris, in 1742, for £50. In England pictures attributed to him have been disposed of as follow : £ s. d. King David, Guy Head's sale ... 1802 ... 30 9 Sophonisba, Thistlewaite's sale ... 1803 ... 15 4 6 The Magdalen, Box elKs' sale 1803 ... 10 10 A similar subject. Box ellis' sale ... 1803 ... 6 6 Angelica and "Medora, Box ellis' sale... 1836 ... 20 Genoels (Abraham), the elder. — b. probably Antwerp ; D. Antwerp ; s. G. Franck ; P. portraits. Very little is known respecting this painter, except that he was a pupil of Gabriel Franck at Antwerp in 1628-29, and that he was admitted as a master into the Guild of S. Luke in 1636-37. It is not even certain that he was related to Abraham the younger. Genoels (Abraham), the younger. — b. Antwerp, 1640 ; D. Antwerp, 1723 ; s. Backereel and Fierlants ; P. landscapes and portraits. He went young to Paris, where his talents soon caused him to be patronised by the Marquis de Louvois, and, becoming acquainted with Le Brun, the latter employed him to paint the backgrounds of his pictures of the Battles of Alexander. He was received as a member by the Academie Fran^aise des Beaux- Arts in 1665, and on his return to Antwerp as a Master of S. Luke, in 1672. In 1674 he visited Rome, where he remained some years, and received from his brother-artists the nickname of "Archimedes." He returned to Antwerp in 1682, and resided there until his death. Genoels was much honoured by his fellow- citizens, and his bust by Michael van der Voost is still to be seen at Antwerp. When in Paris he gave lessons in perspective to his fellow-countrjTnan Francisque Mile, or Mille, who ultimately became the better painter of the two. The portraits by Genoels are not remarkable ; but the effects of light and the colouring render some of his landscapes very pleasing. Four small ones, called "The Four Seasons," were sold at Hoet's sale, in 1760, for £10. 432 PAINTERS AND THEIR WORKS. Geneva (Lucchetto da.).— See Cangiagio (Luca). Genovese (II 'Prete),—See Galantini and Strozzi. Gentile da Fabriano. — b. Fabriano, probably between 1360 and 1370 ; d. about 1440 ; s. Allegreto Nuzi ; p. history and portraits. The name of this painter was Gentile di Niccolo di Giovanni Massi. His works were contemporary with those of Era Angelico, Pisanello, and Masaccio, the great Italian painters of the fifteenth century. Little is known of his life, excepting the dates at which he was working in the different cities — Perugia, Brescia, about 1419 ; Venice, where he painted in the Doge's Palace ; Florence, where he was admitted into the Guild of Barber Surgeons, in 1422 ; Siena, Orvieto, in 1425 ; and Rome, in 1427. The subjects from the life of the Baptist, which he executed with Pisanello at S, John Lateran, Rome, have disappeared, but Roger van der Weyden, who saw them in 1450, is said to have expressed an opinion that Gentile was the best painter in Italy. Modern critics, however, have been inclined to differ from Van der Weyden, and, when speaking of Gentile's "Adoration of the Kings " in the Accademia at Florence, assert that it is too much crowded with figures, that the colouring is weak, and that, like all his works, it is made striking by the profuse use of gold. As regards the first objection, it may, however, be remarked that the figures add to the richness of the composition, and that the in- introduction of so many minor details gives reality to tlie scene. Pictures of any importance by Gentile da Fabriano very seldom appear at auctions. The following have nevertheless been sold : Adoration of the Kmgs, Lord North- wick's sale ... Nativity, Lord Northwick's sale Portrait of Himself, red dress, dated and signed, S.Woodburn'y sale ... Portrait of a Man, half-length, green dress. Prince Napoleon's sale . . . Madonna and Child, with pome- granate, Barker's sale ...... Gentileschi.— /See Lomi. Geraats.— >S'6e Garrard (Marc). Geraerds.— >S'(^c Zyll. Gerard (Le Baron Francois Pascal Simon).— b. Rome, 1770 ; D. Paris, 11th January, 1837 ; s. Pajou, the sculptor, Brenet, and David ; p. history and portraits. This celebrated £ s. d. 1858 .. . 28 7 1859 .. 23 2 1860 .. . 68 5 1872 .. . 53 11 1874 ., ,. 399 PAINTERS AND THEIR WORKS. 433 French artist was the son of Francois Gerard, who was in the employ of the French Ambassador at Rome. His mother was an Italian. He came to Paris about 1782, and after working under David, from 1786, in 1789 he tried for the "Grand Prix de Rome," but was only second on the list. While fellow-students under David, he and Girodet were intimate friends ; but later in life the rivalry that arose between them entirely estranged them. Gerard's father died in 1789, and he accompanied his mother to Rome. He, however, soon returned to Paris (where his mother died in 1792), and by avoiding the political excitement then reigning in France, was able to devote his time to improving himself in art. Gerard's picture of ' ' Belisarius " was exhibited in 1795 ; but it was not until about 1799 that his position in life improved, and then it was owing in a great measure to many distinguished persons wishing to have their portraits painted by him. In the last-named year he painted that of General Moreau, and there is a letter existing in which Moreau tells Gerard that ' ' Madame Buonaparte (Josephine) desire le voir (his portrait) et je crois que je I'accompagnerai demain chez M. Gerard." In 1802 Chaptal writes to Gerard that Napoleon wished Gerard's pictures should be exhibited in the " Salon," which he ''will visit the day after to-morrow." The list of those whose portraits were painted by Gerard is a long one, and many of those who sat to him became his lifelong friends, among others Talleyrand, who as late as 1830 wrote to him from London, urging him to visit England. Throughout his life Gerard appears also to have carefully avoided being mixed up with any political party, and he was not less in favour with Louis XVIIL and those who succeeded him than he had been with Napoleon. Nor were Gerard's friends and admirers exclusively his own countrymen, for in his " Corre- spondence," which was published by his nephew, Henri Gerard, in 1867, there is a long series of letters from Humboldt, dating from 1807 to 1853, in which he expresses the esteem he felt for Gerard, and his admiration of the artist's works. Many other names of persons which have become historical might be added to those mentioned above, if necessary, to show the brilliant position Gerard occupied among his contemporaries, but only the principal events in his life can be given here. He was one of the original members of the Legion of Honour, and Louis XVIIL made him a baron, with the title of "First Painter to the King. " He was also elected unanimously a member of the 2 E 434 PAINTERS AND THEIR WORKS. Institute." Moreover, his house was for thirty-five years the rendezvous of the most distinguished among his countrymen and of foreigners who visited Paris. Among Gerard's pictures may be cited : The Plague of Marseilles — Marseilles. The Three Ages — Naples. Cupid and Psyche — Paris. The Coronation of Charles X. ; Philip Duke of Anjou De- clared King of Spain ; Daphnis and Chloe ; an allegory of Genius, Courage, Thought, and VigUance ; The Entry of Henry IV. into Paris ; The Battle of Austerlitz — Versailles. Of his iDortraits, perhaps the most interesting are those of Napoleon, at Dresden, and two of Josephine, as Mme. Buonaparte and as Empress, with those of Marie Louise and the King of Rome, all at Versailles. Of those of artists, there are his own, at Arras, and those of Isabey and his daughter, dated 1796, with that of Canova, all in the Louvre. Pictures by Gerard have been sold as follow : Belisaire, small, repetition of the large picture, Jauffret's sale ... Portrait of Mile. Georges, the actress, Denon's sale Buonaparte, Gerard's sale Charles X. , Gerard's sale Portrait of Mile. Georges, unfinished, Pourtales' sale Belisaire, a reduction made for the engraver Desnoyers, Delessert's sale Gerard (Marc).— ^ee Garrard (Marc). Gerard van Leyden.— ^See Zyll. Gerbier (Balthasar, Baron d'Ouvilly). — b. Middleburg, 1592 ; D. Hampstead Marshall, 1667 ; s. ; P. miniatures. Possessed of great talent as an artist, Gerbier was equally able, perhaps even more so, as a political agent. He came to England about 1615. It was in 1615 that James I. saw George Villiers for the first time at Cambridge ; in 1616 the latter was created Earl of Buckingham, and Gerbier must then have been in his service, as in a note-book in which Gerbier made copies of letters and docu- ments that interested him particularly, there is one of a letter dated that year, which is signed with the initials " G. B." Although s. d. 1811 .. . 80 1826 .. . 81 1837 .. . 80 1837 .. . 20 1865 .. . 90 1869 .. . 185 PAINTERS AND THEIR WORKS. 435 Gerbier was ' ' Master of the Horse " to Buckingham, in addition to his talents as a painter, of which there is ample proof in his miniature of Buckingham on horseback, Gerbier was sufficiently master of Latin, French, Flemish, and English, to act as secre- tary to Buckingham, and there can be no doubt that he did act in that capacity shortly after he entered the service of the earl, who was only created duke in 1623. In addition to his other accomplishments, Gerbier's handwriting was peculiarly line, and he modernised it as he grew older. The fortune of the painter improved with that of his master, and in 1623, when Prince Charles and Buckingham started on their wild visit to Spain, Gerbier accompanied them, and jDainted a miniature of the Infanta, which he would certainly not have been permitted to do if he had not been a skilful artist ; for it must not be forgotten that Velasquez was then in high favour with Philip IV. , who appointed him his Painter in Ordinarj^- in that very year. In the note-book to which we have alluded there are four ' ' letters of credit," or we should say "credentials," dated March, 1624, recommending Gerbier to the King and Queen of Bohemia, to the Prince of Orange, and to Sir Dudley Carle ton, the English Minister to the States of Holland. It is probable that Gerbier became acquainted with Rubens in Holland, and that there the negotiations, which were carried on from time to time between the two painters acting as political agents, commenced. The letters of credit, which are signed " G. B.," express in the strongest terms the confidence Buckingham had in Gerbier ; although in one of them the word "ambassador" is struck out and "agent" substituted. It appears he travelled under the name of Le Sieur de Saint Leger. When, in 1625, the Duke of Buckingham went to Paris to conduct Henriette Marie to England, Gerbier was one of his suite, and introduced Rubens to the Duke, ostensibly to paint his portrait, but in reality to '^ommence negotiations to maintain peace between England and Spain, after which Rubens returned to Brussels, and Gerbier to England. In July, 1627, Gerbier was in Holland, and met Rubens by appointment at Delft. The negotiations failed to prevent war between Spain and England, but that does not seem to have led to any alteration in the friendly intimacy between the two ]):iinters ; and it was after his return to England that Charles I. knighted Gerbier and that he was made Master of the Ceremonies. He also became''' Baron d'Ouvilly, but it is not clear whv he 2 E 2 436 PAINTERS AND THEIR WORKS. adopted that title. He always professed to be a Fleming rather than a Frenchman. It had been said, also, that Gerbier fell into disgrace with the Duke of Buckingham, but as the latter was assassinated on 23rd August, 1628', his displeasure, if it existed, cannot have seriously affected the fortunes of Gerbier ; in addition to which, among Gerbier's notes is the copy of the Latin letter of thanks from the University of Cambridge to the Duchess of Buckingham for some Arabic manuscripts which she had sent to the university after her husband's death, and a translation of the letter into English, made apparently by Gerbier. When Rubens came to England, he arrived in London on the 25th May, 1629, and left about the 22nd February, 1630. It is said that he lodged at first with George Geldorp, but Gerbier was paid, by order of Charles I., £128 2s. lid. for "The charges and entertaynment of Sig^. Piere Paulo Rubens, with Mr. Brandt, the sayd Sig^. Rubens' brother-in-law, and their men, from the 7th December last to 22nd February, 1629-30." Gerbier was the chief agent employed by Buckingham to purchase works of art from Rubens and others, but, unlike that of the latter, his career as an artist ceases for a time to be interesting after the death of the Duke. His whole time seems to have been occupied in diplomacy up to 1641, after which little is known of his life until 1648, when he obtained from Louis XIV. the privilege of establishing Monts-de-piete " in Paris and the principal towns in France. The project did not succeed, and he came to England, where he gave lessons in the arts and sciences and wrote pamphlets. He next went to Holland, and from there started with his wife and eight children to found a colony at Surinam. After one of his children had been killed the rest of them were all sent back to Amsterdam. On the restoration of Charles II., Gerbier returned to England, and devoted his time principally to architecture and publishing books relating to that branch of art. He was. in fact, employed in building at Hampstead Marshall for Lord Craven when he died. There is at Windsor a fine group of portraits of Gerbier and his family by Van Dyck. Gericault (Jean Louis Andre Theodore).— b. Rouen, 26th September. 1791 ; d. Paris, 18th January, 1824 ; s. Carle Vernet and Gu^rin ; P. history and animals. Gericault was the son of a lawyer and was educated at the Lycee, in Paris. Besides the instruction he received from masters, he carefully studied the works of the older painters in the Louvre, especially those of PAINTERS AND THEIR WORKS. 437 Rubens. Although his family were opposed to his becoming a professional artist, he in 1812 established himself in a studio of his own, and one of the earliest results of this was the ' ' Chasseur de la Garde," now in the Louvre. After the Restoration, G^ricault served for a short time in the Mousquetaires de Bour- bon, but he soon returned to his painting-room, and in 1816 visited Italy, where he again employed his time in making copies from the great masters. He returned to Paris, and in 1819 exhibited at the Salon his great picture, " Le Radeau de la Meduse." It produced a great sensation, and at once divided the artists of France into two rival factions — the ' ' Classiques " and the * ' Romantiques. " Gericault, in company w^ith his friend Charlet, shortly afterwards came to England, and by the exhibi- tion of the picture in London he made £800. About this time he deyoted his attention to the then new art of lithography, and produced many representations of scenes in England, among others one named " The Coal- waggon." Gericault had led a life full of excitement and somewhat dissipated, and by the time he was thirty- four had so far ruined a constitution naturally very- strong that a fall from his horse caused his death. He dis- tinguished himself also as a sculptor. The works of Gericault produced in France a great effect upon art. The following is a list of those that are in public galleries : A Negro — Musee Chalons-sur-Saone. Two Horses in a Stable — Musee Grenoble. Portrait of Lord Byron ; Two Horses in a Stable ; Sketches — Musee Montpellier. An Officer of the Chasseurs de la Garde, the study for the picture in the Louvre — Musee Nantes. The Derby at Epsom, 1821 ; Wounded Cuirassiers Quitting the Field, 1814 ; Head of a Bulldog ; Turkish Horse in a Stable ; Spanish Horse in a Stable ; A Carabineer ; Stable, with Five Horses ; The Limekiln ; An Officer of the Chasseurs de la Garde, 1812 ; Le Radeau de la Meduse, 1819 — Louvre, Paris. Study of a Horse ; Study of Heads of Goats — Musee Rouen. Pictures by Gericault have been sold at the following prices : A White Horse in a Stable, Le Prince's £ s. d. sale... ' 1827 ... 15 The Vidette, BaroUhet'H sale 1855 ... 40 Charge of Cuirassiers, Richards' sale 1857 ... 225 Races in Rome, Marmontel's sale ... 1868 ... 525 438 PAINTERS AND THEIR WORKS. A Female on Horseback, Marmonters s. d. sale ... 1868 .. . 165 Napoleon and Bertliier, Marmontel's sale ... 1868 .. . 40 A Brewhonse, Delessert's sale 1869 .. ,. 400 Red Lancer of the Imperial Guard, Laurent-Richards' sale 1873 . .. 470 The above Female on Horseback, Laurent-Richards' sale ... 1873 . .. 480 Racing in Barbary, Marrille's sale 1876 ., ,. 250 Gertner (Johan Vilhelm).— b. Nyboder, 1818 ; d. Copen- hagen, 30th March, 1871 ; s. Copenhagen Academy ; p. landscapes and portraits. This Danish artist, who travelled a great deal, at one time painted landscapes, among which is " A Shepherd Driving a Flock of Sheep, " now in the gallery at Copenhagen ; but he became famous as a portrait-painter, and among the persons who sat to him were King Frederick VII., Thorvaldsen the sculptor, Eckersberg, and Count von Moltke. Gessi (Francesco).— B. Bologna, 1588 ; d. Bologna or Naples, 1649 ; s. D. Calvaert and Guido Reni ; p. history. Gessi was the ablest of the scholars of Guido Reni. He worked upon some of. the pictures by that master, and his " S. Francis," at the Nunziata, has often been assigned to Guido. He went to Rome and Naples with Guido, and, according to some accounts, died in the latter city. One of Gessi's best pictures is " S. Charles Borromeo Inter- ceding for Persons Stricken with the Plague," in the Church of La Compagnia de'Poveri at Bologna. Gheeraerts. — See Garrard (Marc). Gherado dalle "Notti— See Honthorst. Ghirlandajo (Benedetto del).— b. Florence, 1458; d. Flo- rence, 17th July, 1497 ; s. his brother Domenico ; p. history and miniatures. He worked with his brother, and also by himself in France. A picture, believed to be entirely by his hand, of "Christ Going to Calvary," is in the Louvre; it is inferior' to the works of Domenico. Ghirlandajo (Bigordi del).— There were three brothers of this Florentine family, to whom must be added Ridolfo, the son of Domenico. Their father was a silk-broker, whose name was Tomasso di Corradi Bigordi ; and the sons, from working in the shop of a goldsmith, who probably made the garlands then so PAINTERS AND THEIR AVORKS. 439 much worn by Florentine women, acquired the name of "Del Ghirlandajo," or, in the Florentine dialect, "Del Grillandajo." It is not improbable, however, that the father of Tomasso was a goldsmith, and the first who made such garlands of gold and silver, as Tomasso is also called Tomasso del Grillandajo. Many of the great Florentine sculptors and painters began life as goldsmiths. There is at Berlin a picture of " The Resurrection," on which all the three brothers worked. Ghirlandajo (Davide del).— b. Florence, 1451 ; d. Florence, 1525 ; s. his brother Domenico ; p. history. Davide painted with his brother Domenico in the Sistine Chapel at Rome and elsewhere ; but finally abandoned painting to work at mosaic, in which style of art he became a master. Ghirlandajo (Domenico del).— b. Florence, 1449; d. Flo- rence, 11th January, 1494 ; s. Cosimo Rosselli or Alesso Baldo- vinetti ; p. history and portraits. Domenico was not only the best artist of the three brothers, but also one of the most celebrated that Florence produced in the fifteenth century. That city had then risen to the highest point of glory and prosperity that it ever reached, and Domenico appears to have been con- stantly animated by a desire to leave memorials of its great- ness. He lived between the time of Masaccio and that of Michael Angelo, and his works difi"er essentially from theirs. They are chiefly large frescoes representing sacred subjects, into which he introduced the portraits of distinguished Florentines, either as spectators or as actually taking part in the scene represented. In many respects, therefore, the works of Domenico are, from an historical point of view, peculiarly interesting. It is said that he early showed a talent for sketching a likeness, and as a painter in fresco he became one of the greatest as regards tech- nical skill and facility of execution. Although none of his works in Tuscany are now known of a date earlier than 1476-7, he must have acquired a great reputa- tion in Florence before 1475, when he was twenty-six years of age, and was invited to Rome with his brother Davide to paint in the Sistine Chapel and the library of the Vatican. In the former he executed the grand fresco of ' ' The Calling of Peter and Andrew." Davide appears to have been employed in the library. In the following year Domenico painted a "Last Supper " at Papignano, and in 1480 he began the fresco in the Vespucci Chapel in the Ognissanti at Florence, into which he 440 PAINTERS AND THEIR WORKS. is said to have introduced the portrait of Amerigo Vespucci. Another work of about the same date is the " S. Jerome" in the nave of the same church. The frescoes in the Palazzo Vecchio were begun in 1481 and finished in 1485. What are perhaps his finest works — the ' ' History of S. Francis " in the Sassetti Chapel, in the Church of the ' ' Trinita " at Florence — were com- pleted in 1485, and in 1490 he finished the scenes from the lives of the Virgin and S. John the Baptist in S. Maria Novella. The latter contain many portraits of members of the Tornabuoni. Tornaquinci, Medici, Sassetti, and other families, and bear Domenico's family name "Bigordi." Besides these and other works in fresco, Domenico painted many altar-pieces and pictures, all of which are, however, in tempera, for he did not paint in oil. He also worked skilfully in mosaic, which he declared was "painting for eternity." He died of plague, or a fever, in his forty-fifth year, and was buried in S. Maria Novella, in Florence. Pictures by Domenico del Ghirlandajo are to be found in all the great collections in Europe, and in our National Gallery is an interesting ''Portrait of a Girl," which gives a good idea of the style in which lie painted portraits. Domenico had many pupils, among others Michael Angelo Buonarroti. Pictures attributed to Domenico del Ghirlandajo have been sold as under : Adoration of the Magi, landscape £ s. d. background, North wick's sale ... 1859 ... 21 Virgin and Child, with bird, North- wick's sale 1859 ... 99 15 Virgin and Child, S. John, two Angels with lilies, circular, Northwick's sale 1859 ... 43 1 Virgin and Child, with S. John, Northwick's sale 1859 ... 27 6 Landscape, Virgin, S. Joseph, Infant, Angels and Shepherds, North- wick's sale 1859 ... 40 19 Virgin and Child Enthroned, Angels, SS. John and Bonaventure, SS. Francis and Catharine, Barker's sale ... 1874 ... 367 10 Virgin Kneeling over Infant Christ, Dudley's sale 1876 ... 89 5 PAINTERS AND THEIR WORKS. 441 s. d. 1876 . .. 72 9 1886 . .. 230 1886 .. ,. 535 10 1886 . .. 777 1886 . .. 215 5 1886 . .. 142 16 1886 . .. 293 1894 . 357 1894 . .. 1225 Life of S. John, 86in. by 90in., W. Ellis's sale Portrait of a Lady, red hair, Graham's sale ... Portrait of Count Sassetti and Son, 29|in. by 20|in., Graham's sale... Virgin and Child, S. John and Angels, 38in. by 44in., Graham's sale ... Virgin and Child, with Saints and Bishops, 48in. square, Graham's sale ... Scenes from Life of S. John the Bap- tist, Graham's sale Portrait of II Greco, Graham's sale Virgin and C liild Eiver Scene, Eastlake's sale ... Ghirlandajo (Ridolfo).— b. Florence, 14th February, 1483 ; D. Florence, 1561 ; s. his father and Granacci ; p. history and portraits. This painter was the son of Domenico del Ghirlandajo by his first wife, Costanza Nucci, and in his time the family name appears to have become Ghirlandajo. After the death of his father, he studied under that artist's favourite pupil, F. Granacci, but he never formed a style of his own, and imitated all the great masters that had preceded him, and even his con- temporaries. Two of Ridolfo's best pictures are in the Uffizi — " S. Zanobio Restoring a Boy to Life," and the burial of the same saint. There is also in our National Gallery his ' ' Pro- cession to Calvary." He excelled in painting portraits, and some of those painted by him have been attributed to Leonardo da Vinci, and to Raphael, of whom he was a great friend, and for whom he is said to have painted the blue drapery in "La Belle Jardiniere." Pictures by Ridolfo Ghirlandajo have been disposed of as £ s. d. The Marriage of the Virgin 1819 ... 33 12 The Holy Family, Mural's sale ... 1823 ... 78 15 Altar-piece, Virgin and Child En- throned with Saints, Blayd's sale 1848 ... 84 Virgin, Child, and Saints, from Solly Collection 1863 ... 52 10 Ghisolfi (Giovanni).— B. Milan, 1628; d. Milan, 1683; s. Salvator Rosa ; p. ruins and architecture. It is necessary to bear this painter (who was in Rome in 1650) in mind, as pictures 442 PAINTERS AND THEIR WORKS.j by him are sometimes attributed to Salvator Rosa. He used strong effects of light and shade, and liis figures are very well painted in the style of those of Salvator Rosa. Pictures by him have been sold by auction as follow : Ruins in the Environs of Rome, Bess- borough's sale Ruins of a Roman Gate, Bessborough's sale ... Two Architectural Ruins, figures, Grosvenor's sale ... Architectural Euins ... Christ Raising the Dead, landscape, ruins The companion ... View of Ancona, ruins, Coxe's sale ... Elislia Making the Bitter Water Sweet, Comyn's sale The Jesuits' Church at Leghorn, Balm e's sale Interior of a Palace, many figures, Standish's sale Ruins, Adoration of the Magi, Gordon's sale Ghoest (Hughe van der).—See Goes. Gianbellini.— /See Bellini (Giovanni). Gibsons (The).— There were five portrait-painters of this name in the seventeenth century. Gibson (Edward) was a son of | the Dwarf, and painted portraits in oil and pastels. He died at the age of thirty-three. Gibson (Richard), known as the Dwarf. — b. probably in Cumberland, 1615 ; d. London, 23rd July, 1690 ; s. F. Cleyne ; p. portraits. This dwarf was only 3ft. lOin. high, and was page to a lady at Mortlake. As he showed a talent for drawing she placed him under Cleyne, and he became skilful in painting in water-colours. He improved himself also by copying portraits by Lely. He married Anne Shepherd, the Queen's dwarf, who was the same height as himself, and Charles I. gave the bride away. Lely painted their portraits, hand-in-hand, and Waller wrote verses to celebrate the wedding. Of their nine children, five lived to maturity, and were of the usual size. Gibson possessed much talent, and, besides painting Cromwell's portrait several times, was sent to Holland to instruct Queen Anne and s. d. 1801 .. . 27 8 1801 ... 2 6 1802 .., 4 1803 4 1803 .. 8 18 6 1803 .. 6 6 1807 .. 6 16 6 1815 ... 11 11 1823 .. 5 10 1827 9 19 6 1848 8 8 PAINTERS AND THEIR WORKS. 443 her sister Mary in drawing. He was made painter in miniature to Frederick Henry of Nassau, in 1680-81, and received a pen- sion of 1000 florins (about £100 of our money) from him. Gibson (Susan Penelope).— b. 1652 ; d. 1700 ; s. her father and Lely ; p. portraits. She was a daughter of the Dwarf, and attained eminence as a painter in miniature, one of her best works being a portrait of Bishop Burnet in his robes as Chan- cellor of the Order of the Garter. Gibson (Thomas).— b. about 1680 ; d. London, 28th April, 1751 ; s. ; P. portraits. He left London and settled at Oxford about 1730, but afterwards returned to London. His portraits are well painted, and it is said that Sir James Thorn- hill had so good an opinion of his power of drawing that when he wanted to introduce into any of his pictures a figure in difficult action he asked Gibson to sketch it in for him. Among the por- traits by him are those of Vertue, the engraver, and Flamstead, the astronomer. Many of them were engraved. Gibson (William).— b. 1654; d. 1702; s. his uncle and Lely ; p. portraits. He was a nephew of Gibson the Dwarf, and was taught by that artist and Lely, of whose works he was a skilful copyist. He bought part of Lely's Collection when it was sold, and he imported some valuable pictures from the Continent. Gigoli.— /Sf^e Cigoli. Gilbert (John Graham).— b. Glasgow, 1794; d. Yorkhill, near Glasgow, 1866 ; s. Royal Academy ; p. portraits and his- tory. The name of this artist was originally Graham. He was the son of a West India merchant, and on his marriage (about 1830) added his wife's name, Gilbert, to his own. He entered the schools of the Eoyal Academy in London in 1818, and in 1821 gained the gold medal for his picture of "The Prodigal Son." Shortly afterwards he travelled in Italy and carefully studied the works of painters of the Venetian school. On his return to England he practised as a portrait-painter in London, but went to Edinburgh in 1827, and was elected a member of the Royal Scottish Academy in 1830. About that time he married and settled at Glasgow, yet contributed to the exhibition at the Royal Academy in London from the time he returned from Italy to 1864. Graham-Gilbert's works are remarkable for good drawing and richness of colouring. Among the fancy subjects, many of which 444 PAINTERS AND THEIR WORKS. are the result of studies he made in Italy, may be named : "The Pear-tree Well, near Glasgow," "Females at a Fountain," " Christ in the Garden," "The Young Mother," and "A Roman Girl." It is chiefly, however, as a portrait-painter that he will be remem- bered, as he painted fine portraits of Sir Walter Scott, of John Gibson, the sculptor, now in the National Gallery, and of Sir John Watson Gordon, which is in the National Gallery of Scot- land. Graham-Gilbert must not be confounded with J. F. Gilbert. Gilbert (Joseph Francis).— b. 1792 ; d. 25th September, 1855. He resided at Chichester, and painted and exhibited at the Royal Academy and the British Institution landscapes and scenes on racecourses, such as "Goodwood Racecourse," "Priam Win- ning the Gold Cup," etc. Several of his works were engraved, and he was a competitor at the Westminster Hall exhibition. Gillee or Gillier.— /S't^e Claude Lorrain. Gillot (Claude).— B. Langres, 1673; d. Paris, 1722; s. his father, Gillot le Vieux ; p. burlesque subjects. On coming to Paris, Claude Gillot studied under J. B. Corneille, and was received into the Acad^mie in 1715. He was the master of Watteau, and it is said that, finding himself surpassed by his pupil, he gave up painting, and devoted all his time to designing and engraving. His works show a lively imagination and great originality in the composition. Many of them are theatrical. A full account of Gillot's works is to be found in the Catalogue of the Collection of Quentin de L 'Granger. At Prousteau's sale in 1769, a " Scene in the Play of 'Bajazet ' " by Gillot, sold for i:2. Gilpins (The).— There were three painters of this name — Sawrey, William, and William Sawrey. Gilpin (Sawrey). — B. Carlisle, 11th November, 1733; d. Brompton, March, 1807 ; s. Samuel Scott ; p. animals and land- scapes. He was the younger brother of William. They are said to have been the sons of a captain in the army, who was descended from Bernard Gilpin, an English divine, known as "The Apostle of the North," At the age of fourteen Sawrey came to London, and afterwards became a pupil of Scott, who painted marine subjects and then lived in Covent Garden. This led to Gilpin's sketching the animals and the groups of men and women assembled in the market, and he left Scott in 1758 and went to Newmarket to devote his time to painting animals. He became known to the Duke of Cumberland, Ranger of Windsor PAINTERS AND THEIR WORKS. 445 Park, who provided liini with lodgings and every facility for im- provement. He was shortly afterwards President of the Incorpor- ated Society of Artists, and exhibited at their rooms, in 1763-4, some portraits of horses. From 1786 to 1807 he exhibited at the Royal Academy, of which he was elected an Associate in 1795 and a full member in 1797. He frequently painted in con- junction with George Barrett, and Zoifany occasionally painted figures in his pictures. Gilpin's ' ' Death of a Fox " was engraved by John Scott, and he was himself a skilful etcher. After residing for many years at Knightsbridge, upon the death of his wife he found a home with his friend Mr. Samuel Whitbread, at his seat in Bedfordshire, and when his health failed returned to live with his daughters at Brompton, where he died. Sawrey Gilpin drew with great spirit, and painted both in oil and in water-colours ; but his works are not so well coloured or so solidly painted as those of his contemporary Stubbs. In 1803 a group of sheep, a tinted drawing by him, was sold for £10 10s. , but his works seldom produce more than from £2 lOs. to £5. The fol- Gulliver and the Houyhnhnms The same subject, Dillon's sale Two views, park scenery, cattle, etc. , G. W. Taylor's sale Mare and Foal, in landscape by Barrett Landscape, with two cows, J. AU- nutt's sale ... A Spaniel, 39in. by 50in., Duke of Hamilton's sale Gulliver and the Houyhnhnms, from Lord Albemarle's Collection, W. Angerstein's sale Cows in a landscape ... Gilpin (Rev. William).— b. near Carlisle, 1724 ; d. Boldre, 5th April, 1804 ; s. ; p. landscapes. He was the elder brother of Sawrey Gilpin, entered Queen's College, Oxford, in 1740, and was ordained in 1746. Although more generally known as the author of works on picturesque scenery, the illustrations in many of them were also drawn and etched by himself. He died Vicar of Boldre in 1804, and was buried in the churchyard there. Gilpin (William Sawrey).— b. ; d. about 1815; s. his father ; p. landscapes. He was the son of Sawrey Gilpin, and exhibited at the Royal Academy from 1797 to 1801. On the £ s. d. 1772 ... 26 5 1775 ... 16 5 6 1832 ... 10 10 1836 ... 2 1863 ... 6 15 1882 ... 99 15 1883 ... 99 15 1883 ... 1 8 446 PAINTERS AND THEIR WORKS. foundation of the Water-colour Society, in 1804, he was elected the society's first President, and was useful to it, owing to his connection as a drawing-master. He resigned oflB.ce in 1806, but continued to exhibit there up to 1814. Being drawing-master at the Royal Military College at Great Marlow, he resided there, and moved to Sandhurst when the establishment was transferred to that place. Gioliino or Golfino (Niccold), known also as Niccolo Yero- nensis and Ursino. — b. Verona, about 1465; d. after 1518; s. probably Liberale of Verona ; p. history and portraits. He was the friend of Mantegna, who adorned with frescoes the upper part of his house in Verona, the lower part being painted by Giolfino himself. He was the master of Paolo Farinato. Giolfino's works, which are to be principally found at Verona, contain figures remarkable for the grandeur yet tenderness of the expressions in the faces, and for the rich and powerful colouring. The chief of his works remaining at Verona is in the Church of S. Anastazia, and represents Christ in Glory, with SS. George and Erasmus. In our National Gallery are parts of an altar- piece, containing portraits of the Giusti Family of Verona. Giolfino (Paolo). — He was the brother and pupil of Niccolo. There are in the Verona Gallery a Virgin Enthroned" and " The Resurrection," by him. Giordano (Luca), called Luca fa Presto. — b. Naples, 1632; D. Naples, 1705 ; s. Spagnoletto ; p. history and portraits. Few children have shown at an earlier age than Luca a talent for art. Unfortunately, his father, an inferior painter, urged him on incessantly, when at work, by saying to him: "Luca, work quickly," from which he received among his fellow-artists his nick- name. So remarkable was the facility the boy had acquired when only thirteen, that the Viceroy of Naples placed him under the care of Giuseppe Ribera, known as *'Lo Spagnoletto." Under such an able master he made rapid progress, and went while still young to Rome. His father followed him to that city, and, as he profited by the boy's exertions, urged him on to produce an astonishing number of copies in oil and drawings by still repeating his old injunction. Luca, after visiting Venice, where he studied the works of Titian and Paolo Veronese, went to Florence, and returned to Naples by way of Leghorn. By the time he arrived in his native place he was capable of undertaking important works, and throughout his life he never lacked patronage. At PAINTERS AND THEIR WORKS. 447 the early age of twenty-three he painted for the Church of S. Brigida a picture of "S. Nicholas Borne away by Angels," which at once established his reputation. In 1678 he painted an immense picture to commemorate the peace between France, Spain, and Holland, and in the following year was at Florence, where he painted in the Chapal of S. Andrea Corsini, and was patronised by Cosmo III. Among Giordano's patrons was the Viceroy of Naples, and some of his works having been sent to Spain, he was invited to that country by Charles II., and appointed in 1692 painter to the king. It is impossible to enumerate the fre5Coes he painted in Spain, but among them the best are "The Battle of S. Quentin " and The Taking of Montmorency." After the death of Charles II. he continued in the service of Philip v., and resided about ten years in Spain. In 1702 he accompanied Philip V. to Naples, where he was received with enthusiasm. So great had now become his power of painting rapidly, that it is said he painted for the Jesuits a picture of S. Francis Xavier " in a day and a half. No painter has oftener sacrificed the higher qualities of an artist which many of Giordano's pictures show that he possessed, to the gratification of receiving the applause of his contemporaries. This has caused the works on which he bestowed time and care to be undervalued. Although some have produced such prices as the following, the majority have gone for from £5 to £10 : Mars, Venus, and Vulcan Judgment of Paris Holy Family, Sprimont's sale The Circumcision, Colebrooke's sale... Adoration of the Shepherds, Chelsea sale ... The Vow of Louis XIII. Conti's sale Adoration of the Shepherds, from the Rubenspree Collection, Fleming's sale ... Two, Niobe and Meleager, on copper, Calonne's sale Virgin in the Clouds, Friars beneath, Hamilton's sale ... Virgin Liberating Souls from Purga- tory, Hamilton's sale Lapithse and Centaurs, lOOin. by 152in., Jonge's sale Diana and Acta3on, Lafitto's sale ... £ s. d. 1767 ., .. 200 1767 .. . 200 1771 ., ,. 70 7 1774 .. . 105 1777 157 10 1777 .. 100 1777 . .. 200 1795 . .. 88 4 1801 . .. 51 9 1801 . .. 57 15 1806 . .. 59 17 1832 ., .. 90 448 PAINTERS AND THEIR WORKS. Sisera and Jael, King of Holland's £ s. d. sale 1850 .. 60 Assumption of the Virgin, Louis Philippe's sale 1853 .. 30 Bacchus and Satyrs, Montgomerie's sale ... 1880 .. . 110 5 Adoration of Shepherds, upright, 41in, by 42in. , Marlborough's sale 1886 .. . 64 Nativity, 43in. by 56in. , Marlborough's sale ... 1886 .. . 52 10 Death of Seneca, 81in. by,'102in., Marl- borough's sale 1886 . 64 Giorgione (Giorgio Barbarelli or Barbarella, called). — B. CasteKranco, 1477, or September, 1478 ; d. Venice, 1511 ; s. Giovanni Bellini ; p. history and portraits. Among the Venetian artists, none was more celebrated in his own time than ' * Big George," or " Zorzo da Castelfranco " as the Venetians called him. He was a natural son of Jacopo Barbarella, who belonged to a Venetian family which settled at Castelfranco, in the March of Treviso, early in the fifteenth century. His mother was a peasant girl of Vedelago. He was the fellow-pupil of Titian in the school of Giovanni Bellini, but whereas Titian's life was prolonged to ninety-nine years, Giorgione died of the plague at the age of thirty- four. The number of authentic works by him which have come down to our time is small, and their great value has led to very many pictures by other painters being attributed to him, even in great galleries. The art of painting in oil had become well known in Venice prior to the time of Giorgione, but he availed himself of its advantages in a manner which had not hitherto been employed, as by scumblings, glazings, and other processes he gave it a richness and depth which had been pre- viously unknown. His general colouring was, however, much simpler than that of Titian, for he restricted his use of colours as far as possible to red, yellow, and green. Yet his landscapes are more luminous than those of the painters who had preceded him. Morelli, who has studied more thoroughly the works of Giorgione than any other writer on art, gives the following as a list of pictures which are, in his opinion, undoubtedly by Giorgione : The Choice of Moses, or The Ordeal by Fire ; Judgment of Solomon (both early pictures, painted about 1494) — Ufiizi, Florence. Christ Bearing the Cross (much restored) — Countess Loschi's Collection, Vicenza. PAI^'TERS AND THEIR WORKS. 449 Virgin and Child between SS. Francesco and Liberale (a sketch for S. Liberale is in our National Gallery) — Castelfranco Church. A small picture, known as " Giorgione's Family " — Gio- vanelli's Collection, Venice. The Virgin with SS. Koch and Anthony — Madrid Gallery. A Knight of Malta — Uffizi, Florence. A picture, part of a large box (cassone) painted with the story of Daphne and Apollo, in a landscape — Seniinario, Venice. The Three Stages of Life — Pitti, Florence. The Concert— Louvi'e, Paris. Fragment of a picture — Esterhazy Gallery, Pesth. The Three Philosophers — Vienna Gallery. The Sleeping Venus — Dresden Gallery. Giorgione was buried in the Church of S. Liberale, at Castel- franco. The pictures which have been attributed to Giorgione, and have been sold by public auction, have produced the following prices : — A small landscape, Coypel's sale The Adulteress, 53in. by 89in. (see 1821), Ansell's sale The companion picture, Angelica and Medora, 102in. by 78in., Greenwood's sale ... Portrait of Gaston de Foix, Conti's sale Diana Coming out of the Bath, Conti's sale Venus Chiding Cupid, Benfield's sale Cymon and Iphigenia, Benfield's sale Portrait, Venetian Noble in armour, Gatton Park sale ... Ecce Homo, Bessborough's sale The Resurrection of Christ, Bess- borough's sale Portrait of Gaston de Foix, Bess- borough's sale Portrait of the Fifth Duke of Piom- bino, Hamilton's sale The Holy Family, with Saints, from the Colonna Collection, W. J, Ottley's sale ... Portrait of a Poet, from Sir J oshua Reynolds' Collection, Clarke and Hibbert's sale £ s. d. 1753 . 4 10 1772 . . 29 8 1773 . . 105 1777 . . 20 1777 . . 21 1799 . 5 1799 . ]1 6 1799 . 5 1801 . 13 1 1801 . 71 8 1801 . . 52 10 1801 . . 22 1 6 1801 . . 462 1802 . . 51 9 2 F 450 PAINTERS AND THEIR WORKS. Cupid Stung by a Bee, Complaining to £ s. d. Venus, from Orleans Collection (see 1859), Clarke and Hibbert's sale ... 1802 .., 94 10 The Daughter of Herodias, from Orleans Collection, Nesbitt's sale 1802 ... . 57 15 A Lady Playing on a Guitar, Udney's sale ... 1802 ... , 63 Offering of the Magi ... 1802 ... , 38 17 Virgin and Child with Tobit and Angels, Littlehale's sale... 1804 .., 17 17 Portrait of Gaston de Foix, Smith's sale ... ... 1804 .. 15 Virgin seated in a landscape, the Infant Christ and S. John Em- bracing ; in the background a soldier looking on 1804 ... 50 8 S. Lucia, from the Palazzo Bolognetti 1804 .. . 66 3 A Female at her Toilet, from the Barbarini Palace ... 1805 .. . 588 A Pastoral Subject 1805 .. . 44 Portrait of a Man with a hat and feathers 1805 .. 31 10 Landscape and Portraits of Henry VIIL and Francis 1. Playing Music, Sportsman and Deer, Elwyn's sale 1806 .. . 178 Holy Family in landscape, Elwyn's sale ... 1807 .. . 141 15 Two Portraits, Celotti's sale ... 1807 .. . 25 Adoration of Shepherds, Gordon's sale 1808 .. . 82 19 A Soldier holding Head of John the Baptist, and Herodias's Daughter (bought in), Grignon's sale 1809 .. . 186 18 Herodias with Head of S. John, Herod, and Attendants, Elwyn's sale ... 1810 .. 99 15 Venus Seated and Cupid Stung by a Bee, m landscape, Walsh Porter's sale OOO n u n u Virgin, Child, and Saint 1810 . .. 49 19 Portrait of Vittoria Colonna, Pitt's sale ... 1811 . .. 31 10 Portrait of Aretino (see 1823), Due d'Albery's sale 1817 . .. 141 15 PAINTERS AND THEIR WORKS. 451 A Concert, Portraits of Italian Poets £ s. d. and their Mistresses, whole lengths, 40in. by 32in,, Panne's sale 1819 ... 290 17 Knight in Armour, said to be Gaston de Foix, IS^in. by lOfin., bought by Samuel Rogers, who be- queathed it to the National Gallery, B. West's sale ... The Adulteress, from Giustiniani Palace (see 1772) Portrait of Aretino, engraved by Marc Antonio (see 1817), G. W. Taylor's sale ... Holy Family, in landscape. Wood- burn- s sale ... Virgin Enthroned, from Duke of Mantua's Collection (bought in), Reghellini's sale ... Portrait of Alivano, Reinagle's sale Portrait of Pope Alexander and his Mistress, 27^m. by 2l^m., Rad- stock's sale... The Judgment of Paris, Emmerson's sale A Conversation of Four Figures, Udney's sale The Judgment of Paris, in a landscape, with Mercury Bearing the News to the Gods, Emmerson's sale . . . A Bacchanalian Scene, 66in. by 56in., Sir T. Lawrence's sale ... Portrait of Alfonso di Este, Duke of Ferrara, Westall's sale ... The Wise Men's Offering, from Gre- ville's Collection, Mulgrave's sale ARiposo, with Angels, Cazenove's sale A Young Man's Head, black dress, Waldegrave's sale ... Portrait of Gonsalvo de Ferrand, on horseback, Harman's sale Landscape, Ruth and Boaz (large), Hickmann's sale ... S. Peter, Martyr, and the Assassin, 31in. by 46m., Solly's sale The Sibyl, M-hole - length, 36in. by 28in., Solly's sale 1820 .. . 147 1821 .. . 157 10 1823 .. . 273 1823 . 158 11 1823 294 1824 68 5 1826 . .. 966 1826 ., ,. 139 1829 . .. 136 10 1829 . .. 139 5 1830 . .. 115 10 1830 . 54 12 1832 . .. 68 1833 . .. 252 1842 . .. 110 5 1844 . .. 262 10 1847 . .. 220 10 1847 . .. 126 1847 . .. 142 16 2 F 2 452 PAINTERS AND THEIR WORKS. £ s. d. 1847 . .. 525 1847 . .. 1543 10 1850 . 262 10 1850 . .. 190 1852 . .. 168 1853 . .. 183 15 Virgin Enthroned, and other figures, 9ft. 9in. hy 12ft. 9in., Solly's sale Adoration of the Shepherds, from Fesch Collection, 35in. by 42in., on panel, Tarral's sale ... Youth in a white dress, crimson hat and feathers, in conversation with a Lady (bought in), Ashburn's sale Two Men and a Woman, King of Holland's sale A Young Troubadour, Faccioli's sale Portrait of Doge Leonardo Loredano, yellow dress, Sharp's sale Adoration of the Virgin, seated with Infant, Joseph by her side, Vene- tian general kneeling, a page hold- ing horse, convent m landscape, six figures small life-size (now in National Gallery, and attributed to School of G. Bellini), Wood- burn's sale ... 1853 ... 525 Knight and Lady, in landscape, view of Florence in distance, Rogers's sale ... A Riposo, S. Rogers's sale Woman Taken in Adultery, North- wick's sale ... The same subject, North wick's sale A Music Party, youth and two women, in landscape. North wick's sale ... Warrior and Page, Northwick's sale Virgin, Child, and S. Francis, North- wick's sale... Portrait of Angelus Politianus, North- wick's sale... Portrait of Gaston de Foix, in armour, hat and feathers, from Lucca Gallery, North wick's sale Holy Family, in landscape. North- wick's sale... Cupid Wounded, Complaining to Venus (engraved in Orleans Gallery, see 1802) , Northwick's sale ... Portrait of Lady in turban, with dog, Northwick's sale ... 1856 . .. 92 8 1856 . .. 73 10 1859 . .. 84 1859 . .. 315 1859 . .. 787 10 1859 . 5 15 6 1859 . .. 29 8 1859 . 14 3 6 1859 . 14 3 6 1859 . 11 11 1859 . .. 1312 10 1859 . .. 37 16 PAINTERS AND THEIR WORKS. 453 Virgin and Child, Archangel, Raphael, and Tobias, Northwick's sale Female Head, weathed, Phipps' sale The Repose of Holy Family, from Ottley Collection Venetian Knight, Lady, and Children, Allnutt's sale Portrait of Csesar Borgia, black dress. Roe's sale ... A Venetian Noble and a Lady, from Erizzi Collection, Venice, Grote's sale Landscapa, concert, Henry VIII., Francis I. (bought in), Southesk's sale Madonna and Child, 31in. by 41in., (exhibited R.A. 1873), Chatteris's sale Portrait of the Painter's Mistress, from Manfrini Gallery, Barker's sale ... Landscaps, with portraits of Borso d' Este and Lucrezia Borgia, from Manfrini Gallery, Barker's sale... Noah and his Sons, and Noah's Sacrifice, Gladstone's sale Judgment of Paris, 24in. by 26in., Malmesbury's sale Portrait of Duke of Ferrara and Mistress, from Fesch Collection, Malmesbury's sale A Sibyl, Ellis's sale Portrait of a General, half-armour, 78in. by 47in., Duke of Hamil- ton's sale ... Story of Myrrha, Slin, by 52in., Duke of Hamilton's sale Landscap3, Solomon and Attendants, 24in. by 19in., from Aldobrandini Palace, Bohn's sale Portrait of a Lawyer, Graham's sale Virgin, Child, S. Sebastian, and donors, in landscaps, 40in. by 48in., Graham's sale Holy Family, Leyland's sale... A Venetian Supper, Dudley's sale... The Golden Age, Dudley's sale £ s. d. 1859 . 152 10 1859 . .. 120 15 1860 . .. 105 1863 . .. 488 5 1867 . .. 44 2 1872 . .. 150 3 1873 . .. 89 5 1874 . .. 152 5 1 C7A lo /4: OVV n 1874 . .. 609 1875 . .. 85 1 1876 . 84 1876 . .. 367 10 1876 . .. 141 15 1882 . . 530 5 1882 . .. 1417 10 1883 . .. 115 10 1885 . .. 106 1886 . .. 178 10 1892 . .. 840 1892 . .. 220 1892 . .. 546 454 PAINTERS AND THEIR WORKS. Giottino. — b. ; d. ; s. Giotto ; p. history. The greatest uncertainty exists as to the name of this artist. According to Milanese, it was Giotto di Maestro Stefano; but another authority gives it as Stefano di Lapo, and says that he was born at Florence in 1301, died there in 1350, and was the grandson of Giotto by his mother's side. It is agreed, however, on all hands, that he was a pupil of Giotto. In the chapel of S. Silvestro, in Santa Croce, at Florence, is a series of frescoes repre- senting "The Miracles of S. Sylvester," which are attributed to this artist, as are other works still at Florence. He is generally thought to have been the most successful imitator of Giotto. Among his works the most celebrated is the fresco of " S. Nicholas Restoring a Girl to her Parents," which is engraved in Ottley's "Florentine School." It is full of real feeling and dramatic composition. The only pictures by this artist which have been offered for sale for many years were " The Life of Christ," in eight com- partments, from the Ottley Collection, Bromley's sale, 1863, £64 12s. Giottino (Tomaso di Stefano, called). — b. Florence, 1324; D. Florence, 1356 ; s. his father ; P. history and portraits The real name of this painter was Lapo, for he was the son of Stefano di Lapo, mentioned above. He achieved a great reputation among the Florentines by the large picture in which he repre- sented, in a most grotesque manner, Gauthier de Brienne, Duke of Athens, whom they drove out of Florence in 1343. He improved the manner in which draperies had been previously represented. There are pictures by Tomaso at Florence. Three pictures by this painter were sold as follow at Lord Northwick's sale : Tavo, both representing The Saluta- £ s. d. tion 1859 ... 11 11 The Virgin and Child Enthroned, with Saints 1859 ... 17 Giotto di Bondone, commonly known as Giotto. — b. Colle, in the commune of Vespignano, near Florence, 1266 ; d. Flo- rence, 8th January, 1336 ; s. Cimabue ; p. history and portraits. Bondone, the father of Giotto, was a peasant, living in the little village of Colle, and the circumstances which led to his son's becoming an artist are variously related. One tradition is that as a boy he was employed as a shepherd, and was seen by Cimabue PAINTERS AND THEIR WORKS. 455 amusing himself by drawing goats on the rocks. This v/as the opinion of Leonardo da Vinci, but it must not be forgotten that Da Vinci was born in 1452, more than a hundred years after the death of Giotto, and that it is stated, by an anonymous com- mentator on Dante's " Divina Commedia," who must have lived at the end of the fourteenth century, and consequently much nearer the time of Giotto than Da Vinci, that Giotto was appren- ticed by his father to a person in the wool trade at Florence, and that, having to pass the workshop of Cimabue on his way to his work, Giotto always stopped there, until at last, being missed by his master, he was found busily employed painting in Cimabue's shop, in which, following the advice of that artist, his father allowed him to become a pupil. It is therefore certain that, as far as the technical processes of painting went, it was from Cimabue that Giotto acquired a knowledge of them ; but he must have assiduously continued his studies from nature. These, however inaccurate they may have been in early life, gradually led to his acquiring, not only the power of drawing figures and objects correctly, but also that of giving to the former the appearance of movement or action, and to the features of the faces the expression of the passions which animated the personages he represented. The extraordinary progress he made in all that constituted an advance in the art of painting, places Giotto in the very first rank of Italian artists. For those who came after him, and for whom he had paved the way, it was comparatively easy to make fresh advances upon it. Were it not for an occasional error in fore- shortening or perspective, many of his works might be assigned to a much later date than the fourteenth century. Most of his early works have perished. Among them, according to Vasari, were those undertaken for the Badia at Florence, none of which now exist. Even the ''Annunciation" mentioned by Vasari, and now in "The Belli Arti," is said not to be by Giotto. Giotto worked twice at Assisi, first as an assistant to Cimabue, and later on his own account, when he painted the allegories of ' ' Poverty, Chastity, and Obedience," with ''The Glorification of S. Francis," on the ceiling of the lower church. Giotto was, however, before 1300, called to Rome by Cardinal Stefaneschi, nephew of Boniface VIII. , where he painted the apse in the old Church of .S. Peter, and certainly gave the design for the famous mosaic known as "La Navicella," now in the vestibule of the present church. Of the frescoes some fragments are still preserved. 456 PAINTERS AND THEIR WORKS. j It was probably in 1303 that Giotto commenced the great frescoes that have preserved his fame to the present day. In that year the chapel of the Annunziata dell Arena at Padua, founded by the citizen Enrico Gerovegni, was completed, and Giotto employed to decorate its walls. This he did in thirty-eight sub- | jects from Gospel and legendary history, the west end being filled | by "The Last Judgment." While Giotto was thus resident at Padua, Dante, who was an exile, visited that city in 1306, and it is said that he was hospitably received into Giotto's residence. Giotto's other works at Padua have almost entirely disappeared. After the completion of the Arena Chapel there are many years of Giotto's life about which very little is known. Vasari says that he painted at Milan, Verona, Ravenna, Rimini, and Arezzo ; and even modern French writers assert that he was taken to Avignon by Clement Y., who was elected Pope in 1305, although the best judges are now of opinion that the works in France attributed to Giotto were executed by Simone Memmi. There is better ground for saying that Giotto was invited by King Robert to Naples, in 1329, although the frescoes now there, and attributed to him, are by some other painter. The celebrated portrait of Dante, in the chapel of the Bargello, at Florence, said to have been taken from life by Giotto, is now supposed to have been copied from one in an altar-piece by Giotto, which existed in the chapel when the frescoes on the walls of the chapel, destroyed by fire in 1332, were restored. Giotto was made master of the works of the cathedral, fortifica- tions, and of architecture generally, at Florence in 1334, and designed even to the minutest details the celebrated Campanile, which, however, was completed after his death under the direc- tion of Andrea Pisano and Francesco Talenti. The death of Giotto occurred on the 8th January, 1336, and he was buried in the Cathedral of S. Maria del Fiore. Independent of the testimony of Dante in * ' II Purgatorio, " and the friendship of Petrarch, the manner in which he is spoken of by Boccaccio and Sassetti proves how highly the talents and character of Giotto were valued by his countrymen. Considering the time when he lived, there are still many of Giotto's small paintings in existence, and well-authenticated examples of his work are to be found at Florence, Munich, Berlin, and in our own National Gallery. His portrait, said to be by Paolo Uccello (who, however, was not born until 1397), is in the Louvre. PAINTERS AND THEIR WORKS. 457 The prices paid for pictures by Giotto which have been offered at auctions have been : £ s cl The Entombment of the Virgin ... 1804 ... 199 10 The Virgin seated on a throne, with the Infant on her lap, under a gold canopy, surrounded by nine angels, S. Rogers's sale ... 1856 ... 325 10 The Heads of SS. Peter and John, in adoration before the body of Christ, a fresco from the Carmel- ite Church at Florence, 19iin. square, from Townley and Gre\alle Collections, engraved by Patch, now in National Gallery, S. Rogers's sale ... ... Head of Dante, North wick's sale Virgin and Child, with angels, in fi-ame of the time, Northwick's sale ... S. Ambrose, Northwick's sale Presentation in the Temple (small), Northwick's sale Holy Family, with saints, Northwick's sale ... Virgin and Child, with saints, North- wick's sale Death of the Virgin, eleven Apostles kneeling, and Christ above in aureole, Northwick's sale Christ Bearing His Cross, North- wick's sale ... Virgin and Child, with saints, North- wick's sale ... The Angelic Choir, Northwick's sale Christ Receiving the Soul of the Virgin, with saints and angels, gold ground and impressed halo, from Fesch Collection, Bromley's sale ... The Coronation of the Virgin, Bromley's sale The Burial of the Virgin, eighteen figures (engraved in L'Etruria Pittorica), Farrei-'s sale ... The Last Supper, Dudley's sale 1856 .. . 78 15 1859 .. 14 3 6 1859 .. 9 9 1859 7 7 1859 .. . 74 11 1859 .. . 10 10 1859 .. . 17 1859 .. . 63 1859 .. 14 1859 .. 8 8 1859 .. . 73 10 1863 .. . 950 1863 .. . 204 15 1866 . ,. 178 10 1892 .. . 283 458 PAINTERS AND THEIR WORKS. Giovane (II).— >S'ec Falma (Giacomo), the younger. Giovane (II Volterrano).— /S'ee Franceschiui (Baldassare). Giovanni da Fiesole.— >S'6e Angelico. Giovanni da Udine.— b. Udine, 15th October, 1487 ; d. Rome, 1564 ; s. Giovanni Bellini ; p. history and arabesques. The father of this artist was Francesco del Ricamatore, which appears to have been the family name, as he signed it ' ' Giovanni Recamadore," and not Nanni — under which he is found in many dictionaries, Nanni being simply an abbreviation of Giovanni. It is more probable that he was a scholar of Giovanni Bellini than of Giorgione, and that, going to Rome, he became an assistant to Raphael, who appreciated the peculiar truth with which he represented children, animals, fruit, birds, and all that goes into the composition of the style of ornaments known as arabesques. What may be considered as his own works are some in the first arcade in the first story of the "loggie" of the Vatican, and a frieze in the Villa Madama. In these he profited ably by studying the old arabesques in the Baths of Titus, which were discovered in his time. After Rome was sacked in 1527, Giovanni worked in many parts of Italy, and then returned to his native place. He appears to have resided principally at Udine for the remainder of his life, and to have held the office of architect and superintendent of public buildings in the city, for which he received forty ducats annually. His house, with stucco figures and ornaments, and a ceiling painted by him in the archbishop's palace, are still in existence. He was at Rome in the year of the Jubilee, 1550, but returned to his native province and executed some works at Cividale. In 1560 he went again to Rome with Duke Cosimo de' Medici, and died there in 1564. The picture of ''Christ and the Doctors" ascribed to him, now in the Venice Academy, is more probably by Pietro Vecchia. There are, however, pictures of fruit and flowers by him at Madrid, and occasionally pictures of sacred subjects attributed to him are met with in private collections, but their authenticity is very doubtful. Giovanni della Vite.— .S'ce Miel. Giovanni di Pietro.— /S'ee Spagna (Lo). Giovanni di San Giovanni.— /S'ee Manozzi. Giovanni (Tommaso da SsiTi).—See Masaccio. Girodet-Trioson (Anne Louis Girodet de Roucy, called). — B. Montargis, 5th I'ebruary, 1767 ; d. Paris, 9th December, 1824 ; s. David ; p. history and portraits. This celebrated painter PAINTERS AND THEIR WORKS. 459 was the son of the ''Directeur des domaines du Due d'Orleans," and took the name of Trioson, which was that of a medical man who was his guardian. His father intended that he should adopt the army as a profession, but nothing could lessen his wish to become a painter, and his mother having shown some of his sketches to David, that artist told her that her son was born to be a painter, and he became a pupil of the master then at the height of his reputation. By the year 1787 Girodet had made such progress that he competed for the ' ' Prix de Rome," but lost it owing to some irregularity in his method of work. The year following, however, he obtained the second prize, and in 1789 gained the "Grand Prix" with his picture of "Joseph Recog- nised by His Brethren," now in I'Ecole des Beaux Arts. This picture is altogether in the style of David, but during his stay at Rome Girodet altered his very considerably, and the first-fruit of this change was his "Endymion." His next great work was "Hippocrates Refusing to Receive Gifts from the Persians"; this he painted for M. Trioson, who presented it to I'Ecole de M^decine, at Paris. In 1790 he painted four pictures of the Seasons for the King of Spain, and the portrait of the celebrated actress, Mile. Lange. In connection with this portrait it is related that as she was not satisfied with the likeness he cut it into strips, which he sent to her husband. After his return from Rome, in 1795, he executed the " Danae " which was litho- graphed by Aubry-Lecomte. Among other fine portraits which he painted about the same time were those of the father of Napoleon, Louis Bonaparte, and his own guardian, M. Trioson. Girodet spent, it is said, four years on what is perhaps his greatest work, " Une Scene du Deluge," one of the finest examples of the modern French School. Another is the " Revolte du Caire," which he is said to have painted without any preliminary sketch. He appears by that time to have exhausted his physical strength by excessive labour, and nine years elapsed before he produced his "Pygmalion and Galatea," which excited much hostile criticism. Besides a very large number of designs to illustrate books, Girodet's literary works, which contain some fine lines, were published in 1829 — five years after his death. Although he left an immense number of studies, the easel pictures by Girodet sold since his death have not been very numerous. An Officer of Mamelukes, Girodet's £ s. d. sale 1825 ... 85 460 PAINTERS AND THEIR WORKS. £ s. d. 1826 . .. 45 1836 ., . 36 1839 .. . 560 1841 ., .. 135 1857 .. ,. 125 1865 . .. 110 Small portrait of Napoleon as First Consul, Denon' s sale Portrait of himself, Girodet's sale . . . Pygmalion and Galatea, Sommariva's sale ... Head of the Virgin, Perregaux' sale La Belle Elisabeth (this was sold at the sale of Girodet's effects, in 1826, for £380), PJchard's sale ... Female nude figure, standing, Pour- tales's sale ... Girolamo dai Eibri.— b. Verona, 1474 ; d. Verona, 1556 ; s, his father, Francesco dai Libri ; p. history. The father of Girolamo was one of the most distinguished painters in Verona, not only of miniatures, but of works on a larger scale. The son was fond of introducing festoons of flowers and fruits into his works, which are rich and gay in colour. His backgrounds are often views of Verona. One of his earliest works, painted when he was only sixteen, is " Christ Taken down from the Cross," in the Church of Malcesine, on the Lake of Garda. His masterpiece is the altar-piece representing SS. Sebastian, Roch, and Job, in the Church of S. Tommasso, at Verona. Many other excellent works by him are preserved in the churches and the Gallery at Verona, He painted, in conjunction with his friend Morrone, the organ- doors of S,. Maria in Organo in that city. There is an excellent example of his work in our National Gallery. His son, Francesco dai Libri, was a distinguished illuminator. The only known price of a work by Girolamo is that of a picture of the Virgin, Child, and Angels, D'Aguila's sale, 1873, £210. See Libri. Girolamo da Santa Croce. — b. ; d. ; s. ; p. history. Very little is known regarding this painter, except that he was a native of Santa Croce, a village in the Valley of the Brembo, near Bergamo, and that the dates of his pictures range from 1520 to 1549. They are to be found in many galleries in the North of Italy, and there are two examples in our National Gallery. There have been sold : Christ Blessing Two Angels, Mary £ s. d. Magdalen, from Solly Collection, Northwick's sale 1859 ... 25 4 Holy Family, Graham's sale 1886 ... 105 PAINTERS AND THEIR WORKS. 461 Girolamo da Treviso. — There were two painters who are known by this designation. Girolamo, whose name is said to have been Aviano, and known as " the old," who flourished at Treviso about 1480, and Girolamo, said to have been the son of the painter Piermaria Pennachi, b. Treviso, 1497 ; d. Boulogne, in I'rance, 1544 ; s. his father ; p. history and portraits. The latter imitated Raphael, and painted at Bologna, Venice, and Genoa. Finding his rival, Perino del Vaga, too powerful at the last city, he caiije to England, and entered the service of Henry VIII, as architect and engineer. He was killed by a cannon-ball, near Boulogne. There are a few pictures by him at Bologna, and in our National Gallery is a " Virgin and Child enthroned with Angels, Saints, and the Donor," 89|in. by 58in. This picture was painted for the Church of S. Dominico, at Bologna, was in the Solly Collection, and sold at Lord Northwick's sale, in 3 859, for £472 10s. Girtin (Thomas).— b. Southwark, 18th February, 1773; d. London, 9th November, 1802 ; s. Dayes ; p. landscapes and views. His father was a large rope and cordage manfacturer. After receiving some instruction from a drawing-master named Fisher, and working for a short time under Dayes, Girtin com- menced painting in water-colours from nature ; he had also, some- what later, the advantage of being, in common with Varley and Turner, one of the young men whom Dr. Munro encouraged to meet at his house in the Adelphi to study the drawings by earlier artists, of which he had a very fine collection. It is even said that Munro gave them a supper and half-a-crown each for the drawings they made in the course of the evening. The objects Girtin studied at first were the Savoy ruins, the old water-gate of the palace, the shores of the Thames about Lambeth, and the church and hospital at Chelsea. He next went to Scotland, rambled througli the counties of York, Durham, Cum- berland, and Westmorland, and visited Ely, Peterborough, Lich- field, and Lincoln. On this long journey he sketched cathedrals, ruins, and whatever struck him as most picturesque ; and in 1794 and the following year he exhibited drawings, the result of these studies, at the Royal Academy. He continued to exhibit these somewhat largely up to 1798, and for the last time in 1801 (a view in oil of "Bolton Bridge, Yorkshire"). About that time, owing to his health being somewhat bad, he took advantage of the short peace in 1802 to visit Paris. There he made above 462 PAINTERS AND THEIR WORKS. twenty sketches of views and buildings, which, after his return to England, he etched upon a soft ground, and had the effect laid in aquatint from his drawings. He also painted two views in Paris for Covent Garden Theatre. His health, however, did not improve, and he died at the house of Norman, a frame-maker in the Strand, on 9th November, 1802, and was buried in the churchyard of S. Paul's, Covent Garden, where a stone was erected to his memory. Among Gir tin's larger paintings was a panorama of London from the roof of the Albion Flour-mills, which was on view at the time of his death, and was afterwards bought by a Russian noble- man, who took it to his own country. Redgrave has expressed better than any other writer the common opinion of what Girtin did for the art of painting in water-colours. He says on the subject: "Thomas Girtin was the first to give a full idea of the })ower of water-colour painting ; the first wholly to change the practice of the art, to achieve in this medium richness and depth of colour, with perfect clearness and transparency, and the utmost boldness and facihty of execu- tion ; the first who followed out a procedure the reverse of that which had hitherto prevailed — laying in the whole of his work with the true local colour of the various parts, and afterwards adding the shadows with their own local and individual tints." While admitting the general truth of these observations, it may also be observed that a careful examination of the works of Edward Dayes leads to the conclusion that the great advance made in their time in water-colour painting was nearly as much the result of the master's abihty to teach, as of the pupil's apti- , tude for learning and making improvements on the old processes. Although the reputation of Girtin as a painter in water-colours has always stood so high, it is a singular fact that, as the following list will show, not one of his drawings has ever been sold for a price equal to that which has been again and again paid for a slight sketch by Turner : £ s. d. Ripon Minster, Gilpin's sale 1803 ... 11 H Bridge over the Ouse, Broderip's sale 1859 ... 14 14 Winchelsea— TwiHght, Hibbert's sale 1860 ... 7 7 Battersea Reach, 12in. by 20in., Agnew's sale 1861 ... 26 5 Bridge over the Oak Gate of York, signed and dated 1800, Allnutt's sale 1863 ... 43 1 PAINTERS AND THEIR WORKS. 463 £ s. d. Ruins of an Abbey 1865 ... 5 : 15 Darkworth Hermitage... 1865 ... 11 6 Guisborough Priory, Dillon's sale ... 1869 ... 51 9 A Ruined Abbey, Brown's sale 1869 ... 54 12 Roman Ruins, Brown's sale ... 1869 ... 52 10 View of Bristol, Moss's sale ... 1873 ... 67 4 Interior of Winchester Cathedral, Turner's sale 1873 .. 72 9 Lichfield Cathedral, C. Vine's sale ... 1873 .. . 163 16 Durham Cathedral, C. Vine's sale ... 1873 .. . 157 10 Peterborough Cathedral, C. Vine's sale ... ... 1873 .. . 67 4 A Coast Scene, Ellison's sale... 1874 .. . 115 10 Interior of S. Albans Abbey, Tite's sale ... 1874 .. . 117 12 Newark, 8fin. by ISfin., Heugh's sale 1874 .. . 26 5 Tintern Abbey, 14|in. by 12in., Heugh's sale 1874 .. . 43 1 Landscape, Canal and Barge, lO^in. by 8in., Heugh's sale 1874 .. . 15 15 Old Abbey, lOin. by IS^in., Heugh's sale ... ... " 1874 .. . 22 1 Coventry, 7in. by llin., Heugh's sale 1874 .. . 34 13 Windsor Park, ll^in. by 17in., Ley's sale ... ... ... 1876 .. . 22 1 Ripon Cathedral, Tiffin's sale 1877 .. 16 16 Roads, City in Distance, Tiffin's sale 1877 .. ,. 23 2 Roads, Bridge— Evening, Tiffin's sale 1877 23 2 Lincoln Cathedral, Greenwood's sale 1878 ., .. 21 Guisborough Abbey, llfin. by IS^in., Pooley's sale 1880 . .. 30 15 Bolton Abbey, 12^in, by IS^in., Pooley's sale 1880 . .. 33 12 Lincoln Cathedral, 18in. by 23in., Pooley's sale 1880 . .. 63 Richmond, Yorkshire, 14|in. by 19^in., Pooley's sale ... 1880 .. 78 15 Agatha's Abbey, lOin. by 15fin., Pooley's .sale 1880 . .. 19 19 Norwich, 12^m. by ISfin., Pooley's sale 1880 . .. 21 10 Jedburgh, 15in. by 12in., Pooley's sale 1880 . 27 6 Norham Castle, IB^in. by 23iin., Pooley's sale 1880 . .. 36 15 Landscape, Mountains, 23|in. by .. 136 10 35fin., Bale's sale 1881 . 464 PAINTERS AND THEIR WORKS. Hereford Cathedral, 15in. by 19|in., £ s. d. Bale's sale ... 1881 .. . 110 5 The River Exe, 12|in. by 20in. , Bale's sale ... 1881 .. . 161 14 Durham, lO^in. by 14^in., Bale's sale 1881 .. . 141 15 Morpeth Bridge, 12^in. by 20f in. , from Redleafs Collection, Bale's sale 1881 . .. 115 10 Interior, S. Albans Abbey, Hollings- worth's sale 1882 .. . 17 17 Gnisborough Abbey, 24iin. by 19^in., Addington's sale ... 1886 .. . 25 10 Chepstow Castle and Wye, Dr. Percy's sale 1890 .. 4 10 Tynemouth, and mezzo, by Reynolds, Dr. Percy's sale ... 1890 .. 10 10 Jedburgh Abbey, and engraving. Dr. Percy's sale 1890 .. 5 Manorbier Castle, Pembroke, Dr. Percy's sale..,. 1890 .. 6 6 Kilgarran Castle, Dr. Percy's sale ... 1890 .. 5 Harewood, Yorks, Dr. Percy's sale ... 1890 .. 11 An extensive landscape, Dr. Percy's sale ... 1890 .. . 10 10 La Porte S. Denis, Paris, Dr. Percy's sale ... 1890 .. 24 3 Landscape, Dr. Percy's sale ... 1890 .. 6 10 The Prison at Southampton, Dr. Percy's sale 1890 .. . 22 River Scene and Church, Dr. Percy's sale 1890 .. . 32 12 River Scene, bridge, mill, Dr. Percy's sale ... 1890 .. . 11 6 On the Thames, near Blackfriars, Dr. Percy's sale 1890 ., . 71 8 Kelso Abbey, Dr. Percy's sale 1890 .. . 40 19 At Knaresborough, Dr. Percy's sale 1890 .. 8 Dr. Munro's House at Fetcham, Dr. Percy's sale 1890 . .. 12 Giulio Clovio.— /See Clovio. Giulio Romano (Giulio di Piero Pippi de' Januzzi, called). — B. Rome, 1498 ; d. Mantua, 1st November, 1546 ; s. Raphael ; p. history and portraits. It was about 1609 that Giulio became the pupil of Raphael, and his progress in art must have been very rapid, for in 1514-16 he assisted Raphael in the loggie " of the Vatican, and about 1518 at the Farnesina. After the death of PAINTERS AND THEIR WORKS. 465. Raphael, in 1520, in conjunction with Gianfrancesco Penni (II Fattore), as his executors and heirs to his designs and drawings, Giuiio painted in the Sala di Constantino, at the Vatican. They began to work in October, 1524, were to receive each 100 ducats per month, and the last payment was made 3rd July, 1525. Up to that time, Giuiio may be said to have been guided in all he did by the genius of Raphael, even after his master's death. Gradu- ally, however, his works became less refined, and they ultimately ran into the exaggeration which is shown in those he executed in the Palazzo del Te, near Mantua. Giulio's father died at Rome, in 1522, and he himself left that city and entered the service of the Marquis Federigo (II.) Gonzaga, at Mantua, who made him a citizen of that place on 5th June, 1526, gave him a house on the 13th of the same niontli, and created him a nobleman on the 31st August of the same year. In 1529 Giuiio married Elena Guazzi, a native of Mantua, where he resided up to the time of liis death. While at Mantua he acted as architect and decorator, painter, and designer of small works for goldsmiths. He formed also a large school of artists, some of whom, such as Primaticcio and II Rosso, were invited to France, where they influenced the national taste. The celebrated miniaturist Giuiio Clovio also studied under him. Easel pictures by Giuiio are not common, owing to his having been so much employed on larger works. One of the most beautiful is that of the Holy Family, known as The Virgin with the Basin," which is at Dresden. Many of those that appear at sales are very doubtful. The following, however, have generally a good claim to originality : £ s. d. Adoration des Rois, Conti's sale ... 1777 ... 85 Christ before Pilate (small), Sir J. Reynolds's sale 1798 ... 5 16 6 Cupid and Psyche (on marble), Lord Darnley's sale 1802 ... 189 The following five were from the Orleans Collection : The Continence of Scipio, Duke of £ s. d. Bridgwater's sale 1802 ... 37 16 Scipio Rewarding the Soldiers after the Siege of Carthage, Duke of Bridgwater's sale 1802 ... 44 2 The Rape of the Sabines, Duke of Bridgwater's sale 1802 ... 42 2 o 466 PAINTERS AND THEIR WORKS. The Family of Coriolaniis Deprecating £ s. d. his Wrath, Duke of Bridgwater's sale 1802 ... 45 3 Taking of Carthage by Scipio, Duke of Bridgwater's sale 1802 ... 50 17 The above were sold at Harman's sale in 1844 at about the Bame prices. Holy Family and S. Catherine, from Borghese Gallery ... The Assumption of the Virgin Scourging of Christ, from Charles I.'s Collection, Crewe's sale ... Birth of Bacchus, from Orleans Collec- tion, Sullivan' s sale Triumph of Bacchus (oval), 33in. by 30in., Lord Kinnaird's sale Nymph, Sea God, etc.. Earl of Upper Ossory's sale ... Adoration des Bergers, Massie's sale . . . Holy Family, from Orleans Collection, 30in. by 24in., Lord Radstock's sale ... Holy Family, S. Joseph Carrying Lantern, from Vincenza Spinola Palace, Genoa, Lord Gwydir's sale ... L'Enfance de Jupiter, Erard's sale Holy Family, from Lord Gwydir's Collection, Nieuwenhuys' sale ... S. Faurille (copy after Raphael), Car- dinal Fesch' s sale . . . Carte Allegorique d' Alexandre le Grand, King of Holland's sale . . . La Vierge au Berceau (small copy, after Raphael), Rogers's sale Apollo and the Muses, Lord North wick's sale Birth of Jupiter, from Orleans Gallery (now in the National Gallery) , Lord North wick's sale . . . Portrait of himself. Lord North wick's sale ... Giuseppiiio.— ^ce D'Arpino (Giuseppe Cesari). Gladiatore [11] —See Baen (Jacobus). £ s. d. 1804 162 15 1804 .' . 829 10 1806 . . 315 1808 . . 147 1811 . . 110 1819 . . 262 10 1825 75 Q Q 1826 . . 934 10 1829 336 1833 .. . 100 1833 . . 546 1845 . . 270 1850 . 80 1856 . 64 1 1859 . 11 11 1859 . .. 920 1859 . . 25 4 PAINTERS AND THEIR WORKS. 467 Glauber (Jan Gottlieb), called Myrtile. — b. Utrecht, 1666 ; D. Breslau, 1703 ; s. his brother and Knyf ; p. landscapes and marine subjects. He accompanied his brother Jan to Italy, and painted in the same style. Afterwards he visited Vienna, Prague, and Breslau, where he died. In Italy he was named ''Myrtile." He also engraved. His sister Diana painted history and portraits, principally at Hamburg, but became blind some time before her death. Glauber (Johannes), called Polydor. — b. Utrecht, 1641 ; d. Amsterdam or Schoonhoven, 1726 ; s. Nicolas Berchem ; P. history and landscapes. Although Glauber received his first lessons in art from Berchem, his works are a mixture of scenes of an Italian character and an imitation of those painted by Poussin. On leaving his native place he went to Amsterdam, where he lived in the house of a picture-dealer named Uilenburg, and copied Italian pictures. He left Holland in 1671, and, accompanied by his brother Jan Gottlieb, his sister Diana, and the brothers Van Dvoren, went to Paris, where he remained a year, and then spent two years at Lyons with Aart van der Kabel. On reaching Rome he received from his brother-artists the nickname of ' ' Polydor. " Glauber remained in Rome two years, and after visiting Venice and Padua went to Hamburg. He remained, with the exception of six months spent in Denmark, in that city until 1684. On quitting it he went to Amsterdam, where he lived with his friend Gerard de Lairesse, who often painted figures in his landscapes, as did also Simon van der Does. The style of Glauber's works is less grand than that of Poussin's, but the subjects are quite as poetically treated, and his colouring is richer and more vaporous than that of the French painter. Pictures by him are to be found in all the great galleries in Europe. He also engraved. The following prices have been paid for pictures by Johannes Glauber : Two Landscapes, figures by Lairesse, £ s. d. Jacob's sale ... 1774 .. 12 The same, ditto, More and Liss's sale 1796 .. 6 6 An upright Landscape ... 1802 .. 5 Pair of Landscapes, figures by Lairesse 1803 .. 19 8 6 Two Landscapes, Pauwels's sale 1803 .. 12 A Landscape, ligures by Lairesse, Yonge's sale 1806 .. . 30 9 Ditto, ditto, Yonge's sale 1806 .. 26 16 6 2 G 2 468 PAINTERS AND THEIR WORKS. £ s. d. 1819 . 4 1819 . .. 15 15 1826 . 2 13 1830 . 5 1836 . 13 1850 ., 30 1863 .. 55 1863 .. 20 1874 .. . 360 1876 .. . 280 Landscape, figures by Lairesse, Mit- chell's sale .. . Ditto, ditto, Ossory's sale Small Landscape, Holland's sale Landscape, buildings, figures Ditto, ditto Two Mountainous Landscapes, King of Holland's sale ... Arcadian Landscape, Meffre's sale . . . Ditto, Mecklenbourg's sale ... View of Nimeguen in 1643, sale in Paris The Maas at Dordrecht in 1632, Lis- singen's sale Gleyre (Marc Charles Gabriel).— b. Chevilly, a village near La Sarraz, in the Canton de Vaud, 1806 ; d. Paris, 4th May, 1874 ; s. Hersent ; p. history and portraits. This excellent painter of the modern French school was the son of a farmer, who, however, gave him every facility for following his early inclination for art. After studying at Lyons, Gleyre went in 1824 to Paris, and became a pupil of Hersent. In 1828 he visited Italy, study- ing principally at Padua, Florence, and Rome. From the last place he sent some water-colour portraits to the Paris Salon in 1833, which were the first works he exhibited. He next made a long tour in Egypt, Greece, and Asia Minor, and, in 1838, painted for Monsieur Lenoir, of Paris, "A Nubian Girl" and "Diana," typifying Egypt and Greece. An attack of ophthalmia nearly destroyed his sight, but on his recovery he painted his celebrated ''Evening," and exhibited at the Salon up to 1849. When Paul Delaroche ceased to take pupils he recommended those who applied to him to study under Gleyre, and among the English artists who did so were Poynter, Marks, and Calderon. Gleyre died from the rupture of a blood-vessel while visiting the exhibition of 1874, in Paris, in aid of the expatriated inhabitants of Alsace. Some of Gleyre's best works are in the museums in Switzerland ; in that of Lausanne is his portrait of Thomas Carlyle. Glover (John).— b. Houghton-on-the-Hill, Leicestershire, 18th February, 1767 ; n. Launceston, Tasmania, 9th December, 1849 ; self-taught ; P. landscapes. Glover was the son of a farmer, and from a very early age amused himself by drawing on every scrap of paper he could obtain. He must, however, have profited by PAINTERS AND THEIR WORKS. 469 whatever instructions he received, for in 1786 he was elected Master of the Free School of Appleby, and devoted his leisure to painting and music. About 1794 he removed to Lichfield, and gave up his time entirely to drawing and instructing others in art. Up to that time he had painted exclusively in water-colours, but he then began to work in oils with success, and also to etch. In water-colours Glover worked in the manner of Payne, of Plymouth, laying in tlie subject with Payne's gray, and tinting over that preparation. He was clever at introducing the sun's rays bursting through clouds, but the execution in his drawings, especially of the foliage, was tricky and somewhat monotonous, the foregrounds being very much worked up, apparently in imita- tion of Claude's. Still, his works were eagerly sought after, and the money gained by giving lessons and selling his works to his pupils amounted to a considerable sum in the course of the year. He was one of the promoters of the Society of Painters in Water- colours, and sent nineteen pictures to the first exhibition in 1805. After the restoration of the Bourbons, in 1817, Glover visited France, Switzerland, and Italy. Although he had been very successful as a painter and teacher in England, Glover emigrated to Tasmania in March, 1831, and sent some of the views he painted there to England ; but he did not meet with much success with them in this country. Perhaps the public was beginning to grow tired of his manner, which he carried into the execution of views of the new scenes he repre- sented. It must be admitted also that he did not do much towards the advancement of the art of painting in water-colours. Glover had been successful as regards making money, and he passed the latter part of his life in peace among his children and grand- children in his new home. Pictures in oils by Glover have been sold as follow : £ s. d. Landscape and figures... 1827 ... 11 11 Cows Reposing near the Sea, Tansley's sale 1829 ... 36 15 Sicily, View of Etna, Clarke's sale ... 1840 ... 52 10 View from the Winde Cliff, look- ing across the Severn, Clarke's sale 1840 ... 21 10 Chepstow Castle and Bridge, Clarke's sale 1840 ... 21 10 Ulleswater — Morning, North wick's sale 1859 ... 85 1 470 PAINTERS AND THEIR WORKS. Ulleswater — Evening, Northwick's £ s. d. sale ... 1859 ... 29 16 Portrait of G. Vincent, with landscape painted by him, Walter's sale ... 1863 ... 4 5 A Mountainous Scene in Wales, Alnutt's sale 1863 ... 21 10 River Scene in Devonshire, Alnutt's sale ... 1863 ... 17 17 Greenwich Hospital from the Park, Alnutt's sale 1863 ... 11 6 Lowther Castle... 1877 ... 49 7 Drawings in water-colours by this artist have produced the Uowing amounts : £ s. d. Llangollen, Tiffin's sale 1877 ... 12 12 Lake Balsano Tiffin's sale 1877 ... 16 16 Spoleto, Tiffin's sale ... 1877 ... 15 15 Vale Llanrwst, Tiffin's sale ... 1877 ... 21 Landscape on the Rhine, Tiffin's sale 1877 ... 29 8 Bass Rock, 20iin. by 28^m., Pooley's sale ... 1880 ... 25 4 Friar's Crag, 30Jin. by 44in, , Pooley's sale 1880 ... 50 8 . View in Borrowdale, lOin. by 12in., Duke of Hamilton's sale ... 1882 ... 210 Glovicic or Glovichsich (Juraj).— .S^ee Clovio (Giulio). Gobbo (II) [The Hunchback]. — There have been several Italian painters who have been thus nicknamed. Of these the following are the most known : Gobbo (Andrea, or Andrea del).— According to Morelli, this artist was, in reality, Andrea Salario {See Sal^i), and acquired the nickname from his attachment to his elder brother (Cristoforo Salario, a sculptor of Milan), who was hunchbacked. Gobbo (II) da Cortona, or de' Carracci, or dalle Frutta.— B. Cortona, 1580 ; d. Rome, 1640 ; s. the Carracci ; P. fruit. Very little is known regarding this painter, whose real name is said to have been Pietro Paulo Bonzi, except that he was born at Cortona and learned to paint in the school of the Carracci, at Bologna. The attempts he made to paint historical subjects were not successful ; but he became the best painter of fruit in Italy in his time. In that style he ornamented some of the palaces in Rome, particularly that of Mattei. He painted both in fresco and in oil. / PAINTERS AND THEIR WORKS. 471 The following pictures are attributed to this artist : A Nun's Portrait — Berlin Gallery. Latona Turning the Peasants into Frogs — Louvre, Paris. Five Fruit-pieces — Stockholm Gallery. Goes (Hugo van der).— b. probably at Ghent, ; d. Rooden Clooster, near Soignies, 1482 ; s. probably Van Eyck ; p. history and portraits. The birthplace and even the name of this painter are somewhat uncertain. He is spoken of by Vasari and Guicciardini as Ugo d'Anversa ; but a Flemish author says that he was Hughe van der Ghoest, in Zeeland, because he lived long in that country, and that he was born at Leyden. This appears, however, to be very improbable, as there were painters of the same name who were masters in the Guild of Painters at Ghent for a century before Hugo was born. There is reason to believe that, about 1440, Van der Goes visited France, and painted the "Crucifixion" which still hangs above the judge's seat in the " Cour d'Appel," at Paris, and also Italy, as he could hardly otherwise have painted the portraits of members of the family of the Portinari (who were the donors) which he introduced into "The Adoration of the Shepherds" that is in the Hospital of S. Maria Nuova, at Florence. This is held by many critics to be the only well-authenticated picture by Hugo van der Goes ; but there are many others in different galleries attributed to him. Hugo appears, however, to have been settled at Ghent about 1450, and to have been a master of the Guild of Painters of that place from 1465 to 1475, when he was Dean. In the following year he entered the Convent of Rooden Cloester ; but in 1478 went to Lou vain, to estimate the value of a picture which Dirk Bouts had left unfinished at the time of his death. Subsequently he is said to have visited Cologne, and, on his return to the convent, to have become insane. It is certain that he died there in 1482. At the sale, in Paris, of the Collection of Edward O , in 1877, a remarkable picture, "The Mystic Marriage of S. Catherine," said to have been painted by Hugo van der Goes, in Italy, for the Marchese Giustiniani of his time, and to have remained in the family of that name up to the time of the sale, was sold for £800. "The Life of S. Augustin/' by this painter, produced £300 at Exeter's sale in 1888. Goien.— ^ee Goyen. Golfino.— /See Giolfino. 472 PAINTERS AND THEIR WORKS. Goltzius or Goltz. — There were at least five painters of the family which bore this name, without counting engravers. They were : Goltzius (Heinrich), son of Johann Goltzius the Young. — B. Mulbrucht, 1558 ; d. Haarlem, 29th December, 1616 ; s. his father ; P. history, portraits, landscapes, and allegories. Hein- rich began by painting on glass ; afterwards he visited Italy and Germany, and settled at Haarlem, where he lived for many years, in fact, until his death. He married Margaretha Jans, a widow ; and at the sale of Rubger's Collection at Amsterdam in 1778 there were offered some drawings by H. Goltzius, among which were her portrait and those of several members of his family, including two of J. Matham, the engraver, who was the son of Margaretha Jans by her first husband. Heinrich Goltzius was the great-grandson of Old Hubrecht, through his father, Johann the Young. Although Heinrich Goltzius is more generally known as an engraver, he painted many pictures, which are remarkable for design and excellence of colours. The following are a few of them : Adam and Ev^e, The Circumcision of Christ, Tlie Adoration of the Magi, The Baptism of Christ — Hermitage, S. Peters- burg. Juno Keceiving the Eyes of Argus (1615) — Kotterdam Museum. Pictures by Heinrich Goltzius have been sold as follow : £ s. d. Danae and Jupiter, Tourreman's sale 1754 ... 30 The same subject, Braamcamp's sale 1771 ... 40 The Death of Abel, signed and dated 1613, from collections of Lucien Buonaparte and Cardinal Fesch (No. 88 in his sale), Bishop's sale 1886 ... 26 15 6 Goltzius (Hubrecht), called the Old. — b. probably at Heyns- beeck, in the fifteenth century; d. — - — ; s. ; p. . Heyns- beeck appears to have been the original seat of the family. Old Hubrecht, who lived at Venloo, had a son and two daughters, one of whom married a painter named Rudiger van Wurzburg. He was the father of Hubrecht Goltzius the Young, who took his mother's name. PAINTERS AND THEIR WORKS. 473 Goltzius (Hubrecht or Hubert), called the Young. — b. Wurzburg, 1526 ; d. Bruges, 1583 ; s. his father and Lambert Lombard ; P. history and portraits. In 1530 his father returned from Wurzburg to Venloo, where he settled, and continued to work for the town for thirty-four years. The son, Hubrecht Goltzius the Young, went young to Liege, where he became a scholar of Lambert Lombard. In 1550 he bought a house in Antwerp, in which city he had resided since 1546. He married Elizabeth Verhulst, who was sister to the painter Marie Besse- mers. In 1556 Hubrecht visited the principal cities of France and the Netherlands, and in 1557 published his first archaeological work, at Antwerp, in four languages. This led to his removing to Bruges in 1558. In the same year Hubrecht visited Germany, Prance, and Italy. On his return to Bruges he published his other literary works, between 1563 and 1579. He dedicated one of his books to the Senate of Rome, which in 1567 conferred upon him the title of a noble Roman citizen. In 1580 his fortune began to decline ; and in 1581 he married, against the wishes of his children, the widow of the antiquary, Martin Desmet. Hubrecht was historian and painter to Philip II., and the friend of Antonio Moro, the painter. His collected literary works ap- peared at Antwerp, in 1644-5, in 5 vols., as "Romance et Grsecse Antiquitalis Monumenta ex priscis numismatibus eruta." His pictures are very rare ; among them is The Judgment of Midas," at Dresden. Goltzius (Johann), called the Old, son of Hubrecht the Old. — He painted in the sixteenth century, and lived at Weerde, of which place he was bourgmeester. Goltzius (Johann), called the Young, son of the above. — He painted on glass in the sixteenth century. After the death of his father, he resided in the village of Mulbrucht, where his son Heinrich was born. Gomez. — There were several Spanish painters of this name, besides sculptors, of whom the most distinguished were those here mentioned : Gomez (Juan).— b. ; d. 1597 ; s. ; p. history. He was appointed painter to Philip 11. in 1593, and painted, among other things, a large picture of " S. Ursula and her ^'irgins." in the Escorial, from a design by Tibaldo, and a good picture of "Christ, the Magdalen, and S. John," for the Carmelite Friars of Segovia. 474 PAINTERS AND THEIR WORKS. Gomez (Sebastian). — A native of Granada, and a pupil of Alonso Cano ; yet lie was an indifferent painter, and must not be confounded with Gomez (Sebastian).— b. Granada, ; d. Seville, 1682; s. Murilla ; P. history. This painter was the mulatto slave of Murillo, employed by him to grind colours. Unknown to his master, Gomez practised painting, and there is at Seville a tradi- tion that Murillo, liaving left one day a canvas on his easel, on which he had sketched a head of the Virgin, during his absence Gomez linislied it with oil-colours in such a manner that when Murillo saw it he exclaimed: "I am indeed fortunate, Sebas- tian, for I have created, not only pictures, but a painter " ; and gave him every opportunity of becoming a good painter. Gomez profited by his good fortune, and there are several fine pictures by him, which, if not equal to those of Murillo in composition, have much of the elegance and good colouring of those by that master. Among them there are "Christ at the Column with S. Peter Kneeling at His Feet" and ''S. Anne and S. Joseph," both at Seville, in the Museum of which city there is also ''The Virgin Appearing to S. Dominic." Gomez survived Murillo but a very short time. Gonzales. — Nearly a dozen Spanish painters have borne this name. Of these the most celebrated was : Gonzales (Bartolom^).— b. Valladolid, 1564 ; d. 1627 ; s. Patricio Carges ; p. liistory and portraits. He studied at Madrid, under Carges, under whom he became an able painter, and was employed by Philip III. at the Prado. He was sent to many places in Spain by the King, but not named his Painter in Ordinary until 1617. He painted some excellent pictures for the college at Alcala, the Franciscan and Recollet Convents at Madrid, and portraits of the Queen and the Infanta. The drawing and colouring in his works are excellent, and the compositions simple and well arranged. At the Salamanca sale, in 1867, the portrait of Marguerite of Austria, by Gonzales, was sold for £85. Good (Thomas Sword).— b. Berwick-on-Tweed, 1789; d. 1872 ; s. ; p. interiors. The works of this artist are gene- rally interiors, and often very pretty, somewhat like those of Wilkie and Bird, but they are light in colour. In 1820 he exhibited for the first time at the Poyal Academy, his picture being ''A Scotch Shepherd." He came to London in 1822, and PAINTERS AND THEIR WORKS. 475 exhibited, between 1820 and 1834, pictures classed as ''domestic": nineteen at the Royal Academy, forty-three at the British Insti- tution, and two in Suffolk Street. He painted also occasionally coast scenes, into which he introduced fishermen. For the last forty years of his life he abandoned painting as a profession. Pictures by Good have been sold as follow : The Triumph of Music, and the £ s. d. companion, Carysfort's sale ... 1828 ... 26 5 Study of a Boy's Head, Fleeling's sale 1837 ... 1 1 Interior, a peasanfc seated at a table, Fleeling-'s sale 1837 ... 7 10 The Village Lawyer, Fleelings sale 1837 ... 20 9 6 Goodall (Frederick Trevelyan).— b. 1848 ; d. Capri, in Italy, 11th April, 1871; s. Royal Academy; p. history. This promising artist was the son of Frederick Goodall, the Royal Academician. He exhibited some studies at the Academy in 1868-9, and gained the gold medal by his picture, '' The Return of Ulysses." When in Italy he unfortunately lost his life by an accident at Capri. Goodall (Howard).— B. 1850; d. Cairo, 17th January, 1874; s. Royal Academy ; p. history. He was the brother of the above, and exhibited at the Academy, in 1870, " Nydia in the House of Glaucus," and in 1873, "Capri Girls Winnowing." Gool.— ^ee Gael. Gool (Jan van).— b. The Hague, 1685; d. The Hague, 1763; s. Terwesten and S. van der Does ; p. cattle and landscapes. This artist is most known as the author of "The Lives of the Artists in the Netherlands," which is a continuation of Hou- braken's work. Van Gool, although only a second-rate artist, painted some pictures in the style of Paul Potter that have merit. At Maitland's sale, in 1831, one called "A Dutch Dairy Farm" produced £79 16s. Gordon (Sir John Watson).— b. Edinburgh, 1790 ; d. Edin- burgh, 1864 ; s. Trustees' Academy, Edinburgh ; p. history and portraits. This painter was the son of Captain James Watson, of the Royal Navy. He began by painting historical subjects, but soon abandoned them to devote his time to painting portraits, and, after the death of Raeburn, he became the principal portrait- painter in Scotland. He assumed the name of Gordon, and was 476 PAINTERS AND THEIR WORKS. active in founding the Royal Scottish Academy, becoming its President in 1850. He was knighted and appointed Queen's Limner about the same time. Between 1827 and 1864 he ex- hibited 123 portraits at the Royal Academy in London, of which he was elected an Associate in 1841, and a full member in 1850. The majority of the portraits which he painted are in Scotland ; but there are those of Sir David Brewster in the National Gallery, of David Cox in the Birmingham Institute, and of Thomas de Quincey in the National Portrait Gallery. They are in general well and powerfully painted. The following were sold by auction in 1885 : Portrait of Sir Walter Scott, £52 10s. ; Portrait of Thomas de Quincey, £25 4s. Gortzius (Gualdorp).— >See Geldorp. Gossart or GossQ.ert.— See Mabuse. Gotzenberger (Jacob). — b. Heidelberg, 1800; d. Darm- stadt, 1866 ; s. Cornelius ; p. history and portraits. Up to 1820 Gotzenberger studied under Cornelius at Diisseldorf, and after 1824 at Munich. He profited so much by this instruction that as early as 1823 a picture by him might be mistaken for one by his master. After assisting in the frescoes at the University of Bonn in 1828, he visited Rome and Naples, and returned in 1832. He was next appointed Court Painter at Baden, and In- spector of the gallery at Mannheim. In company with Cornehus he visited London, and on his return to the Continent painted the frescoes in the chapel at Nierstein, and in the Trink-haUe at Baden-Baden. He came again to England, where he painted portraits and in fresco in Bridgewater and Northumberland Houses with success. Goupy (Joseph). — b. probably in France; d. London, before 1747 ; s. — — ; P. landscapes and history. This artist was pro- bably of French origin. He painted principally in water-colours, and taught the Princess of Wales drawing. His works are in a bold style, and he imitated Salvator Rosa. The copies in water-colours of Raphael's cartoons, with the outhnes taken from Dorigny's prints, formed one of his chief works. The Duke of Chandos paid £300 for them ; but at the sale of his elfects they only produced £17, although they were said to have been very beautiful. Goupy's Collection was sold in March, 1765. He had a brother, Louis, who painted in fresco, oil, water-colours, and crayons, and went with Lord Burlington to Italy. Joseph Goupy also en- PAINTERS AND THEIR WORKS. 477 graved many i^lates. "The Virgin and Child," with the city of Bologna beneath, copied by Goupy from a picture by Annibale Carracci, was sold at Strawberry Hill for 13 guineas. Goya y Lucientes (Francisco).— b. Fuente-Todos, in Ara- gon, 31st March, 1746 ; d. Bordeaux, 16th April, 1828 ; s. Jose Luxan Martinez ; p. history, portraits, genre, and caricatures. This extraordinary genius, for such he was, is said to have had some lessons in drawing from an artist at Saragossa, but he went young to Rome and studied with care the works of the older masters. On his return to Spain he was appointed private painter to Charles IV., and made painter to the king on the 31st October, 1799. Goya's works are executed with the greatest vigour as regards both drawing and colouring ; the composition is always full of spirit, and, although often verging on the grotesque, shows the talent he possessed to have been truly original, if often eccentric. His drawings, etchings (the finest of which are after Velasquez), and engravijigs in aquatint all bear the same character. In his youth his turbulent spirit nearly cost him his life, as before he went to Italy he was stabbed with almost fatal effect. After his return to Spain in 1774 he married and settled more seriously to work. Although the works of Goya remained for some time little known out of Spain, Lord Clarendon, when ambassador at Madrid, acquired many of them, and there are some in France ; still, the finest are in Spain. His pictures have seldom been sold in England, but in Paris they have brought at sales the following prices : Portrait of the painter's grandson, £ s. d. Salamanca's sale ... 1867 . .. 120 Portrait of the wife of his grandson, Salamanca's sale ... 1867 . 80 Portrait of a woman, Salamanca's sale ... 1867 .. . 120 Procession at Valencia, Salamanca's sale ... 1867 .. . 100 Portrait of the Duchess of Alba, Periere's sale 1872 .. . 240 Portrait of a child, Periere's sale ... 1872 .. . 480 Portrait of the daughter-in-law of the painter Rochebrune, Sala- manca's sale 1873 .. . 300 Portrait of Emmanuel Garcia, Sala- manca's sale ... ... ... . 1875 .. . 55 478 PAINTERS AND THEIR WORKS. Ladies on a balcony, Salamanca's £ s. d. sale 1875 ... 70 A Bull-fight, Salamanca's sale ... 1875 ... 300 Procession at Lembos, Salamanca's sale 1875 ... 210 Goyen or Goien (Jan Josephszoon van).— b. Leyden, 13th January, 1596 ; d. The Hague, end of April, 1666 ; s. Kornraad Schilperoort, Isaiik Nicolai, Hendrick Klok, and Willem Ger- retzen ; p. towns, dikes, seashores, river scenes, and portraits. In his nineteenth year Van Goyen visited France, and on his return worked for a year under Elias van de Velde. On the 16th July, 1618, he married Annetje Willems van Raelst, and lived at Leyden, which place he quitted in 1631 ; and he resided subse- quently at The Hague until his death. In 1640 he was elected a member of the Guild of Painters of that place. Jan Steen, who painted figures in some of Van Goyen's pictures, was his pupil, and married, 19th September, 1649, his daughter Mary Aretha, who died in 1669. The works of Van Goyen, which are remarkable for true re- presentation of nature, light and delicate painting, and spirited drawing, have enormously increased in value within the last fifty years. Unfortunately, he often used a blue known as "Haarlem" blue, which has faded with time, and the same thing may pro- bably have occurred in the yellows ; but where the colours he em- ployed remain comparatively unchanged, his pictures will always command high prices. He etched some plates which have great merit. The drawings he executed in black chalk washed with Indian ink are also peculiarly pretty and characteristic, the foliage of the trees being the round leaf of the alder so common in Holland. The signatures on his works vary very much. Pictures by him are to be found in all the principal galleries in Europe, and in many private collections. In a list of sixty-five pictures by Goyen sold between 1771 and 1861, only one brought more than £30 ; this was "A Castle on a Height," 30in. by 41in., the property of Sir Robert Strange, the engraver, for which £47 was obtained. Since 1861 works by him have l^een disposed of as follow : The Ferry-boat, dated 1647, H. de £ s. d. Kat's sale 1866 ... 95 The Raft, dated 1654, Mecklenbourg-'s sale 1870 ... 225 PAINTERS AND THEIR WORKS. 479 A ■ Dutch Xown on a Hiver JVIiddlc- £ s. d. ton' s SciIg ... ... ... . • • 1872 ., 66 3 River Scene, Morris's sale 1873 .. ,. 162 15 Landscape, dated 1630, Angerstein's sale 1847 .. . 294 River, Cottages, Bridge, Boat, and Peasants, Smith's sale ... 1875 . .. 220 River Scene and Fishermen, 12in. hy IGgin., Anderdon's sale 1879 .. . 215 5 Dutch Town, Ferry-boat, and Cattle, signed and dated, Phelp's sale ... 1881 ., .. 210 Rural Festival, 15in. by 20in. 1882 . 78 15 River Scene, Ferry-boat, 14:in. by 13in. Duke of Hamilton's sale... 1882 .. 388 10 River Scene with Castle 1883 157 10 Town, River, Ferry-boat, etc., signed, Pennington' s sale ... 1884 .. . 204 15 River Scene, Figures, 19|in. by 26in., De Zoete's sale 1885 .. ,. 288 15 View of Dort, Boats and Figures, signed, Harford's sale 1885 .. . 99 15 Scheveling Beach, Roupell' s sale 1887 ., ,. 88 Gozzoli (Beuozzo), properly Benozzo di Lese Sandro. — b. in the commune of the Badia di Settimo, near Florence, 1420 ; D. Pisa, 1498 ; s. Ghiberti and Fra Angelico ; p. history, portraits, and landscape backgrounds. Gozzoli, like so many other Floren- tines, began life as a worker in metal, and assisted Ghiberti in making the gates of the Baptistry at Florence. He, however, entered the school of Fra Angelico and became one of his most able scholars. He was with Fra Angelico in Rome and painted in fresco in the Cesarini Chapel, in the Church of Araceli. In 1447 he accompanied his master to Orvieto, and painted in the Chapel of the Madonna di S. Brizio in the cathedral. Up to that time he worked in the style of Fra Angelico, but about then changed his own very much, and his works became remarkable for attempts to realise the beauties of nature, especially in his land- scape backgrounds, which are enlivened by animals, birds, etc. He carried the same principle out in the interiors of buildings, which he decorated with a variety of ornaments in the Florentine style. He also introduced into his pictures the j)ortraits of his contemporaries, many of which are now exceedingly interesting. They appear to have been true to nature, and the draperies in his works are often very graceful. 480 PAINTERS AND THEIR WORKS. In 1452 Gozzoli completed the frescoes in the Monastery of S. Francesco at Montefalco, in which he gave portraits of Dante, Giotto, and Petrarch. It is supposed that he remained at Monte- falco until 1456, after which lie returned to Florence and decorated the walls of the chapel in the Medici (now Riccardi) Palace. In 1464 he went to S. Gimigiano, where he executed very large frescoes, in which he was assisted by Giusto di Andrea ; he remained there until 1467, and among other works restored the frescoes of Lippo Meumii in the Palazzo del Podesta in that town. Early in 1469 Gozzoli commenced his most important works, the frescoes in the Campo Santo at Pisa, which occupied him and his assistants sixteen years, as the last payment was made in May, 1485 ; he, however, found time to execute some other frescoes during the same time. In 1478 the authorities of the Campo Santo presented him with a tomb in order that when he died he might lie surrounded with his own great works. Although he painted so much in fresco, there are still some easel pictures by Gozzoli in existence, two of which are in our own National Gallery. Those which have been offered for sale have been disposed of as follow : The Head of Christ, with Cherubim, £ s. d. Northwick's sale 1859 ... 6 6 Adoration of the Magi, Bromley's sale 1863 ... 10 10 Virgin and Child, Saints, Angels, gold ground, SS^in. by 35in., Graham's sale 1886 ... 204 15 Adoration, embossed halos and gilt, 42in. by 108in.,W. Graham's sale 1886 ... 110 5 Graat (Barend). — b. Amsterdam, 1628 ; d. Amsterdam, 1709; s. his uncle ; p. history, landscapes, animals, and portraits. While very young, Graat learned to draw from an uncle who was an animal-painter, but he soon made great progress by a diligent study of nature. The works of Pieter de Laer (Bamboccio) were in Graat's time in great demand, and he acquired the art of imitating them so well as to deceive good judges. Graat was preparing to go to Rome when his marriage with a rich young widow placed him in easy circumstances, and he never left his own country. As a means of improving himself, he established a sort of academy in his own house, in which he and his brother artists drew from the life. Among them was Johannes Hendrick Roos. His countrymen praised an allegorical subject, "TimeDis- PAiNTEES AlS'ee Clovio (Giulio) . 494 PAINTERS AND THEIR WORKS. Griinewald or Griinenwald (Matthias), called Matthes of AschafFenburg, Aschenburg, or Oschenburg. — b. Aschaflfeiiburg or Frankfurt, ; d. Aschaffenburg, about 1530 ; s. ; p, his- tory and portraits. This painter belongs to the school of Upper Alsace, and what remains of his works confirms the justness of Sandrart's remark that he was "an exalted and marvellous master," and "the Correggio of Germany." To this opinion we will add that of Woltmann, who says : ' ' Griinewald is the first of those naturalistic painters who instinctively see the phenomena of colour, tone, light, and atmosphere rather than the narrow truths of detail. For example, his treatment of hair is in the strongest contrast to that of Diirer and Cranach ; they, at any rate in most cases, paint each hair, or each strand, with the minutest care : Griinewald, on the contrary, paints it with a soft, broad touch, treating it in masses. Hand in hand with this freer use of the brush we find a broader conception of form ; at the same time he preserves an impression of dignity and unity in spite of a lively play of movement, both in his figures and his draperies." Many of Griinewald's pictures have disappeared, but there are in the museum at Frankfurt "S.. Lawrence" and "S. Cyriacus," signed with his monogram, and in the museum at Colmar his most important works, the altar-piece from the high altar of the chapel of the convent at Isenheim, painted between 1493 and 1516, one of the finest portions of which is the Virgin and Child, painted on one of the doors which enclose the principal pictures. There are also a number of portraits at Vienna, by Griinewald, of the Emperor Maximilian, the King of Hungary, and other great personages. The only price which can be given is that paid by Prince Albert for an altar-piece representing the Virgin standing on the moon, which was sold at Messrs. Christie's in 1856 for £136 10s. Gvutin.—See Leonardo da Fistoja. Gualdorp Gortzius.— >S^ee Geldorp. Gualtieri.— /Sec Cimabue. Guardi (Francesco). — b. Venice, 1712; d. Venice, 1793; s. Canaletti ; p. views in Venice. The pictures by this artist, who was the brother-in-law of Tiepolo, are, as regards accuracy of architectural details, far inferior to those by Canaletti, and as their number is very great, they were sold for low prices until about forty years ago. Since then, the spirit with which they are executed and the force of the colouring have caused them to PAINTERS AND THEIR WORKS. 495 fise enormously in value. The following is rather a full list of such as have been sold by auction since 1857. There are very good examples of Guardi's works in our National Gallery, and in the Louvre there is a suite of six. It must not be forgotten that some of his works are small, which fco ^ certain extent accounts for the wide difference in the prices >vhich have been paid. A Canal in Venice, and the View s. a. from the Dogana (two), Richard W. a sale 1 OKI 30U ine iJncige on tne Kialto, iviorny s sale ... loDO 1 nnn .. lUUU U S. Maria della Salute, Morny's sale loDO A La Dogana, Morny's sale ISDO oUU A A S. Giorgio Maggiore, Morny's sale... Piazza di S. Marco, Morny's sale looo AA oUU A A looo 210 San Gregorio and 11 Molo dei Slavi (two), Hedoinne's sale 1 Odd I bob dr\ bO A Grand Canal, Boddington's sale 1 Odd looo lOU A A Church of S. Jeremiah, Dorrington's sale ... loOo o9 A Grand Canal, Munro's sale 1 Odl lob/ 1 AA lUU 1 d lb A Grand Canal, Bucentaur, Damer's sale ... 1870 '1 K 75 12 Two views in Venice, Blaizel's sale 1870 . /< Oct Three views, Webster's sale ... 1 0170 . . 1050 Coast Scene with figures, Du Blaiser s sale 1872 . .. 170 View in Venice, 13^in. by 19in., Howard' s sale Lbio llo 1 A A Fete on the Grand Canal, W. Ellis's sale ... 1876 162 15 Venice, 9|in. by IS^in., Levy's sale... Grand Canal, Kidg way' s sale ... 1876 . .. 188 15 1879 . .. 246 10 Approach to Venice, Ridg way's sale 1879 . .. 210 Piazzeta S. Marco, Ridgway's sale ... 1879 . .. 257 5 Venice, Procession of Gondolas, White's sale 1879 . .. 210 The Rialto, Fenton's sale 1880 . .. 430 10 View of Milan, Whatman's sale 1881 . .. 100 16 Buildings 1883 . .. 105 Ruined Church 1883 . .. 131 5 View near Venice 1883 . .. 131 15 Ditto 1883 . .. 220 10 .Country Seats near Venice (two) Milligan's sale 1883 . .. 7']5 496 PAINTEES AND THEIR WORKS. £ 8. d. -i-TXi_LC?0 o n i 910 U.-' KXKjCkjI. JL ChLCKx^KJ ... . • ... ... 1891 630 Q V/ pmr*P lrkAlmif>' 'f',nAA7"QTrlS^g6 Gysells. Haarlem (Cornells van or Cornells Cornelisz). — b. Haar- lem, 1562 ; D. Haarlem, 11th November, 1638 ; s. Pieter Pieter- sen ; p. history and portraits. The name of the father of thisi artist was Cornells Thomas ; and it may be useful to state that in such Dutch names the " z " at the end of the second Cornells is an PAINTERS AND THEIR WORKS. 503 abbreviation of "zoon," son, and a"d" of "dochter," daughter. When Haarlem was besieged by the Spaniards in 1572, the parents of Cornells quitted that place, and left him under the care of Pieter Aartsen, a painter, the son of Lange Pier the artist, known in Italy as Pietro Lungo. By the time he was seventeen, Cornelis had already become a good painter, and went to Rome, probably to seek his fortune. Owing to the plague breaking out in that city, he moved to Antwerp, where he studied under Gillis Coignet. On his return to his native place, he was employed by the muni- cipal authorities, and became one of them. He married Maria, a daughter of the sculptor Beggyn, who was the father of the Dutch painter known as Cornelius Bega. Cornelis painted in preference subjects into which he could in- troduce nude figures, such as "The Massacre of the Innocents," and drew them well, but the colouring of his pictures is not equal to the richness of the composition or the drawing. There are good examples of this master's works in the Museum at Amster- dam ; and at the Pourtales sale in 1865, two, "The Virgin and Child with Saints," and "A King Creating a Knight," sold for £65. Hackaert or Hakkert (Jan). — b. Amsterdam, about 1636 ; D. Amsterdam, 1699; s. ; p. landscapes. The pictures by this artist are among the best of those by the Dutch landscape- painters. It is not known under whom he learned to paint, but he appears to have studied early in life from nature in Germany and Switzerland. He was the intimate friend of Adriaan van de Velde, who frequently painted the figures in his landscapes. In others they are by P. Wouwerman, Jan Lingelbach, and Berchem. He was fond of painting avenues of trees, in which the eifect of sunshine is very skilfully managed, and at other times, lakes sur- rounded by woods. He painted with a lighter touch than Jan Both, and his trees are highly finished. In many of his pictures there are sportsmen and their dogs. Most of his works have been engraved, and he etched about half-a-dozen plates. Pictures by Hackaert are to be found in all the great galleries of Europe. As they have always been much sought after, they have occasionally been sold at very high prices and have risen very much in value, as tlie following list will show : A Stag-hunt, figures by A. van de £ s. d. Velde, Changran's sale 1780 ... 10 Mountainous Landscape, figures bv A. van de Velde " ... 1802 ... 30 19 6 504 PAINTERS AND THEIR WORKS. The Prince of Orange Returning from Hunting, figures by A. van de Velde, Helsleuter's sale Landscape, figures by A. van de Velde, Helsleuter's sale ... An Avenue of Beech- trees, Van der Pot's sale ... Landscape, cattle fording stream, figures by A. van de Velde A Stag-hunt, La Fontaine's sale ... Mountainous Landscape, Brute's sale Landscape and figures, Bernal's sale Landscape, ruins of bridge, Standish's sale ... The Retreat, figures bv A. van de Velde In the Wood at The Hague, sportsmen returning from hunting, figures by A. van de Velde, from Duval Collection, Bagot's sale ... Landscape, figures by Lingelbach, Heris's sale Stag-hunt, figures by Berchem, Granville's sale ... Landscape, cavalier on white horse, ScarislDrick' s sale . . . Landscape, men and ladies on horse- back, Scarisbrick's sale ... Mountainous Landscape, cavalier, dogs, attendants, etc., Scaris- brick's sale... Sunset, figures by A. van de Velde, De Morny's sale ... Italian Landscape, figures by Lingel- bach... Garden Scene, figures by Lingelbach, Campbell's sale Italian River Scene, Heywood's sale Hackert (Johann Gotlieb).— b. 1744 ; d. Bath, 1773 or 1774 ; s. Le Soeur, of Berlin ; p. landscapes and animals. This painter belonged to a family of artists in Germany. He studied in Paris and Rome, and came to England in 1772. He exhibited some Italian views in oil and water-colours at the Royal Academy, and painted a picture of four hounds, which was engraved and published by Boydell. He died in his twenty-ninth year, at Bath. £ s. d. 1802 . 95 1802 . .. 130 1808 125 1821 .. 100 16 1821 . .. 215 1822 . 37 16 1824 36 16 1827 . 27 6 1830 . .. 252 1836 . .. 200 11 1841 . 80 1845 . .. 682 10 1861 77 14 1861 81 18 1861 . .. 56 14 1865 . .. 1160 1866 .. 90 1867 . .. 64 1893 . .. 225 PAINTERS AND THEIR WORKS. 505 Haelen.— /See Halen. Hagen or Verhaagen (J. van der). — b. ; d. The Hague, 1656 ; s. ; p. landscapes. According to the catalogue of the pictures at The Hague, the date 1656 is that of this painter's death, not 1679, and his Christian name was Joris (George), not Jan. He was the contemporary and friend of N. Berchem and Adriaan van de Velde, who frequently painted figures in his land- scapes. He generally introduced a river into them, and broad effects of light and shade, but many of them are much darkened by time. Pictures by Hagen have been sold at the following prices : Dutch Landscape, Van der Pot's £ s. d. sale ... 1808 ... 130 Woody Landscape, sportsmen and dogs, Bute's sale ... 1822 11 11 Ditto, figures reposing, Bute's sale ... 1822 ... 69 5 Portrait of a Lady, in a pastoral character, and Landscape 1828 2 2 Landscape, figures passing through a wood, Hampden's sale ... 1834 ... 13 2 6 Dutch Landscape, King of Holland's sale ... 1850 15 "Woody Scene, cavaliers on horse- back, Scarisbrick's sale ... 1861 16 16 Ditto, peasants in a road, Scaris- brick's sale... 1861 4 14 6 Landscape, cascade, cavalier, and peasants, Scarisl3rick's sale 1861 ... 42 6 Haghe (Louis).— b. Tournay, in Belgium, 1806; D. 1885 s. De la Barriere ; p. history and interiors with figures. Haghe was the son of an architect, who gave him his first instruction in -art. He also attended the Drawing Academy in Tournay, and had lessons in painting landscapes in water-colours from the Chevalier De la Barriere, a French emigrant, who had established a litho- graphic press at Tournay. Under him Louis Haghe became a master in the then new art of lithography, and when only seven- teen he had a very considerable share in producing the book " Vues Pittoresques de la Belgique." In 1823 Louis Haghe came to London, and made it his place of permanent residence. His skill in lithography soon led to his connection with Mr. Day, which only ceased on the death of the latter, in 1845. The fine works illustrated with lithographs, which they produced, are generally known. Haghe's last lithograph was from Roberts's picture of 506 PAINTERS AND THEIR WORKS. "The Destruction of Jerusalem by the Romans." Although much of his time was devoted to lithography, Louis Haghe had not neglected painting in water-colours, and in 1835 he was elected a member of "The New Society." From that time may be dated the series of works which have rendered his name so widely known, and have been so justly admired. We believe he never exhibited at the Royal Academy, and only sent eight works to the British Institution, which are classed as "historical." It is remarkable that Haghe, like William Miiller, painted with his left hand. He received several decorations and was a member of many art societies. The following prices were paid at auction for Louis Haghe's pictures in oils : by 46iin., Bicknell's sale 1863 An Artist in his Studio, 37 Jin. by 30in., Bicknell's sale 1863 The First and Last Touch (bought in) 1867 Sunny Hours, 35in. by 34in., Mc Connell's sale 1886 £ s. 304 10 183 15 147 236 5 Taking the pric3s paid for his water-colours, in a list of those sold by auction between 1860 and 1891, they vary from £61 16s. for the "Interior of S. Gertrude's, Louvain," at Hibbert's sale in 1860, to £595 7s. for "The Ante-chamber of the Inquisition," at Bigg's sale in 1868. Among the higher prices paid for some others have been : Rienzi in the Forum, Langton's sale... Council Chamber, Oudenarde, Moz- ley's sale Interior of the Brewers' Hall at Antwerp ... The Toilette, Threlf all's sale Milan Cathedral, 21in. by 30in., Williams' s sale Interior of S. Mark's, Venice, 33 Jin. by 39 Jin., Williams's sale Priest Preaching to Roman Peasants, 12Jin. by 29in., Campbell's sale... An Emeute, Louvain, 27in. by 37in., Campbell' s sale The Fish-market, Rome, Bigg's sale The Veteran's Story, Bigg's sale The Ante-chamber of the Inquisition, Bigg's sale s. d. 1862 . . 304 10 1863 . . 159 12 1864 . . 169 1 1864 . . 157 10 1865 . . 136 10 1865 . . 252 1867 . . 136 15 1867 . . 315 1868 . . 135 9 1868 . . 241 10 1868 . . 595 7 PAINTERS AND THEIR WORKS. 50T Cologne Cathedral, Tomb of the Kings £ 8. d. (bought in), Smith's sale 1868 .. . 262 13 Cromwell and Ireton, Moon's sale ... 1872 194 5 The Drinking-song, 18in. by 24^in., James's sale 1873 .. . 288 15 Oath of Vargas, 45in. by 34in., Leaf's sale ... 1873 .. 357 The Happy Trio, 21in. by 27in., F arn worth's sale. . . 1874 .. . 210 Transept of S. Gomar, Parkes's sale... 1875 .. . 136 10 Silver Pulpit, Milan, Parkes's sale ... 1875 157 10 Cromwell and his Daughter Looking at a Portrait of Charles L, 19^in. by 25in., Leaf's sale 1875 .. . 262 10 The Armoury, Birch's sale ... 1875 .. . 157 10 The Brewers' Hall, Antwerp, Quilter's sale 1875 . .. 178 10 The Watering Place, Cairo, Rucker's sale ... 1876 ., ,. 430 10 The Guard- room, Rucker's sale 1876 . .. 178 Interior of the Hotel de Ville, Bruges, Poole's sale... 1877 .. 157 10 Transept, Cathedral of Tournay, 29|in. by 22in., Knowles's sale ... 1877 . ,. 252 S. Onofrio, Rome, 27in. bv 40in., Fleming's sale 1879 .. , 231 Guard- room, Oudeuarde, McConnell's sale 1882 .. 260 8 Audience Chamber, Hotel de Ville, Bruges, dated 1852, Napier's sale 1886 . .. 300 Interior of S. Mark's ... 1888 . .. 215 a The SUver Wedding 1891 . .. 262 Choir of S. Maria Novella, dated 1861, Bolckow's sale 1891 . .. 315 Hainault (Jean d.e).—See Mabuse. Hakkert.— AS'ee Hackaert. Halen or Haelen (Pieter van).— b. ; d. Antwerp,, 1687 ; s. ; p. landscapes. He was Dean of the Guild of S. Luke at Antwerp in 1651-52. He succeeded Gonzales Coques as Elder of the Guild in 1671. He imitated Claude Lorrain in some of his pictures, many of which, it is said, were brought to England, but they have been lost sight of. Hals (Dirk). — b. Haarlem; d. Haarlem, 1656; s. Abraham Bloemart ; p. interiors, animals, etc. He was the elder brother 508 PAINTERS AND THEIR WORKS. of Frans Hals, and by his wife Agnietje Jans had eight children, the eldest of whom, Antonio, was baptised 17th October, 1621, which proves that Dirk was then residing at Haarlem. Antonio was a painter. There are pictures by Dirk at Amsterdam and at Copenhagen. Two of his works have been sold as under : A Party of Ladies and Gentlemen, £ s. d. Van Cleef's sale 1864 ... 35 Three Musicians, and Two Persons Dancing, Scharf's sale 1876 ... 40 Hals (Frans).— B. Antwerp, 1580-81 or 1584 ; d. Haarlem, '26th August, 1666 ; s. unknown; p. portraits. The family of Hals was one of the oldest in Haarlem, as Claes Franszoon Hals is mentioned in the register of that place in 1350, and from that date there are entries of the births, marriages, and deaths of his descendants down to 1674. Among them was Pieter Hals Clasz, who married, in 1579, Lysbeth Coper. These were the parents of Frans Hals the painter. After filling some of the more important municipal offices in his native place, Pieter Hals left Haarlem in 1579, and, having resided for a time at Mechlin (Malines), went to Antwerp, where he settled, and Frans, his second son, was born. It is not known under what master the latter studied painting, but it is very probable that he was a fellow-pupil with Rubens under one. of the masters who taught Rubens before he went to Italy in 1600, and may have been still at Antwerp when Rubens returned there in 1608. Be this as it may, Frans Hals ^ippears to have been the first Dutchman who practised in Holland the free manner of painting adopted by Rubens and Van Dyck. Frans had, however, removed to Haarlem, and married Anneke Hermans before 1611, as the baptism of their son Hermans was registered there on the 2nd September of that year. He seems to have led there a very irregular life, and to have received at last a small pension from the municipal authorities, which he did not live long to enjoy. It must, however, be stated that, owing to the loss of trade and war, distress was then general in Holland, that Hals was over eighty years of age, and that he must have outlived most of the comrades and friends whose portraits he introduced into those great portrait groups which are at Haarlem. In that town are to be found more of his works than elsewhere, and they are among the finest of those which the great Dutch portrait-painters of the seventeenth century produced. The heads are painted with a lightness and decision, yet sufficient solidity, giving them a PAINTERS AND THEIR WORKS. 509 wonderful appearance of that joyous-looking life which was the result of the freedom and wealth that then existed in Holland. Both Rubens and Van Dyck had a very high opinion of Hals' talent as a painter, and when the latter visited Holland, he urged Hals to accompany him to England. Frans Hals had several children, all born at Haarlem, who were painters. Frans, b. , d. 1645 ; Hermans, B. 1611, d. 1669 ; Jacobus, B. 1624, d. ; Johannes, b. , d, 1650 ; Renier, B. 1627, D. ; but the details of their lives and their works are now unknown. His son Frans went to the East Indies. Besides the celebrated pictures by Frans Hals which are at Haarlem, there are portraits by him in many of the great galleries of Europe, including two in our National Gallery. In the history of the variation of prices paid for pictures at different times, there is none so remarkable as that of those produced by Frans Hals' works ; his portraits have risen so much in value within the last forty years that they may now, in that respect, be said to rival those by Van Dyck. The following is rather a long list of them : A Musical Party, from Sir L. Schuah's Collection ... The Rumbling Pot, Lenglier's sale ... A Lady's Portrait, Bessbo rough's sale A Boy's Head, Bessborough's sale ... A Portrait, Hamilton's sale ... Portrait of a Lady in a ruff, Willett's sale A Humorous Scene, Knight's sale . . . Lady and Gentleman Singing, Knight's sale ... Two Girls, one with a kitten in her lap, from Greffier Faget's Collec- tion, G. W. Taylor's sale Girl and Boy Playing at Cards, G. W. Taylor's sale Laughing Boy, and companion picture, Balmes' sale A Miser Man's Portrait, ruff, black dress, Vernon's sale Portrait of Van Goyen and his Family, G. W. Taylor's sale ... Portrait of Burgomaster Guldewagens, Bagot's sale Portrait of De Waal, Ba^rot's sale ... £ s. d. 1769 ... 28 1788 ... 15 1801 ... 12 1 6 1801 ... 7 17 6 1801 .. 7 17 6 1813 .. 11 11 1819 .. 43 1 1819 .. 10 10 1823 .. 36 15 1823 .. 37 16 1823 .. 14 14 1830 .. 5 5 1831 .. 11 11 1832 .. . 50 8 1836 .. 16 16 1836 .. 13 13 ^10 PAINTERS AND THEIR WORKS. Portrait of Van Goyen and his Family, £ s. d. Bagot's sale 1836 . .. 31 10 The Artist's own Portrait ... 1836 , .. 14 3 6 Portrait of a Man 1839 . 6 6 A Dutch Lady, Hastings' sale 1840 . 4 10 A Card Party, Hastings' sale 1840 . 6 6 Portrait of Admiral De Ruyter and Page, 18in. by IG^in., Bernals' sale ... 1855 . 2 15 Portrait of a Lady holding jewel. 34in. by 26in., Bernal's sale 1855 . 2 15 Portrait of the Artist with a Pig, Phipp's sale 1859 . 28 7 Portrait of the Artist, Northwick's sale ... 1859 . .. 18 18 Portrait of a Man, Pourtales' sale . . . 1865 . .. 2000 Two Portraits, Pourtales' sale 1865 . .. 150 4 Small Portrait of Van Heythuyzen, Brienen de Grootelindt's sale . . . 1865 . .. 1400 Portrait of Johannes Hoornbeeck, Vis-Blockhuyzen's sale ... 1870 . .. 470 The Welcome, from Pourtales' Col- lection (bought in), Du Blaisel's sale ... 1872 . .. 151 5 Portrait of a Gentleman, Middleton's sale 1872 . .. 420 Portrait of a Woman, Pereire's sale 1872 . .. 840 Portrait of the Artist, Twopenny's sale ... 1874 . .. 35 Head of Boy, with dog, 12in., circular, Bredel's sale 1875 . .. 189 Head of Boy, with bubbles, 12in., circular, Bredel's sale ... 1875 . .. 115 1- Portrait of a Man, Lissingen's sale ... 1876 . .. 485 The companion picture, Lissingen's sale ... 1876 . .. 215 Portrait of a Burgomeester, lOfin. by 8|in., Levy's sale ... 1876 . .. 157 10 Violin-player, 32^m. by 27in., Levy's sale ... 1876 . .. 89 The Singer, 23in. by 29iin., Levy's sale ... ... ... 1876 . .. 267 Portrait of the Artist, long grey hair, 27in. by24in.. Levy's sale 1876 . ,. 262 10 A Soldier, 30in. by25in.. Levy's sale... 1876 . .. 89 5 Portrait of Falkenstein, 30in. by24in.. Levy's sale 1876 . .. 299 5 PAINTERS AND THEIR WORKS. 511 £ s. d. 1876 ... 399 1885 ... 1008 1885 ... 189 1888 ... 350 1889 ... 1680 1889 ... 567 1890 ... 1995 1890 ... 1837 1891 ... 493 1891 ... 451 1891 ... 241 1892 ... 735 1894 ... 682 1894 ... 325 I, Surrey, April, 1832 Portrait of a Lady, with ruff and cap, dated 1644, Rixon's sale ... Portrait of a Gentleman, holding- hat and gloves, 45in. by 36in., De Zoete's sale Portrait of a Gentleman, SO^in. by 24iin. , De Zoete's sale ... Portrait of Van Goyen Lady in Black A Burgomeester Portrait of a Gentleman Portrait of the Artist's Wife Portrait of a Gentleman Portrait of Cornelius Niedwager, James's sale Portrait of Johannes Hoornbeeck, James' sale Portrait of a Gentleman, Clancarty's sale ... Two Boys (a pair) A Man's Portrait Halswelle (Keeley).— b. Richmon* D. Paris, 11th April, 1891 ; s. ; p. genre and landscapes. When young, Halswelle drew for the Illustrated London News. He exhibited his first picture at the Scottish Academy in 1857, and was elected an Associate in 1866. Between 1869 and 1879 he lived generally in Italy and painted many scenes from the life of the peasantry of that country. Afterwards he devoted most •of his time to painting landscapes, views in Scotland or on the Thames ; they are often wide stretches of rivers covered by water- plants. In 1864 there was in Bond Street an exhibition of his sketches, called "Six Years in a House-boat." The following prices have been paid for pictures in oil painted by Keeley Halswelle : Lo Sposalizio, 62in. by 98^in., A. Grant's sale Neapolitan Image-seller, 63in. by lOOin., Brogden's .sale A Roman Fruit-stall, Caine's sale ... Contadini Waiting for Blessing, 62in. by 84in Say " Yes," two lovers Landscape — Solemn and Silent Every- where, 30in. bv 45in., Lee's sale £ 8. d. 1877 . .. 840 1878 . .. 913 10 1880 . .. 210 1883 . .. 1730 1883 . .. 304 10 1883 . .. 378 512 PAINTERS AND THEIR WORKS. Contadini Waiting for Blessing, Price's £ d. sale ... 1885 . 372 15 Robadi Roma, Gibson-Craig's sale ... 1887 .. . 660 Under the Lion of S. Mark, Walker's sale ... 1888 .. . 285 Water-crowsf oot, Duncan's sale 1889 .. . 252 Sonning-on-Tliames, Poole's sale 1889 ., ,. 262 Dolce far niente, dated 1868 1890 .. . 462 0' Waiting for the Blessing, Brook's sale 1891 . .. 325 0* Play Scene in Hamlet, Kurtz's sale . . . 1891 . .. 262 0' Inverlochy Castle, Kurtz's sale 1891 . .. 430 Highlands and Islands, Dent's sale . . . 1892 . .. 252 Hamilton and Van Hamilton.— There were a number of painters who bore this name in England and abroad in the last century. Hamilton (Gavin).— b. Lanark, 1730 ; d. Rome, 1797 ; s. ; P. history, interiors, and portraits. Gavin was of the family of the Hamiltons of Murdieston. He went early to Rome, and resided there during the greater part of his life. He was, however, in London about 1752-55, and was a member of the artists' committee to establish a Royal Academy. While here he painted the portraits of the Duchess of Hamilton and the Countess of Coventry, two celebrated beauties of the time, and also the portraits of the travellers Dawkins and Wood, who went to Palmyra. All these portraits were engraved. Gavin Hamilton came again to England in 1783, when he inherited property from his elder brother. He returned, however, to Rome, where he Avas considered a high authority on matters of art, and had successful excavations made. Some of the objects then found are now in the British Museum, and he published a book entitled ''Schola Italica Pictura," containing forty prints after Italian painters. As an historical painter, Gavin Hamilton's pictures represent classical subjects, and one of them, an "Apollo," which Boy dell presented to the City of London, is above life-size, and is well and solidly painted, but heavy in colour. It was on view at the International Exhibition of 1862. Gavin decorated a room in the Villa Borghese with the story of Paris. His small interiors often contain humorous scenes that are well painted. He exhibited at the Royal Academy between 1770 and 1786. The pictures by Gavin Hamilton which have been offered at auctions have been sold as follow : £ s. 1776 .. 32 1801 ... 14 14 1801 .. 27 6 1816 .. 16 16 1819 .. 19 8 1882 .. 27 6 PAINTERS AND THEIR WORKS. 513 d. Venus and Adonis, Smith's sale The Genii of Poetry and Painting, drawing or sketch, W. Hamilton's sale ... Sleeping Venus and Cupid, W, Hamilton's sale ... Death of Lucretia, Hope's sale Cupid Tying the Girdle of Venus, Upper Ossory sale Hector and Andromache (copy from an old master), 20in. by 26in., Duke of Hamilton's sale Portrait of a young Lady and a Negro, smaU whole-length, 17in. by 13in., Duke of Hamilton's sale 1882 ... 54 12 Hamilton (Hugh Douglas).— b. Dublin, 1734; d. Dublin, 1806 ; s. James Manning ; p. mythological subjects and portraits. After studying in the Dublin Academy, Hugh began drawing like- nesses in crayons. This he did with such success that he was induced to come to London, where he was much employed, and the King and Queen sat to him. His portraits were generally small ovals, done principally with grey, red, and black chalks, and he was very successful in the expression of the eyes. In 1765 he gained a premium of sixty guineas, and was admitted a member of the Incorporated Society of Artists. In 1778 he went to Rome, and there painted many such portraits. On the advice of Flaxman he studied painting in oils, and with success. In 1787 he was at Florence, whence he sent two portraits to be exhibited at the Royal Academy, and another in 1791. On his return he settled in Dublin, where he practised as a portrait- painter until 1800. H. D. Hamilton's portraits are well drawn and have an agree- able expression, but are somewhat feeble. One of the best of his men is ''Dean Kirwan Preaching," which is at the rooms of the Dublin Royal Society. His portraits of females are better, and both Earlom and Houston engraved after him, the latter his portrait of Mrs. Hastley. Hamilton (Jacobus or Jacques van). — b. Scotland; d. Brussels, at the age of eighty; s. ; p. . He is said to have left Scotland in the time of Cromwell, and to have settled at Brussels, where, and at Vienna, his children and grandchildren 2 K 514 PAINTERS AND THEIR WORKS. became well known as painters of still-life. The best artist of them was : Hamilton (Philippe van).— b. Brussels, 1664; d. Vienna, 1750; s. his father, Jacobus; p. animals and still-life. He settled at Vienna, where he was named painter to the Emperor Charles VI. There are pictures by him at Vienna and at Munich. He painted somewhat in the style of Weenix or Van Aalst, but his works are inferior to theirs. Hamilton (William).— b. Chelsea, 1751 ; d. London, 1801 ; s. Zucchi ; p. history and portraits. This artist, whose name is to be found on so many illustrations to books, such as Boydell's "Shakespeare" and Macklin's Bible, was the son of a Scotch- man. He went young to Italy, where he studied under Zucchi. On his return to England he became a student at the Royal Academy, of which he was elected an Associate in 1784, and a full member in 1789. Between 1774 and 1801 he exhibited there eighty-two works, classed as " mythological." Although popular during his lifetime, W. Hamilton's works have little to recommend them, as the figures are stilted and dressed in the costumes then usual on the stage. He painted also many theatrical portraits, and the panels of Lord Fitz- gibbon's state carriage, which is now at South Kensington. Most of his pictures have produced in sales only £2 or £3. The following went rather higher : Marie Antoinette Conducted to the £ s. d. Guillotine, Hamilton's executors' sale ... 1802 .. 29 8 Moses Keceiving the Tables, Beck- ford's (Fon thill) sale 1802 .. 38 17 Moses Showing the Brazen Serpent, Beckford's (Fonthill) sale 1802 .. . 38 17 Mrs. Siddons as the Grecian Daughter, Noel's sale ... 1813 .. 21 ^F^neas and Crensa, Marsh's sale 1875 .. 34 13 Hand (Thomas).— b. ; d. September, 1804 ; s. George Morland ; p. landscapes and figures. This painter was not only the pupil of Morland, but one of his boon companions, and his death occurred only a month before Morland's. He had acquired so much of Morland's manner of painting that he ventured to place his master's name on the copies he made from his works. Hand exhibited a small landscape at Spring Gardens in 1790, and PAIJqTERS AND THEIR WORKS. 515 twenty-one at the Royal Academy between that year and 1804. These were of course shown under his own name, and were classed as landscapes. Some of them are little inferior to those by George Morland. Two have been sold as under : £ s. d. A Halt at a Public House, Clay's sale 1824 ... 6 15 A Coast Scene with fishing-boats and figures 1826 ... 4 10 Hauneman (Adriaan).— b. The Hague, 1610 ; d. The Hague, 1680 ; s. Johannes van Ravestein ; p. portraits. Van Ravestein w^as himself an excellent painter of portraits, and Hanneman profited so much by the instruction that he received, and by studying the works of Van Dyck, that the portraits he painted in England when he came here in the reign of Charles I. are often by no means unworthy of that master. Hanneman re- mained in this country for sixteen years, during part of which he assisted Mytens. The portarits by Hanneman are well drawn and coloured, very much in the manner of Van Dyck, except that he marked the shadows more strongly. The hands are well drawn, and the whole portraits very pleasing. His son William was also a good portrait-painter, but died here, young, and was buried in the Church of S. Martin-in-the-Fields. The father occasionally painted subject-pictures, and on leaving England returned to The Hague, when he became the favourite painter of Mary Princess of Orange, and was also Director of the Academy in 1665. He painted at The Hague for the States of Holland an emblematical figure of Peace, so much to their satisfaction that they not only paid the painter, but gave the beautiful girl who sat as his model a thousand guilders (equal to about £100 of our present money). Portraits by Hanneman are rather numerous, and have been sold as follow : Allegorical portraits of the Prince and £ s. d. Princess of Orange, lyAigremont's sale ... 1802 .. 3 3 Portrait of the Prince of Orange when young, Walker's sale 1803 ... 3 13 6 Portrait of the Artist by himself, Willett's sale 1813 .. 22 11 6 Ditto, W. Taylors sale 1823 .. 73 10 Portrait of Louis XIII., W. Taylor's sale ... 1832 .. 8 8 2 K 2 516 PAINTERS AND THEIR WORKS. Portraits of two Children with dogs, £ s. d. MeUish's sale 1839 ... 5 15 6 Portrait of Hanneman, Wife, and Family, from Northwick Collec- tion, Dawes's sale 1859 ... 37 16 Ditto, Graves's sale 1868 ... 50 8 o Portrait of the Artist, by himself, dated 1656 1894 ... 267 Harding. — There have been no less than thirteen painters of this name who have exhibited at the Royal Academy. Of these the most known were : Harding (George Perfect).— b. ; d. Lambeth, 23rd December, 1853 ; s. Sylvester Harding ; p. portraits. He was the son of Sylvester Harding, and commenced his career as a portrait-painter, but distinguished himself principally by his copies in water-colours of old portraits of celebrated persons, which he made to be engraved in historical and antiquarian publications. Harding (James Duffield).— b. Deptford, 1798 ; d. Barnes, 4th December, 1863 ; s. his father ; p. landscapes. The father of this artist had been a pupil of Paul Sandby. The son was articled to an attorney, yet exhibited some views at the Royal Academy when only thirteen years of age, and between that time and 1858 thirty-five there, eight at the British Institution, and seventeen in Suffolk Street. In 1818 he gained the medal of the Society of Arts, and in that year exhibited for the first time at the Water-colour Society's Rooms, the drawings being "Greenwich Hospital at Sunset" and ''Windsor, from the Great Park." In 1821 he was elected an Associate, and in the following year a full member of the society. He was always much employed as a teacher, and published many very useful books in connection with that occupation. In 1830 he went to Italy, and on his return exhibited some views in that country. He did not restrict himself to the use of water-colours, as from 1843 he frequently sent pictures in oils to the Royal Academy. His sketches in lithography after Bonington are excellent. Whether in oils or water-colours, pictures by J. D. Harding vary much in quality. The following lists contain some of his best works. Of thos3 in oils the following have been sold by auction : PAINTERS AND THEIR WORKS. 517 View of S. Pietro, Verona, Oddie's £ s. d. sale ... 1854 .. . 136 10 8. Pietro, near Verona, Fripp's sale ... 1855 .. 115 10 (xrand Canal, Venice, Wallis's sale . . . 1860 .. . 130 4 Coigne de Gavarni, Pyrenees, 25iin. by 35^in., Plint's sale 1862 . 106 The Isle of Thun, Switzerland, 31|in. by 53|in, , Plint's sale 1862 .. . 183 15 S. Pietro, Verona (see above), Ber- nard's sale ... 1872 . .. 137 11 Verona, Holdsworth's sale ... 1881 .. . 168 Tournon, on the Rhine, Ostler's sale 1882 . .. 117 18 For J. D. Harding's drawings in water-colours the following have been the highest prices realised : VV^iftT* r»n f,bp Sinrnlnn P.nplrf^v's £ s. d. sale 1852 215 1859 74 11 1859 49 X ciLlilV/O, ±X1 tJUX^L V o oa;iC ... ... 1860 35 Mount Sinai, Hibbert's sale ... 1860 38 17 Venice — Evening, Palmer's sale 1861 .. . 67 14 Bolton Abbey, 12in. by25in., Agnew's sale ... 1861 .. . 52 10 Great Yarmouth, 7in. by lOin., Agnew's sale 1861 .. . 52 10 Bern Castle, Bicknell's sale ... 1863 .. . 294 Loch Tay, Allnutt's sale 1863 .. . 53 11 The Forest, Harding's executors' sale ... 1864 ., .. 157 10 Ruined Castle, figures on river, n^in. by 25in., Campbell's sale 1867 .. .. 63 Highland Lake, fishing-boat, 14in. by 20|in., Campbell's sale ... 1867 .. 42 Bolton Abbey, A. Grant s sale 1868 . .. 110 The Queen's View, Pitlochrie, Jervis's sale 1869 . ..■ 78 15 Bolton Abbey, Rennie's sale ... 1870 ,. 120 15 Bergamo, Broderip's sale 1872 . .. 47 5 Grand Canal, Venice (the engraved j)icture), Moon's sale 1872 . .. 399 Venice, 30in. by 42in., Leaf's sale ... 1875 . .. 320 5 A Swiss Valley, Rucker's sale 1876 . .. 168 Lake Como, Rucker's sale 1876 . .. 210 s. a. 1876 ., . 162 1877 .. 87 3 1877 .. . 275 5 1884 ., . 178 10 1889 . .. 157 518 PAINTERS AND THEIR WORKS. Bay of Salerno, McLean's sale On Lake of Como, Poole's sale Marseilles, 21 fin. by34|in., Knowles's sale ... Bolton Abbey, 22in. by 42in., Han- bury's sale... Como, from the Milan Road, Austen's sale ... Harding (Sylvester).— b. Newcastle-under-Lyme, 25th July, 1745 ; D. London, 12th August, 1809 ; s. ; P. miniatures. Sylvester Harding was sent to live with an uncle in London at ten years of age, and was placed with a hairdresser. At fourteen he ran away, and, joining some strolling players, performed for years, but without success. He left them in 1775 and came to London, where he began to practise as a painter of miniatures. From 1776 to 1802 he exhibited at the Royal Academy twenty- two of these and at the Free Society three. He painted also in water-colours copies of old family portraits. Finally he estab- lished himself in Pall Mall, about 1793, and became well known to collectors. Sylvester Harding published several books, and among other things ''The Biographic Mirror," which was got up by himself and his brother, who was afterwards appointed Librarian to the Queen at Frogmore ; also the " Memoirs of Count de Grammont.'' Harembourg.— Horebout. Hargreaves (Thomas).— b. Liverpool, 1775 ; d. 23rd Decem- ber, 1846 ; s. Sir Thomas Lawrence ; p. portraits. One of Har- greaves' miniatures having been shown to Lawrence, the latter engaged him as an articled assistant for two years, from May, 1793, at a small weekly salary, and Hargreaves continued to do such work in oils for several years. He then returned to Liverpool, and there devoted his time to painting miniatures, which are much in the style of portraits by Lawrence. Hargreaves was a member of the Liverpool Academy and of the Society of British Artists, and had three sons, all of whom painted miniatures. He ex- hibited nine portraits at the Royal Academy and nine in Suffolk Street. Harlow (George Henry).— b. London, 10th June, 1787 ; D. London, 4th February, 1819 ; s. De Cort, Drummond, [and Sir Thomas Lawrence ; p. portraits. Harlow was the posthumous son of an English merchant at Canton. It is said that his mother PAINTERS AND THEIR WORKS. 519 spoiled him ; but as lie had an early inclination for art he was allowed to study under the above-named masters. After being with Lawrence for eighteen months they parted, and Harlow had to depend upon his own industry and ability. He was then much in the society of actors, and later one of his principal works was "The Trial of Queen Catharine," into which he introduced the portraits of the meuibers of the Kemble family. At first he painted portraits at a very low price ; but gradually this was raised to 40 guineas for a three-quarter length. In 1818 Harlow went to Italy, and was well received and flattered at Rome, where he was made a member of the Academy of S. Luke. He exhibited, between 1804 and 1818, forty-two portraits at the Royal Academy and five at the British Institu- tion. He worked with great rapidity, and made at Rome a good copy of Raphael's "Transfiguration," the same size as the original, in eighteen days. It is said that the quarrel he had Avith Lawrence was the reason why Harlow was not elected an Academician. The copy of "The Transfiguration," above mentioned, was sold in 1857 at Godin's sale for £126, and the portrait of Stothard, the painter, at Samuel Rogers's sale in 1856, produced £14. Harlow's best works are his small portraits and those done with a pencil and having the faces slightly tinted. Harp (Van).— SVc Herp. Harrison (Mary).— b. Liverpool, 1788 ; d. 25th November. 1875 ; s. ; P. flowers. The daughter of Mr. Rossiter, a hat- manufacturer in Liverpool, this lady married in 1814 a gentleman in easy circumstances named Harrison. Owing to misfortune, which rendered her husband an invalid, she had to support him and twelve children by her own industry and talent for painting flowers in water-colours. This she did. Her husband did not die until 1861, and in 1875 she herself died tranquilly, having ascertained that the pictures she intended to be exhibited at the Institute had been despatched. When her remaining works, con- sisting of flowers, fruit, landscapes, and figures, were sold for her executors at Messrs. Christie's in 1876, they produced from 5 to 15 guineas each. Hart (Solomon Alexander) .—b. Plymouth, 1806; d. Lon- don, 1881 ; s. Northcote ; p. history. The father of this artist was a goldsmith, who removed to London in 1820, and there 520 PAINTERS AND THEIR WORKS. taught Hebrew. He apprenticed his son Solomon to Samuel Warren, the engraver. In 1823 the son became a student at the Royal Academy, and he exhibited there a miniature portrait of his father, in 1826. His "Elevation of the Law," called also "The Interior of a Polish Synagogue," painted in 1830, appeared at the rooms of the Society of British Artists. It is now in the National Gallery. Another picture by this artist which in that year attracted much attention was ' ' Isaac of York in the Donjon of the Castle of Reginald I'ront-de-Boeuf . " Solomon Hart was elected an Associate of the Royal Academy in 1835, and a full member in 1840. He was in Italy in 1841-2. In 1854 he was appointed Professor of Painting in the Royal Academy, and in 1865 was elected Librarian, which office he held until his death. In all he exhibited, between 1826 and 1880, 121 works (classed as Scriptural) at the Royal Academy, twenty-five at the British Institution, and thirty-four in Suffolk Street. Pictures by this artist have been sold by auction as follow : Simcheth Torah Festival, Rucker's £ s. d. sale 1852 ... 210 Festival of the Law, Wells's (of Red- leaf) sale 1860 ... 69 6 Reading the Law, Tayloi-' 8 sale ... 1860 ... 94 10 Carrying the Law, J arman' 8 sale ... 1860 ... 73 10 Hart (Thomas Sanders).— b. Exeter, 1814 ; d. Cork, 1852 ; s. ; P. Scriptural subjects and landscapes. After studying in Paris, Thomas Hart was the fellow-student of Maclise, at Cork. He travelled, while still a young man, in the East, which enabled him to correctly represent Eastern customs and landscapes in the Scriptural scenes he chose as the subjects of his principal pictures. They were painted in the Pre-Raphaelite style, and among them are " The Deluge," " The Temptation," and a " Dead Christ." Some of his landscapes and sketches — "Adam's Peak," "Solitude," " The Governor's Parade," etc. — were purchased by Earl Derby, Viscount Torrington, and Sir Emerson Tennant ; and many of his sketches were reproduced in the early numbers of the Illustrated London News, such as those relating to "Eleven Years in Ceylon," etc. Being attacked by serious illness while abroad, Thomas Hart hurried home, but shortly after his arrival in England died, in his thirty-eighth year. Harvey (Sir George).— b. S. Ninians, near Stirling, 1805 ; D. Edinburgh, 22nd January, 1876; s. Trustees' School, Edin- PAINTERS AND THEIR WORKS. 521 burgh ; p. history, portraits, and landscapes. George Harvey- was apprenticed as a boy to a bookseller, but, showing a talent for drawing, was admitted into the Trustees' School in 1823. When, in 1826, the Royal Scottish Academy was formed, he was one of the Associates, in 1829 he became a full member, and he was elected President in 1867. The subjects of his pictures were scenes from the history of Scotland, such as * * Covenanter Preaching," "The Battle of Drumclog," etc.; but in 1843 he exhibited in London " An Incident in the Life of Napoleon," and in the Scottish National Gallery is his "Dawn Revealing the New World to Columbus." George Harvey was knighted in the year in which he was elected President of the Scottish Academy. The composition and colouring in his works are striking and rich, but the painting is somewhat heavy. Many of them have been engraved. Haughtou (Moses), the elder.— b. Wednesbury, 1734 ; d. Ashted, near Birmingham, 1804 ; s. Holden ; p. still-life. He was brought up under Holden, a painter in enamel, and employed as an ornamenter of tea-boards at Birmingham, but excelled in re- presentations of still-life in water-colours. Between 1788 and 1804 he exhibited thirteen enamels at the Royal Academy. Haughton (Moses), the younger. — b. Wednesbury, about 1772 ; D. ; s. George Stubbs ; p. miniatures. He was the nephew of the elder Moses Haughton, and studied under Stubbs and at the Royal Academy, where he became the friend and associate of Henry Fuseli ; of that artist he painted a portrait, which was engraved in 1808. He painted in a masterly style on ivory and prepared paper, and gave his portraits in water-colours much of the force of oil-painting. Fuseli entrusted to him the en- graving of his illustrations of Milton's Works. Haughton painted occasionally in oil. Some of his works have been engraved, among others " The Love Dream " and The Captive." Between 1808 and 1848 he exhibited eighty-two portraits at the Royal Academy and three at the British Institution. Havell iWilliam).— B. Reading, 9th February, 1782 ; d. Kensington, 16th December, 1857 ; s. his father ; p. landscapes. This clever artist was one of a family of fourteen children, to provide for whom his father taught drawing and kept a small shop. William, who was educated at Reading Grammar School under Dr. Valpy, showed early an inclination for painting, and was 522 PAINTERS AND THEIR WORKS. allowed to indulge in it. He studied at first from nature, in Wales, and exhibited in 1804 at the Royal Academy. He was also in that year one of tlie foundation members of the Water-colour Society, and for many years seldom painted in oils. In 1807 he went to Westmorland to study mountain scenery, and resided in that county for two years. He continued, however, to exhibit at the Water-colour Society's rooms, and occasionally a picture in oils at the Royal Academy. After residing at Hastings and Reading, where he assisted his father in teaching, William Havell was appointed draughts- man to Lord Amherst's Embassy, and left for China in the " Alceste." A quarrel with some oflB.cer on board, however, caused Havell to go to India in 1817, and he continued to paint in that country up to 1825, and saved money. After his return to England, Havell rejoined the Water-colour Society ; yet, after visiting Italy, in 1827, he painted principally in oils, and ex- hibited his works at the Royal Academy. Owing to the failure of a bank in India, he was in reduced circumstances before his death, and had to accept assistance from the Turner Fund. The number of pictures by William Havell is large, for he exhibited, between 1804 and 1857, of works classed as landscapes, 103 at the Royal Academy, forty-two at the British Institution, and thirty-two in Suifolk Street. They are all remarkable] for good composition, and often for the effect of sunshine. He early adopted a manner which was broad, and by suppressing details endeavoured to produce the general effect of the scene he repre sented. At South Kensington Museum are his ''View of Hastings, 1815," "Windsor," and *' Kilgarran Castle, Pembrokeshire." Works by William Havell have been sold as follow. In oils : Mountain Pass, Subiaco, smaU upright. Marsh' s sale In water-colours : Dover, n^in. by 24in,, Pooley's sale Windsor Castle, 15in. by 19fin., Pooley's sale Classical Landscape, Duncan's sale ... Mont Cenis and Mount Vesuvius, and an engraving, Percy's sale Kilgarran Castle, Percy's sale Plains of Sorrento, and the engraving, Percy's sale... A Landscape and Castle, Percy's sale £ 8. d. 1876 ... 26 5 1880 .., 15 1880 .. 29 8 1883 .. . 12 12 1890 .. 6 6 1890 .. . 42 1890 .. 23 2 1890 .. . 99 15 PAINTERS AND THEIR WORKS. 523 Havermann (Margaretha). — b. Amsterdam, 1720 ; d. Paris, 1749 or 1795 ; s. Jan van Huysum ; p. flowers and fruit. It is said that Van Huysum became jealous of the rapid progress which his pupil made, and that in consequence she went to Paris, where she married Jacques de Mondoteguy. In 1722 she was received into the French Academic, but her name was struck olf the roU in 1723 because her diploma picture was by her master and not by herself. According to French writers she died at the age of twenty-nine, but Seubert says that she lived until 1795. The following prices paid for her works show how nearly they approach those by Van Huysum : £ s. d. A Flower Piece, Testa's sale ... .. 1757 .. 10 Two Flower Pieces, Fould's sale .. 1860 .. . 105 Flowers in a Vase, Fould's sale .. 1860 .. . 105 The same picture, Fould's sale .. 1869 .. 85 The companion, Fould's sale ... ... 1869 ., 82 Haydou (Benjamin Robert).— b. Plymouth, 26th January, 1786 ; D. London, 22nd June, 1846 ; s. Royal Academy ; p. history and portraits. Haydon was the son of a bookseller and publisher at Plymouth, and was educated at the grammar school of that place. He early wished to become a painter, and in 1804 his father consented that he should come to London and enter the schools of the Academy. Unfortunately, he adopted what was termed ''high art" as the style he wished to maintain, although the public taste for it was rapidly dying out. The consequence was that his life became one long battle, with the odds against him every day on the increase. He exhibited his tirst picture, Joseph and Mary," in 1807. After carefully studying the Elgin marbles, he painted his "Dentanus," which was exhibited in 1809, and led to his quarrel with the authorities of the Academy. It is believed that Haydon was the writer of the letters signed "An English Student," written in defence of Barry, which appeared in the Examiner, and in 1816 he published "The Judgment of Connoisseurs upon Works of Art with that of Pro- fessional Men, in reference more particularly to the Elgin Marbles." From that moment he never ceased to be at war with somebody, until, worn out by opposition and difficulties which he had himself created, he died by his own hand. Haydon left an autobiography and a mass of papers which were carefully edited by Tom Taylor. In the book published in 1853 524 PAINTERS AND THEIR WORKS. will be found very full details of Haydon's life. That he was a man of great talent is certain, and he found many powerful friends who would have helped him on the road to fortune, but his vanity rendered their goodwill useless ; and as if to contradict his own efforts to produce "high art," his "Mock Election," and " Chairing the Member," and "Punch," will in all probability be carefully preserved when those among his works which he most valued have disappeared through neglect. Few of Haydon's pictures have been offered for sale by auction. Two only call for mention : Napoleon standing at S. Helena (one £ 8. d. of the three copies he made of the original picture), Rogers' sale ... 1856 ... 68 5 Shall I Resign ? portrait of Earl Grey, engraved by Ward, Johnson's sale 1880 ... 40 19 Hayes (Michael Angelo).— b. Waterford, 25th July, 1820 ; D. Dublin, 31st December, 1877 ; s. his father ; p. battles and landscapes. His father was a clever painter in water-colours. The son became celebrated as a painter of military subjects in water-colours. He was an Associate of the Institute of Painters in Water-colours in London, a member of the Royal Hibernian Academy in 1854, and its secretary from 1856 to 1870. Among his works are ' ' The Charge of the 3rd Light Dragoons at Mood- kee," "S. Patrick's Day at Dublin Castle," "The Installation of the Prince of Wales as Knight of S. Patrick in 1871," and "The Charge of the 16th Lancers at Aliwal." His works are very clever, and show that he studied nature carefully. Hayes was accidentally drowned in 1877. Hay Is (John).— B. England ; d. London, 1679 ; s. ; p. portraits. This painter was an Englishman, the contemporary of Sir Peter Lely, and to some extent his rival. He painted both in oils and in water-colours, also miniatures. The portrait of Samuel Pepys, by Hayls, is in the National Portrait Gallery, and Pepys speaks favourably of him. He also painted some portraits of members of the Bedford family, which are at Woburn. He was, moreover, an excellent copyist of portraits by Van Dyck. Hayman (Francis).— b. Exeter, 1708 ; d. London, 2nd Feb- ruary, 1776 ; s. Robert Brown ; P. history and portraits. On leaving Robert Brown, a portrait-painter at Exeter, Hayman came to London and was employed as a scene-painter at Drury Lane. He made also many drawings to be engraved as illustra- PAINTERS AND THEIR WORKS. 525 tions in books. For Vauxhall Gardens he executed a series of historical pictures, which added much to his reputation as an historical painter. For a short time he was . President of the Incorporated Society of Artists, and contributed to their exhibi- tions between 1760 and 1764. Hayman was one of the foundation members of the Royal Academy, where he exhibited, and was appointed Librarian in 1771. He was also a member of several clubs, the friend of Hogarth, and esteemed by his companions as a good fellow and as one fond of athletic exercises. To the Foundling Hospital he presented a picture, "The Finding of Moses." In the National Gallery is his own portrait represent- ing him painting that of Sir Robert Walpole. Hayman's best works are small whole-length portraits which he placed in interiors or landscapes. Two of them were sold as under : Portrait of Quin, the Actor, as Fal- £ s. d. stalf, Garrick's sale 1823 ... 12 12 Garrick, when Young, seated, with Mr. Wyndbam, Garrick's sale ... 1823 ... 12 1 Hayter (Charles).— b. ; d. ; s. ; p. minia- tures. This artist painted in London, in crayons and miniatures, and made very correct likenesses. He was teacher of perspective to the Princess Charlotte, and in 1813 published "An Introduction to Perspective." He exhibited miniatures at the Royal Academy from 1786 to 1832. Hayter (Sir George.)— b. London, 17th December, 1792 ; d, London, 18th January, 1871 ; s. Royal Academy ; p. history and portraits. In 1808 he was a midshipman in the Royal Navy ; but in the following year he returned to continue his study of art, and made rapid progress. He exhibited at the Royal Academy as early as 1809, and in 1815 his picture of "Ezra," for which the Directors of the British Institution awarded him a premium of 200 guineas, was shown there. As he painted also in miniature, he was appointed, in 3 815, painter of miniatures and portraits to the Princess Charlotte and the Prince of Saxe-Coburg. In the same year he went to Italy, where he remained three years. In 1825 he produced his "Trial of Lord William Russell," in which the many figures are carefully grouped and painted. Owing to its being engraved, it made Hayter's talents as an artist generally known. The original picture is at Woburn Abbey. This picture was followed by "The Trial of Queen Caroline" and "The 526 PAINTERS AND THEIR WORKS. Meeting of the First Reformed Parliament," now in the National Portrait Gallery. In 1837 he was appointed portrait and history- painter to the Queen, and painted a picture of her Coronation. All these pictures are full of portraits, which were very carefully painted. The last work which Sir George Hayter exhibited was a portrait of the Queen, in 1838. He went twice to Italy — in 1815, when he was much employed at Rome, and again in 1826. Although not a Royal Academician, he was elected a member of the Academies of Rome, Florence, Bologna, Parma, and Venice. In 1842 he was knighted. He wrote also an Appendix to the ''Hortus Ericeeus Woburnensis " on the classification of colours. The pictures by Hayter which have been offered at auctions have produced the following prices : Tartars and Circassians, Carysfort's £ s. d. sale ... 1828 ... 231 The Coronation of Queen Victoria, the engraver's picture (bought in), Graves's sale 1868 ... 840 Portrait of Sir J. 11. G. Graham, Hayter's sale 1871 ... 3 5 A number of these studies for his picture of the House of Com- mons sold at similar prices. H. B.—See Doyle (John). Head (Guy).— b. Carlisle ; d. London, 16th December, 1800 ; Royal Academy ; p. portraits and copies. Guy Head was the son of a house-painter. He came to London, studied at the Royal Academy, then went to Italy, and resided many years in Rome. He returned to England about 1790. Although he painted portraits and original pictures, he is most generally known as a very able copyist of older masters. The following belong to these classes of pictures : Paris Leaving (Enonc, Guy Head's £ s. d. sale 1802 ... 23 Copies of Rubens's Elevation of the Cross and Descent from the Cross, Guy Head's sale 1802 ... 420 Holy Family with S. Jerome, after Correggio, Hope's sale 1816 ... 42 Portrait of Lord Nelson, Lady Hamilton's sale 1860 ... 42 PAINTERS AND THEIR WORKS. 527 Heapy iThomas). — b. London, 29th December, 1775; d. London, 19th November, 1835 ; s. ; p. portraits. The family of this artist was originally French. He was apprenticed to a dyer, and attended an art school in Finsbury, but was in a great measure self-taught. He exhibited for the first time at the Royal Academy in 1800, and studied in the schools. His hrst subject-picture was "The Portland Fish-girl." In 1807 he became a member of the Water-colour Society. His "Hastings Fish-market," exhibited with the Society in 1809, was sold for 500 guineas. He was next appointed portrait-painter to the Princess of Wales, whom he painted in miniature, and also many other distinguished persons. In 1812 Heapy visited the British camp in the Peninsula, where he was much employed painting portraits until the end of the war. After his return he executed a, large picture of " The Duke of Wellington and his Stafi"," which was a great success, and was engraved. He took an active part in founding the Society of British Artists, but soon left it. In 1831 he visited Italy. After his return, he was engaged in forming the New Water-colour Society, and was one of the first members, but he died shortly afterwards. Heapy's works are well coloured, and often full of character and expression. A water-colour drawing of "A Fish-girl," at Zachary's sale in 1828, realised £27 16s. Hearue (Thomas). — b. Brinkworth, near Malmesbury, 1744 ; D. London, 13th April, 1817 ; s. Woollett ; p. antiquities and landscapes. Hearne came while very young to London, where his early proficiency in drawing gained him a premium at the Society of Arts in 1763. He was apprenticed to Woollett, the engraver, in 1765, worked under him for six years, and assisted in many of his engravings. In 1771 he was engaged to accompany the Governor of the Leeward Islands, and in the course of a stay of three years and a -half made there many drawings of characteristic localities. He was also for nearly two years sub- sequent to his return to England occupied in completing his work. He then entirely gave up engraving and devoted his time to painting in water-colours. In 1777 he joined William Byrne in their great work, "The Antiquities of Great Britain," and exhibited his drawings in Spring Gardens. Following Sandby and Hooker, he gradually advanced the art of painting in water- colours. He used the pen less than his predecessors, and with a delicacy that gave beauty to the architecture and ruins on which he was chiefly employed. 528 PAINTERS AND THEIR WORKS. Hearne was the friend of Dr. Munro, who arranged for his burial in Bushey Churchyard. He was an F.S.A., and between 1765 and 1806 exhibited, of works classed as landscapes, forty-two at the Society of Arts, twelve at the Free Society of Artists, and twenty-four at the Royal Academy. The subjects of the drawings by Hearne at South Kensington show that he did not confine his studies to antiquities. They are : A Village Alehouse. The Ranger's Cottage, Hyde Park. View of Richmond. Shipping. Dutch Shipping. Caistor Castle, Norfolk. Monastery Gate, S. Albans. Wooded Glen, Downton, Herefordshire. Drawings by Thomas Hearne have been sold as follow : View of Durham, Henderson's sale ... A Farm, 1799, Henderson's sale Road Scene, Cows, Henderson's sale Naworth Castle, engraved, Hender- son's sale ... Newark Castle, and the engraving, Percy's sale... Sherwood's Farm, near Bushey, Percy's sale Gate of Beaulieu Abbey, Percy's sale Windsor Castle, Percy's sale ... Iron Forge at Tintern, and the en- graving, Percy's sale Heda (Willem Klaasz). — b. Haarlem, 1594 ; d. Haarlem, after 1678 ; s. ; p. history, still -life, and portraits. Some uncertainty exists as to the dates of birth and death of this artist ; but in the year 1620 there was a lawyer at Haarlem who is supposed to have been the painter, and his wife died in 1668. In 1637 and 1642 he entered pupils at the Guild of S. Luke, of which he was Vinder in 1651, and among them was his son Gerrit Heda. Willem excelled in painting still-life, and examples of his skill are shown in the galleries at Munich, Dresden, and Ghent, which are dated 1623 and 1634. In the Louvre is A Dessert," signed and dated 1637. £ s. d. 1882 .. 34 13 1882 .. 6 16 1882 .. 16 16 1882 ... 10 10 1890 .. 17 17 1890 .. 7 7 1890 ... 10 10 1890 ... 7 1890 .. 4 PAINTERS AND THEIR WORKS. 529 Heda must not be confounded with Willem van Heede, a Flemish painter, born at Furnes in 1660, and who died there in 1728. He worked in the Imperial Palace at Vienna. Pictures by Willem K. Heda have been sold as under : £ 8. d. Stm-Kfe, sale at Dordrecht 1708 ... 10 The Breakfast, Richards's sale ... 1878 ... 80 Still-life, Stange's sale 1879 ... 20 A Glass of Hock, etc., Ridgway's sale 1886 ... 78 15 Heem (De). — The numerous family of painters who bore this name was settled at Utrecht in the sixteenth century, but those who became celebrated as painters of fruit and flowers were : Heem (De). — He lived at the commencement of the eighteenth century, and a contemporary says that he was from The Hague, either the nephew or great-nephew of Cornelis de Heem, and came to London, where probably he died. Nagler says that he was painting in England in 1720. Heem (Cornelis de).—See Heem (Johan Davidz de). Heem (David de), the elder. — b. Utrecht, 1570 ; d. Utrecht, 1632 ; s. ; p. fruit, flowers, and still-life generally. Although many of his pictures are to be found in Dutch and Flemish galleries, nothing is known of his life except that he was the father of Johan Davidz de Heem. Heem (David de), the younger. — He is inscribed as the son of a master in the register of S. Luke at Antwerp, 1694 ; but his relationship to Johan Davidz is not known. Heem (David Davidz de).— Inscribed in the register of the Corporation of St. Luke at Utrecht in 1668. Kramm thinks. he was a son of the elder David. Heem (Johan de).— b. 1603 (?) ; d. 1650 (?). It is most probable that he was a nephew of David. There is in the museum at Amsterdam a picture by him signed Johan D. Heem 1640. Heem (Johan Davidz de).— b. Utrecht, 1600 ; d. Antwerp, 1674; s. his father; p. fruit, flowers, and still-life. Johan Davidzoon is the most celebrated painter of the family, and consequently pictures by other members of it are frequently attributed to him. What appears to be the first place in con- 2 L 530 PAINTERS AND THEIR WORKS. temporary documents in which his name is mentioned is the inscription of Johan de Heem, painter, of Utrecht, as a franc- maitre in the register of the Corporation of S. Luke at Antwerp in 1635-36. In 1637 he was received as a citizen of Antwerp. From 1658 to 1661 he was inscribed as a foreign citizen, and paid the taxes as such ; this indicates a temporary absence. In 1662, 1663, and 1667 he was again absent from Antwerp. On the 16th of August, 1670, he was at Utrecht, but Houbraken says that, owing to the invasion of Holland by the French, he fled with his four daughters and two sons to Antwerp, which is very probable, as it is certain that he died there in 1674. One of these sons was Cornelis, who was born at Utrecht in 1630, and, excepting where a picture is signed, it is often very difficult to distinguish the works of the father from those of the son, the only point of difference being that in those by the latter the com- position is more loose. Johan Davidz excelled in painting not only fruit and flowers, but also vases of gold and silver, and glasses ; and by many persons he is held to have been the best painter of such subjects that Holland has produced. Pictures by the Heems are by no means rare, but those attributed to Johan Davidz have risen continually in value since the beginning of this century, as the following prices will show. Even at the end of the seventeenth century Houbraken says that they were as dear as masterpieces by Both, Berchem, or Wouwerman. Oranges, Lemons, Oysters, etc., Sor- £ s. d. bet's sale 1776 .. 11 Fruit Piece 1802 .. 6 6 Fruit and Flowers 1802 .. . 19 8 6 A pair of Fruit Pieces, Guy Head's sale ... 1802 .. . 15 4 6 Fruit and Flowers, Duke of Bridg- water's sale 1802 .. . 13 13 Group of Flowers, Pauwel's sale 1803 .. . 40 A Fruit Piece, Yonge's sale 1806 .. 7 7 Fruit, Webb's sale ... 1821 .. 9 8 6 Fruit, etc., Emmerson's sale ... 1829 .. . 11 1 6 A Festoon of Flowers, suspended by blue ribbons, J. Harman's sale ... 1844 .. . 31 10 Fruit, Gold and Silver Vessels, on a table, Middleton's sale ... 1851 .. . 105 Group of Flowers, Patureau's sale . . . 1857 .. . 60 WORKS. 531 s. d. 1858 .. . 110 5 1859 17 17 1859 27 6 1859 .. . 11 6 1860 .. . 340 1861 .. 21 1861 .. . 27 6 1861 400 1861 .. . 70 1866 .. . 270 1867 .. . 320 1867 .. . 130 1867 .. . 45 PAINTERS AND THEIR Fruit and Oysters, Winstanley's sale Fruit, Lobster, Silver Vase, North- wick's sale ... Fruit and Oysters on a Table, Phipps' sale ... The companion picture, Phipps' sale... Flowers and Fruit, D'Hane de Steen- huyse's sale... Lobster and Silver Ewer, surrounded by Fruit, Scarisbrick's sale Fruit,^ Silver Plate, and Crayfish, on table, Scarisbrick's sale ... Allegory, the Eye of Providence, surrounded by flowers, Leroy d'Etiolles's sale Two pictures, Van Cleef s sale Flowers, Plants, and Insects, Herman de Kat'"s sale L'Ara et le Perroquet, Pommers- felden's sale Le Dejeuner, Pommersfelden's sale Flowers and Fruit, Stevens's sale ... Heemskerck. — There were at least eight Dutch painters of this name, the best-known of whom are those mentioned below : Heemskerck (Egbert van), called the Old. — b. Haarlem, 1610 ; D. Haarlem, 1680 ; s. ; p. genre and merry-makings. There are two pictures by this artist in the Louvre which are much in the manner of Teniers and Brouwer ; the drawing is correct, the colouring transparent, and the execution light and spirited. Heemskerck (Egbert van), the younger. — b. Haarlem, 1645 ; D. London, 1704 ; s. his father and De Grebber ; p. festivals, incan- tations, etc. In the reign of William III. he came to England, and was patronised by the Earl of Rochester. His pictures in the manner of Brouwer are the best, and he often introduced his own portrait into them. He also engraved. Heemskerck (Maerten). — b. Heemskerck, near Haarlem, 1498 (?) ; D. Haarlem, 26th September, 1574 ; s. Cornelis Willemsz, Jan Lucas, and Jan van Schoorel ; p. history and ])()rtraits. Maerten is by far the most celebrated of the painters who bore the name of Heemskerck. He is said to have been the son of a peasant living at Heemskerck, whose name was Jacob WiUeni van Veen, but in the contract he entered into to execute certain works at Alkmaar, he signed his name ''Martinus HemsKerck." 2 L 2 532 PAINTERS AND THEIR WORKS. In Italy he was known as ''Martino Tedesco." By some of his fellow-countrymen he has been called "The Dutch Raphael," but very absurdly, for he imitated Michael Angelo rather than Raphael. At an early age he wished to become a painter, and his father permitted him to go to Haarlem and study under Cornelis Willemsz ; but, repenting of this, his father recalled him home, and made him work on the farm. Fearing to be punished for having neglected to do something, Maerten ran away from home, and entered the workshop of Jan Lucas, at Delft, but soon removed to that of Jan Schoorel, at Haarlem. There he made such rapid progress that his master became jealous of him, and dismissed him from his school. At that time he painted altogether in the manner of Schoorel ; but in the year 1532 he went to Rome, where for three years he studied the antiques and the works of Michael Angelo. Unfortunately, like so many of the imitators of that great artist, he exaggerated his style so much that the figures in his works are overcharged and often grotesque ; the richness of the composition is often their chief merit. After his return to Holland he settled at Haarlem, where he painted,, among other v/orks, a "Crucifixion," and, between 1538 and 1541, was employed at Alkmaar. When the siege of Haarlem was about to begin, in 1572, Heemskerck fled to Amsterdam ; he did not return to Haarlem until two years later, and then remained in that place until his death. He engraved a great number of plates. Pictures by Heemskerck are to be found in all the galleries in Holland, but seldom out of that country, and do not appear in sales. Heere (De). — For more than a century artists of this name painted in Flanders, and it may perhaps be useful, in con- nection with portraits, that we should give the times at which the difi'erent members of the family lived (the dates are taken from the registers of the Guild of Painters at Ghent) : Andre, master-painter in 1459, Sub-dean in 1477 ; Georges, free master in 1472 ; Pierre, free master in 1490, Sub-dean in 1500, Dean in 1508 ; Jean, son of Jean, free master in 1499 ; Pierre, son of Pierre, free master in 1521, Sub-dean in 1534. There was also a Jean de Heere, who was a pupil of Gerard Horenbout, and who died at Toledo, in Spain, in 1569. There were likewise many sculptors of the same family. The most generally known of the painters, however, was : , PAINTERS AND THEIR WORKS. 533 Heere (Lucas de).— b. Ghent, 1534 ; d. Paris, 29fch August, 1584 ; s. Frans Floris ; p. history and portraits. He was the son of a celebrated sculptor, Jean de Heere, and the painter in miniature Anna de Smyters. Lucas was one of the best scholars of Frans Floris. In 1559 he painted the picture, still at Ghent, of "Solomon and the Queen of Sheba," in which Solomon's head is the portrait of Philip II. This did not, however, prevent Lucas de Heere from being banished in 1568. He then left Ghent and went to France, where he was employed by Catherine de' Medicis to make designs for the Gobelins tapestry. It is supposed that Lucas de Heere visited England twice : first in 1554, if he painted the portrait of Queen Mary in the collection of the Society of Antiquaries. He was, however, in Ghent about 1565, as he then married Eleonore Carboniers, a Protestant lady, and published in that year the poetry he had addressed to her. It is possible also that his having become a Protestant led to his banishment, for he came to England in 1568, and remained here until 1577. In 1569 he painted the allegory containing the portrait of Queen Elizabeth — a picture which is now at Hampton Court. While here he also painted many other portraits. Of his pictures of historical subjects, the best is said to have been a "Crucifixion," which he executed for the church in the village of S. Paul. Amongst the archives at Ghent there is also a volume full of water-colour drawings by him representing the costumes of various nations. He translated the Psalms of David into Flemish, and began the " Lives of the Flemish Painters," both in verse. Portraits by Lucas de Heere have been sold for the following prices : Frances Duchess of Suffolk, and s. d. Adrian Stoke, her husband (she was the mother of Lady Jane Grey), Waldegrave's sale 1842 . . 92 8 Queen Elizabeth, small whole-length, 28in. by 20in., Bernal's sale 1855 .. . 15 15 Devereux Earl of Essex, Northwick's sale ... 1859 .. . 36 15 Margaret Duchess of Norfolk 1876 . . 94 10 A Lady, black dress and furs, Ridgway's sale 1886 .. . 105 Henry VIH. enthroned 1895 . . 236 Heil (Daniel van).— b. Brussels, 1604 ; d. Brussels, 1662 ; s. ; p. fires and landscapes. There were several painters of 534 PAINTERS AND THEIR WORKS. the same family, but Daniel is the best known. He is said to have been a pupil of Grayer. His pictures representing fires are painted in a very masterly manner. Helmont (Mathews van).— b. Brussels, 1650; d. Antwerp, 1719; s. David Teniers, jun. ; p. shops, markets, and interiors. He was elected a master into the Guild at Brussels, in 1674, and not having the money to pay his entrance fee, the Guild accepted one of his pictures instead of it. An artist of the same name had been received as a master at Antwerp, in 1645-46, but it is not known that they were related. Moreover, a Jan van Helmont was received at Antwerp in 1675-76, as the son of a master, and was alive in 1670. The spirited manner in which the Mathews of 1650 painted market-scenes in Italy renders it almost certain that he visited that country. It is believed also that he was some time in Paris, as some of his best pictures were painted for Louis XIV. He painted some capital pictures in the manner of his master, many of which he signed, although his signature has probably been removed and that of Teniers substituted. Pictures by Mathews van Helmont have been sold under : £ s. d. Marche de Rome, Verhulst's sale . . . 1779 .. 12 A Flemish Market 1801 .. 39 18 La Grande Place de Bruxelles, Maystre's sale 1809 ... 35 Lord and Lady of a Manor, surrounded by their peasantry. . . 1816 .. 18 17 Flemish Harvest Home 1821 ... 15 15 Interieur de Corps de Garde, Brienen de Grootelindt's sale 1865 .. . 65 Helmont (Legers Jacobus van).— b. Antwerp, 1683 ; d. Brussels, 1726 ; s. his father ; p. history. He was the son of the above Mathews, and became an excellent painter. Many of his works are to be found in the churches and museums in Belgium. Heist (Bartholomeus van der).— b. probably in 1613 ; D. , buried Amsterdam, 16th December, 1670 ; s. ; p. portraits. It is very uncertain where, and even when, this great portrait-painter was born. What appears most probable is that he was a younger child of Severyn van der Heist, who married at Haarlem, in 1607, Aeltgen Hendriex ; that four of their children were born in that place, in the years 1608, 1610, PAINTERS AND THEIR WORKS. 535 1611, and 1614 ; and that his parents having resided at Dordrecht between 1611 and 1614, Bartholomeus was born there in the year 1613. Who was his principal instructor in art is equally uncer- tain, but it is not improbable that it was Frans Hals. Van der Heist went, while still young, to Amsterdam, and resided in that city up to the time of his death. His name is mentioned on the 20th October, 1653, in connection with the placing of a laurel crown on the head of Vondel the poet ; and it is believed that Van der Heist was then a citizen of Amsterdam, as in the follow- ing year he was a member of the Painters' Guild of S. Luke. Late in life he married Constantina Reinst, a young lady of good family, noted for her wit and beauty. In 1664 he changed his residence from Nieuwe Markt to the Doelenstraat, where he lived until his death, after which, in the newspaper the Haarlemsche Coiirant, of 2nd April, 1671, is to be found the announcement that his widow will sell ' ' the works of art which belonged to her late husband, together with some of his own works, and those of other good masters. " In the opinion of many good judges, Bartholomeus van der Heist, as a portrait-painter, ranks next to Van Dyck. His masterpiece is the " Festival, " held on the 18th June, 1648, by the officers of the Train Bands under Captain Cornells Jan Wits, or Witsen, on the occasion of the Peace of Munster. It was of this picture, which contains thirty-five figures, that Sir Joshua Reynolds said, "This is perhaps the finest picture of portraits in the world, comprehending more of those qualities which make a perfect portrait than any other I have seen ; they are correctly drawn, both heads and figures, and well coloured, and have great variety of action, characters, and countenances ; and those so lively and truly expressing what they are about, that the spectator has nothing to wish for." This masterpiece is now in the Ryks Museum, at Amsterdam ; but fine portraits by Van der Heist are to be found in all the great galleries of Eurox^e, and even in many private collections. Portraits of singlei figures or busts by Van der Heist, have usually produced in sales from £5 to £50, but those in the follow- ing list were exceptions to this rule : The Distribution of Prizes to the £ s. d. Archers, Vaudreuil's sale ... 1784 ... 400 Two portraits, a Burgomaster and a Lady, 12in. by 15iin., Montcalm's sale " 1849 ... 130 PAINTERS AND THEIR WORKS. £ s. d. (J n \f loDO 1 /U n u U 1866 . . 340 on n u n u 1870 . . 165 1875 . . 267 15 1875 . . 136 10 1875 . . 120 1885 . . 367 10 A Group of Family Portraits, King of Holland's sale Portrait of a Woman, De Morny's sale Portrait of a Clergyman seated, Herman de Kat's sale ... A Congress, Salamanca's sale Portrait of a Burgomaster, Vis- Blockhuyzen's sale Portraits of a Gentleman and of a Lady, Dorrington's sale... Portrait of a Child with a Rose Portrait of a Lady in black dress and hood, Tremlett s sale Portrait of a Gentleman in black, seated, 44in. by 37in., De Zoete's sale ... Helt-Stokade (Nicolaas van).— b. Nimeguen, 1614; d. 1669 ; s. David Ryckaert ; i\ landscapes, history, and portraits. He was the son-in-law of David Ryckaert, and is inscribed as a master in the Guild of S. Luke at Antwerp in 1646-7. He went to Italy and resided in Rome for eight years, during which time he was much employed, particularly by Christina of Sweden. After visiting Venice he returned to Holland, and on his way was employed in Paris and appointed one of the painters to the king. His historical pictures are mostly on a large scale. There are several in Amsterdam, and he also executed some etchings ; but what has perhaps rendered his name more generally known is the fact that he painted figures in the landscapes of Wynants, Hackaert, De Heusch, and Hobbema. Hemline or Hemmelinck.— 5ee Memlinc. Henegouwe (Jesmyn van).— /See Mabuse, Herbert (Alfred).— b. ; d. 1861 ; s. ; p. sea- pieces. This artist was the son of a Thames waterman, and began life in his father's boat. He was next apprenticed to a bookbinder, but, owing to his love of art, became a painter. His favourite subjects were the various craft on the Thames, and fishing-boats on the Dutch and Norfolk coasts. His works are vigorously drawn, whether representing vessels or figures in calm or stormy weather. He exhibited between 1844 and 1860 four- teen sea-pieces at the Royal Academy, three at the British Institution, and twenty-six in Suffolk Street ; yet, although he PAINTERS AND THEIR WORKS. 537 worked diligently, and, Redgrave says, "under the influence of true genius," he remained almost unknown, and his yearly income never exceeded £50 until the year in which he died, when it rose to £200. ^ Two drawings by Alfred Herbert have been sold as follow : £ s. d. S. Helier, Jersey, Percy's sale ... 1890 ... 9 9 On the Med way, Percy's sale 1890 ... 13 13 Herbert (Arthur John). — b. 1834; d. Auvergne, in France, 18th September, 1856 ; s. his father and Royal Academy ; p. history. He was the son of John R. Herbert, R.A., and an artist of great promise, but died of fever when only twenty-two. He exhibited two pictures at the Royal Academy in 1855, "Don Quixote's First Impulse to Lead the Life of a Knight-Errant," and in 1856, "Philip IV. of Spain Knighting Velasquez." Herbert (John R.).— b. Maldon, 23rd January, 1810 ; D. The Chimes, Kilburn, 17th March, 1890 ; s. Royal Aca lemy ; p. history and portraits. This artist was a son of a Controller of Customs, and at the age of sixteen entered the schools of the Royal Academy ; after the death of his father he had to gain a livelihood by painting portraits. He exhibited for the first time in 1830, and between that year and 1880, sixty-nine of his works were hung at the Royal Academy, twenty- six at the British Institution, and seven in Suffolk Street. The principal of his early pictures were such subjects as ' ' The Appointed Hour," "The Brides of Venice," "Prisoners Detained by Ban- ditti," "Hay dee," etc. ; but after he formed a close friendship with Pugin and became a Roman Catholic, he devoted his time almost exclusively to painting sacred subjects, or such as "Sir Thomas More and his Daughter witnessing Four Monks going to Execution," and "S. Gregory Teaching the Roman Boys the Chant." Herbert was chosen, while young, an Associate of the Royal Academy, and was elected a full member in 1846. The decoration of the new Houses of Parliament, for which he received a commission, was the great event of his life. To him was assigned the Peers' Robing Room, and the adorning of it occupied him almost exclusively during the next eighteen years. The subjects chosen were "Illustrations of Justice on the Earth," and they have been much and very justly admired. The pictures by J. R. Herbert which have been offered at auction have been sold as follow : 538 PAINTERS AND THEIR WORKS. Captives Detained by Banditti, Meigh's sale Boar-hunters at the Gate of a Monastery, 68in. by 70in., Meigh s sale The Kejected of Men, painted in 1850, Birch's sale Marguerite, North wick's sale Othello's First Misgivings, dated 1837, Rodgett's sale The Unrelenting Lord, dated 1841, Burter's sale The Introduction of Christianity into Britain, Ashton's sale Cordelia Disinherited, dated 1850, Haigh's sale Lear Kecovering his Reason at the Sight of Cordelia, painted in 1852, Haigh's sale Head of the Prophet Daniel — study, Bullock's sale Judith, Leyland's sale... Guilt and Innocence, Moon's sale . . . Holy Family — the Carpenter's Shop, painted in 1860, 40in. by 62in,, Farn worth's sale ... Mary Magdalene, 14in. by 12in., Mendel's sale Christ and the Woman of Samaria, 38in. by 56in., Mendel's sale ... The Gaoler's Daughter, Shand's sale The Elopement, Shand's sale... Holy Family, 40in, by 62in. (see 1874), A. Grant's sale Road Scene with nuns, Sharp's sale... The Magdalen, 31 in. by 21 in., McConneirs sale ... Mary at Christ's feet, Graham's sale For water-colours by John R. Herb( have been realised : Descendants of Doge Dandolo The Bedouin's Home, 13in. by 22|in., Knowles' sale Herp (Gerard van). — b. Antwerp, 1604 or 1605 ; d. Ant- werp, 1677 ; s. Wortelmans and Birmans ; p. history and genre. £ s. d. 1850 , ... 220 10 1850 215 5 Q 1853 399 1859 . 34 13 1859 ... 80 17 1862 ... 118 13 1868 504 1868 ... 94 10 1868 ... 351 15 1870 36 15 1872 115 10 1872 75 12 1874 , ... 756 1875 . ,.. 378 1875 556 10 1876 '. 48 6 1876 . .. 31 10 1877 . .. 472 10 1881 . .. 136 10 1886 . .. 43 1886 . .. 23 2 ;rt the following pri £ s. d. 1862 . .. 126 1865 . .. 152 5 •PAINTERS AND THEIR WORKS. 539 There is much confusion in the information regarding this painter, but the above dates of his birth and death appear to be the most probable. He was received as a free master into the Guild of Luke at Antwerp in 1637-38, and was either a pupil or an imitator of Rubens ; but he finished his pictures in the manner of the younger Teniers. They are very rare, usually represent interiors, and are distinguished by richness of composi- tion, good drawing, and fine and transparent colouring. There was formerly a picture of Monks Distributing Alms," attributed to Van Herp, in our National Gallery, but it has disappeared. Some writers sj)eak of a Gerard and a Guillaume van Herp, but these appear to be the same man. At Van Wierman's sale at Amsterdam ''A Peasant's Home," attributed to Van Herp, was sold for £170. Herregouts (Heudrik). — b. Malines, 1633 ; d. Antwerp, 1724 ; s. his father, David ; v. history. This painter was the most celebrated of a family of artists. He resided some time at Rome, and in 1660 was working at Cologne, where he married. In 1664-65 he was inscribed as a free master at Antwerp, and in 1666 at Malines. His works are met with in the churches at Antwerp and Brussels. The principalis a colossal "Last Judg- ment," in the Church of S. Anne in the former city. Herre- gouts' works belong to the School of Rubens. The figures are noble, expressive, and well drawn and coloured. Herrera (De). — Of Spanish painters, besides architects and sculptors, there have been at least eight who bore this name ; among whom were : Herrera (De), called El Rubio (the Red). — He was the eldest son of Francisco de Herrera (El Viejo), and was born at Seville at the beginning of the seventeenth century. He painted successfully droll subjects, but died young. Herrera (Alonso de).— The dates of his birth and death are not known, but he was living at Segovia in 1579, and was the intimate friend of the painter '*E1 Mudo." In 1590 he painted six pictures for the high altar of the Church of Villacastin, in which the figures were well drawn and coloured, but they were ruined in 1734 by a gilder who tried to restore them. Herrera (Bartolome de).— He was a son of the painter Francisco de Herrera (El Viejo), and painted portraits with success at Seville in 1639. 540 PAINTERS AND THEIR WORKS. Herrera (Cristobal de). — A painter of Burgos, who worked about 1524. Herrera (Francisco de), called El Vie jo (the Old). — b. Seville, 1576; d. Madrid, 1656; s. Luis Fernandez; p. history and sacred subjects. The temper of this great painter was so irritable that it showed itself in the manner in which he executed his works ; and he has the credit of having been the first among the painters of Andalusia who discarded the old timid style of painting, and adopted, in place of it, that strong free one which was afterwards carried to so high a degree of perfection in Seville. He used brushes of large size and length, and by loading on the colours produced works of great strength ; yet this, in his case, was not done to conceal an incapacity to draw correctly, as he proved by his picture of ''The Last Judgment," which he painted for the Church of S. Bernardo. Velasquez, who was one of his scholars, refined what he had learned from Herrera, yet to the latter belongs the credit of having led the painters of Seville into adopting a style which has since rendered the artists of that school so famous. As owing to his violence Herrera often found himself without pupils, and probably without money, it is believed that he turned his knowledge of engraving to account in making false money, and to avoid the consequences of this or some other delinquency he took refuge in the sanctuary of the Jesuits' College. While there he painted the noble altar-piece of the church, which represents the legend of S. Hermengild, the son and heir of Leovigild, King of the Visigoths. The grandeur of the design, the dignity of the figures, the refinement of expression in the faces, and the colouring render this one of the most striking pictures in Seville. It is now in the museum of that city, and in 1624 the admiration it inspired in Philip IV. caused him to grant Herrera a free pardon for what he had done regarding the false money, Philip adding, however, the caution, "Take care that you do not get into this scrape again." Nevertheless, on his return to his home, Herrera behaved with such violence that his daughter and son fled from his house, taking with them 6,000 ducats, the former going into a convent, and the other to Rome. Being thus, through his own fault, left alone, Herrera removed to Madrid in 1650, where he died in 1656, the intervening years of his life having doubtless been embittered by the superiority of Velasquez, who was then at the height of his reputation and in great favour at Court. PAINTERS AND THEIR WORKS. 541 Pictures by the elder Francisco de Herrera seldom appear at sales, but the following are the prices obtained for those that have been offered by auction : Joseph and the Infant on his Knee, £ s. d. Purvis's sale 1849 ... 147 S. Basil Dictating his Doctrine to his Followers, Soult's sale 1852 ... 60 Assumption of the Virgin, Salamanca's sale 1867 ... 215 Herrera (Francisco de), called El Mozo (the Young). — b. SeviUe, 1622 ; d. Madrid, 1685 ; s. his father ; p. history and portraits. This artist was the son of Francisco de Herrera el Viejo. He imitated his father's style with success, but as the violent temper of the latter rendered his home intolerable, he fled to Rome. There he studied architecture, and supported himself by painting pictures of still-life, and especially of fish, for which he showed so much talent that he acquired among his feUow- artists the nickname of "lo Spagnuolo degli pesci." He profited, however, little by his sojourn in Italy, and on the death of his father returned to Spain in 1656. Having settled at Seville, he was employed to paint for the churches, and one of the best works he executed at that time is in the chapel of S. Francis in the cathedral; it represents that saint borne to heaven by angels, and was etched by Arteaga. He painted also some fine portraits. When the Academy of Painting was instituted at Seville, in 1660, Francisco was the first to affix his signature to the deed of incorporation, yet he was only the assistant or deputy of Murillo, who was the first President. Jealousy of Murillo is said to have caused him to withdraw from the Academy before the end of 1660, and in that or the following year he removed to Madrid, where he remained up to the time of his death. Some frescoes which he painted in the Church of S. Felipe el Peal were so much admired that he was employed to paint the dome in the Chapel of Our Lady of Atocha, in which is the celebrated miracu- lous image of the Virgin. This led to his being appointed painter to Philip IV., and to other honours. He was also em- ployed as an architect and engineer. Yet it is said that he died of disappointment at not being made painter in ordinary to Charles II. The younger Herrera was as eccentric and ill-tempered as his father, whose facility he acquired, but without having inherited 542 PxVINTERS AND THEIR WORKS. his genius. As an architect his works are by no means good. At the sale of Marshal Soult's pictures, in 1852, " The Marriage at Cana," by the younger Herrera, sold for £100. Herrera (Juan and Sebastian de) were rather architects and sculptors than painters. Herring (John Frederick).— b. Surrey, 1795 ; d. Tun- bridge Wells, 23rd September, 1865 ; self-taught ; p. animals. Herring was the son of American parents who had settled in England. He began to paint by producing sign-boards and the heraldic ornaments on carriages. While working in Yorkshire his love of animals induced him to seek employment in a stable, and when still a very young man he drove the coach between Wakefield and Lincoln, and afterwards between London and York. This did not prevent his devoting all his spare time to painting the horses he drove, and gradually he became em- ployed by the neighbouring gentry to paint their race-horses and hunters. After receiving some assistance from Abraham Cooper, Herring became an established animal-painter, and painted for many years the winners of the Don caster S. Leger and other great races. He produced also "Returning from Epsom on the Derby Day" and similar pictures, some of which were engraved and became very popular. In 1841 he exhibited at the Society of British Artists A Mail-coach in the time of George IV." He published also p series of twelve plates under the title of ''The Horse," and held the appointment of animal- painter to the Duchess of Kent. Between 1818 and 1865 Herring exhibited twenty-two works (classed as sporting) at the Royal Academy, forty-four at the British Institution, and eighty-two in Suffolk Street ; yet these numbers give but a very imperfect idea of his industry, for very many of his works have never been exhibited. They have never- theless always found purchasers at high prices at sales, and in the list of over forty given hereunder the lowest sum realised is £73 10s., for ''Shoeing," at the sale, in 1866, of his pictures after his death, and the highest, £693, at which "The Start for the Derby" was bought in at Marsden's sale in 1872. As most of John Frederick Herring's pictures are still in England, we will give the prices at which his subject-pictures have been sold, for the price of the portrait of a race-horse is altogether a matter of fancy. PAINTERS AND THEIR WORKS. 543 Deer-stalking, 72in. by 42in., Ham- £ s. d. mond's sale... 1854 . .. 315 Meeting of Deer-stalkers and Drovers, landscape by Bright, Flatow's sale 1861 . .. 153 6 Ploughing, Harwood's sale 1863 . .. 100 16 The Important Letter, Mailing's sale 1864 . .. 189 The Herring Collection, the Derby, sixteen pictures, Fores' sale 1865 . .. 2760 Deer-stalking (unfinished). Herring's sale 1866 . .. 157 10 Horse Fair, Herring's sale 1866 . .. 189 Market-day, Herring's sale ... 1866 . .. 199 10 Shoeing, Herring's sale 1866 . .. 73 10 Interior, with horses. Herring's sale... 1866 . .. 100 16 Alderney Cattle, Chapman's sale . . . 1866 . .. 116 The Meet, Chapman's sale 1866 . .. 94 10 Breaking Cover, Chapman's sale 1866 . .. 105 Cornfield, with reapers (dated 1858), Northcote's sale 1868 . .. 122 17 The Return from Deer-stalking (bought in), Graham's sale 1868 . .. 288 Ploughing (engraved), dated 1856, Grant's sale 1868 . .. 80 17 The Hayfield, Jones's sale ... 1871 . .. 126 The Important Letter, landscape by Bright, Mailing's sale 1871 . .. 131 The Gipsy, landscape by Bright, Mailing's sale 1871 . .. 147 The Start for the Derby (bought in), Marsden's sale 1872 . .. 693 Saddling, Marsden's sale 1872 . .. 152 5 A False Start, Marsden's sale 1872 . .. 152 5 The Run In, Marsden's sale ... 1872 . .. 204 15 Returning to Weigh, Marsden's sale 1872 . .. 162 15 The Flying Dutchman and Voltigeur, Marsden's sale 1872 . .. 210 10 Stable Scenes, Marsden's sale. . . 1872 . ,.. 399 Seed-time, Tyson's sale 1872 . .. 252 Cavaliers Regaling, Nunneley's sale 1872 . .. 100 16 The Stirrup-cup, the heads by C. Baxter, Hargreaves' sale 1873 . .. 162 15 The Baron's Charger, Thompson's sale 1874 . .. 199 10 Three Members of the Temperance Society (engraved), Nayloi-'s sale 1875 . ... 126 Teams of Cart-horses Baiting, God- dard's sale ... 1876 , ... 140 14 The Feed, figures by Faed, Bell's sale 1878 . .. 362 5 544 PAINTERS AND THEIR WORKS. The Flying Dutchman, with the Jockey Mario w, 1850, the large picture, Whitehead's sale Stable, with racers, 31in. by 44in., Tempest's sale Preparing to Start for the Derby of 1834 " ... Three Horses belonging to Mr. HUl, with ducks (engraved), Hill's sale Stable, with hgures, animals, and birds, AgneVs sale Watering, White's sale English Homestead (engraved), Fitz- gerald's sale Return from Deerstalking, landscape by Bright, Graham's sale. . . The Village Farm (with Bright and Faed), dated 1854 Interior of Stable, Bolckow's sale ... S. Albans, Magniac's sale Herring had more than one son who was a painter, as there are portraits of animals by John Frederick, junior, Benjamin, and C. Herring. There was also a James Herring, a portrait- painter, in America. They were all very inferior artists com- pared with ''old Herring." Hersent (Louis). — b. 1777; d. 1860; s. Regnault; p. history and portraits. Hersent was a member of the Institute, and his pictures of " Louis XVI. distribuant des Aumones " and " Le Passage du pont de Landshut " are at Versailles. The following prices have been paid for pictures by him, : £ s. d. Daphnis et Chloe, Lafontaine's sale... Comment Pesprit vieut aux filles (the well-known engraved picture), Casimir Perier's sale £ s. d. 1879 .. . 136 10 1880 231 1881 .. . 262 10 1882 .. . 147 1884 .. . 120 15 1884 ., ,. 200 1884 .. . 357 10 1887 .. 530 1891 ., .. 241 1892 . .. 241 1892 . .. 272 1821 165 1838 80 Hess. — There have been many German painters and engravers of this name, of whom the more celebrated are those here men- tioned : Hess (Heinrich Maria von). — b. Diisseldorf, 1798; d. Munich, 1863 ; s. his father ; p. history and fable. He was the second son of Karl Ernst Christoph Hess, with whom he went to Munich in 1806. In 1813 he entered the Academy of Arts, and PAINTERS AND THEIR WORKS. 545 afterwards, under the iDrotection of King Maximilian, went to Rome to study there. When only thirty years of age he was made professor at the Academy of Munich, and subsequently he became Director of the Art Institutions in that city. With the assistance of numerous pupils he executed there vast mural paintings, both secular and for the churches. The works of H. M. von Hess do not show the power of design found in those by Cornelius, nor the religious fervour which is expressed in those by Overbeck, and their most marked charac- teristics are the delicate beauty of many of the heads and the serenity of mind shown in the faces. His oil paintings are not nu- merous. Among them are S. Luke," at Berlin ; " Faith, Hope, and Charity," at S. Petersburg; and at Munich, "Country Pilgrims in Sight of S. Peter's, at Rome," which has been en- graved. Hess (Peter von). — b. Diisseldorf, 29th July, 1792 ; d. Munich, April, 1871; s. his father ; p. battles and portraits. He was the eldest son and pupil of Karl Ernst Christoph Hess, the celebrated German engraver, and accompanied his father to Munich in 1806. During the campaigns of 1813-15 he was attached to the Prince von Wrede, and subsequently he visited Vienna, Italy, and Switzerland. By command of the Bavarian King, he accompanied that monarch's son, King Otto, to Greece, and on his return executed thirty- six paintings, representing " The Liberation of Greece," in the arcades of the Hofgarten, at Munich. He also painted in oil, ''The Entry of King Otho into Nauplia," into which picture he introduced many portraits of his contemporaries. Hess went next to Russia, where he painted the most memorable battles of the war of 1812. He was ap- pointed Keeper of the Pinakothek at Munich late in life, and was a member of several continental academies. Owing to his having painted so many large works, P. von Hess's easel pictures are scarce ; yet there are fine works by him in the galleries at BerUn and Munich. Hesse (Henri Joseph).— b. Paris, 1781 ; d. Paris, 1849 ; s. David and Isabey ; P. portraits and miniatures. This artist was the elder brother of N. A. Hesse and the father of J. B. Alexandre Hesse. He painted much in water-coloiu-s, and at Denon's sale a large miniature by him, representing "A Young Woman in Bed," sold for £22. He painted, among other portraits, that of the Duchess of Berri. 2 M 546 PAINTERS AND THEIR WORKS. Hesse (Jean Baptiste Alexandre). — b. Paris, 1806; d. Paris, 1879 ; s. Gros ; p. history. He was the son of Henri Joseph, and was known as Alexandre Hesse. He went to Italy and passed some time at Venice. After his return to Paris he executed the mural paintings illustrating the life of S. Fran9ois de Sales, in the Church of S. Sulpice at Paris, which he finished in 1860. In 1867, after the death of Ingres, he was elected a member of the Institute. There are fine works by Alexandre Hesse at Versailles and in some of the provincial museums in France. Hesse (Nicolas Augnste). — b. Paris, 1775 ; d. Paris, 1869 ; s. Gros ; p. history. He was the brother of Henri Joseph Hesse, and obtained in 1818 the " Prix de Rome." Among his works were " Mirabeau in the Assembly of June 23rd, 1795," and many religious subjects in the churches of Paris. His paintings in the Hotel de Ville, including ' ' The Proclamation of the Concordat," were destroyed by the Communists in 1871. On the death of Delacroix, N. A. Hesse was elected into the Academy, and he was also a member of the Institute. He made the cartoons for the glass windows of the Chapel of S. Eustache. Heusch (De). — It is most probable that Gabriel de Heusch was the same person as Guilliam or Willem de Heusch, and that in reality there were but three painters of this name. Heusch (Abraham de). — b. Utrecht, ; d. Leerdam, 1670 ; s. Christiaan Striep ; p. plants, reptiles, insects, etc. After painting for some years he went to sea and became the captain of a ship. Subsequently he married, and resumed painting. He was Burgomeester of Leerdam when he died. His pictures are rare and valuable, owing to the care with which they were painted, and to their being very highly finished. Heusch (Guilliam or Willem de). — b. Utrecht, ; d. Utrecht, after 1696 ; s. Jan Both ; p. landscapes and small figures. He was the chief artist of the family of De Heusch, and when in Italy painted landscapes, which, although different from those of Both, bear a certain general resemblance to the latter's works. De Heusch often obtained from other artists assistance with the figures in his landscapes, yet those by him are very neatly painted and richly coloured, something in the manner of figures by A. van de Velde. There is also generally more richness in the composition of pictures by De Heusch than in those by Both, and the foliage of the trees is more varied in tint. PAINTERS AND THEIR WORKS. 547 There are, however, landscapes by him that are thoroughly Dutch as regards both the landscapes and the figures. At Berlin is a picture signed by G. de Heusch and dated 1629. This was for- merly attributed to a Gabriel de Heusch, but is now considered to be by Guilliam ; and if this is correct he must have been born before 1638, the date given by Immerzeel, besides which he was the Dean of the Guild of S. Luke at Utrecht in 1649. Landscapes by De Heusch have been sold at prices varying from £10 10s. to £147. The following are some for which high prices have been obtained : A Village in Holland, figures by A. van de Velde (?), More and Lisa's sale ... A similar picture, perhaps the same, Beckf ord's sale View of a Town in Holland, Beckf ord's sale ... View of a Town in Holland, figures by A. van de Velde (?), Holderness's sale ... ... Village in North Holland, figures by A. van de Velde (?), Holderness's sale Landscape, with figures and cattle, Nesbitt's sale Landscape, with figures by A. van de Velde (?), Liverpool sale Italian Landscape Waggon Attacked by Banditti, Shrewsbury's sale ... Banditti Attacking Waggon, Scaris- brick's sale Wooded Landscape, waggon and figures, Baxter's sale Heusch (Jacob de).— b. Utrecht, 1701 ; s. his uncle ; p. landscapes. He was the nephew and pupil of Guilliam or Willem de Heusch, but went subsequently to Italy. He was at first a very close imitator of his uncle's pictures, and later of those of Salvator Rosa, especially in the figures. At Van der Mark's sale, in 1776, a landscape by J. de Heusch, in which travellers are attacked by brigands, was sold for £5 5s. Heusch (Willem de).—Sec Heusch (Guilliam de). Heyde or Heyden (Jan van der). — b. Gorcum, 1637 ; d. Amsterdam, 28th September, 1712 ; s. unknown ; p. perspective 2 M 2 £ s. d. 1796 . . 67 4 1802 . . 72 9 1802 . . 56 14 1802 . . 64 1 1802 . . 65 2 1802 . . 61 19 1829 . . 72 9 1836 . . 82 19 1857 . . 126 1861 . . Ill 1881 . . 147 1657 ; D. Amsterdam, 54:8 PAINTERS AND THEIR WORKS. views and landscapes, also still-life. The little that is known of the early life of this artist leads to the conclusion that, with the exception of some little instruction from a painter in his native place, he was entirely self-taught. He went young to Amsterdam, and worked under a glass-painter, whose name is not known. There Van der Hejde soon gained the reputation of being, not only a good painter, but a clever mechanician, and the Dutch attribute to him the invention of the fire-pump. In 1669 the city authorities at Amsterdam employed him to light the streets, and in 1672 gave him the control of the means of saving life at fires. He travelled into Germany, Flanders, and England, and some of his works represent scenes on the Rhine. The subjects of the majority are, however, Dutch, and he succeeded better than any other painter in combining an extraordinary degree of finish, even to marking the mortar lines in red brick buildings, with great breadth of light and shade. The foliage of his trees is rich in marking and touched sharply, somewhat in the manner in which Wynants painted. The figures in many of his pictures were painted by Adriaan van de Velde, and after his death by Eglon van der Neer or Lingelbach ; but the buildings and landscapes among which they are placed are quite worthy of them. Van der Heyde must indeed have been an excellent colourist to paint suc- cessfully in the style of execution he adopted, and which his imitators have not been able to reproduce. There are good examples of Van der Hejde's work in all the principal galleries in Europe, and our own National Gallery possesses one, represent- ing a street in Cologne, which is peculiarly interesting. Owing to the time he bestowed on them, pictures by Van der Heyde are scarce, and he must have been exceedingly industrious to have painted even the limited number which exist. The prices those oftered at auctions have produced have varied from £15 15s. for a small picture of buildings, at the Duke of Bridgwater's sale in 1802, to £1600 for a ''Bird's-eye View of a Town in Holland," with figures by A. van de Velde, at Delessert's sale, in 1869. The following are interesting by the subjects they represent or the prices paid for them. It must not be forgotten that many of them are small pictures. The Castle of Bentheim, figures by £ s. d. A. van de Velde, Choiseul's sale 1772 ... 80 The Castle of Kosendael, figures by A. van de Velde, Blondel de Gagny's sale 1776 ... 200 PAINTERS AND THEIR WORKS. 549 Cologne, Calonne's sale Flower-market, Amsterdam ... The Castle of Lazensburg, Bess- borough's sale ... The Gate of Utrecht, figures by A. van de Velde ... The Stadhuys, Amsterdam, W. Porter's sale The College at Leyden, Parke's sale The Gate of Haarlem, figures by A. van de Velde, Lafontaine'ssale... The Old Park at Brussels, figures by A. van de Velde, Emmerson's sale ... The Stadhuys at Amsterdam, 26in. by Ifin,, Nieuwenhuys' sale ... Town in Holland, with procession of the Host, figures by A. van de Velde, Bagot's sale View in Cologne, Poniatowski's sale View of Amsterdam, fig-ures by A. van de Velde, Harman's sale . . . View of Nimeguen, Granville's sale View of Market-place in a Dutch ToAvn, 10|in. by 13|in., Lake's sale ... The House in the Wood at The Hague, Higginson's sale View of the Dam at Amsterdam, Higginson's sale ... View of a Garden in a Convent, figures by A. van de Velde, De Morny's sale The Westerkeerk at Amsterdam, figures by A. van de Velde, De Morny's sale ... Market-place in a. German Town, Hope's sale View in a Dutch Town, Mcintosh's sale The Entrance to a Town, figures by A. van de Velde, Patureau's sale View in a Dutch Town, Le Koy d'Etiolles' sale View in a Dutch Town, figures by A. van de Velde, Van den Schrieck's sale £ s. d. 1795 .. . 44 1798 .. . 57 15 1801 .. . 46 4 1802 .. . 157 1810 .. . 231 1812 .. . 183 15 1821 .. . 225 70 7 1833 .. . 462 1836 210 1839 '. 159 1844 . .. 162 15 1845 . .. 451 10 1845 248 17 1846 147 1846 . .. 309 15 1848 . .. 640 10 1848 .. 966 1849 . .. 888 10 1857 . .. 483 1857 . .. 585 1861 . .. 280 1861 . .. 1000 550 PAINTERS AND THEIR WORKS. View in a Dutch Town, De Morny's £ s. d. sale 1865 ... 410 Bird's-eye View of a Town in Holland, figures by A. van de Velde, Delessert's sale 1869 ... 1600 View in Holland, figures by A. van de Velde, Delessert's sale 1869 ... 660 A Canal in Holland, Delessert's sale 1869 ... 320 Garden of a Convent, pilgrims, gentlemen in red, Delafield's sale 1870 ... 378 The Castle, figures by A. van de Velde, sale in Paris 1874 ... 660 A Town, figures by E. van der Neer, Fenton's sale 1880 ... 99 15 View of a Town, 16in. by 24|in., Bell's sale 1881 ... 162 15 Palace at Brussels, Lambert's sale ... 1882 ... 183 15 Heyden (Jan van der), the elder.— b. Brussels, ; d. Leicestershire, about 1697" ; s. ; p. portraits and history. He was employed by Sir Peter Lely to paint draperies, but married and settled in Northamptonshire, where he was much employed by the Earls of Rutland and Gainsborough, also |by Lord Sherrard, in whose house [^he died. He was buried [sit Stapleford, in Leicestershire. Heyden (Jan van der), the younger. — b. ; d. ;' s. his father ; P. history. He is said to have been the son of the above, and was admitted into the Guild of S. Luke at Brussels in 1711. He made the designs for the tapestry representing ''The Miracle of the Holy Sacrament," in the Church of S. Gudule'at Brussels. See Heyde. Highmore (Joseph).— b. London, 13th 'June, 1692 ;''d. Canterbury, 3rd March, 1780 ; s. Kneller ; p. portraits fand history. Highmore was the third son of a coal merchant in Thames Street, and nephew to Thomas Highmore, a painter, who, according to the Gentleman'' s Macfazine, was Sergeant-painter to William III. and the master of Sir James Thornhill. As a boy he showed a strong inclination to become an artist, but he was articled to an attorney on the 18th July, 1707. Highmore spent all his spare time in the study of the sciences which are useful to the painter, and entered himself at the Painters' Academy, in Great Queen Street. There he drew for ten years, and was par- PAINTEKS AND THEIR WORKS. 551 ticularly distinguished by Sir Godfrey Kneller. On 13th June, 1714, his clerkship expired, and on 26th March, 1715, he adopted painting as a profession. In 1716 he married Miss Susanna Hillier, daughter and heiress of Anthony Hillier, of Effingham, Surrey. Highmore made some of the drawings for Cheselden's "Anatomy," which was published in 1722. As his business increased, he took a house in Lincoln's Inn Fields in 1723-4, and the drawings he made for Pine's prints for "The Knights of the Bath" contributed much to his success, as many of the knights had their portraits painted by him. The principal of these pictures is that of the Duke of Richmond attended by three esquires, with a perspective view of Henry VII. 's Chapel. This work is now at Goodwood. By command of George I. , Highmore also painted the portrait of the Duke of Cumberland, which was engraved in mezzotint by Smith. In 1732 Highmore, in company with some friends, visited Antwerp and Diisseldorf to study the works of Rubens, and returned through Holland. Two years later he went to Paris alone, and was well received there by the Duke of Kingston. In 1742 Highmore painted the portraits of the Prince and Princess of Wales, also that of the Queen of Denmark ; and, in 1745, what is supposed to be the only original portrait of General Wolfe. Highmore published several works on subjects connected with art, which are now forgotten. On the marriage of his daughter, in 1761, he went to live with his son-in-law, the Rev. Mr. Duncombe, at Canterbury, and he painted very little between that year and the time of his death. His portrait of Samuel Richardson, whose "Pamela" furnished him with subjects for some of his pictures, is in the National Portrait GaUery. He had a son, Anthony, who painted, but nothing is now known of him or of his works. Highmore's portraits are good specimens of painting during his time, being better drawn and coloured than those by many of his con- temporaries. At Sir John Thorold's sale, in 1829, Highmore's portrait of Heidegger was sold for £4 8s. Hildebrandt (Eduard).— b. Dantzic, 1818; d. Berlin, 1868; s. Krause ; p. landscapes. A peculiar interest attaches itself to the works of this artist from his having travelled nearly all over the world, and brought home from time to time sketches which convey an excellent idea of the places he visited. He was the son of a house-painter, and lost his father when only thirteen. 552 PAINTERS AND THEIR WORKS. Against his wish, which was to become a sailor, he was appren- ticed to the painter Meyerheim. When nineteen he travelled on foot to Berlin, and, being unable to pay the fees at the Academy, was received by Krause into his painting-room, where he soon made such progress that he was able, when twenty-four, to travel in Denmark, Norway, England, Scotland, and Ireland. He arrived at Paris in 1841, was received by Isabey into his atelier, and in six months had one of his own. In 1843 he gained a small gold medal in Paris, and was invited to Brazil by Hum- boldt. The water-colours and oil-paintings he made there are now in the possession of the German Emperor. After again visiting England and Scotland, Hildebrandt went to the Canary Islands, Spain, and Portugal, and in 1849 returned to Berlin with more than a hundred water-colour sketches. In 1850, by order of the King of Prussia, he went to Italy, Malta, Egypt, Nubia, The Sahara, Palestine, Turkey, and Greece. In 1853 he travelled through Switzerland, the Tyrol, and Italy. In 1854 he was made Professor of the Academy at Berlin, and in 1855 elected a member. In 1856 he joined the Arctic Expedi- tion, and at the Exhibition at Brussels, in 1858, obtained the largest gold medal for his ''North Cape," and at Amsterdam the same reward for his ''Sea of Marmora." Between 1862 and 1864 Hildebrandt made a voyage round the world, and returned home laden with views in Egypt, India, China, Japan, and Cali- fornia. In 1866, and again in 1868, he exhibited in London 400 water-colour paintings with great success ; but the fatigues he had undergone in travelling had undermined his health and he died in the latter year. In this country pictures by Eduard Hilde- brandt have been sold as follow : £ s. d. The Peak of Teneriffe, Dillon's sale 1869 ... 68 5 The Coast of Heligoland, ScobeU's sale 1882 ... 110 5 Sunset on the Nile, ScobeU's sale ... 1882 ... 110 5 Hildebrandt (Ferdinand Theodor).— b. Stettin, 1804 ; D. Diisseldorf, 1874 ; s. W. von Schadow ; p. history and genre. He entered the Academy at Berlin in 1820, and from 1823 was a pupil of Schadow, whom he accompanied to Diisseldorf in 1826. There he acted as assistant master in 1832, and as professor in 1836. He visited Belgium and Holland frequently to study the pictures by the Flemish and Dutch masters. For the subjects of his pictures he several times chose scenes from Shakespeare's PAINTERS AND THEIR WORKS. 553 plays, and one of his best works is **The Murder of the Sons of Edward IV.," painted in 1835, and now in the Raczynski Gallery at Berlin. Hildebrandt (Pritz).— b. Dantzic, 1819 ; d. Rome, 1855 ; s. Krause ; P. marine subjects and landscapes. He was a younger brother of Eduard Hildebrandt, and at an early age went to sea, but indulged his natural taste for drawing, and at the age of nineteen went to S. Petersburg, where he was employed at the Winter Palace. He returned home in 1840, and in the follow- ing year studied under Krause at Berlin. In 1844 he went to Paris, where he worked under Eugene Isabey. He obtained there the gold medal at several exhibitions. In 1855 he left Paris for Naples to recruit his health, but died on the journey at Rome. Most of his works are in France. Hilliard ( Nicholas ) .—b. Exeter, 1547; r>. London, 7th January, 1619 ; self-taught ; P. miniatures. Hilliard was the first English artist whose works are still held in high estimation. He was the son of Richard Hilliard, the High Sheriff of Devon in 1560, who belonged to an old Yorkshire family. His mother was a daughter of John Wall, goldsmith, of London, and Nicholas began life as a goldsmith. He himself states, in a MS. still in existence, that, as regarded painting in miniature, "Holbein's manner of painting I have ever imitated " ; and the French author Blaise de Vigenere gives the curious information that HilHard wrote and painted with a brush made of hairs from the tail of a squirrel. He seldom painted on ivory, but usually on card. His miniatures rarely give more than the bust, but his masterpiece is one of Queen Elizabeth, a whole-length, in her robes, sitting on the throne. This one and two others of her were in the possession of Charles I. Hilliard must have begun to practise painting in miniature while very young, for there is still his own portrait painted by him when he was thirteen. He was appointed goldsmith, carver, and portrait-painter in small to Queen Elizabeth. The patent was extended to him by James I., who also gave him for twelve years the exclusive privilege "To paint, make, grave, and imprint any pictures of our image or our royal family. " As there is every probability that Hilliard imitated Holbein principally in his colouring, his miniatures have faded, for they are less strong in colour than the works of Holbein. He used largely opaque pigments and also gold in the ornaments. His 554 PAINTERS AND THEIR WORKS. miniatures are very numerous, as he painted most of the persons of high rank in his time. He wrote also on art, but his MS-, has not been published. Many of his miniatures were^ exhibited at South Kensington in 1865. He was the master of Isaac Oliver, and had a son Laurence Hilliard, also a painter, to whom the patent granted to his father was continued. Little is known regarding Laurence or his works. At the Strawberry Hill sale a miniature of Sir Francis Drake, by Nicholas Hilliard, was sold for twenty guineas, the purchaser being the Earl of Derby. Hills (Robert).— B. Islington, 26th June, 1769 ; d. London, 14th May, 1844 ; s. Gresse ; p. figures, animals, and landscapes. Little is known regarding Hills until he exhibited "A Wood Scene with Gipsy" at the Royal Academy in 1791. He was one of the six artists who, in 1804, established the Water-colour Society, and he acted for many years as its secretary. He con- tributed to its exhibitions up to 1818, and again after 1823, to the time of his death. During the interval he contributed six or seven drawings yearly to the Royal Academy. He was not only a most industrious painter in water-colours, but also executed many spirited etchings of animals, of which prints there is a collection in the British Museum. In 1816 he published "Sketches in Flanders and Holland," with an account of a tour in those countries, illustrated with thirty-six aquatints. He often worked in water-colours in conjunction with Robson and Barret. A Turnip Field," ll^in. by lejin., by Hills, sold at Pooley's sale in 1880 for £38 17s. Hilton (William), the elder. — b. Newark, ; d. London, 1822 ; s. ; P. portraits. "Very little is known regarding this artist except that he painted scenery for a company of actors who played in the Eastern counties, and afterwards practised as a portrait-painter in Norwich, Lincoln, and London. Hilton (William), the younger. — b. Lincoln, 3rd June, 1786; D. London, 30th December, 1839 ; s. his father and the Royal Academy ; p. history and portraits. He was the son of the above William Hilton, of Newark. His father wished to apprentice him to a trade, but at last allowed him to follow his own wish to become an artist, and he was placed as a pupil with Raphael Smith, the mezzotint engraver. In 1806 he entered the schools PAINTERS AND THEIR WORKS. 555 of the Royal Academy. Although he painted a few portraits^ Hilton, from the beginning of his career, despite many dij9i- culties, spent aU his time and means in endeavouring to become a great painter of historical subjects. He exhibited for the first time in 1803, and received in 1806 a premium from the British Institution of fifty guineas for his "The Citizens of Calais Delivering their Keys to King Edward III.," and a second in 1811 for his ''Entombment of Christ." The Institution also purchased his ''Mary Anointing the Feet of Jesus" for £525, and in 1821 presented it to the Church of S. Michael in the City. In 1825 Hilton painted one of his finest works, "Christ Crowned with Thorns," which was also purchased by the Directors of the British Institution for 1000 guineas, and presented by them to the new Church of S. Peter, in Eaton Square, and it has since been bought by the Royal Academy with money left by the Chantrey Fund. In 1813 Hilton visited Italy in company with his friend Phillips. He had been elected in that year an Associate of the Royal Academy, was made a full member in 1820, and appointed Keeper in 1827. In the following year he married the sister of his intimate friend De Wint. Her death in 1835 probably hastened his own, for he was a man of very mild character and retiring habits. To those who can recollect Hilton's works when they were first shown to the public, it is painful to see the state in which they now are, owing in a great measure to his lavish use of asphaltum. It is difficult to believe that they are the same pictures. That he possessed great talents, is certain ; but he remained unappreciated during his lifetime, and many of his works are no longer in a state to enable the present generation of amateurs to judge of their merits. The following list contains some of Hilton's finest works, with the prices which have been paid for them The Rape of Europa, Lord de Tabley's £ s. d. sale 1827 .. .. 315 The Triumph of Amphitrite, Hilton's sale ... 1841 ., ,. 134 8 Comus and the Lady, Hilton's sale ... 1841 ., ,. 225 15 The Angel Delivering Peter, Hilton's sale 1841 .. . 178 10 Venus at the Bath of Diana, Wright's sale 1845 .. . 325 10 Jacob and his Sons, Wells's (of Red- leaf) sale 1860 ., ,. 131 5 556 PAINTERS AND THEIR WORKS. £ s. d. lobl 178 1 A lU u ODD w A 1 Odd I ODD 1 K 10 u 1870 .. . 120 15 1874 .. . 99 15 1874 ., . 131 5 1876 .. 67 1877 ., ,. 99 15 1879 . .. 157 10 1884 . .. 94 10 Nature Blowing Bubbles for her Children, 60in. by 84in., Swin- burne's sale The Triumph of Amphitrite, 54in. by 89iin., Bicknell's sale The Angel Delivering Peter, Bishop's sale Diana and Calisto, Lord de L'Isle's sale Una and the Lion, 36in. by 48in., en- graved, Ellison's sale The Triumph of Amphitrite, 36in. by 24in., Ellison's sale Cupid and Bacchante, 36in. by 28in. Levy's sale The Triumph of Amphitrite, Lord Dunmore's sale ... Nature Blowing Bubbles for her Children, Fenton's sale Una (bought in), Dingman's sale Hire (De la).— A^ee Hyre. Hoare (Prince).— b. Bath, 1755; d. Brighton, 22nd Decem- ber, 1834 ; s. his father ; p. portraits and history. He gained a premium from the Society of Arts in 1777, and in the same year entered the schools at the Royal Academy. He was sent in 1776 to Rome, and studied under Mengs. After his return to London, in 1780, he exhibited at the Academy, but with little success, up to 1785. Among the most interesting of the portraits he painted was one of Sir Thomas Lawrence, when a child, which was en-, graved by Sherwin. Ill-health induced him to take a voyage to Lisbon, and on his return the little encouragement he had received as a painter led him to try literature as a profession, and, between 1788 and 1799, he wrote twenty plays, mostly musical farces, among which was the well-known ''No Song, No Supper." He also wrote and published several books connected with the fine arts. In 1799 he was appointed to the honorary office of Foreign Corresponding Secretary to the Royal Academy. Hoare (William). — b. Eye, in Suffolk, 1706; d. Bath, December, 1792 ; s. Grisoni ; p. portraits and history. He re- ceived a good education, and studied painting under Grisoni in London. He next went to Rome, where he was intimate with Pompeo Battoni, and after spending nine years on the Conti- nent, returned to England and settled at Bath, where he painted principally portraits. He worked with both oil and crayons, and PAINTERS AND THEFR WORKS. 557 excelled in the latter style, also in miniatures. Many of the most distinguished visitors to Bath sat to him. He was one of the foundation members of the Royal Academy. In all he exhibited twenty-two works there, two at the Society of Artists, and one at the Free Society, between 1761 and 1783. Hoare painted solidly, mixing much white with his tints, and his best portraits are well drawn, while the character of the sitter is often strongly marked ; the execution is, however, rather hard and sharp. He was not successful when he painted historical subjects. Sir Thomas Lawrence said that he had profited much by the advice he received from Hoare. A portrait of Lord Chatham, by Hoare, produced £210 at a sale in 1894. Hobbema (Meindret, notMinderhout). — b. probably Guelder- land, 1638; d. Amsterdam, 14th December, 1709; s. probably Jacob van Ruisdael ; p. landscapes. Although the date of the birth of this celebrated painter was discovered a few years ago among the archives of the Protestant Church at Amsterdam, by his being thirty when married, there is still some uncertainty as to the place in which he was born. Yet the fact that many of his pictures represent scenes in Guelderland gives weight to the assertion that he was born in a village (either Coeverden or Middelharnis) in that province. He married at Amsterdam, when thirty years of age, Eeltje Vinck, of Gorcum, who was thirty- four ; and as Jacob van Ruisdael, the landscape-painter, was a witness to the marriage, and was about ten years older than Hobbema, it is very probable that he taught the latter to paint. Few of Hobbema's pictures are dated, but those which are attri- buted to him range from 1650 to 1689. It appears, however, very improbable that in 1650, when only twelve years of age, he can have painted the picture in question ; the more so as Jacob van Ruisdael did not remove to Amsterdam until 1659. (See Bredel's sale, 1875.) The wife of Hobbema died in 1704, and his daughter in 1706, so that he survived them both. They and Hobbema himself were buried among the poor inhabitants, but the fate of his son Eduard, who was born in 1670, is not known. It has been assumed from these facts that the works of Hob- bema were not appreciated at their just value by his countrymen ; but, as in the case of Rembrandt, who also died poor, and in that of Guyp, who probably only escaped the same fate by his marriage, if his pictures did not sell for high prices in his life- time, that was due in a great measure to the poverty then so 558 PAINTERS AND THEIR WORKS. general in Holland. It is not likely that such men as Adriaan van de Velde, Berchem, and Lingelbach, artists of established reputation, would have painted the figures in landscapes which were nearly unsaleable at the time when they did so. At any rate, if Hobbema was not fortunate during his life- time, each succeeding year has added to the value of his works, for no other painter's works have risen so steadily in general estimation. As an instance of this, a capital landscape by Hob- bema was sold in Holland, in 1768, with the collection of De Heer P. Caauw, for about £30, which, when resold, in 1827, at Muller's sale in Amsterdam, produced close upon £1,100. Other similar examples might be pointed out. Unfortunately, this has produced results which he never anticipated. Artists who were equal to the task have not only made copies of his works, but have either retouched old pictures by other artists so as to make "fchem pass as being by him, or even painted imitations so perfect as to deceive excellent judges. Those by him are equal to the works of Ruisdael, except perhaps in the richness of invention, and often in colouring and truth to nature are superior to his. Taking the prices which have been paid at auctions for pictures by Hobbema since the close of last century, they vary from £51 for a small landscape which belonged to the Due d'Alberg and was engraved by Le Brun, to £10,800, the sum paid for View in Holland " (with figures by A. van de Velde) at Dudley's sale in 1892. As there are now more pictures by Hobbema in England than in any other country, there are here given, as fully as space will permit, the prices at which many of his finest works have been sold ; and as some of them have been engraved by foreign artists, in the case of those sold in Paris, we give in -French the styles by which they are known in France : A small Landscape, Jan Gelder- meester's sale Landscape, Lady Holderness's sale A View in Holland, Clarke and Hibbert's sale Landscape, figures crossing ford, 31in by 39in., Sir G. Yonge's sale A Wood with Cottages A Wooded Scene, Gordon's sale Wooded Scene, cottages and figures (bought in), Gordon's sale £ s. d. 1800 ... 180 1802 ... 294 1802 ... 220 1806 ... 420 1807 ... 588 1808 ... 199 10 1808 ... 378 PAINTERS AND THEIR WORKS Landscape, cottage, etc., 48m. by 32iin., Livernet's sale ... Landscape, watermill, figures by Berchem, Bryan's sale ... Village in Holland, 30in. by 21in., Hibbert's sale ... Wood, cornfield, and village, 23in. by 42in., Parkes's sale A view, supposed to be near Antwerp, Willett's sale Landscape, with figures. Sir G. P. Turner's sale Wooded Landscape, Stinstra's sale ... Watermill (bought in), Lafontaine's sale Landscape (upright), cottages, water- mill, from Van Smidt's (of Brussels) Collection, G. W. Taylor's sale The companion, Forest Scene, G. W, Taylor's sale A Road through a Wood, ford, and two peasants, De Belleville's sale Wooded Landscape, ruins, pool, and figure fishing, Lord Radstock's sale Landscape, cottages, figures crossing ford, 31m. by 39in. (see 1806), Dent's sale Landscape with watermill, G. Muller's sale Landscape, watermill, figures by Berchem, from Ottley's Collec- tion, Zachary's sale Landscape, knoll on right, Hibbert's sale Woody Landscape, winding road, two cavaliers, cottages, figures by roadside, Cholmondeley's sale ... The Herring-packers' Tower at Amsterdam, from Sneith Van Alphen's Collection, 39iin. by 39in., Nieuwenhuys' sale Watermills, 32in. by 26in., figures by Storck, Nieuwenhuys' sale View in the Drenthe Country, Nieu- wenhuys' sale 559 £ s. d. 1808 . .. 264 12 1809 . .. 462 12 1811 157 10 1812 . .. 136 10 1813 . .. 514 10 1815 . .. 157 10 1822 . .. 660 1822 . .. 320 5 1823 . .. 997 10 1823 840 1825 . .. 315 1826 105 1827 . .. 777 1827 1090 1828 . .. 1207 10 1829 . .. 535 1831 . .. 530 5 1883 . .. 425 1833 . .. 1008 1833 . .. 798 560 PAINTERS AND THEIR WORKS. Wooded Landscape and waterniill, figures by A. van de Velde, engraved by Earlom, Lady Hampden's sale ... Landscape, 23^in. by 33in., engraved as The Cottage, Fletcher's sale... Peasants Crossing a Ford, Slin. by 39in. (see 1806 and 1827), Har- man's sale ... ... Paysage, Cardinal Fesch's sale Landscape, traveller with bundle, Lord GranvUle's sale The Wood at Haarlem, Higginson's sale ... Les Deux Mares, two ponds, man on horseback, 33in. by 24in., C. Perrier's sale Wooded Landscape, pond, five figures, 24in. by 32in., W. Wells's sale ... View in Westphalia, 24in. by 33in., Smith No. 18, W. Wells's sale ... Wooded scene in Guelderland (bought in), W. W. Hope's sale ... Le Moulin a Eau, King of Holland's sale ... Les Petits Moulins, Van Saceghem's sale ... Paysage, Baron de Mecklenbourg's sale ... Landscape, cavalier with red dress, fishing Les Petits Moulins (see 1851), Patu- reau's sale ... Le Moulin a Eau, W. Hope's sale . . . The Wood at Haarlem, 50^in. by 38|in., Smith No. 80, Higginson's sale ... Landscape, winding road, cottage, figures, from Dawson Turner's Collection, Scarisbrick's sale Landscape, large house on left, in trees, stork's nest on roof, two men, 18in. by 20in., Fordham's sale ... Au bord de la Foret, Van Cleef's sale Landscape, pool, cavalier in red, angling, Oppenheim's sale £ s. d. 1834 . .. 1044 15 1838 . .. 450 1844 . .. 1942 10 1845 . .. 900 1 84. lo'±0 OO i i OO Q 1848 . .. 588 1848 . .. 341 1848 . .. 640 10 1844 . .. 367 10 1850 . .. 2250 1851 . .. 3120 1854 . .. 2880 1857 . .. 609 1857 . .. 3860 1858 . .. 1720 1860 . ,.. 493 loDi 4-62 1863 , ... 420 1864 . .. 340 1864 , ... 934 10 PAINTERS AND THEIR WORKS. 561 Les Moulins, De Morny's sale Paysage de la Gueldre, Brienen van Grootelindt's sale... Interieur de Bois, Delessert's sale ... Paysage, Delessert's sale Landscape, 21in. by 28iin., fi'om Charles Brind's Collection, Dela- tield's sale ... Landscape, with watermill, Lord Dunmore's sale ... Vne Maison de Campagne Holland- aise (figures attributed to Helt- Stokade), Pereire's sale ... Entree de Foret, Pereire's sale Le Moulin a Eau, Pereire's sale Landscape, forest, two figures, 24in. by 34in. , Gillott's sale ... A Wooded Kiver Scene, Norris's sale Une Maison de Campagne (see 1872), sale in Paris ... ... Road scene, with figures, 18^in. by 25in., signed and dated 1650, Bredel's sale Wooded Landscape, cottages, etc., 42in. by 54in., from Lord Rad- nor's Collection, Lord Malmes- bury's sale... Wooded Landscape, peasants, etc., 16iin. by 34in., Levy's sale Landscape, river, figures, 26in. by 34|in., Munro's sale Landscape, post waggon, and figures, 17in. by 20|in., Munro's sale ... Village, near river, windmills, fisher- men in boat, signed and dated 1663, Lady Lawley's sale Forest Scene, felled timber, three figures, and others in the distance (bought in), Cave's sale ... Landscape with watermill, 24in. by 33in., Duke of Hamilton's sale ... Landscape, trees, man, and dog, 21in. by 20|in., from Charles Brind's and Delafield's Collection, Ad- dington .sale The Ford, dated 1662, Exeter's sale... £ 8. d. 1865 1865 . .. 360 1869 . .. 1600 1869 . .. 410 1870 Q 1870 . .. 650 1872 . .. 2000 1872 . .. 3240 1872 . .. 1200 1872 231 A yj 1873 . .. 1155 1874 . .. 2780 1875 . .. 3255 1876 . .. 1102 10 1876 997 10 L\J 1876 . .. 2205 1876 , ... 735 1879 . ,.. 218 1881 . ... 830 1882 . .. 4252 10 1886 . .. 1593 10 1888 . .. 320 2 N 562 PAINTERS AND THEIR WORKS. £ s. d. Woody Landscape 1888 ... 475 Woody Scene ... 1889 ... 1533 Landscape, mill, figurcB l>y A. van de Velde, Secretan sale ... 1889 ... 5460 Landscape, mill, etc., Secr(5tan sale 1889 ... 3465 Woody Landscape 1889 ... 325 View in Westphalia, Wells's sale ... 1890 ... 2855 Woody Landscape, Wells's sale 1890 ... 262 Woody Landscape, Stover's sale 1890 ... 2730 Landscape, Perkins's sale 1890 ... 3465 Landscape 1892 ... 288 View in Holland, figures by A. van de Velde, Dudley's sale 1892 ..10.800 Wooded River Scene, Dudley's sale... 1892 ... 1995 Landscape, Dudley's sale 1892 ... 2415 Landscape, dated 1667, Field's sale... 1893 ... 4720 Lock, Mildmay's sale ... 1893 ... 2310 Landscape 1894 ... 250 Landscape, Adrian Hope's sale 1894 ... 3150 Woody Landscape, Clif den's sale . . . 1895 ... 241 Canal Scene 1895 ... 1522 Drawings by Hobbema are very rare and valuable. In 1833, one representing a wooded landscape, done in Indian ink, which belonged to M. de Vos, of Amsterdam, was sold for about £130. There are not any etchings attributed to him. Hobday (William Armfield ).— b. Birmingham, 1771; d. London, 17th February, 1831; s. ; p. portraits and minia- tures. His father was a manufacturer possessed of considerable property, and the son's early talent for drawing was encouraged. Hobday was also placed under an engraver, but after six years commenced painting portraits in water-colours and miniatures. Between 1794 and 1830 he exhibited seventy works, classed as miniatures, at the Royal Academy, and two at the British Institution. He was much employed in London, and went yearly to Bath and Bristol, at which places he was also fully occupied. In the latter city he settled and remained fourteen years, but was ruined by extravagance, and on his return to London in 1818 he engaged in speculations which finished in his being declared bankrupt in 1829. Hobday painted many portrait-groups of large size and a few subject-pictures, for all of which he was paid high prices, and several of his works were engraved. PAIJ^TEES AJsD THEIE WORKS. 5G3 Hodges (Charles Howard;.— b. England, 1774; d. Amster- dam, 1837 ; s. ; p. portraits. This artist is most generally known as an excellent engraver in mezzotint, yet he painted many fine portraits. He went, while still young, to Holland, passed nearly all his life in that country, and only exhibited one or two miniatures in London. Hodges (William).— B. London, 1744 ; n. Brixliam, 27th February, 1797 ; s. Richard Wilson ; p. landscapes. He was the son of a blacksmith who kept a smaD shop in Clare Market. Being employed as an errand-boy at Shipley's drawing school, where he learned to draw, he was noticed by Richard Wilson, who received him as a pupil and assistant. He made rapid progress, and became a scene-painter at Derby. In 1770 and 1772 he ex- hibited some of his pictures in Spring Gardens, and in the latter year was appointed draughtsman to Captain Cook's second expedi- tion. After an absence of three years he was employed by the Ad- miralty to complete his drawings and superintend their engraving. About 1776 Hodges married, but, losing his wife, he v/ent to India under the patronage of Governor Hastings. Hodges re- turned to this country about 1783, married a second time, and, again losing his wife, married a third. Making a tour on the Continent in 1790, he sketched on the Rhine, and also visited. S. Petersburg. His best productions were those he executed in India, and a view in Windsor Park. He painted several sub- jects for BoydelJ's Shakespeare, and two of his pictures are in the Soane Museum. Between 1766 and 1794 he exhibited twenty- four landscapes at the Society of Arts, seven at the Free (Society, and seventy-four at the Royal Academy. Of the latter he was elected an Associate in 1786, and a full member in the following year. He appears to have lost money by the book he published containing views in India, and by an exhibition ;uid sale of liis paintings, and completely ruined himself by estaljlishiiig a 1)ank at Dartmouth, where he went to settle in 1795. William Hodges was most successful in such subjects as old ruins, and his pictures, generally speaking, are more like those of ZuccarelJi than the works of Richard Wilson. His works, even those which were engraved, have seldom sold for high prices, the two highest being : A Sea-piece, Victory over a French £ h. d. Fleet in 1782, Paton's sale ... 1792 ... 7 17 View of the Old Bridge at Shrewsbury, with ligures, Steers sale... ... 1826 ... 24 3 2x2 564 PAINTERS AND THEIR WORKS. Hoecke (Jan van den). — b. Antwerp, 1611; d. Antwerp, 1651 ; s. Rubens ; p. history and portraits. He was the son of a Gaspard van Hoecke, a free master at Antwerp in 1603, and was one of the best pupils of Rubens. He was also a man learned in the sciences and literature, who travelled in Italy and Germany. The Archduke Leopold appointed him his chief l^ainter. Pictures by Hoecke are to be found in churches at Antwerp, and portraits at Vienna. His works are well drawn and coloured, and his portraits are little inferior to those by Van Dyck. At Merle's sale, in 1784, a Holy Family in a landscape by him was sold for nearly £400. His son Robert, who died in 1668, was also a good painter of history. Hoefnagel or Hufnagel (Georg or Joris).— b. Antwerp, 1545 ; D. Vienna, 1600 ; s. Hans Bol ; p. miniatures and land- scapes. Hoefnagel was the son of a wealthy jeweller and gold- smith at Antwerp when that city was the great centre of the lapidary's trade. He followed at first the same calling as his father, yet early devoted much of his time to drawing, and became one of the most celebrated miniaturists. He also en- graved. After visiting France and Spain, on his return to Flanders, he studied painting under Hans Bol at Malines. He and his father having been ruined by the Spaniards when they sacked Antwerp on the 3rd November, 1576, took refuge in Bavaria, and the son travelled with his friend Abraham Ortelius, or Oertel, the celebrated geographer, in Germany and Italy. He made drawings during the journey, and many such draw- ings were engraved in Braun's great work, " Civitates Orbis Terrarum," and in the " Theatrum Orbis" of Ortelius. At Rome Hoefnagel and Ortelius were presented to Cardinal Farnese, the patron of the miniaturist Guilio Clovio, with whom Hoefnagel became acquainted, and whose works he admired so much that he made them the model for his own. On their return to Bavaria, Ortelius and Hoefnagel parted at Munich, the latter becoming court painter. While in that position he accompanied, with the Elector's permission, the Archduke Ferdinand to Innsbruck. There, and at Schloss Ambras, Hoefnagel spent eight years in the production of the celebrated Missal, which is now in the Imperial Library at Vienna. The text is copied from the Antwerp edition by C. Plantin, dated MDLXX. The ornaments in it offer a most extraordinary variety of details, and the drawing is often not PAIl^TERS AND THEIK WORKS. 565 unworthy of Clovio, although the colouring is inferior to his. The Missal contains 1213 pages. Hoefnagel also executed vast number of drawings of subjects connected with natural history for the Emperor Rudolph. One book contains 1330 miniatures, and the Emperor Avas so much pleased with the manner in which the work was done that he granted the painter an annuity and a sum of money sufficient to enable him to buy a property near Vienna, on which he resided to the end of his life. There are other works attributed with more or less certainty to Hoefnagel. At Brussels is a view of Seville, and it is probable that he was in England, as he superintended the engraving of, if he did not draw, plans and views of London, Oxford, Norwich, Chester, and a curious view of ''Nonsuch." Moreover, there is a volume of drawings by Hoefnagel in the Museum at Rouen, consisting of twenty-four leaves, entitled "Traits de la Patience par Emblemes, invented and designed by George Hoefnagel, London, 1569." He also wrote poetry in Latin, and adorned some of the maps for Ortelius with groups of figures and mottoes. Hoefnagel's son Jacob, born at Frankfort in 1575, ^Dainted some landscapes, but worked chiefly as an engraver. His other son, Jan, painted objects of natural history. Little is known of their lives. Hoet (Gerard).— B. Eommel, 22nd August, 1648 ; d. The Hague, 2nd December, 1733 ; s. his father and Warnar van Ryzen ; p. history and mythological subjects. Although the works of this painter are seldom seen in England, tliey are common in Holland, as he decorated many private houses, generally with mythological subjects. He was patronised by M. van Zuylen, of Utrecht, who gave much encouragement to artists, and he became Director of the Academy in that city. Afterwards he returned to The Hague, where he died. He had two sons — Hendrik Jacob, born 1697, died 1733, who painted fruit and flowers ; and Gerard, who was rather a dealer in works of art than a painter. The father's pictures are very smootli and neatly finished, and the allegorical subjects are treated somewhat in the French manner. In 1823 a landscape, with figures decorating the bust of Virgil, by him, was sold for £13 2s. Hofland (Thomas Christopher).— b. Worksop, 25th Decem- ber, 1777 ; D. Leamington, 3rd January, 1843 ; self-taught ; P. landscapes. His father was a cotton manufacturer, but failed in business after he removed to Lambeth, in 1799. The son then 566 PAINTERS AND THEIR WORKS. began to study landscape-painting, and received assistance from Rathbone. He tried to support himself by teaching, and, be- coming a volunteer in the King's Own Company at Kew, where he lived from 1799 to 1806, the king gave him a commission ^ to make drawings of the rare plants in the royal collections. Hofland had begun to exhibit in 1798, and continued to do so up to 1843. In all he sent seventy-two works to the Royal Academy, 141 to the British Institution, and 118 to Suffolk Street. After residing at Liverpool and at Derby, Hofland returned to London in 1811, and began then to be successful. In 1814 he received an award of 100 guineas from the British Institution for his painting, **A Storm off the Coast near Scarborough," which was purchased by the Marquis of Stafi'ord. About 1815 he lived at Richmond, but in 1817 removed to Twickenham. Having lost money by the engravings of pictures he executed for the Duke of Marlborough, Hofland returned to London in 1823, and about that time he painted some of his best pictures. He was enabled by the successful sale of those works to visit Italy, where un- fortunately he was attacked by fever, at Florence ; he returned to England with broken health, and after living at Kensington, Hammersmith, and Richmond, he went to Leamington, where he died. Hofland was an eager fisherman, and wrote in 1839 "The British Angler's Manual." His widow, who was also known by her literary talents, did not long survive him. Hofland was a capital landscape-painter, and excelled in repre- senting stormy seas and skies. Pictures by him are by no means common. Three have been sold as follow : A River Scene in England — Ruins by £ s. d. Moonlight, Earl of Carvsfort's sale ... 1828 ... 5 15 Wooded Scene, cavalier coming unex- pectedly on a group of ladies, the figures by ^tothard, Allmitt's sale 1863 ... 46 4 Richmond lim, Allnutt's sale ... 1863 ... 215 5 Hogarth (William).— b. Ship Court, Old Bailey, London, 10th November or December, 1697 ; d. Leicester Fields, 26th October, 1764 ; self-taught ; p. history, genre, and portraits. A slight degree of uncertainty exists as to the month in which this celebrated artist was born. According to his auto- biography, it was on the lOfch November, of course old style ; but all the modern authorities give it as the 10th December. However, there is every reason to believe that the family name PAINTERS AND THEIR WORKS. 567 was Hogarth, as Swift wrote it, and perhaps derived from Hog- herd. His father was educated at S. Bees, Durham, and kept a school in Westmoreland ; he removed to London and opened a school in the Old Bailey, acted as a corrector for the Press, and published some books, in one of which he styles himself "schoolmaster"; he died about 1721. His son William had a natural inclination for art, and was apprenticed, about 1712, to Ellis Gamble, a silversmith, who kept a shop in Cranbourne Alley, Leicester Fields. Hogarth, therefore, began life as an engraver. It is not known when he made his first attempts at painting in oil, but probably shortly after his apprenticeship expired ; although in 1720 he set up in business for himself as an engraver. He afterwards drew and probably painted in Sir James Thornhill's academy, in Covent Garden, which was opened in 1724. The portrait of Horace Walpole, from Strawberry Hill, which was sold at Messrs. Christie's in 1866, was painted in 1727. As Hogarth left among his manuscripts his opinion of the results obtained by drawing in an academy, and as it gives an insight into his mode of working in whatever branch of art he practised, his own words may be cited: "Drawing in an academy, though it should be after the life, will not make a student an artist ; for, as the eye is often taken from the original to draw a bit at a time, it is possible he may know no more of what he has been copying when his work is finished than he did before it was begun. There may be, and I believe there are, some who, like the engrossers of deeds, copy every line without remembering a word ; and if the deed should be in law Latin or old French, probably without understanding a word of the original — happy is it for them, for to retain would be indeed dreadful." The latter sentence seems to have been intended to express Hogarth's opinion of artists who founded their works upon those of the old painters of the Italian, Flemish, or Dutch schools. Yet, although he evidently trusted to his own strength in com- position, drawing, and colouring, and his works are therefore more original than those of any other artist that England has produced, it is very evident that he was not above applying the instruc- tion he could draw from the study of pictures painted by other masters, especially the Flemish and Dutch. With him, however, this was a very different thing from simply copying, and was the result of the faculty which genius possesses of x>rofiting by every chance of improvement. He was also gifted with an extra- 568 PAINTERS AND THEIR WORKS. ordinary memory, and had the power of recalling at any moment the knowledge he had acquired by observation. We are told that he was in the habit of drawing with a pencil on his nail any face or figure that struck him ; yet such slight memoranda can have been of little use to him, as he frequently drew from memory the whole scene in which the person whose face or figure he had carried away had been an actor. He tells us himself, "I had one material advantage over my competitors, viz., the early habit I thus acquired of retaining in my mind's eye, without copying it on the spot, whatever I intended to imitate." The effect of this habit was, as Hazlitt has truly observed, ''that everything in his pictures has life and motion in it " ; to which we may add another opinion, expressed by the same writer, that ' ' when he chose to take pains, he could add the delicacies of execution and colouring in the highest degree to those of character and composition ; as is evident in his series of pictures, all equally well painted, of the 'Marriage a la Mode.'" As has been said, Hogarth worked in Sir James Thornhill's academy from about 1724, and therefore probably became acquainted with that painter's daughter, his future wife, when she was very young ; for she was only twenty- one when she married him secretly on the 23rd of March, 1729. Her mother appears to have favoured the match, and Sir James himself became reconciled to it before his death, which occurred in 1734. After his marriage Hogarth resided in a house in Leicester Square, and his own account of why he adopted portrait-painting as a source of income may here be quoted : "I married, and com- menced as a painter of small conversation pieces from 12in. to 15in. high. This having novelty, succeeded for a few years. But though it gave somewhat more scope for the fancy, it was still but a less kind of drudgery ; and as I could not bring myself to act like some of my brethren, and make it a sort of manufacture, to be carried on by the help of backgrounds and drapery-painters, it was not sufficiently profitable to pay the expenses my family required." He ridiculed openly the artists who used such means of producing portraits, and he tells us that "one day, at S. Martin's Lane Academy, I put the following question : Sup- posing any man at this time were to paint as well as Van Dyck, would it be seen or acknowledged, and could the artist enjoy the benefit or acquire the reputation due to his performance? They asked in reply if I could paint one as well, and I frankly answered * I believe I could.' My query as to the credit I should PAINTERS AND THEIR WORKS. 569 obtain if I did, was replied to by Mr. Ramsey, and confirmed by the President, and about twenty members present. ' Our opinion must be consulted, and we will never allow it.' Piqued by this cavalier treatment, I resolved to try my own powers, and if I did what I attempted determined to affirm that I had done it. In this decided manner I had a habit of speaking, and if I only did myself justice, to have adopted half-words would have been affectation. Vanity, as I understand it, consists in affirming you have done that which you have not done, not in frankly asserting what you are convinced is truth." It would be impossible to give a clearer idea of Hogarth's character than these quotations convey, and his portraits of Captain Coram at the Foundling Hospital, which was founded in 1739, and of himself in the iiational Gallery, prove that he had not over-estimated his own powers as an artist. Another interesting event in William Hogarth's life was the foundation of the Society in S. Martin's Lane. Speaking of this, he says : ' * Sir James dying, I became possessed of his neglected apparatus ; and, thinking that an academy conducted on proper and moderate principles had some use, proposed that a number of artists should enter into a subscription for the hire of a place large enough to admit thirty or forty people to draw after a naked figure. This was soon agreed to, and a room taken in S. Martin's Lane. To serve the Society, I lent them the furni- ture which had belonged to Sir James Thornhill's academy." Further on he tells us : "To return to our own academy. By the regulations I have mentioned of a general equality, etc., it has now subsisted near thirty years, and is, to every useful purpose, equal to that in France, or any other ; but this does not satisfy." This is interesting, as it shows that the academy in S. Martin's Lane was not opened until after the death of Sir James Thornhill, and also gives an idea of the x>osition of many artists in London shortly before the "Incorporated Society" was formed or the Royal Academy founded in 1768, four years after the death of Hogarth. The works of Hogarth are so widely known that we need only add that he died childless at his house in Leicester Fields, and was buried in Chiswick Churchyard. It is, however, said that the tomb erected to his memory was, by some oversight, not placed over the spot where he was buried. After the death of Sir James Thornhill, Hogarth was appointed Serjeant Painter to George II. ; but that seems not to have been 570 PAINTERS AND THEIR WORKS. of any great advantage to him, and he must have died poor, for his widow, who died in 1789, appears to have been dependent for her subsistence on the profit she derived from the sale of his engravings and a yearly pension of £40 granted her by the Royal Academy. Hogarth was not fortunate in the sale of his pictures, and his income was obtained principally by his engrav- ings and portraits. The story of his auction on the 6th June, 1750, at which he let Mr. Lane, of Hillingdon, who was the only bidder, have the six pictures of the "Marriage a la Mode" for £110 (from which must be deducted 24:gs., the cost of the frames) has been often told. But it is not so generally known that of fourteen pictures by Hogarth, sold at Messrs. Christie's rooms between 1779 and 1792, only one, ''The Hazard-table," produced anything like a price — £39 18s. — all the others being sold for a few pounds, and among them a portrait of Sir James Thornhill for 5s. From the latter year the prices rose slowly till 1866, since which date they have rapidly increased. A few of the prices paid to Hogarth for pictures are known : For " A Scene in ' The Beggars' Opera,' " painted in 1725, £35 ; the portrait of Sarah Malcolm, £5 os. , from Horace Walpole ; the six pictures of "The Harlot's Progress," painted in 1733-4, sold at Hogarth's auction in 1745 for 14gs. each ; the eight pictures of "The Rake's Progress," sold in the same sale for 22gs. each; " The Strolling Actresses," painted in 1736, was purchased by Sir Edward Walpole for £27 6s. ; the "Four Parts of the Day," painted in 1738 — the first two for £78 15s., the second two for £48 6s. Only the more interesting pictures in a list of about 150, sold since 1780, can be given : Handel and Musicians of the Opera Portrait of Sir James ThornljdU A Conversation Piece, George H., Queen Caroline, and their Family, painted when Hogarth was Serjeant Painter ... The Hazard-table The Old Buildings at Whitehall, with a Procession of Freemasons The Marriage a la Mode, the original set of six, 27in. by 35in., Caw- thorne's sale (probably bought in) Prison Scene, containing Portraits (an undoubted picture) £ s. d. 1780 . .. 13 ]2 6 1781 ., 5 1782 ., 1 12 1782 .. . 39 18 1784 .. 6 16 6 1792 .. . 955 10 1796 .. 10 10 PAINTERS AND THEIR WORKS. 571 The ]\Iarriage a la Mode, the original £ s. d. set of six, painted in 1744 (purchased by Angerstein, and now in National Gallery) ... 1797 ... 1050 Portrait of Hogarth, by himself {nov,- in National Gallery) 1797 ... 45 3 Twelve Paintings of the Principal Scenes in "Hudibras," Cuzzan's sale 1800 ... 54 12 The eight original pictures of the Rake's Progress, painted in 1734 (now in Sir J. Soane's Museum), Beckford's sale 1802 ... 589 10 The Sleeping Congregation, Jackson's sale 1807 ... 20 9 Covent Garden in an Uproar, portraits of Wilkes and Churchill 1809 ... 32 Falstaff Enlisting his Recruits, David Garrick's sale 1823 ... 46 4 A Sketch of the Happy Marriage, David Garrick's sale 1823 ... 7 7 The Four Election Subjects, the Canvass, the Poll, the Chairing, and the Feast, David Garrick s sale 1823 ... 1732 10 Garrick seated at his writing-table, Mrs, Garrick in the background, David Garrick's sale 1823 ... 74 11 Original Scene in "The Beggars' Opera," Steers' sale 1826 ... 86 2 A Young Woman Singing and Play- ing on the Hurdy-gurdy, Dent's sale 1827 ... 26 5 Portrait of Daniel Lock, Governor of the Foundling Hospital, engraved by McArdell, Thorold's sale ... 1829 ... 42 The Laughing Audience, G. W. Taylor's sale 1832 ... 21 The Politician, G. W. Taylor's sale... 1832 ... 31 10 A Familv Group of Children, (4. W. Taylor's sale 1832 ... 94 10 A Savoyard Girl, G. W. Taylors sale 1832 ... 10 10 Portrait of Miss Fenton, G. W. Taylor's sale 1832 ... 52 10 Scene in "The Beggars' Opera," G. W. Tayloi-'s sale 1832 ... 73 10 572 PAINTERS AND THEIR WORKS. Hogarth in his Painting-room, paint- ing the Fignre of "Comedy," Marquis of Camden's sale Sketch for "The Beggars' Opera," painted for Rich, the harlequin, Earl Waldegrave's sale ... The Westminster Election ... The Laughing Audience, Sanderson's sale ... Hazard- table. Lord North wick's sale Modern Midnight Conversation, Lord Northwick's sale Portrait of Sarah Malcolm, E. Phipps's sale ,. Portraits of Dudley Woodbridge and Capt. Holland, seated, man bring- ing letter, E. Phipps's sale Portrait of Horace Walpole in a landscape, a sundial, and Cupid pointing to 10, the age of Walpole at the time, from Strawberry Hill, H. Farrej's sale ... Portrait of the Poet Gay, Curling's sale ... Portrait of Miss Rae, Lord Sandwich's mistress (bought by Mr. Adding- ton— see 1886), Miinro's sale ... 1867 ... 530 5 Modern Midnight Conversation (painted by Hogarth on the wall of Elephant Inn), Col- naghi's sale 1868 ... 102 18 The Painter Seated at his Easel, en- graved by himself, 154in. by 14|in. (now in National Portrait Gallery), WUlett's sale 1869 ... 378 Mrs. Hogarth, whole-length (en- graved), Willett's sale 1869 ... 351 Miss Woodley, afterwards Mrs. Vaughan, Willett's sale 1869 ... 199 10 S. James's Park and Rosamond's Pond, Willett's sale 1869 ... 147 Examination of Recruits before Justices Shallow and Silence, Sir A. Help's sale 1874 ... 399 The Lady's Last Stake (Mrs. Thrale was Hogarth's model for the Lady), Lord Charlemont's sale ... 1874 ...1585 10 £ s. d. 1841 .. 54 12 1845 .. . 57 15 1845 200 1848 .. . 51 9 1859 .. . 65 2 1859 .. . 48 6 1859 .. . 52 10 1859 246 15 1866 . .. 213 3 1866 . .. 57 10 PAINTERS AND THEIR WORKS. 573 The Gate of Calais (now in National Gallery), Lord Charlemont's sale The Harlot's Progress, 18in. by 24^in,, Munro's sale The Scene in Bridewell, from Beck- ford's Collection (the others of this series were burnt), Munro's sale Portrait of Miss Fenton as Polly Peachem, 29in. by23in., oval, Sir P. Miles's sale The Shrimp Girl, sketch, 25in. by 20in., canvas. Sir P. Miles's sale Portrait of Miss Rae, 29in. by 24in, (doubtful — see 1867), Addington's sale ... Portrait of Peg Woffington, 36in. by 37in., Addington's sale ... Portrait of Garrick in Green Room, ISin. by 23|in,, Addington's sale The Gate of Calais, dated 1749, Bolckow's sale ... The Price Family, Price's sale Jhe Painter's Wife, Mildmay's sale The Music Party, Essex's sale Peg Woffington, Price's sale... Holanda (Antonio de).— b. ; d. Evona, after 1549 ; s. ; P. history and portraits in miniature. In 1540 Antonio de Holanda was herald to King John III. of Portugal. The events in his life are only imperfectly known, and chiefly from the manuscript notes made by his son, Francisco de Holanda, m a copy of Vasari's " Lives " now in the Public Library at Lisbon. Francisco tells us among other curious things that when Gio. Francisco Penni (II Fattore) went to Flanders to superintend the manufacture of the tapestries from the cartoons of Raphael, and his own designs, he having seen the designs by my father, which D. Fernando was then having illuminated by Simon Bening of Bruges" (who, we may observe, did not die until 1560), "and made others himself in competition with them, Bening preferred those by my father, and illuminated them perfectly well." Fran- cisco de Holanda speaks also with praise of his father's works in black-and-white. He says, moreover, that the Emperor Charles V. wished to have Antonio de Holanda at his Court, and that when at Barcelona the Emperor told Francisco de Holanda £ s. d. 1874 ... 945 1878 . .. 546 1878 . 315 1884 . . . 840 3 1884 . 262 10 1886 69 6 1886 89 5 1886 . 84 1891 . .. 2572 1893 . . . 325 1893 . .. 1218 1893 . .. 210 1895 . .. 630 574 PAINTEKS AND THEIR WORKS. that when he (the Emperor) was at Toledo, Antonio had painted a better portrait of him than anybody else, not excepting that which Titian painted at Bologna. He relates also that while ])ainting that portrait, as his father complained of the table on which he was painting being somewhat low, Charles told him not to call any attendant, as he would himself make it higher, which he did by fixing it, while De Holanda held it and Charles fastened it with some straps in which he made holes with his dagger. Antonio de Holanda left three children : Francisco, an artist ; Michele, an equerry in the royal household, and afterwards treasurer at Goa ; and Joao Homen, who became a judge. Holanda (Francisco de).— b. Portugal, 1518 ; n. Portugal, 1584 ; s. his father ; p. history, portraits, and views. This artist, who was skilled in design, civil and military architecture, paint- ing both in oil and in miniature, and also in modelling, was the eldest son of Antonio de Holanda. At the age of twenty he was sent by the King of Portugal, John III., to Italy to improve himself in art ; and from his letters and manuscripts it appears that on his journey he visited the Empress at ValJadolid, who requested him to paint for her a portrait of the Emperor Charles v., then at Barcelona. The Emperor seems, however, to have declined to sit, on the ground that he was too old, although then only thirty-eight. Francisco next mentions having been at Nice, in Savoy, when Francis I. and Charles V, concluded a truce in 1538. At length Francisco arrived in Rome, and apparently was well received there, as he says that the Pope administered the Sacrament to him with his own hands in 1539. He must also have enjoyed a certain intimacy with Michael Angelo, Giulio Clovio, and other great artists, at Rome and at various places in Italy, in which country he remained until 1548, when he returned to Portugal. In addition to his talents as an artist, Francisco was an able engineer, and published several books on art. In the Library of the Escorial, in Spain, there are drawings and illuminations by Francisco ; many of the former are of buildings in Italy and France. Although he was certainly fully convinced that he excelled in all the arts he practised, it must be admitted that he had cause to be vain, and his manuscripts and letters contain some valuable information. Holanda (Rodrigo de) .— A Spaniard, Avho in 1591 was appointed painter to Philip II. with a salary of 100 ducats, which was continued to him by Philip III. in 1599. PAINTERS AND THEIR WORKS. 575 Holbeins (The). — There were four distinguished artists of this name : Holbein (Ambrosj. — b. about 1494 ; d. xjrobably Basle, about 1518 ; s. his father ; p, history and portraits. Less is known of the life of this artist than of those of the other members of the Holbein family. He was a son of the elder Hans Hol- bein, and went with his brother Hans to Basle about 1514- 1515, where, in 1517, he was admitted into the Guild. He is supposed to have died shortly afterwards. The dates 1517 and 1518 are the only ones found on his sketches in the Basle Museum. There also are two pictures by him, and at Munich is a picture, " Joseph and the Wife of Potiphar." He x>robably was employed with his brother Hans in designing title-pages for books. A print of ApelJes' Representation of Calumny," by liim, bears the date 1517. He designed also a title-page representing "Death and the Soldier." Holbein (Hans), called the elder. — b. Augsburg, about 1460 ; D. Isenheim, 1524 ; s. perhaps Martin Schongauer ; p. history and portraits. His father, Michel Holbein, was a tanner or leather merchant, and came to Augsburg from the neighbouring village of Schonefield. Some of Hans' pictures are dated 1493 ; but he is first mentioned in the rate-books of Augsburg in 1493-5. In 1499 he was made a citizen of Ulm, and to that year is attributed his " Death of the Virgin," now in the museum at Basle. He visited Frankfort in 1501, and there painted, for the Dominicans, a " Last Judgment," and other pictures, which are now in the Stadel Institute in that city. Two of his early works — the votive picture of the Walther family, dated 1502, and "The Basilica of S. Paul," painted about 1504 — are in the Augsburg Gallery, where are also preserved some of his sketch- books. From 1506 to 1508 he was employed at Augsburg exe- cuting works for the Church and Convent of S. Maurice. He appears from that time until 1521 to have worked principally at Basle, and is said to have resided there with his sons about 1516. In the museum of that city are nine books of his draw- ings, and some pictures, among which is " The Death of the Virgin," already mentioned. His masterpiece, "The Martyrdom of S. Sebastian," now at Munich, was painted between 1515 and 1517. The works of the elder Hans Holbein are still numerous in German galleries, and many formerly attributed to his son Hans 576 PAINTERS AND THEIR WORKS. are now assigned to him. Some of the earlier ones have a gold background, and are of a decorative character ; but he improved in art as he grew older, and he justly divides with Hans Burgk- mair the glory of having advanced it at Augsburg. His chief paintings are delicately finished, and the colouring is brilliant and harmonious. Even in the modelling of nude figures and female heads, which appear to be idealised, and in the motions given to them, he shows himself as the able precursor of his greater son, the younger Hans. Holbein (Hans), called the younger. — b. 1497 ; d. London, between 7th October and 29th November, 1543 ; s. his father and perhaps Hans Burgkmair ; p. history, portraits, and satirical sub- jects. This most celebrated artist was the younger son of the elder Hans Holbein of Augsburg. Nothing is known of his life until he resided at Basle, in the museum of which city is a picture by him of the Virgin, dated 1514. In 1515, when but eighteen, he designed the title-page of a book, and painted some droll sub- jects, which were discovered in 1871 in the public library at Zurich. There is also a copy of Erasmus's ''Praise of Folly," then first published, which is capitally illustrated by him with marginal sketches that are in every way equal to his later works. The book is in the museum at Basle. In 1516 he painted the fine portrait of H. Herbster, the painter, formerly in the posses- sion of Lord Northbrook, and the portraits of the Burgomaster Meyer and his wife, now in the Basle Gallery. We next hear of Holbein being in 1517 at Lucerne, where he decorated with wall-paintings the house of Jacob von Hartenstein. There are copies of them in the Town Hall. After his return to Basle he was made a member of the Guild, in 1519, he being then of age. Of his decorations of houses which he executed there about that time, some fine designs are still preserved, and show the richness of his invention. His most important work, however, was the decoration of the Town Hall at Basle, which he began in 1521, but only finished later in life. Of this work but a few sketches remain in the museum of the city, which possesses, moreover, many of his designs for glass-paint- ing. There also is the fine portrait of Amerbach, painted in 1519. His portraits of Erasmus were mostly painted in 1523. The two pictures of *' Lais Corinthica " are of about 1526, and show the progress he was making in painting. It is supposed that many of Holbein's paintings perished under iconoclastic attacks PAINTERS AND THEIR WORKS. 577 which took place in Basle in 1529, and many of those which remain probably suffered injury from the same cause. It has been imagined that the Virgin, in what is called the ' ' Solothurn Madonna," in the Museum at Basle, is the portrait of his wife, the widow Elsbeth Schmidt, whom Holbein had married shortly before 1522, the year in which it was painted. A still more famous picture, painted in 1526, is the Virgin Enthroned with the Burgomaster Meyer and his family, now at Darmstadt ; of this there is a duplicate or copy at Dresden, which has given rise to much controversy. The Burgomaster Meyer, who was an influential person at Basle, was a strict Roman Catholic, while Holbein inclined towards the Reformers, and this, with perhaps some family disputes, rather than the advice of Erasmus, may have induced Holbein to quit Basle in 1526. He then, provided with a letter of recommendation from Erasmus to Sir Thomas More, went to London, travelling through Flanders on his road. Holbein was at first employed in England as a portrait-painter. In 1527 he painted both the portrait of More, in the possession of Mrs. Henry Hutt, and the famous one of Warham Archbishop of Canterbury, which is at Lambeth. Of the latter there are a replica in the Louvre, and a study in chalk for it at Windsor, where are also eighty-seven portraits, in coloured chalks, of the most eminent Englishmen of that time. Besides these Holbein painted a very large number of portraits during his three periods of residence in England, but it is impossible to afford space for further details regarding them. When he quitted Basle in 1526, Holbein left his wife and child there. He returned to that place in 1528, and on the 29th of August bought a freehold house for 300 gulden. From that time until 1532 he was employed upon large works at the Town Hall. There are still preserved at Basle the drawings for two of the subjects, which are " Rehoboam King of Judah Answering the Men of Israel" and "The Meeting of Saul and Samuel after the Defeat of the Amalekites." The grandeur of style in these designs shows what must have been that of the paintings. Hol- bein returned to England in 1532. and was employed not only to paint, by the German merchants of the Steel Yard, but also on the triumphal arch erected in 1533, at their expense, on the occasion of the Coronation of Anne Boleyn. Although the decorative paintings, "The Triumph of Poverty" and "The Triumph of Wealth," which he executed for their Guildhall, 2 o 578 PAINTERS AND THEIR WORKS. have unfortunately perished, the original sketch for the latter is preserved in the Louvre. Federigo Zuccheri, when in England, copied the pictures and, it is said, declared that they were "finer than Raphael." They might, however, have been more happily compared with the triumphs of Mantegna. In 1536 Holbein was in the service of Henry VIII. , who appeared in a large decorative picture, of which there remains a good copy at Hampton Court. Holbein was in Basle again in 1538, and received permission from Burgomaster Meyer to return to England for two years, during which the authorities promised to pay his wife 40 florins yearly. Probably this pension ceased when his uncle Sigmund left him his property in 1540. At any rate, Holbein did not return to Basle at the end of the two years, and by his will it is evident that he left two illegitimate children in London. While in England, besides portraits both life-size and in miniature, Holbein made designs for woodcuts, plate, jewellery, and architecture. The majority of these works were executed between 1532 and 1542 (the picture in the Barber Surgeons' Hall was probably painted in 1541), and one of his last works is supposed to be the portrait of himself which now hangs at Florence, in the Uffizi, as it was painted in the very year that the plague raged in London, which carried off this great artist. By his wife, Holbein had two sons and two daughters. His eldest son, Philip, was a goldsmith at Lisbon when his father died, and established himself at Augsburg. The second, Jacob, also a goldsmith, died in London in 1552. The elder daughter, Catherine, married a master-mason named Gyssler, and the younger, Cunegonda, married Adreas Syff, a miller. One of his descendants was ennobled in 1787 with the title of Holbein von Holbein sberg. Woltman observes with truth that "Two other masters only were at that time living who could claim equal or higher rank than Holbein in the estimation of posterity, Michael Angelo and Titian, and Holbein stands forth as the entirely German master of his country." Even a certain similarity in some of his works to those of Mantegna, and in their technical execution to that of the Flemings, seems to have been the effect of a wish to rival rather than to imitate them. He stood alone, had no assistants, and left no pupils. About a hundred portraits in oil attributed to Hans Holbein the younger have been sold by auction since 1761 at prices vary- ing from £1 10s. to £1050, but it must not be forgotten that PAINTERS AND THEIR WORKS. 579 many of them were doubtful, more interesting were sold : the prices at which the Melanchthon ... A Woman with a squirrel and a starling, said to be the nurse to Edward VI. Frobenius, the printer Henry VIII., whole-length The same (for which he sat, and which was in old Whitehall Palace till it was pulled down) Edward VI Bishop Gardiner, Bessborough's sale Queen Mary, in black and red, 36in. by 24fin., F reward's sale Queen Mary, 24in. by 33in., Bryan's sale Sir Thomas More and his Family, eleven figures, life-size, 15ft. by 10ft. (the picture belonging to the Lenthalls, of Burford Priory in Oxfordshire), Lenthall's sale (bought in) Thomas Wyndham (drowned on the coast of Guinea in 1552), Yonge's sale Sir Thomas More, with medal, house, and garden, Beckf ord's sale The same, wearing collar of the Garter, Duke of Bedford's sale... Catharine of Aragon, small, Lord Gwydyr's sale Anne Boleyn, half-length, dated 1536, Sir G. Duckett's sale The Family of Sir Thomas More (the picture bought in in 1808), Lent- hall of Burf ord's sale Anne of Cleves, from Charles I.'s Collection, Buchanan's sale Sir Brian Tuke, Sanderson's sale Martin Luther, Duke of Bucking- ham's sale ... Portrait of a Lady holding a cat, King of Holland's sale ... Sir Thomas More, King of Holland's sale £ d. 1761 . .. 16 16 1761 . .. 47 1761 . 11 11 1778 . .. 211 1785 . .. 525 1786 . . 70 15 1801 . .. 26 5 1801 . .. 178 10 1 em 1 A W 1808 .. 1055 1813 . .. 210 5 iUO U u 1827 . .. 73 10 1 n lU 1832 106 1833 . 105 1846 210 1848 . . 74 10 1848 . . 30 9 1850 . . 200 1850 . . 80 2 2 580 PAINTERS AND THEIR WORKS. John Herbster the Painter, inscribed s. d. and dated 1516, Bayntum's sale Lady Johanna Abergavenny, hold- 1853 . . 84 ing a pink, 16in. by 12in., Ber- nal's sale ... 1855 . . 54 12 Henry VIII., small whole-length. 25|in. by IT^in., Bernars sale ... 1855 . . 74 11 Anne of Cleves, two carnations, on vellum, 15^in. by 14in., Bernal's sale .. 1855 . . 183 15 Nicolas Lol'd Vaux, seated, viol in left hand, IT^in. by 17in., Bernal's sale ... 1855 . . 105 Miniature of Louis XII., Lord North - wick's sale ... 1859 . . 100 16 Princess Mary, standing, gold chain round waist. Lord Northwick's sale ... 1859 . . 99 15 Catharine of Aragon, holding lavender jewelled dress, Barrett's sale 1859 . . 30 Henry VIII., jewelled cap, chain, and gold-mounted staff in his hand, Barrett's sale 1859 .. . 215 Jacob Meyer, Burgomaster of Basle, Pelissier's sale 1865 .. . 27 Portrait of a Lady, Pou.rtales' sale ... 1865 . . 70 Two Chemists, Pourtales' sale 1865 . . 70 Portrait of a Young Woman, Pour- tales' sale ... 1865 . . 80 Portrait of an Old Man, Pourtales' sale 1865 . . 150 Martin Luther, Anderson's sale 1879 . . 63 G. Diodati, 12|in. by S^in., from Beck- ford Collection, Anderson's sale 1879 .. . 84 Portrait of a Man, dated 1550, te. s. 61, Cave's sale 1881 . . 210 Edward VI., L. G.'s sale 1882 .. . 110 Edward Seymour, Lord Protector, 20in. by 15in., Duke of Hamil- ton's sale ... 1882 . . 514 10 Gentleman in landscape, 19in. by 13in., Duke of Hamilton's sale 1 ooo 18856 V n u Dudley Earl of Leicester, engraved, from Rae Collection, Lord Sudeley's sale 1883 . . 178 10 William Tell, nude, with bow, 30in. by 24in., Miles's sale 1884 . . 162 15 PAINTEKS AND THEIR WORKS. 581 £ s. d. Martin Luther, Pierce's sale 1884 ... 168 Martin Luther, 38in. by 30in., Deni- sou'ssale 1885 ... 113 8 Thomas Cromwell, Earl of Essex, Ridg way's sale 1886 ... 147 Sir Thomas More, Wilkinson's sale 1888 .. 220 Sir H. Wyatt, Magniac's sale ... 1892 ... 320 Katherine Parr, Mildniay's sale ... 1893 ... 200 Holbein (Sigmund).— b. ; d. Berne, probably 1540 ; s. — — ; p. history and portraits. He was the brother of the elder Hans, and in 1504 he resided in the same house with him at Augsburg. In 1510 he was living in a separate house, and in 1517 he summoned his brother Hans before the magistrate for a debt of 34 florins which he had lent him. In 1518 he left Augs- burg and went to live at Berne, where he appears to have been wealthy, and by his will, dated the 6th September, 1540, he left his fortune to "Hansen Holbyne,"his nephew, the younger Hans Holbein. The only picture bearing his signature is a "Virgin and Child Enthroned," now in the gallery at Nuremberg. Two others in the Vienna Gallery are also ascribed to him. Among the drawings at Berlin is his portrait by his nephew Hans. HoU (Frank).— B. Kentish Town, 4th July, 1845 ; d. London, 31st July, 1888; s. Royal Academy; p. portraits and genre. This artist was the son of the engraver Francis Holl, and was educated at the London University School. At the age of fifteen he entered the Schools of the Royal Academy ; he obtained a silver medal in 1862, and the gold medal and a scholarship in the following year. In 1868 he gained a travelling scholarship. From 1871, his pictures, mostly of melancholy subjects, became generally known and admired ; they led to his being elected an Associate of the Royal Academy in 1878. Yet Holl soon painted little else but portraits after the exhibition of his portrait of Cousens, the engraver, which proved the painter's power of execution, and of impressing on a portrait the characteristic expression of the face of the person reprei-ented. Between the time when he painted the portrait of Cousens and his death, Holl produced the portraits of many of the most distinguished men of his time. He was elected a full member of the Academy in 1884. Frank Holl's portraits, independent of their historical value, are remarkable as pictures, and he was one of the best painters among his contemporaries. Unfortunately his very success was fatal to him, and, after a short visit to Spain, he 582 PAINTERS AND THEIR WORKS. died of overwork, at an early age, in the midst of a most suc- cessful career. The following prices have been paid at auctions for pictures by Frank Holl : Better Crust than Stalled Ox (bought £ s. d. in), Wilkinson's sale 1873 . .. 362 5 Doubtful Hope, WalKs's sale 1878 ,. 157 10 The same subject 1878 . .. 150 Faces in the Fire, Topham's execu- tors' sale 1878 . .. 105 Leaving Home, 24in. by 30in., Virtue's sale 1879 . .. 148 The Deserter, Hooper's sale ... 1880 . .. 346 10 Daughter of the House, 18in. by 24in. (repetition) , Lo vatt's sale ... 1881 . .. 169 1 Newgate — Committed for Trial, 60in. by 82in., Hermon's sale ... 1882 .. . 808 10 Hushed ... 1883 .. 126 5 Hush ! 1883 .. 84 Going Home, Cox's sale Times of Fear (bought in), Greig's 1884 .. . 252 sale ... 1884 ., .. 126 Besieged, Poole's sale... 1889 . .. 456 A Heath Scene, Poole's sale 1889 ., . 651 Leaving Home ... 1889 ., ,. 556 The First-born 1889 ., .. 304 Deserted 1889 ., .. 357 The Wide, Wide World, dated 1873 1889 .. . 330 iNewgate, ciaueci lo/o ... 1 QQQ looy OOO fk \J A u The Seamstress... 1889 .. . 299 Going Home, dated 1877 1889 .. . 267 The Lord Gave and the Lord hath Taken Away 1889 .. . 210 A Deserter, dated 1874 1889 .. . 420 The preceding nine at Holl's sale. Want (Burlington House, 1884), Vigne's sale ... 1889 .. . 441 Newgate — Committed ... 1893 .. . 231 Holland (James).— b. Burslem, 1800; d. London, 1870; s. ; P. flowers, landscapes, and buildings. As a boy Holland painted flowers in the manufactory of James Davenport. In 1819 he came to London, supported himself by teaching, and exhibited flower-pieces at the Royal Academy. He had, however, previously done so in London in 1815, and he continued to do so up to 1867. PAINTERS AND THEIR WORKS. In all, at the different exhibitions, he showed 231 works. It was only in 1831, after a visit to Paris, that he devoted his time to landscape-painting. The following is the succession in which he made tours in Europe. In 1835 he went to Paris, Geneva, Milan, and Venice ; in 1837 to Portugal, for the proprietors of the ''Landscape Annual"; in 1845 to Rotterdam; in 1850 to Normandy and North Wales ; in 1851 to Geneva ; and in 1857 a second time to Venice. He was elected an Associate of the Water-colour Society in 1856, and a full member of that society and of the British Institution in 1858. Many of James Holland's works are remarkable for brilliancy of colouring, and now sell for high prices. In a list of about a hundred in oils, sold since 1859, the prices vary from £19 19s. for a view in Venice, at E. Rodgett's sale in that year, to £1050 for "The Rialto," 38in. by 58in., at A. Brooks's sale in 1879. Among the others the more remarkable are included in the fol- lowing list : The CoUeoni Monument, Venice, Cope's sale .. . Market-place at Rouen, 17in. by23in., Gillott's sale The Dogana, Venice, 19in. by 23|in., Timmen's sale The Thames below Greenwich, Baker's sale Venice (circle), Adamson's sale Venice, gondola station (circle), 19in., Montefiore's sale ... Going to Matins — Rouen, 25in. by IT^in., Montefiore's sale... The Colleoni Monument, Heritage's sale ... The Grand Canal, figures leaving church, Murrieta's sale ... Highland River, Heritage's sale The Colleoni Monument, 30in. by 25in., Levy's sale ,. Port of Genoa, moonlight, Topham's sale Genoa, boats and figures, Heritage's sale ... ... ... Santa Cruz, Coimbra, Brooks's sale... The Rialto, 38in. by 58in., Brooks's sale ... ... ... £ s. d. 1872 . .. 204 15 1872 . 246 15 1873 . .. 435 15 1873 . .. 241 10 1874 . .. 278 5 1874 . .. 231 1874 . .. 325 1874 . .. 850 1875 . .. 577 10 1876 . .. 409 10 1876 . .. 336 1878 . .. 288 15 1879 . .. 267 18 1879 . .. 315 1879 . .. 1050 584 PAINTERS AND THEIR WORKS. £ s. d. Rouen, Hooper's sale ... 1880 ... 304 10 Piazzo dei Signori, Verona, 39in. by 29in., Potter's sale 1881 ... 913 10 Venice, dated 1839, 23^in. by 19Mn., Bale's sale ... 1881 ... 556 10 Chiesa Gesiiita, Venice, 9^in. by 20in., Hermon's sale 1882 ... 241 10 The Barbarigo Palace (circle), 19in., Hermon's sale 1882 ... 320 5 Canal, Venice, market-boat, Hender- son's sale ... 1882 ... 131 5 Piazza San Marco, Venice, Robert- son's sale (see 1886) 1883 .., 320 5 Venice, Santa Maria Salute, 16in. by 18in., panel, Gurney's sale 1883 ... 635 5 Genoa (square), 12in., Maycu's sale 1883 ... 162 15 Venice (square), 12in., Mayou's sale 1883 ... 336 Venice, San Marco, lOin. by 12in., Walker's sale 1883 ... 189 Canal, Venice (square panel), 12in., Walker s sale 1883 ... 283 10 Piazza San Marco, 19^in. by 19^in., Addington's sale (see 1883) 1886 ... 325 10 The Thames below Greenwich, 19Mn. by 22in., Addington's sale 1886 ... 420 Jesuit Church, Venice, Kurtz's sale 1891 ... 273 S. Mark's, Venice, dated 1859, Price's sale ... 1892 ... 420 The companion, Price's sale ... 1892 ... 357 Canal Scene, Murrieta's sale ... 1892 ... 252 The principal water-colours by James Holland have produced the following prices : Grand View of Venice, McLean's £ s. d. sale 1866 . . 169 1 Near Chiesa Miraeoli, James's sale 1872 . . 120 15 The Rialto, Heritage's sale 1874 . . 258 6 Roses, Quilter's sale ... 1875 . . 288 15 Rotterdam, 24in. by 31in., Shaw's sale 1880 . . 280 The Rialto, Walker's sale 1883 . . 126 5 The Rialto, on rough paper. Walker's sale ... 1883 . . 131 5 Grand Canal, Cosier's sale ... 1894 . . 136 Lake of Geneva, Cosier's sale 1894 . . 283 Venice, under the Rialto, Foster's sale ... 1894 . . 315 The Dogana, Craven's sale ... 1895 . . 546 PAINTERS AND THEIR WORKS. 585 Holland (Sir Nathaniel).— .See Dance. HoUande (Cornelis de).—Sce Engelbrechtsen. Holmes (James).— b. 1777; p. 24th February, 1860; self- taught ; P. miniatures. This painter was a large contributor to the exhibitions in London up to 1850, when he retired to Shrop- shire. Among other persons whom he painted were George IV. and members of the Royal Family. Lord Byron preferred Holmes's portrait of himself to those by other painters. This artist had a great talent for music, and was much in favour with George IV. Home (Robert).— B. London ; d. about 1836 ; s. Angelica Kauffman ; p. portraits and various subjects. Home was the son of an apothecary, in London. After studying under Angelica Kauffman he went to Rome, and exhibited at the Royal Academy in 1770. After this year he was painting and exhibiting in Dublin. He returned to Lqjidon in 1789, and thence went to India. Home was appointed painter to the King of Oude, resided in Lucknow and Cawnpore, and made a considerable fortune by the practice of his art. His large picture of " The King of Oude Receiving Tribute " is at Hampton Court, Among his other pic- tures, which were painted with great care and have stood well, are, ''The Reception of the Mysore Princes as Hostages by the Marquis Cornwallis," and "The Death of Colonel Morehouse, at the Storming of Bangalore," Some of his pictures have been engraved, and he published several works, among them: "A Description of Seringapatam, in 1796," and "Select Views in Mysore," representing scenes in the campaign against Tippoo Sahib, in 1797. Two of Home's sons were in the Indian Army, of whom one was killed at Sobraon. He was a brother of Sir Everard Home, Bart. Homfrey.— >S'e6 Humphrey. Hondecoeter, Hondecooter, Hondekoeter, or Hondeku- ter. — The first appears to be the most correct manner of writing the name of three painters of a family in Brabant. There was a fourth, Nicolaas, but it is doubtful if he was of the same family. Hondecoeter (Gillis de).— b. Antwerp ; d. ; s. R, Savery and Vinckenboons ; P, x^^^'t^'^itS' landscapes, and birds. The family is said to have quitted Brabant owing to the religious troubles, and to have settled in Holland. Gillis Avas inscribed on the lists of the Guild of S. Luke at L^trecht in 1627. Ho con- 586 PAINTERS AND THEIR WORKS. tracted a second marriage at Amsterdam in 1628, where one of his daughters (Jozina) married Jan Baptista Weenix. In the Museum at Rotterdam is a picture by him of a table covered with dead game. Hondecoeter (Gysbert de).— b. Utrecht, 1613 (?) ; d. Utrecht, 1653 ; s. his father ; p. landscapes, birds, etc. He was the son of Gillis, and it is said that his name is inscribed as a franc-maitre in the Guild of S. Luke at Utrecht in 1627, the same year as his father. If this is true, he was born before 1613, as he must have been of age in 1627. At Berlin there is a picture of wild geese by him, which are very natural. Hondecoeter (Melchior de).— b. Utrecht, 1636; d. Amster- dam, 3rd April, 1695 ; s. his father ; p. animals, birds, and land- scapes. He was the son of Gysbert, after whose death, in 1653, he studied with his uncle, Jan Baptista Weenix. Melchior de Hondecoeter resided at The Hague from 1659 to 1663, and after the latter year he lived at Amsterdam, of which city, however, he only became a citizen in 1688. The works of Melchior are superior to those by the other members of the family. He ex- celled in painting birds, the actions and plumage of which he represented with surprising truth. These he placed in land- scapes, which are very similar to those by Weenix. He did not confine himself to representing poultry, although the life-like appearance of the cocks in his pictures is surprising, but often painted rare and foreign birds. All his works are beautifully coloured and finished, and are among the best pictures of such subjects by Dutch artists. If in good condition they always sell for high prices, but as they are rather numerous only a few of the prices paid for them at auctions since the beginning of the present century can be given : £ s d The Poultry-yard, Helsleuter's sale... 1802 ... 180 A Cock and Three Hens, A Pigeon Flying, 40 in. by 36in., Luke's sale 1845 ... 42 Peacock and Peahen in the Garden of a Palace, 74in. by 52in., Luke's sale 1845 ... 216 Garden, Turkey, Heron, and Poultry, Lord Shrewsbury's sale ... ... 1857 ... 112 7 A Concert of Birds, dated 1682, Godins'ssale 1857 ... 158 11 PAINTERS AND THEIR WORKS. 587 Goshawk Watching Poultry, Stol- berg's sale ... Garden, Peacock and Peahen on the Branch of a Tree, Poultry, and Ducks in a Pool, Scarisbrick's sale ... A Goat the colour of a chamois, Brett's sale ... ... A Mansion, Garden, two Peacocks on a Balustrade, Pigeon, Owl, etc., Anderson's sale A Poultry-yard, Pourtales' sale A Park with Birds, Van Brienen de Grootelindt s sale Cocks Fighting, Pommersf elden's sale Battle between a Vulture and a Cock, Pommersf elden's sale Les Indiscrets, Pommersfelden's sale La Famille, Pommersfelden's sale ... Cock and Hens, Fould's sale... Peacock and Peahen in Garden, 74:in. by 52in., signed and dated 1683, from Roos' and Luke's Collection, Cole's sale ... The Eagle's Prey Dead Partridge and other Birds, 23in. by 19in., Howard's sale ... Poultry, W, King's sale Landscape, Duck and other Birds, 40in. by 47in., Lucy's sale Poultry, Turkey, and Pigeon, 39in. by 34in., Levy's sale ... Waterfowl in Landscape, Vernon's sale ... Poultry in Landscape, Lady Baird's sale ... Geese, Duck, and Pigeons, Lady Baird's sale The Garden of a Palace, with Birds, Marjoribanks' sale A similar subject, IVIarjoribanks' sale Domestic Poultry, Bentley's sale ... Garden, Peacock, Monkey, Poultry, and other Birds, Walker's sale ... Garden, Peacock, Poultry, and Rab- bits, 46in. by 57in., Denison's sale ... £ s. d. 1859 . . 120 1861 . . 147 1864 285 Q 1864 147 Q 1865 50 1865 . . 125 1867 . . 200 1867 . . 280 1867 240 1867 . .' 300 1869 . . 180 1872 . . 719 5 1873 . . 215 5 1873 . . 136 10 1873 .. . 162 15 1875 . . 110 5 1876 . . 273 1877 199 10 1878 .. . 162 15 1878 . . 178 10 1878 . . 430 10 1878 84 1879 . . 127 1 1883 . . 199 10 1885 . . 105 588 PAINTERS AND THEIR WORKS. Garden, Poultry, Peacock, Denison's £ s. d. sale ... 1885 . .. 304 10 Dead Birds, etc., 23m. by 19m., from Fonthill, Nieuwenhuys' sale ... 1886 . .. 168 Garden, Peacock and Hen, 82in. by 66in., Nieuwenhuys' sale 1886 . .. 441 Geese, Ducks, Ducklings, Riverside, 49in. by 61 in., Lord Dudley's sale 1886 . .. 892 10 Birds in Garden on Biver-bank 1888 . .. 260 Garden Scene, Peacock, Fawkes's sale 1890 . .. 630 Poultry 1892 . .. 210 La Fainille, Mildmay's sale ... 1 CQQ loyo OVO u A u Concert of Birds, Adrian Hope's sale 1894 . .. 1575 Cockatoo, etc. 1894 . 441 Poultry, Clif den's sale 1895 . .. 677 Ditto, Clifden's sale 1895 . .. 4357 Landscape 1895 . .. 315 Hondekoeter (Nicolaas de).— Living at Delft, in the seven- teenth century. Besides the three Hondecoeters, in the register of the marriages at Amsterdam is a painter named Nicolaas Hon- dekoeter, aged forty, married in 1638 at Amsterdam; and in the register of the Guild of S. Luke at Antwerp a Nicolaas Hondekoeter is mentioned as having paid in 1585 his subscrip- tion as a franc-maitre. Nothing further is known of either. Houdius or De Hond (Abraham).— b. Rotterdam, 1638 ; d. London, 1695 ; s. ; p. animals, birds, and fires. According to Houbraken, Abraham Hondius was already in England in 1665. He painted hunting scenes, animals, birds, and fires with wonder- ful spirit, and appears never to have shrunk from trying to represent the animals and birds when fighting, and in most difficult positions. The landscapes in his pictures are brilliant in colour, and the trunks of the trees are painted solidly, with the barks and roots curiously worked up. His dogs are usually reddish-brown, white, or grey. Although pictures by Hondius are not common, and they have much merit, only a few can be cited that have produced high prices at sales : £ s. d. Dogs Baiting a Bear 1827 ... 36 6 Dogs Attacking a Wild Boar in a Thicket, Esdaile's sale 1838 ... 10 A Bear and a Boar, the two together, Pourtales' sale 1865 ... 225 A Boar-hunt, Strange's sale 1875 ... 35 PAINTERS AND THEIR WORKS. 589 Hondt (Lambert de). — b. Malines, in the seventeenth century ; d. ; s. David Teniers the younger ; p. peasants and battles. He was received into the Guild of S. Luke at Brussels in 1678. Some pictures by him were sold at Malines in 1756. Hondte (P. de). — This signature was on some pictures of landscapes with figures and animals, which were sold in Brussels in 1758. A Henricus Peeter de Hont was inscribed as a pupil of Salomon Ruisdael at Haarlem, in 1637, and was received as a master in the Guild of S. Luke in 1645. There were other artists of the name, but they were engravers. Hone (Nathaniel).— B. Dublin, 1718; d. London, 14th August, 1784 ; self-taught ; P. portraits. Hone came to England while still young, and practised as a portrait-painter in several localities, especially at York, where he married a lady who had some property. He came shortly afterwards to London, and lived in St. James's Place. For many years he was much employed, painting in oil, miniature, and enamel, and he excelled in the latter branch of art. He was a member of the Incorporated Society of Artists and of the Royal Academy. For some cause he attacked Reynolds and Angelica Kauffman, and the Acade- micians having refused to hang some of his pictures, he, in 1775, made an exhibition of about sixty or seventy. Nevertheless, he exhibited portraits at the Royal Academy up to the time of his death. Sometimes he painted portraits in character ; he worked occasionally in crayons, and executed a few mezzotints and etchings. He marked his collection of drawings and, prints with an eye. They were sold in his lifetime, and the remainder of his own works in 1785. At John Knight's sale, in 1819, Hone's picture called "The Conjuror," which was intended as an attack on Sir. Joshua Reynolds, was bought in at £58 16s. Knight bought it at the sale of a French nobleman's pictures, in 1790, for £15 15s. Honthorst (Gerard van).— b. Utrecht, 1590 ; d. Utrecht, May, 1656 ; s. Abraham Bloemaert ; p. history, portraits, and genre. After studying under Bloemaert until he was about twenty years of age, Honthorst went to Rome, where he re- mained for several years. There he distinguished himself so much by the manner in which he painted sul)jects seen by torch- light, that he became known in Italy as "Gherardo dalle Notti." Rubens greatly admired the pictures by Honthorst, and pur- 590 PAINTERS AND THEIR WORKS. chased of him a sketch representing ''Diogenes with his Lant- horn Searching for an Honest Man," in which the head of the cynic is that of Honthorst, and the honest man's that of Rubens. One of Honthorst's most celebrated works, which is praised by Lanzi, represented "Christ before Pilate"; it was formerly in the possession of Prince Giustiniani. He also painted some fres- coes in the Church of S. Maria della Scala. After Honthorst's return to Utrecht, he was elected, in 1623, Dean of the Guild of Luke, and opened a school which was attended by many scholars, some of them of high rank. He also taught the Queen of Bohemia and her children, and this probably led to his being invited to England by Charles I., by whom he was employed in painting allegorical pictures at Whitehall in 1628. While in England Honthorst painted many very fine portraits, and some subject pictures. He had a x^ension from Charles I. of £300 a year, the document authorising which is dated 4th May, 1629. On his return to Holland he decorated the palace at The Hague, the House in the Wood, and other buildings. He also painted historical pictures for the King of Denmark. As he worked with great facility, pictures by Honthorst are not rare. Occasionally, however, they are sold for high prices, for example : Peter Denying Christ, David's sale... A Feast, from the Palazzo Pitti (en- graved ; in the Florence Gallery) Gamesters, Pourtales' sale ... A Dentist Drawing Teeth, Pommers- f elden's sale Two portraits — Mary Stuart of Or- leans, dated 1630,and WiJliam H. of Nassau, Mildmay's sale Honthorst (Willem van).— b. Utrecht, 1604 ; d. Utrecht, 1666 ; s. Abraham Bloemaert ; p. history and portraits. He was the brother of Gerard van Honthorst, and the portraits by him are not unlike those by his brother, except that they are smoother, and the colours are more blended. He went with the Princess Louisa Henrietta of Orange to Berlin in 1650, and worked there until 1664, painting some few historical subjects, but chiefly portraits, which are to be found in that city. , Hoocli or Hooge (Pieter de).— b. probably at Delft, 1628 (not in 1643) ; d. probably at Haarlem, February, 1681 ; s. £ s. d. 1819 .. . 114 10 1830 .. . 84 1865 ., ,. 33 1867 .. . 240 1893 ., 420 PAINTERS AND THEIR WORKS. 591 perhaps N. Berchem ; r. portraits, courtyards, and interiors. Much connected with this excellent painter is uncertain. He was, however, living at Delft between 1653 and 1656, about 1668 at Amsterdam, and at Haarlem after 1669. The wife of Pieter de Hooch was Martin e van der Hulst, who had a sister Josine, the wife of the painter Frits, to whom Martine left a considerable sum of money; she must therefore have been dead in 1702. See Frits. " Pictures by Pieter de Hooch are remarkable for composition, good drawing and colouring, and beautifully luminous effects of sunlight. Including some repetitions, there are not above a hundred attributed to this master, and even among those some maybe by his imitator, Samuel van Hoogstraten. As the number of pictures by Pieter de Hooch which are ever likely to be offered for sale is so limited, we will give a list of those which have appeared at auctions since 1771, with the names under which many are known and have been engraved on the Continent : Le Payement de I'Hotesse, Braam- camp's sale £ s. d. 1771 .. . 45 Interieur, Van der Dussen's sale 1774 .. . 65 The Family of Williamsdorp, 36in. by 42in., Dundas's sale 1794 .. 6 6 Conversation Piece, 36in. by 42in., Dundas's sale 1794 .. 12 A Domestic Scene 1801 .. . 77 10 Deux Interieurs, Helsleuter's sale . . . 1802 .. . 210 Figures at a Dutch liepast, Bryan's sale ... 1804 .. . 22 1 Interior with figures, Lord Rendles- ham's sale ... 1806 .. . 120 Interieur, Serreville's sale 1811 .. . 80 A Music Party (bought in) ... 1813 .. . 210 Interieur, Hugguier's sale 1817 .. . 335 The Cradle, 32in. by 26in., Panne's sale 1819 .. 174 Interior, lady with spaniel on her arm, a maid, hound, etc., Beckford's sale 1823 ., ,. 157 10 Interior, a woman weighing money, Beckford's sale 1823 ., 30 9 Outdoor Scene, figures conversing, R. Benial's sale ... 1824 ., ,. 157 10 Music Party near a House (this picture is large, and the figures are l)y Gonzales Cocpies), Delahante'ssalc 1825 . .. 257 5 592 PAINTERS AND THEIR WORKS. Interior, a woman making bed, a child, etc., Lord Radstock's sale Femme avec un Enfant, Gerrit- MuUer's sale Interior of Dutch Cottage, woman paring turnips, and child holding bottle, Zachary's sale Garden to a Dutch House, with figures, Emmerson's sale ... Partie de Cartes, Erard's sale Lady Seated by Window, giving money to servant, from the Rathaan Collection, Bagot's sale Interior, woman paring vegetables, girl with flask and glass, Zachary's sale ... Interior, girl with dog in her arms, Lord Mulgrave's sale Interieur, Perrier's sale Interieur d'une Maison HoUandaise, Perregaux's sale ... Interior, woman, child, and servant, 28in. by 29in., from Gelder- meister's Collection, Luke's sale Lady Peeling Apples, 21in. by 28in., upright, Perrier's sale A Courtyard, gentleman seated, woman standing, and child, 30|in. by 25^in., VV. Wells' sale Lady seated, reading a letter, cavalier standing, servant with fruits and wine. Sir T. Baring's sale ... ... ... Interior of Room, cavalier and lady playing cards, girl pouring out wine, from M. Parton's Collec- tion, De Morny's sale Interieur, De Morny's sale ... Interieur, Mecklenbourg's sale Cavalier Pouring Wine for Lady Seated, blue corset and yellow dress, from Abbe Grovenay's Collection, 1779, S. Woodburn's sale ... La Balayeuse, Patureau's sale Lady near Cradle, servant lighting fire, Phipps's sale ... £ s. d. 4 in A 1827 . . 500 1828 .. . 98 14 1829 . . 178 10 1832 . . 35 1836 . . 68 5 1838 . . 52 10 1838 . . 277 ±000 . XDO V 1841 . . 515 1845 . . 66 1848 . . 283 10 1848 . . 72 1848 .. . 315 1852 . . 900 1854 . . 220 1854 . . 216 1857 . . 155 1859 . . 177 PAINTERS AND THEIR WORKS. 593 Two Ladies Playing Spinet and Guitar, gentleman singing, Phipps's sale Interior, cavalier and lady in con- versation, Scarisbrick's sale Interior, lady in red, holding drapery near the fire, child in open door- Avay, Scarisbrick's sale Partie de Musique, Le Roy d'Etiolles' sale Six Cavaliers and Ladies, Singing and Drinking in a Garden, from Salt- marshe Collection, Morland's sale Depart pour le Marche, Metire's sale Le Berceau, Van Cleef's sale Lady Reading a Letter, cavalier at the door, Bryant's sale ... Inteneur d'une Riche Habitation HoUandaise, Van Brienen de Grootelindt's sale La Sortie du Cabaret, De Morny's sale ... Interior, child coming in, boy in courtyard, Campbell's sale La Partie de Musique, Salamanca's sale Scene d'Interieur, cinq personnes, Stevens' sale Interieur HoUandaise, Delessert's sale ... Interieur HoUandaise, Delessert's sale Interieur HoUandaise, Periere's sale Interior, cavaliers and ladies, from Saltmarshe Collection, Levy's sale Courtyard, carriages, figures, 25^in. by 31in., Bell's sale Interior, gentleman and lady, 22in. by 19in., Knighton's sale Hawking Partj', Harding's sale Interior, lady and infant, Thomas's sale ... Interior, cavalier and lady, Exeter's sale ■■ Musical Party View in a Dutch Town, Hey wood's sale £ s. d. 1859 IQ IQ 1861 .. 87 3 1861 .. 441 1861 80 1863 .. 152 1863 .. 200 1864 360 Q 1865 74 11 1865 .. 2000 1865 . .. 400 1867 . 63 1867 . .. 410 1867 . .. 130 1869 . .. 6000 1869 . .. 1640 1872 820 (> 127 1881 105 Q 1885 . . 105 1885 86 2 Q 1886 . . 131 5 1888 . . 360 1891 . . 504 1893 .. . 420 2 p 594 PAINTERS AND THEIR WORKS. £ S. d. A Room, Mildinay'^ sale 1893 ...2940 Ditto, Mildmay's sale 1893 ... 735 Interior, Adrian Hope's sale 1894 ...2257 Golf -players ... 1894 ... 693 Hooch or Hooge (Romein^de).— b. probably at The Hague, about 1638 ; d. Haarlem, 1708 ; s. his uncle ; P. history. This artist was the nephew of Pieter de Hooch, and a man dis- tinguished in several ways, but as an artist he is most known as an engraver. He was much employed by our King William III., was ennobled by John III. of Portugal, and became a magistrate at Haarlem. His most remarkable work as an en- graver is the ''Spiegel der Fransche tirannije, gepleegd op de Hollandsche dorpen," 1673, showing the atrocities the French committed in Holland. Hood (Thomas).— B. London, in the Poultry, 23rd May, 1799 ; D. London, in the Adelphi, 3rd May, 1855 ; s. his uncle ; p. humorous designs. Although he became so celebrated as an author, Thomas Hood, who was the son of a bookseller, was apprenticed when young to his uncle, an engraver, and trans- ferred to one of the Le Keux. He retained a great dexterity in drawing, and the illustrations to many of his writings are by his own hand. He died after much prolonged ill-health, and on his tomb at Kensal Green, by his own request, was cut '*He sang ' The Song of the Shirt.' " Shortly before his death his wife was granted a pension of £100, for he died very poor. ^ooge—See Hooch. Hoogstratexi (Dirk or Theodor van).— b. Antwerp, 1596 ; D. Dordrecht, 1640 ; s. ; p. landscapes and figures. He re- moved to The Hague with his family, travelled in Germany, and went to live at Dordrecht, where he was admitted into the Guild (jf S. Luke, 25th September, 1624. He was a good painter and engraver. Hoogstraten (Jan van).— b. Dordrecht, 1629 or 1630 ; d. Vienna, 1654 ; s. his father ; p. history and genre. He was the son of Dirk van Hoogstraten, and was admitted, in 1646, into the Painters' Guild at Dordrecht. He went with his brother Samuel to Vienna, where he was employed by the Emperor, and there are some pictures by him in the Museum of that city. Hoogstraten (Samuel van). — b. Dordrecht, 2nd August, 1627 ; D. Dordrecht, 19th October, 1678 ; s. his father ; p. history, PAINTERS AND THEIR WORKS. 595 portraits, perspective views, and still-life. He was the elder son of Dirk van Hoogstraten, and shortly after his father's death, in 1640, he entered the school of Rembrandt. In 1651 he went with his brother Jan to Vienna, and, after visiting Rome, to London about 1663. On his return to Holland he was appointed Director of the Mint. He was a good poet, and wrote a useful book on art. He also engraved. At first Samuel van Hoogstraten painted in Rembrandt's strong, dark manner, but afterwards he adojoted one more like that of De Baare or Pieter de Hooch, and some of his pictures have been sold as being by the latter painter. Pictures by him have produced the following prices : Mother and Nurse Watcliing an £ s. d. Infant in a Cradle 1827 ... 33 12 Faniille Hollandaise, Le Roy d'Etiolles's sale 1861 ... 25 Hoogstraten (Theodor van).— /See Hoogstraten (Dirk van), Hoorenbault or Hoorenbaut.— .See Horebout. Hoppner (Belgrave). — b. ; d. ; p. sea-views and shipping. It is uncertain that Belgrave was a younger son of John Hoppner. At Lord de Tabley's sale in 1827 a picture by Belgrave Hoppner, "A Harbour with a Ship of War Furling Sails," sold for £22 Is. Hoppner (John).— b. Whitechapel, London, 4th April, 1758 ; D. London, 23rd January, 1810; s. Royal Academy; p. por- traits and landscapes. The mother of this artist was a German attendant at the palace, and his father also a German. He entered life as a chorister in the Chapel Royal, but, showing a strong inclination for drawing, George III. made him a small allowance, and in 1775 he w^as admitted into the schools of the Royal Academy. His first attempts at painting were landscapes, yet he gained the gold medal in 1782 for a painting of " King Lear." In the same year he married Miss Wright, whose mother executed portraits in wax. From that time he devoted himself to painting portraits, and was the chief rival of Lawrence. He w^as much in favour with the Royal Family, and painted many portraits of members of it. In 1793 he was elected an Associate, and in 1795 a full member, of the Royal Academy. To a certain extent Hoppner imitated Reynolds, and although liis colouring was admired when his portraits were painted, 2 p 2 596 PAINTERS AND THEIR WORKS. owing to the use of bad materials many of them have now become heavy and hard. He succeeded best in portraits of women and children. His landscape backgrounds are also excellent, and some of his best works are portraits of ladies in rustic characters. One of the more important of this class of pictures is "The Sleeping Nymph." His full-length portraits of official person- ages are also very good, for they stand firm upon their feet and their robes are well managed. Pictures and portraits by Hoppner have been sold as follow : The original portrait of William Pitt, £ s. d. Dent's sale 1827 . 42 Portrait of a Lady, Lord de Tabley's sale ... 1827 . .. 22 1 A Sleeping Nymph, Lord de Tabley's sale ... 1827 . .. 472 10 Another portrait of W. Pitt 1827 . .. 73 10 Portrait of Duke of Clarence (William IV.), G. W. Taylor's sale 1832 . 16 16 Portrait of W. Pitt, G. W. Taylor's sale ... 1832 . .. 105 Portrait of Pitt in black, three- quarter length. Lord Liverpool's sale ... 1852 . .. 136 10 Infancy, girl with dog. Lord North- Avick's sale ... 1859 . .. 52 10 Whole - length portrait of Nelson, Bryan's sale 1865 . .. 100 Portrait of Duchess of Devonshire in white dress, Farrer's sale 1866 . .. 61 19 Portrait of Mrs. Ellis in black velvet, Lord H. de W^alden's sale 1869 . .. 42 Portrait of Wm. Pitt, Lewis's sale ... 1871 . .. 168 A Lady in a white dress, Sullivan's sale ... 1875 . .. 115 10 Portrait of Lady in white, from the Duke of Kent's Collection 1876 . 45 3 Portrait of Pitt, sketch, 23iin. by 18in., Heugh's sale 1878 . 33 12 Portrait of Cliild with dog, Boyle Farm sale ... 1886 . .. 715 Portrait of a Lady 1888 . .. 360 Portrait of Mary Gwyn 1889 . .. 2362 Portrait of Mrs. Gwyn 1889 . .. 945 Portrait of a Lady with powdered hair. Stover's sale ... 1890 . .. 1575 PAINTERS AND THEIR WORKS. 597 s. A \X. 1891 ... 388 1891 ... 829 1892 ... 252 Jooo QQ7 n \j ... 1 lOO n u 1894 435 1895 ... 1050 1895 ... 1144 1895 ... 1890 1895 ... 2677 1895 ... 1102 Portrait of Lady Braithwaite Bough- ton, dated 1786 Portrait of Mrs. Hoppner (Eliza) Portrait of Girl with dog, Murrieta's sale Hoppner's Children Portrait of a Lady, Revelstoke's sale Portrait of Mrs. Jordan Savill-Onley Portrait of Lady Langham, Selwyn's sale Portrait of Martin Russell, Price's sale Portrait of Lady Gordon, Price's sale Portrait of Lady Coote, Price's sale . . . Portrait of Nelson Portrait of Maria Carleton Hoppner (Lascelles).— b. ; d. ; s. his father and Royal Academy ; p. history and portraits. He was the son of John Hoppner. He exhibited in 1807 "The Judgment of Solomon," and gained by it the gold medal of the Academy. He sent also portraits to the Academy between 1811 and 1815. At Holland House are a very spirited picture, "The Market- place at Seville," and a fine crayon drawing of " The Apotheosis of S. Clara," after Murillo. Horebout, Horenbout, Hoorenbaut, Horebault, Horen- bault, Hoorenbault, Hurembout, and Harembourg.— These are all variations of the name of a family of illuminators and miniaturists settled at Ghent. There were at least nineteen between 1414 and 1541, of whom the following three are the more celebrated : Horebout (Geeraert).— b. Ghent ; d. London, 1540-41 ; s. Geeraert van der Meire ; p. history and miniatures. The date of this artist's death is taken from the register of inheritances at Ghent ; yet according to some authorities he lived at least ten years longer. He was at Ghent in 1510-11, in 1516, and in 1521, when Albert Diirer made his acquaintance there and praised his talents and those of his daughter Suzanna, who was then about eighteen — a fact which renders the date of her father's birth given as 1498 impossible. Geeraert came to Eng- land, was employed by Henry VIII. and many persons about the court, and died here, as did his wife, in 1520. 598 PAINTERS AND THEIR WORKS. Horelsout (Lucas). — The son of the above. He came to England with his father, was appointed painter to Henry VIII. , and died in 1544. Horebout (Suzanna).— b. Ghent, 1503; D.Worcester, 1545; s. her father ; p. portraits and miniatures. She came with her father to England, was celebrated for her portraits in miniature, and married John Parker, who was in the service of Henry VIII. Horenbout or Horenbault.— >S'e6 Horebout. Hoskins ( John).— b. ; d. London, buried 22nd February, 1664 ; s. ; P. portraits and miniatures. Very little is known of the life of this artist. He learned at first to paint portraits in oil, but soon devoted all his time to miniatures, and the fact that he painted some of the most distinguished persons of his time shows the estimation in which his works were held by his con- temporaries. Charles I. had nine by him, some of which were copies from Holbein and Van Dyck. Walpole also speaks of one — the head of a man in the gown of a Master of Arts and a red satin waistcoat, of which he says : ' ' The clearness of the colour- ing is equal to either Oliver ; the dishevelled hair touched with exquisite freedom." Wornum also mentions another at Burleigh — the profile of a boy in brown, holding a plaything, which he says "is admirably natural." Many miniatures by Hoskins were sold at Strawberry Hill. John Hoskins had a son of the same name, also a painter in miniature, but inferior. The elder Hos- kins marked his works with a monogram — I. H. combined, or simply ''1. H." Houbraken (Arnold).— b. Dordrecht, 1660; d. Amsterdam, 1719 ; s. Van Drillenburg and Samuel van Hoogstraten ; p. por- traits. This artist is most generally known as the author of the "Lives of the Dutch Painters," a work which, although it contains much useful information, is not always accurate. Houbraken came to England and made the drawings from por- traits by Van Dyck which were engraved by Peter van Gunst. He received 100 guilders (equivalent to more than £10 now) for each drawing. Arnold Houbraken engraved, and was the father of the Dutch engraver, Jacob Houbraken. Houseman.— Huysmans. Howard (Prank).— b. 1805 ; n. Liverpool, 30th June, 1866 ; s. his father and the Royal Academy ; P. history, portraits, etc. Frank was the son of Henry Howard. He was at one time an PAINTERS AND THEIR WORKS. 599 assistant to Sir Thomas Lawrence, but exhibited many pictures, chiefly Scriptural subjects, at the Academy. About 1842 he went to reside in Liverx^ool, where he supported himself by giving lessons and lecturing. He, however, gained, in 1843, a prize of £100 at Westminster, for his "Una Coming to Seek the Assistance of Gloriana." He was the author of Lessons on Colour" and several similar works, but died in very reduced circumstances. Howard (Henry).— b. London, 1769 ; d. Oxford, 5th October, 1847 ; s. Philip Reinagle ; p. history and portraits. Having entered the schools of the Royal Academy in 1788, Howard dis- tinguished himself so much, that in 1790 he gained the two first medals of the year. He then travelled in Italy, and returned home by way of Vienna and Dresden in 1794. From that time he was a frequent exhibitor at the Royal Academy, and painted many portraits. In 1801 he married Miss Reinagle, the daughter of his old master ; he was elected an Associate of the Academy in the same year, and a full member in 1808. His "Christ Blessing Little Children," which is the altar-piece of the chapel in Ber- wick Street, S. James's, was exhibited in 1808. Howard also made designs for some of Wedgwood's pottery, and for seals and medals. He was made Secretary to the Academy in 1811. and Professor of Painting in 1833. Henry Howard's works are grace- ful and pleasing as regards composition, and correct in drawing. They are to be found in many collections, but are not remark- able in other respects. His lectures were published by his son. Pictures by him have seldom produced high prices at sales, although many of them were very deservedly admired when they were exhibited. Among such was " Hylas Carried Away by the Nymphs," which was engraved. The following have been sold by auction : Cupids WrestUng, Henry Hope's £ s. d. sale 1816 ... 34 13 The Pleiades, a replica of the picture at Stafford House, Lord de Tab- ley's sale 1827 ... 220 10 Child with Shells, holding one to her ear. Sir F. Freeling's sale ... 1837 ... 34 13 Chaldean Shepherd Ubser\'ing the Stars, Howard's executors' sale 1848 ... 51 9 Hylas Carried away by the Nymphs, Morgan's sale 1858 ... 48 7 600 PAINTERS AND THEIR WORKS. Sabina in the Hall of Nereus, Lord £ s. d. North wick's sale 1859 ... 102 18 Titania, W. Wells' sale 1860 ... 23 2 Howitt (Samuel).— B. about 1765 ; d. Somers Town, London, 1822 ; s. unknown ; p. animals and figures. Nothing is known of the early life of this artist, excepting that he exhibited at the rooms in Spring Gardens in 1783, and at the Royal Academy in 1793. He went to India and made many drawings represent- ing hunting in that country. He was also a skilful and spirited etcher, and published several works illustrated by etchings from his own drawings. In sales his drawings of animals have pro- duced from 10s. 6d. to £5 15s. 6d. Huber (Johann Rudolph).— b. Basle, 1668 ; d. 1748 ; s. Kaspar Meyer, Werner, etc. ; p. history and portraits. At the age of nineteen, after studying under the above masters, Huber went to Italy, where he studied at Mantua the works of Giulio Romano. After visiting other cities in that country he resided at Rome for six years. He returned by way of France to Switzerland in 1693, where he was much employed. About 1696 Huber was appointed painter to the Duke of Wiirtemburg. From the extraordinary rapidity with which he worked he has been called ' ' The Tintoretto of Switzerland. " He is said to have painted more than three thousand portraits. Huchtenburgh or Hugtenburg (Jacob van).— b. Haarlem, 1639 ; D. probably in Rome, about 1667 ; s. Nicolas Berchem ; p. landscapes. On leaving the school of Berchem, this artist went to Rome, where he died young. He painted in the style of Berchem, and there are pictures by him at Rotterdam, Berlin, and Copenhagen. Huchtenburgh ( Johan or Jan van).— b. Haarlem, 1646 ; D. Amsterdam, 1733 ; s. his brother and T. Wyk ; p. battles and portraits. He was the brother of Jacob van Huchtenburgh, and joined him in Italy. After the death of Jacob, Jan returned to Holland, about 1670. On his road home, he stayed a con- siderable time in Paris, where he received instruction from Van der Meulen. In 1708 or 1709 he was employed by Prince Eugene to paint the battles in which the latter commanded, and for that purpose the Prince sent him plans and gave him verbal instructions. The Prince Elector also made him a present of a gold chain and medal. Jan van Huchtenburgh resided, towards the end of his life, at The Hague, where he not only painted, but PAINTERS AND THEIR WORKS. 601 dealt in pictures. Shortly before his death, however, he went to live with his daughter at Amsterdam, and died there. He engraved from his own designs and those of Van der Meulen ; among such works is that entitled " Beschryving der Veldslagen van Prins Eugenius van Savoye, den Prins van Oranje en den Hertog van Marlborogh,'s Hage 1727." In the museum at The Hague there is, moreover, a portrait of Prince Eugene on horse- back by this artist, who also painted ''The Battle of the Boyne." Huchtenburgh's battle-pieces are well composed and the figures full of energy. He often introduced into them one or two piebald horses. The colouring is, however, somewhat unequal, owing to the bright touches he placed upon the uniforms ; and many are reduced copies of his chief works made by pupils under his own directions and touched up by himself. They have in general produced from £20 to £40 at sales. The following went for higher prices : £ s d A Battle-piece, Bryan's sale 1804 ... 42 A Battle-piece, Webb's sale 1821 ... 73 10 Bataille Devant Nauner, Heris's sale 1841 ... 45 Le Depart pour le Chasse, sale in Paris 1866 ... 45 The Battle of RamiIies,Luscombe's sale 1872 ... 102 18 L'Ecoie d'Equitation, Stange's sale . . . 1879 ... 75 Hudson (Thomas).— B. Devonshire, 1701; d. Twickenham, 1779 ; s. Jonathan Richardson ; p. portraits. Hudson married Richardson's daughter, and succeeded to much of the latter's business as a portrait-painter. He could not, however, paint anything beyond the head, and employed other artists to com- plete his portraits. He was the master of Sir Joshua Reynolds. There are portraits by him in the National Gallery, and a large family picture at Blenheim, which is said to be his best work. Hudson's works have proved themselves to be superior to those of his great pupil in lasting qualities, for they are painted in a solid manner, and will, with care, last for centuries. His por- trait of Thomas Barret when young sold at the Lee Priory sale, 1859, for £36. Hufnagel.— /S'sc Hoefuagel. Hugo van der Goes.— c Goes. Hugtenburg.— /Sic Huchtenburgh. Humphrey (Ozias).— b. Honiton, 8th September, 1742 ; d. London, 9th March, 1810 ; s. Samuel Collins, of Bath ; P. minia- 602 PAINTERS AND THEIR WORKS. tures. This artist was the representative of the ancient family of Honifrey. He was educated at the Grammar School of Honiton, and his taste for drawing induced his parents to send him to London, where, acting on the advice of Sir Joshua Reynolds, he studied at the S'. Martin's Lane School and the Duke of Rich- mond's Gallery. He was next placed under Samuel Collins, at Bath, and was much employed. Reynolds, however, encouraged him to come to London, and in 1766 a miniature of his at the Spring Gardens Rooms was bought by the King, who gave him commission to paint the Queen and some members of the Royal Family. Humphrey was a member of the Incorporated Society of Artists. In March, 1773, he went to Italy, visited all the principal cities in that country, and while at Rome drew in the French Academy in that city. He returned to London in Sep- tember, 1777, and lived in Newman -Street. His pictures in oil did not meet with the same approval as his miniatures, and he then went to India. There he painted miniatures of the native princes, and made money. In 1788 he returned to London, lived in S. James's Street, and resumed painting in miniature. He was made an Associate of the Royal Academy in 1779, and a full member in 1791. His sight becoming somewhat impaired, he applied himself to painting in crayons, and in 1792 was appointed portrait-painter in crayons to the King. Humphrey's miniatures have much of the character of portraits by Sir Joshua. They are well drawn, graceful, and well coloured. He signed them in Roman letters, H within the O. The like- nesses are said to have been good, and his miniatures will always be admired as works of art. At Mr. Addington's sale in 1886, the whole-length portrait of Mrs. Abington, 12|in. by 7iin., by Humphrey, was sold for £44 2s. Hunchback {Th.e).—See Gobbo (II). Hunt (William Henry).— b. 8, Old Belton Street, Long Acre, London, 28th March, 1790; d. London, 10th February, 1864 ; s. John Varley ; p. landscapes, figures, fruits, flowers, etc. This celebrated water-colour painter was the son of John and Judith Hunt, his father being a tin-plate worker. He was de- formed, and his health throughout life was very delicate. Pro- bably this was the cause that induced his father to allow him to become an artist, as at first John Hunt was strongly opposed to his doing so. He received very little general education, but when sixteen was apprenticed to John Varley. He formed early PAINTERS AND THEIR WORKS. 603 a friendship with John Linnell, which lasted throughout their lives, and Linnell had in his possession drawings made by Hunt before his apprenticeship to Varley, so that to a certain extent he was self-taught. Hunt, however, became a student at the Royal Academy in 1808. The preceding year he had exhibited three pictures at the Academy, which were in oil, but he very early worked almost exclusively with water-colours. Hunt had also the advantage of being one of the young students who were en- couraged by Dr. Munro, and to have been a favourite, for the doctor frequently had him to stay at his house at Bushey, near Watford, where he made Hunt paint from nature, and rewarded his labours by paying him 7s. 6d. a day. While sketching near Watford, Hunt became known to the Earl of Essex, who invited him to paint in the Park at Cashiobury, Hunt's connection with the Water-colour Society dated from 1814, when he exhibited, as " Fellow Exhibitor," probably works in oil. In 1824, when the society resumed its original cha- racter. Hunt became an Associate, and he was promoted to full membership in 1827. From that time he was a constant con- tributor to the society's exhibitions, one of his last works being his own portrait. For the benefit of his health Hunt lived much at Hastings, and many of his works were painted there. The manner in which Hunt's drawings are executed varies very much, as he gradually adopted many of the new processes, sometimes with very indiflerent results. His figures, landscapes, and still-life are, however, all remarkable for truth to character and nature, and for the luminous efi'ect of his colouring. During the greater part of his lifetime Hunt was paid very moderate prices for his works, but always appeared satisfied with what he received. From about 1860 their value has steadily increased. Taking a list of about 300, which have been sold by auction since that year, the prices vary from £24 3s., paid for "The Banished Lord," at Burnett's sale, in 1860, to £787 10s., for "Too Hot," and a similar sum for " The Eavesdroppers," at Quilter's sale, in 1875. So many were sold for more than £150, that only those which produced £200 and upwards can be given ; even then the list is long. Too Hot, 15in. bv lOiin., Langton's £ s. d. sale ^ r 1862 ... 315 White Grapes and Plums, oval, 7|in. by ll:iin., Langton's sale ... 1862 ... 225 15 Interior of a Farm, Tln-elfall's sale... 1864 ... 220 604 PAINTERS AND THEIR WORKS. Fisherman's Cottage at Hastings £ s. d. (bought in), Duncuft's sale ... 1864 ... 241 10 Quinces, Plums, Blackherries, 9in. by ll^in., Knowles's sale... ... 1865 ... 346 10 Flowers and Plums, Sin. by 12in., Kno^vles's sale 1865 ... 210 White Grapes and Plums, 7|in. by llin 1865 ... 268 16 Young Fisherman, 16in. by 27in., Reid'ssale 1865 ... 241 10 The Flower-girl, 13*in. by 17*in., Sichel's sale 1865 ... 367 10 Flowers in Gres de Flanders Jug, Nest, Basket of Raspberries on marble slab, Biggs's sale 1868 ... 362 5 Supplication, oval, Clare's sale ... 1868 ... 530 5 Too Hot, Clare's sale 1868 ... 283 10 Pineapple and Plums, Fallows' sale 1868 ... 287 14 A Ballad-singer, Fallows' sale ... 1868 ... 285 6 Plums, Blackberries, and Haws, Brown's sale 1869 ... 227 17 Roses in Blue-and-white Jug, Charles Dickens's executors' sale... ... 1870 ... 336 The Rustic Artist, Heritage's sale ... 1871 ... 252 Nest and Wild Rose, 7|in. by ll|in., Gillot'ssale 1872 ... 267 15 Spring Gatherings, 12fin. by 16^in., Gillot'ssale 1872 ... 619 10 Primroses and Cherry Blossom, 12|in. by 9fin., Gillot's sale 1872 ... 267 15 Primroses, Hedge-sparrow's nest, lOfin. by 7|in., Gniot'ssale 1872 ... 262 10 Quinces, Plums, Blackberries, 9in. by 1 If in., Wade's sale 1872 ... 402 Muscat Grapes, Peaches, Strawberries, and Currants, l^in. by llin.. Wade's sale 1872 ... 283 10 Grapes, Plums, and Nest on Matting, 7iin. by llin., Wade's sale ... 1872 ... 252 10 Mossy Bank, Primroses, Nests, 14in. by 12in., Wade's sale 1872 ... 330 15 Dead Woodpigeon, Holly, and Ivy, lOiin. by 16in., Wade's sale ... 1872 ... 210 Grapes and Sprig of Holly, 9|in. bv 13in., Wade's sale 1872 ... 273 Quince and Hips, lOfin. by 12|in., Wade's sale 1872 ... 252 PAINTERS AND THEIR WORKS. 605 Roses in Jar and Mossy Bank, lUin. s. d. by 9in., Wade's sale 1872 525 Plums in Basket, Blue-and-wliite Jug, Rose and Lobelia, ll|in. by 8^in., Wade's sale 1872 . . 215 5 May Blossoms and Cliaffincli's Nest, oval, llin. by 13oin., Wade's sale 1872 283 10 Apple on Bank with Ivy, oval, lOi^in. by 12^in . , Wade's sale 1872 . . 241 10 Plums, Greengages, Peach, and Grapes, oval, lO^in. by 13^in.,W^ade's sale 1872 341 15 Devotion, Gwyther's sale 1872 210 Going to School, Radley's sale 1872 288 15 Purple Muscat Grapes, Peaches, Radley's sale 1872 246 15 The Eavesdroppers, 29in, by 21in,, James's sale 1873 546 Lilac and Nest, 9in. by 13in., James's sale 1873 325 10 Disciple of Izaac Walton, 12^in. by 9in., James's sale... 1873 . . 231 Grace before Meat, 21in. by 14in., Farnworth's sale 1874 . 430 10 Bridge of Sighs, 22in. by 17in., Farn- worth's sale 1874 . 315 Summer Flowers and Early Fruit, 194 in. by 15^in., Heugh's sale 1874 525 Dead Peacock, etc., IS^in. by 23^in., Leaf's sale ... 1875 . . 320 5 Head of Mulatto Girl, IS^in. by llin., Leaf's sale... 1875 . . 315 Interior, lady reading, 20in. by 25in., Leaf 's sale ... 1875 . . 215 5 Roses and Nest ... 1875 . . 252 May Branch and Nest (bought in). Elliot's sale 1875 . 236 5 Younf Gripkptpv's RpnntiP Navlov's sale 1875 225 15 Cymon and Iphigenia, Quilter's sale 1875 462 Devotion, Quilter's sale 1875 . . 420 The Eavesdroppers, Quilter's sale ... 1875 . . 787 10 Plums, Mossy Ground, oval, Quilter's sale 1875 . . 222 12 Plums, Primroses, Bird's Nest, QuUter's sale 1875 . . 472 10 Pineapple, Grapes, and Pomegranate, Quilter's sale 1875 . . 220 10 606 PAINTERS AND THEIR WORKS. £ S. d. Hut with Gipsies, Quilter's sale ... 1875 ... 315 Primroses on Mossy Bank, Quilter's sale 1875 ... 257 5 Too Hot, QuUter's sale 1875 ... 787 10 Grace before Meat, A, Grant's sale .. . 1877 ... 388 10 Summer Flowers and Fruit, A. Grant's sale 1877 ... 399 10 Quinces, Plums, Blackberries, 9in. by ll^in., Knowles's sale 1877 ... 346 10 Flowers and Plums, 8in. by 12iji., Knowles's sale 1877 ... 210 Cymonand Iphigenia, 22|in. by 29in,, Fleming's sale ... 1879 ... 252 Grapes, Peaches, and Figs, 7f in. by llin., Brooks's sale 1879 ... 267 15 Peaches and Grapes, 7iin. by llin., Brooks's sale 1879 ... 252 Black Grapes and Pomegranates, Henderson's sale 1882 ... 210 Hedge-bank, Nest, and Primroses (bought in), Davis's sale 1882 ... 204 15 Pine, Melon, and Grapes (exhibited F. A. Society, 1879), Hollings- worth's sale 1882 . .. 236 5 Muscat Grapes, Peaches, Gurney's sale ... 1883 . .. 262 10 Spring Flowers, Gurney's sale 1883 . .. 225 15 Lilac and Bird's Nest, 9in. by 13^in., Sibeth's sale 1884 . .. 315 Purple and White Grapes, HoUj^ 9|in. by 13in., Sibeth's sale 1884 . .. 372 15 Quinces and Hips, lOfin. by 12|in., oval, Sibeth's sale... 1884 ., ,. 283 10 Basket of Plums, Blue-and-white Jar, with Rose and Lobelia, ll:|in. by 8^in., Wade Collection (exhibited F. A. Society), Sibeth's sale 1884 .. ,. 278 5 The First Cigar (two): The Aspirant, Used up 1884 .. ,. 252 Black Grapes and Pear, 7|in. by llin., Schlotel's sale 1885 .. . 204 15 The Eavesdroppers, Quilter's sale ... 1889 .. . 493 Devotion, Quilter's sale 1889 .. . 336 Primroses and Nest 1891 .. . 278 May-branch and Chaffinch's Nest ... 1891 .. . 225 The Cricketer, Bolckow's sale 1891 .. . 525 Cold Morning, Bolckow's sale 1891 .. . 420 PAIN TEES AND THEIR WOEKS. 607 £ s. d. 1891 283 Q Bird's Nest, Murrieta's sale ... 1892 .'. 220 Contented with his Lot, Lawrence's sale 1892 .. . 317 Happy with More, Lawrence's sale... 1892 .. . 325 Too Hot, Bolckow's sale 1892 .. 352 Shed, Huth's sale 1895 ., ,. 215 Hurembout.— /St^c Horebout. Hurlstone (Frederick Yeates).— b. London, 1800; d. 1869 ; s. Royal Academy ; p. history, genre, and portraits. Hurlstone obtained the gold medal at the Academy in 1823. He studied under Beechey, Haydon, and Lawrence, and exhibited at the Academy and British Institution, but principally at the rooms of the Society of British Artists ; of that he was elected a member in 1830, and held the office of President from 1835 until his death. He visited Italy in 1835, Spain in 1851-52, and Morocco in 1854. He was a great opponent of the Royal Academy, and gave evidence against it in 1835. Hurlstone's works have always been much admired, and are to be found in the most select collections in England. Three which have been offered for sale have been disposed of as follow : Constance and Arthur, Lord North- £ s. d. wick's sale 1859 ... 85 1 The Mandoline-player, Bradley's sale 1860 ... 174 6 The Game of ' ' Morra " (for which he received the Gold Medal at Paris, 1855), Bradley's sale 1860 ... 514 10 Huysmans (not Houseman).— There have been nearly a dozen painters of this name, and much confusion has been intro- duced into the accounts of their lives. Tlie following are the most known : Huysmans (Constantin Corneille).— b. Breda, 1810; d. ; s. M. van Bree. He succeeded his father, Jacques Charles, as Director at the Military School at Breda. He painted in- teriors, engraved, and published works on art. Huysmans (Cornelius).— b. Antwerp, 2nd April, 1648 ; d. Malines, 1st June, 1727 ; s. Pieter de AYit and Jacques d'Artois ; p. landscapes and sea-pieces. He lived, after quitting the school of D'Artois, at Brussels, and passed his time chiefly in drawing in the Forest of Soignies. He next resided at Malines, where he married in 1683 and lived the greater part of his life. From 608 PAINTEES AND THEIE WOEKS. that he is often called Huysmans de Malines. He was admitted into the Guild in 1688 ; but in 1702, owing to disputes with other artists, withdrew to Antwerp. By 1716 his friends had enabled him to return to Malines, where he died. He left at least five children, one of whom, Pierre Balthazar, was a painter and a pupil of Van Bloemen. He was born at Malines, in 1684, and died at Antwerp, in 1706. There must also have been other painters of the family named Cornelius, for one is in- scribed in the " Liggeren " at Antwerp in 1633-34, and another was received as a master in 1707. There was likewise a Michel Huysman inscribed in the register of the Guild of S. Luke at Antwerp in 1535 ; he was a pupil of Jan van Hemessen. The Cornelius of 1648 painted landscapes in a grand style, approaching that of the Italians Titian and Salvator Rosa. They have been more sought after of late years than formerly. Before 1857 few of them produced £10 each at sales. Since then they have been sold as follow : Paysage, Thibaudeau's sale ... A Classical Landscape, figures and animals, Scarisbrick's sale A Wooded Landscape, figures under a bank, Scarisbrick's sale ... Paysage, De Morny's sale Paysage avec figures (sale in Paris) . . . Paysage Montagneux, Neven's sale... Landscape in the style of G. Poussin, 19iin. by 27in., Duke of Marl- borough's sale Huysmans (Jacob), called in England Houseman. — b. Ant- werp, 1656 ; D. London, 1696 ; s. Gillis Backereel ; p. history and portraits. Probably related to Cornelius. He was admitted into the Guild of S. Luke at Brussels, as a stranger, in 1691, and registered as a master in 1692-93. He came to England in the reign of Charles 11. , and was much employed, being patron- ised by the Queen Catharine of Braganza, of whom he painted a fine portrait. There are also by him that of Izaac Walton, in the National Gallery, and others of the Duchess of Richmond and of Lady Byron, at Hampton Court, which will bear com- parison with those by Lely. Huysmans (Jacques Charles).— b. Breda, 1776; d. Breda, 1859 ; s. J. H. Fredericks ; p. flowers. In 1830 he was named Director of the Military School at Breda, but, becoming blind, £ s. d. 1857 .. . 65 1861 .. . 52 10 1861 .. 19 19 1865 .. . 235 1875 .. . 90 1879 .. . 130 1886 ., ,. 283 10 PAINTERS AND THEIR WORKS. 609 resigned his place in 1837. His son, Victor Godefroio Jean, settled in Paris, and distinguished himself as a lithographer in colours. Huysmans (Jan Baptist).— b. Antwerp, 1654; d. Antwerp, 1 716 ; s. Van Minderhout and his brother ; p. landscapes. This painter was inscribed as pupil in 1674-5, and as master in 1676-77, of the Guild of S. Luke at Antwerp. Ho was very skilful in restoring old pictures, and there are some j)ainted by him at Dijon, in the Schleissheim Gallery, and one at Brussels, signed "J. B. Huysmans, f. 1697," which was bought at Baillie's sale, in 1862, for £130. Others by him have been sold as being by Jacob Ruisdael. Huysmans (Michel and "Pierve).— Sec Huysmans (Cor- nelius) . Huysum (Jacob van).— b. Amsterdam, about 1687; d. London, 1740 ; s. his father ; p. flowers. He was the youngest son of Justus van Huysum the elder. Although Jacob painted occasionally flower-pieces of his own composition, his chief merit was in copying so well his brother Jan's pictures, that his copies have been mistaken for original works by Jan. Huysum (Jan van).— b. Amsterdam, 15th April, 1682 ; d. Amsterdam, 8th February, 1749 ; s. his father ; p. flowers, fruits, and landscapes. By common consent Jan van Huysum has been held to be the best painter of flowers. He began his career by assisting his father, Justus the elder, in the decoration of apartments, but soon rose to the rank he has so long occupied among artists. This success he owed chiefly to his own industry and good taste, but also to the fact that in his time the Dutch sjjared neither trouble nor money in the cultivation of flowers, and that those growers who produced the most beautiful were anxious to have them painted by Jan van Huysum. Those painted on light or yellow grounds are superior to his earlier works, which are on dark ones. His fruit-pieces and landscapes are also inferior to his flowers ; the latter he grouped and drew with extraordinary skill, and birds' nests, butterflies, and dew- drops add to the illusion which his pictures produce. It is won- derful also that, considering the time he must have spent in painting each picture, they are so numerous. Fine specimens of his works are to be found in all the great galleries in Europe, and there are many also in private hands. 2 Q 610 PAINTEES AND THEIR WOEKS. The prices which have been paid for pictures by Jan van Huysum vary from £4:0, for a group of flowers at Schuylenburg's sale in 1735 (that was fourteen years before the painter's death), to £3100, for a flower-piece which belonged to Liotard, and was sold in -London in 1774. Only some fine pictures undoubtedly by Jan van Huysum can be cited, for when others went for small sums at sales it may be taken as a general rule that they were either copies of his works made by his brother Jacob, or pictures by the latter. Pot de Fleurs, Nid et des Oiseaux, with the companion, Fraula's sale ... Vase de Fleurs, dans une Niche, Heemskerke's sale A Flower-piece, Liotard's sale Flower-piece, from Robit Collection, Heathcote's sale ... F'ruit, Van der Pot's sale Fleurs dans un Vase, Sabatier's sale A Vase with FloAvers, La Fontaine's sale ... A Vase with Flowers, from Verhulst's Collection, G. W. Taylor's sale... A Group of Fruits (painted for Gildermeester), G. W. Taylor's sale ... Vase with Flowers on marble garden table, from Due de Praslin's Collection, Bcckford's (Fonthill) sale ... Le Bouquet, S. T.'s sale A Bouquet of Flowers, Bagot's sale... Bouquet de Fleurs et des Fruits, De Berry's sale Vase with Flowers and Bird's Nest, dated 1726, Baillie's sale Fruit and Flowers, from Boursault's Collection, Higginson's sale A Yellow Vase with Flowers, W. Wells's sale Flowers in Vase on marble table. Chaffinch's Nest, etc., De Morny's sale The companion. Fruit and Flowers, De Morny's sale ... £ s. d. 1738 . .. 95 1770 . .. 157 1774 . .. 3100 1805 . .. 178 10 1 QOQ loUo n u U 1809 . .. 560 1813 . .. 136 10 1823 . .. 262 10 1823 . .. 273 1823 . .. 362 1826 . .. 357 1836 . .. 183 15 1837 . .. 258 1839 . .. 273 1846 . .. 178 10 1848 . .. 420 1848 . .. 162 15 1848 . .. 220 10 PAINTEES AND THEIE WORKS. 611 Sculptured Vase, Flowers, Slab, and Birds' Nest, 20in. by 16m., up- right, Montcalm's sale ... Peache-t, etc., the companion, dated 1744, Montcalm's sale ... Bouquet de Fleurs, Patureau's sale . . . Fleurs, Rhone's sale ... Le Nid, Van Cleefs sale La Souris, Van Cleefs sale ... Vase de Fleurs, Oppenheim's sale ... Roses in Terra-cotta Jar and Birds' Nest, from Bagot's Collection, Lord Clare's sale... Peonies, Tulips, Roses, Butterflies, etc., from Radzivil Collection, Oppenheim's sale ... Flowers in Sculptured Vase on marble table. Chandler's sale Yellow Vase, bas-relief of Boys, Flowers, Fruit, and Chaffinch's Nest, 53in. bvSein., dated 1736- 1737, No. 20\Smith, Darby's sale Vasede Fleurs, Pommersfeldcn's sale Le Nid, Ponimersfeldeus sale Vase Garni de Fleurs, Stevens's sale Bouquet de Fleurs, Stevens's sale ... Flowers and Birds' Nests, Bond's sale Flowers in Terra cotta Vase, 31 in. by 24in., Duke of Hamilton's sale Vase of Flowers, 31iin. by 23|in., Nieuwenhuys' sale Huysum (Justus van), the elder. — b. Amsterdam, 1659; D. Amsterdam, 1716; s. N icolas Berchem ; p. various styles, but flowers best. He was the son of a schoolmaster in Friesland. He decorated rooms in many houses in Holland, and was assisted in such work by his three sons. Huysum (Justus van), the younger. — He was a son and pupil of the elder Justus, but the date of his birth and death are not known. He painted battles, and died when only twenty-two years of age. Hyre or Hire (Laurent de la^.— b. 1606 ; d. 1656 ; s. his father and S. Vouet ; p. history, portraits, architecture, and landscapes. This artist was the son of Etienne de la Hyre, a £ s. d. 1849 . . 168 1849 . . 162 15 1857 . .. 260 1861 . . 135 1864 . . 300 1864 . . 170 1864 . .. 625 1864 . . . 525 1864 . . . -525 1866 . .. 299 1867 . . . 399 1867 . .. 610 1867 . .. 560 1867 . .. 400 1867 . .. 390 1874 . . . 525 1882 . .. 1228 10 1886 . .. 404 5 612 PAIN TEES AND THEIR WORKS. French painter, who worked principally in Poland. Laurent was patronised by Cardinal Richelieu and many other great person- ages of his time. He was one of the twelve first members of the Academy ; his brother Louis was also a painter, his son Philippe was the astronomer, and another son a distinguished physician. 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